I F

= SORENSEN C O L L E C T I O N RESEARCH REPORT OF THE SORENSEN ARTIFACT COLLECTION

by

Dr. Charles E. Cartmill Ricks College faculty

Funded by a Grant from the Ricks College Research Committee 1992-93 school year

Rexburg, Idaho 1993

OUTLINE

I. Introduction p.1

II. Pottery Collection p.6 A. Pueblo Pottery p.6 1. Zia Pueblo Pottery p.16 2. Acoma Pueblo Pottery p.17 B. Casas Grandes Pottery p.21

III. Paleo Projectile point Collection p.30

IV. Bibliography p.39

IV. Appendix p.41 A. Interviews p.41 1. Mr. Keith Lucero p.41 2. Arthur & Carol Cruz p.43 3. Saebie Shaje p.44 4. Mr. Joe Carr p.47 5. Mrs. Dorothy Sorensen p.48 B. Reflections on the Life of Earl Sorensen p.59 C. Excerpts from the Life and Writings of Earl F. Sorensen p.64 Introduction

The accumulation of a truly significant and valuable Indian artifact collection takes us a lifetime of constant and diligent seeking and searching of the places of by-gone years. Places where the aboriginal Indian and his ancestors worked and played in living out an existence that was somewhat plentiful at times, and life threatening at other times. The Indian, in those days, lived in total harmony with nature and her ways. Many of the places where they lived were so remote or so hidden that it seems communication with the "great spirit" is almost necessary in order to discover and uncover the treasures of those people as they speak to us through their tools, instruments, and places of abode in "teaching us" of their philosophies and their way of life. Such a life long endeavor has a pay-off that is far more valuable and encompassing than merely the presence and value of those artifacts obtained. We eventually become an extension of them into these modern times, and an advocate of their uncomplicated way of life. The ancients, as individuals and as a people, become acquainted to the collector through their tools and craftsmanship to the point that a kinship is developed between the collector and the individuals that manufactured the original artifacts. The forgoing is especially true when the

1 collector is the first person to "pick-up" the artifact laid down or dropped by its creator hundreds or even thousands of years ago. Such a collector was Earl Sorensen of Santa Fe, New Mexico. For the better part of his life Earl Sorensen and his family actively searched for Indian artifacts throughout the northwest, with specific emphasis in Idaho and New Mexico. He was an engineer by profession, but an archeaologist at heart, as he spent countless hours and hours either alone or with his family, seeking the knowledge of the past out where the Indians had lived. He did not search on a reservation, but in the open, remote arid desert places of the southwest, where it appears that no one could survive, let alone sustain a reasonable life. He was very successful in his endeavors. Having put so much time and effort into such an adventure acquiring a magnificent collection, his desire was to share it with others, both the artifacts and the knowledge. His feeling was that the collection should be used for educational purposes, to be appreciated by all, while serving as a teaching tool - as a way of getting modern people acquainted with the inhabitants of yester-year. This would serve as a means of having us learn to love and appreciate both the tools and the people that made them. Rather than pass the collection down to relatives and family members or have it divided-up among progenitors, he preferred that it remain intact and be placed in an environment that ensured that its use would accomplish his goals and desires.

2 After much consideration and with the support of his family, he decided to donate the collection to Ricks College. There are many universities, colleges, and museums throughout the nation that would heartily welcome his collection of artifacts. There are several locations in the northwest that display artifacts of the quality of Earl Sorensen's collection. Why Ricks College, a college that doesn't even have an anthropology department, nor an archaeology department within its curriculum? The Sorensens' felt that giving the collection to a major university or museum, one which already had a sizable collection and one which might store it away for years before utilizing its potential could result in the collection being either taken for granted, sort of a ho-hum attitude, or basically ignored all together. They did not want such a possibility to befall such a collection that took a lifetime to gather. They chose Ricks College specifically because of the strong emphasis placed here on teaching at the ground roots level. They felt that the collection had a better possibility of being used right in the classroom and educationally displayed for the public in a college that emphasizes the basics. Ricks College has accepted the gift, along with a commitment to utilize the collection for the purposes given. A portion of the total collection has already been delivered to Ricks College. In order to commence the immediate utilization of the collection, the museum in which it was to be placed had to be remodeled, and rearranged. That process has been accomplished to date, with the

3 remainder of the remodeling scheduled as the complete collection is received. To date, Ricks College has received 43 magnificent pre-columbian pottery bowls and jars dating back as far as 700

A.D., and 106 Paleo projectile points dating back to ancient man's first entrance into this country, some 12000-15000 years ago. In addition, other related artifacts have been received. For the most part, the knowledge and story behind the collection, and information concerning each artifact was to be obtained from

Mr. Sorensen himself through interviews and his personal writings. His death, a few months following the decision to give the collection to Ricks College, was unfortunate, for he had a wealth of knowledge and innumerable stories to relate concerning his years of experiencing "life with the Indians". With no first hand resource available, knowledge of the artifacts would depend upon family members, and research that had previously been conducted on similar artifacts.

A research proposal was therefore submitted to the Ricks

College research committee for the purpose of gaining fundamental knowledge and background information concerning the specific artifacts already received by the college. The research was to provide information to be used in the classroom in teaching about the history and lives of the people producing the artifacts. In addition, the information would be used as part of the collection display to be housed in a "public" museum, in educating the public, as well as the students, concerning the artifacts shown.

Selected information from the research would be provided as part

4 of the display so that students and non-students alike may more fully benefit from the display. The following report represents the results of the research conducted thus far. It provides information pertaining to the origin and general utilization of the artifacts represented in the donated collection, and gives background information concerning the people and their location when the artifacts were made. Information concerning the manufacturing of the artifact has been included, where applicable, along with general distribution and use. The report includes the results of interviews with present day Indian "potters", and experts knowledgeable with regard to the artifacts represented in the collection.

5 Pueblo Pottery

Pueblo pottery, of which Ricks college has eight magnificent pots is known throughout the United States as some of the finest pottery ever made by Indians in the United States. These pots demonstrate the heritage of Indian art that has been given to us by the Native Americans. Of even more significance, these primitive works of art were constructed without a potter's wheel and fired without a kiln. Their pottery can be compared directly to the best pottery made in the world. Pottery was to the Pueblo Indians what wood carving was to the Northwest Indians, and bead and quillwork to Indians of the Plains. The Pueblo Indians consist of about twenty or so small villages in New Mexico and Arizona. Their general geographic location is shown in Figure 1. The average population is somewhere around a thousand, with the largest tribe being the Hopi (speaking a Shoshonean dialect) with about 9000 inhabitants , and the smallest tribe the Pojoaque with less than 100 inhabitants (speaking a Tanoan dialect). The Pueblo Indians are descendants of the ancient cliff dwellers, whose spectacular ruins exist throughout the Southwest. They were neolithic people - cultivating simple crops, using stone tools, and making

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0 N_ c7 pottery by the traditional method. The pottery art had evolved to an advanced art - far beyond the stage of simple utilitarian wares. The Pueblo Indians were one of the few neolithic cultures to have created glazed pottery, which will be discussed later. The Pueblo pottery styles, including those represented in the Sorensen collection, began around A.D. 700, and have lasted basically unchanged for centuries. Even the first Spanish settlers, arriving in 1598 and having a permanent influence on the Pueblo Indians in their language and their religion exerted almost no influence upon the styles and techniques of Pueblo pottery making. However, the Spanish settlers did strongly affect the eventual outcome of that pottery being available to us today. The collision of the Spaniards and the American Pueblo Indians resulted not only in significant restrictions in the usage of pottery, but also in the disappearance of most of that pottery in the first 200 years of historic period (Frank & Harlow). Owing to the orthodoxy of Church authorities, Pueblo Indians were refused the right to bury pottery with their dead in accordance with ancient custom. Instead they were forced to have Christian burials in cemeteries. Therefore, almost no historic (traditional) vessels have been preserved, causing the early Pueblo Indian pottery to be the least abundantly preserved of all southwest pottery. In fact, it was mainly these relatively few excavated ancient vessels, shrouded in mystery, that first drew

8 the attention of the public, museums and scholars to the artistic talents of the Pueblo Indians. The pottery that the Pueblo Indians are most proud of today is referred to as pottery made by the traditional method, meaning they were made by hand, without any wheel or mechanical apparatus, and made in the exact same manner as that of their ancestors. All were made by the coil technique, fired outside in a ground pit using dung (cow, sheep or goat) as the firing source. The early Pueblo Indians made many types of vessels, but the most common were either bowls or jars. Bowls are vessels with an opening at approximately the greatest width, whereas jars have a proportionately much narrower opening and are usually taller. Of the traditional vessels in collections today, bowls are scarcer than jars. The Sorensen collection does contain a significant number of bowls, although their appearance and preservation is not as fine as that of the jars. Obviously, the extensive use of the bowls as compared to the jars in the collection, prior to their discovery, accounts for some of the difference in preservation. The bowls, in most cases also appear to be older than the jars. The fact that the majority of the bowls in the collection are plainware vessels, as compared to the jars being Polychrome, is a further indication of the more extended use, and possible early manufacture. Water jars, smaller and lighter than jars for storage, were used to scoop up water from a stream or river - they usually have a concave base so as to carry the vessel comfortably on top of the head.

9 The method of making pottery is and has been quite similar for all the Pueblo Indian types. The basic ingredient is clay, dug from a nearby deposit. The raw material is finely cleaned and pulverized, and then tempered with finely powdered material, such as volcanic ash, sand, or crushed pot sherds. The tempering is what distinguishes one pueblo's pottery from another. The purpose of the tempering is to keep the wet clay from being too sticky and from cracking while the vessel dries, and to improve the strength of the vessel. Each village is so conservative about its use of tempering, that it is possible to attribute a particular pot to a specific village on the basis of its temper appearance alone. The aforementioned clay is rolled into short sections, referred to as "ropes", and then coiled in circular fashion to form the walls of the vessel. Thinning and shaping are then accomplished with a piece of gourd as a scraper, or by the fingers of the potter. No potter's wheel is used. Tradition dictates that the shape of the vessel, including its symmetry and form be accomplished through the talent and experience of the potter herself. The decoration (painting of the outside surface) of the pottery follows the forming and shaping of the vessel. However, since the surface of the body clay is quite rough and not conducive to being polished, the vessel is first covered with a slip. Slip is an especially fine red or white clay that is mopped onto the vessel in a water suspension and then, while

10 still damp, polished with a rag. The decorations applied to the outer surface of the slip are accomplished by applying pigments of various colors made from either plants or minerals finely ground to achieve a particular coloring. Polychrome pots are those that have more than two color pigments associated with the decoration of the vessel. Plainware, on the other hand, does not include any decoration as such. Firing is the final step in the vessel making. The vessels are laid in a pit with rocks or sheets of metal as a framework. The vessels are then carefully covered with slabs of cow dung or other slow burning fuel, until the pit is fully covered. The potter has to be careful not to allow the dung to touch the vessel, otherwise scorched spots appear on the finished vessel. The resulting fire (after lighting the dung) is completely smothered if the final color is to be jet black. Various shades of tan, cream, red, orange or yellow can be achieved by adjusting the pit's smothering (refer to #19 and #38 for comparison). The firing lasts for an hour or two, with the vessels being finished as soon as they are cooled. The firing usually takes place in the early morning hours or towards evening when the winds are less likely to blow. Blowing winds cause an uneven firing of the pots. The tradition mentioned here has been carried on for centuries in exactly the same manner. However, in some pueblos 1. An album giving a picture and applicable information for each pot in the collection is an appendage to this report. The numbers, i.e. #19, etc. refers to the pot number in the album.

11 today that tradition is quickly dying out. During an interview conducted in the summer of 1992 on the Zia Pueblo, one of the three remaining traditional potters Saebie Shaje indicated she was having an extremely difficult time obtaining cow dung for her pit, as were the other two, due to the fact that very few cows were now being raised on the reservation. Apparently, it never occurred to her to commercially obtain the dung from outside the reservation. Perhaps that in itself would "break" the tradition. Other potters around her were now using kilns rather than the pit-dung method, and seemly doing well. She feared that soon, she would be using a kiln also. Tradition has it, that pottery making has always been the women's responsibility. All of today's famous pueblo pottery makers are women. The tradition has been carried down through the centuries by the women teaching their children or grand- children the craft as they learned it. Certain individuals in the family were taught the skills, and learned to reproduce the pots just as their ancestors had done. For this reason within each pueblo, certain family names have always been recognized as the potters of significance within the pueblo, and to the outside world. Once again, in modern times that tradition is also being challenged. An example is the Shaje family of the Zia Pueblo. Saebie is the last of her family to make pottery by the traditional technique. In fact, in talking with Mrs. Shaje in her home she told me that none of her six children have learned

12 the trade, nor have any of her nieces or nephews. As I sat interviewing her, she did not seem to be overly concerned that she was the "last of the breed" in her family to pass that talent on. As I looked at the family portrait prominently displayed, hanging on her living room wall - the separate picture of each child with a feeling of pride and self worth showing in their faces - and gazed around the room seeing anywhere from ten to fifteen beautifully displayed pots, one couldn't help but feel the urgency and impending tragedy taking place in having that gift die right "before their eyes". Similar happenings are apparently taking place in other pueblos also. Today there are accurate methods for dating historic vessels and identifying the actual pueblo of origin for these ancient pots. There are many features, specifically clay color and texture, slip treatment, the paint type, and some design aspects of the pottery that enable most pueblo pots to be identified as to the area of manufacture. For the most part, the majority of writers and knowledgeable people concerning the Pueblo Indians classify them into five principal areas of historic pottery - making traditions each with certain distinctive characteristics concerning their pottery (Harlow). The five areas are as follows:

1. Northern Rio Grande areas from which the famous "Maria" pottery was made. 2. Puname Area from which the Zia pottery originates. 3. Southern Rio Grande area

13 4. Acoma-Laguna-Zuni area from which the famous "Lucy Lewis" pottery was made. 5. Hopi area from which Arizona pottery originates.

The Sorensen collection contains pottery pots from the Puname and Acoma-Laguna-Zuni areas. These pots were all made by the traditional technique, and represent the fine workmanship of their respective pueblos. The time frame of manufacture is not specifically known, although two pots, #33 and #44 were made by potters that have died recently. The beautifully done Zia vessel (#33) was made by Juanita Pino, who died about five years ago. Mrs. Shaje a Zia potter said she recognized it as being made by Mrs. Pino. She said that many of the potters did not sign the bottom of the pot, as "everyone" knew who made the pot anyway -- each potter having a "unique" characteristic in their design and results. The other pot, #44 was made by Lucy Lewis of the Acoma pueblo, who died within the last year. She was possibly the most famous living pueblo Indian potter up to the time of her death. The other "modern" pots, #26,#32,#34, and #35 representing the Zia and Acoma pueblos were undoubtedly made within the last 50 years, according to style and workmanship. The two areas represented in the Sorensen collection (items 2 and 4 above) have many characteristics in common when comparing pots made by each. The style of the vessel made by both areas is either purely representative (bird) or purely geometric (pattern). The vessels representing the "bird" style of

14 decoration have a different decorative content than the "pattern" type with the designs represented in the vessel being based on separate principles. This is shown dynamically when comparing #26 with #32. Birds do not stray into the geometric patterns, and geometric motives and types of arrangements are not found in jars that favor the bird style. The forms presented in the bird pottery are always presented in profile, #33, with curved beak, two or three separate tail feathers with rounded ends, a single or double pointed wing, rising from the back. This creature has been variously identified as parrot, turkey, chicken, - or just "bird". Generally, two such birds appear on a jar, each framed in an arch of red or yellowish paint. Commencing about 1600 A.D. the underbodies of vessels from these two areas were decorated with red slip. From 1700 until about 1920 red banding was common, eventually being replaced by the all-over red treatment. In addition, shortly after 1700 the glaze ware technique was lost, seemly forever. Instead of using glaze (glossy) paint, matte paint (usually dull and flat) was utilized. Matte paint is made from either organic or mineral based substances. The Puname area pueblos used organic paint, using leaves and shoots of various plants, while the Acoma- Laguna-Zuni area pueblos used mineral paint, made by adding finely pulverized rock to a binder liquid, thereby achieving various colors.

15 Zia Pottery The Puname area pottery, specifically from the Zia pueblo (#26 and #33) is made from clay and crushed black basaltic lava found on the reservation near Santa Fe, New Mexico. In fact, each pueblo area usually uses ceramic materials available only on its own group of villages. These attributes, with those of form and decoration - define pottery "types". Each type is known by a two part name (i.e. Zia Polychrome), and each is also characterized by a definite geographical distribution and period of manufacture. The clay, brick-red in color, is also found on the reservation. The potters must crush and grind the lava in mixing with the clay - a very difficult task. The use of feather symbols and arcs are characteristic of Zia pottery. However, in style the decoration became more geometrical, with volutes predominating in the early 19th century, giving way to floral patterns as the century progressed. By 1870 another change in the form of jars took place. The appearance of a rather high shoulder (position of maximum diameter). The shape of Zia jars is particularly unique as shown in #26; the greatest width is low, the underbody is undercut, with the rim slightly flared. The Zia pueblo has always been a leader in the production of excellent pottery, with very minimal curio-market degeneracy. For centuries Zia tradition has required that ceramic clay be mixed with finely crushed black basaltic lava, in distinguishing this pottery from that of any other pueblo. The feather symbol, as mentioned, was painted on almost every surviving 18th century vessel in various

16 modifications. The contrasting methods of representing the feathers is evident in comparing #26 with #33. Up until about 1765 all the Zia vessels were finished with the rim top painted red. After that date, the rim tops have always been painted black (compare #26 and #33). Another feature distinguishing early traditional pottery from later pottery is the pigment. Zia polychrome (having more than two colors in the vessel - usually red-black-orange) jars of the middle to late 1800's were painted with black mineral pigment that was thick enough to impart a slightly raised texture to the decoration. After 1900 the black paint became flatter and grainier and more brownish in color. Such distinguishing features help date the pottery in addition to distinguishing it as specifically Zia in style and form. Great care has always been exercised on Zia pottery to achieve thin and light vessels well formed, decorated and finished. This is especially impressive, since Zia clay is known to be coarse and heavy. In the 1920's use of orange was introduced for the background slip of Zia vessels. In the early 18th century every Puname vessel had some form of feather symbol.

Acoma Pottery The Acoma pueblo potters have traditionally tempered their clay with finely crushed sherds of pottery. This distinguishing feature separates the Acoma pottery from that of other pueblos.

17 Prior to 1700 the Acoma pueblo was noted for its magnificent glazed pottery with convex bases. After the Pueblo Indian revolt of 1680, Acoma turned from glaze wares to matte-paint wares, and the present concave base became a standard feature for Acoma jars. The first matte painted vessels were referred to as Ako Polychrome vessels. The artistry and precision of the work are excellent. The motifs used in the decoration show great preoccupation with the feather symbol. About 1730 Ako Polychrome rim tops changed in color from red to black. After 1770 necks were added to the jars resulting in a new classification of Acomita Polychrome. Through a gradual transition accomplished by about 1850 the Acoma vessels became a type that is now known as McCartys Polychrome (Acomita & McCarty are names of Acoma farming villages). There are principally two styles of Acoma pottery; that which utilizes the "bird" and flower style, and that which is purely geometric in pattern. The two styles never mix. Birds do not stray into geometric patterns, and geometric motifs and types of arrangements are not found on jars that favor birds. The naturalistic (bird) type of pottery is much simpler in appearance, showing less variability. The forms presented are always bird and plant forms. Like Zia vessels, the bird on Acoma pots is always represented in profile, with curved beak, three or four separate tail feathers with rounded ends, a single pointed wing rising from the back. Generally two such birds appear on a jar. The favorite floral ornament is a round four-petalled

18 flower, resembling a wild rose. The leaves are long and slender. Black is used for stems, leaves, berries and for the outline of all designs; but the birds, flowers and decorative arches are all painted in red or yellow. The Sorensen collection contains four purely geometrically designed pots. The two black-on-white pots, #34 and #35, are well made with designs dipicting rain, storms, clouds, etc. Mr. Keith Lucero, manager of the pottery collection at the Indian Cultural Center in Albuquerque, New Mexico indicates that these two pots are pre-historic, possibly of Mesa Verde design. The other two pots, #32 and #44, are magnificantly done in polychrome with the orange paint representing the sun, the white of the pot representing the sky, the dark parts being clouds, and the fine lines representing rain, according to Mr. Lucero. With respect to principles of design, Acoma jars do not show any break in outline between the neck and body of the jar. It is fundamentally important to the Acoma potter that the structural lines of the design do not follow the structural lines of the vessel. The horizontal lines of the vessel, which have their roots in the coiling technique of manufacture, are overlaid with designs whose prevailing lines are diagonal (see #34 and #35). Another design feature on Acoma pottery is the tendency to fill without break the whole of the decorative field, completely eliminating the background (#32). Thus Acoma designs and patterns are primarily a treatment of surfaces. Acoma's geometric style shows an exuberance of design unsurpassed anywhere in the

19 southwest- filling without break the whole surface of the jar from rim to base. Whenever white occurs (#32,#34,#35) it is part of the design. The use of shapes is obviously part of the overall design concept in Acoma pottery. Triangles are the most important single element and are treated in a great variety of ways. The diagonal arrangement always produces triangles which when subdivided, produce more triangles. Triangular figures with slightly curved sides give rise to a graceful leaf pattern which is a frequent occurrence on vessels. Squares and diamonds of solid colors are also frequently used (#35). The central diamond shaped patterns have a feather-like symbol often in each corner. The squares and diamonds are often subdivided diagonally into triangles, generally painted in contrasting colors. The Acoma designs have a noted complete absence of spiral or circular forms. I could not find information that "explained" why these forms are not used. The six pueblo pottery pots within the collection are excellent examples of the finest work done by the pueblo people. Their contribution to the overall Sorensen display is a delicate contrast between "modern" made exquisite pottery (still made however in the traditional manner) and the pre-historic ulitarian pottery of the Casas Grandes, comprising the remainder of the collection. The two types, ancient and "modern" compliment each other in providing the public with a continuum of excellent pottery making tradition carried from the first century on into present time.

20 Casas Grandes Pottery

Thirty-two pottery pots represented in the Sorensen

collection are from the Casas Grandes archaeological zone located in northern Mexico and present-day southern Arizona and New Mexico (refer to Figure 2). The time frame represented includes dates as early as A.D. 700 and as late as A.D. 1340. The Casas Grandes River drainage which flows along the eastern flank of the Sierra Madre Occidental in northern Mexico was the blood line from which the early inhabitants made their livelihood. The archaeological zone was bordered by Sonora on the west, the desert lands of Medanos de Samalayuca on the east, the international border on the north, and the Papagochic river on the south (DiPeso,Vl). No one knows when man first entered the valley of Casas Grandes, or the type of culture with which he was surrounded. Man must have at least hunted in the area by 10000 B.C. as several Clovis fluted projectile points and other Paleo-indian tools have been reported from the Casas Grandes basin - and although the

Casas Grandes pottery pots in the collection represented a well established farming culture, there is no specific existent evidence which would allow one to say that the first men who hunted this region evolved with time into seed gatherers and finally becomming farmers. Present data from the Archaic period

21 DISTRIBUTION OF EARLY VILLAGES IN THE GRAN CHICHIMEC'A

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Archeological Zone of the Casa Grandes Culture

PAGE 22 indicates that the Casas Grandes people were, in large, a non- receptive people who, once adapted to their environment, were reluctant to change for any reason. This may have been the result of a long and trying struggle of these soil members to retain their foothold in the variety of rugged environments existing within this archaeological zone. The actual date of when people in the Casas Grandes area started using pottery is not known either. It is assumed the ceramic techniques used for the pottery within the collection were first developed in Mesoamerica and then introduced into the Casas Grandes region sometime around the birth of Christ. The culture and the subsequent pottery making has been traced into what is now southern Arizona, northward into the Mountain Mogollon area, and into northern New Mexico. The first significant studies and excavations of the area were carried out by the Joint Casas Grandes Expedition commencing in September of 1958 (DiPeso, Vi). For three solid years the excavation crew worked with the local people to discover the history of the indigenes of the Casas Grandes zone. The results of the study and research are published in an extensive eleven volume treatise titled "Casas Grandes A Fallen Trading Center of the Gran Chichimeca", with Charles C. DiPeso being the principle author. The results of their study indicated three major time frames for the development of the culture known as the Chichimecans (those people living in the Casas Grandes zone in its early history). A Viejo Period, covering from A.D. 700 to

23 A.D. 1060, a Medio Period covering A.D. 1060 to A.D. 1340, and a Tardio Period covering A.D. 1340 to A.D. 1684. Most of the Casas Grandes vessels in the Sorensen collection were made during the Medio Period, meaning from A.D. 1060 to A.D. 1340. The Casas Grandes zone during the Medio Period served as a major trading center for all of North America. Mr. Joe Carr, the appraiser of the pottery collection from Santa Fe, New Mexico, indicated that this region was possibly the largest trading center in North America at the time these pots were made (A.D. 700 to A.D. 1600). These pots within the collection were designed and used as functional objects, being traded or sold throughout the whole region on=a daily basis. The particular group of pots within the collection was probably obtained in Deming, New Mexico, according to Mr. Carr. The excavation crew discovered that within the Casas Grandes archaeological zone hundreds of small satellite villages were clustered along the banks of the main river drainages and wherever arable land was available throughout the zone. The people were apparently fairly advanced since after about A.D. 1060 the major cities had an extensive conservation system which controlled and used the yearly rainfall for various purposes (DiPeso, V1). If detailed information is desired concerning the lifestyle and history of the Chichimecan people prior to the Medio Period (i.e. before A.D. 1060) the reader is referred to the extensive reports of the 1958 excavation team (DiPeso, V1-V9). Since the pottery pots represented in the Sorensen collection are from the

24 Medio Period, the remainder of this portion of the report will treat that time frame. Although pottery was manufactured during the Viejo Period, most of it was of a Plainware nature (see #36- #43), and it wasn't until the Medio Period that Polychrome vessels really took hold. The whole recognized continuum of pottery making from plainware to the finest polychrome was classified as a particular School by W. Smith (1962). Ceramic craft among the Casas Grandes people of the Medio Period was a highly developed art form. They produced a great variety of symmetrical and effective shapes and decorated them with a multiplicity of complex designs. They made a fine, strong paste and ornamented the surface with a wide range of ingenious contrasting techniques- not only painting and a variety of texturing, but also smudging, polishing, slipping, modeling, and applique.- The well-defined cylindrical necks so characteristic of potters of the Anasazi and Mogollon were rare in the Casas Grandes vessels, except for the bottles. The paste of the Medio Period vessels was finer than that of the Viejo Period pottery, the walls stronger, the shapes more symmetrical, and the drawing of the decoration more precise and better controlled. An abrupt increase in polychrome types was also characteristic of the Medio Period ceramics. Variation in ceramic manufacture from the Viejo to the Medio Period was also quite evident. In the Viejo Period the native ceramics were built up primarily by means of fillets and rings, laid on top of the other, while in later times the native

25 ceramics were built up by means of spirally laid coils or ropes of clay, similar to Pueblo made pottery. Also, during the Medio Period there was a great increase in the vessel capacity in both jars and bowls (i.e. going from a maximum capacity of 1975 ml to over 28000 ml). The Casas Grandes School of painted pottery types was primarily a polychrome school during the Medio Period. Usually, red and black paint was balanced in alternating lines of motifs. Glazed black paint found on many of the vessels was typically a copper paint, with a minor amount of lead added. The red paint of the Medio Period vessels was an iron pigment. Bands were by far the most common type of layout found in Casas Grandes pottery types. Triangles were the most common figure and had a number of fillers, although a solid color was most typical. The ceramic studies conducted by the excavation team revealed that a series of firing methods, as well as a number of differing clays, were utilized in such a manner as to create a range of light to dark colors which could be produced under controlled conditions as the situation demanded. The majority of the pottery constructed was made in a darker brown paste and fired in an oxidizing atmosphere as indicated by the light reddish-brown colors that are characteristic on several of the pots in the collection (refer to #10, #11, and #12). The excavation concluded that it would appear that the paste of most pottery types was essentially similar during the Medio Period - potters added to their moist clay base opaque white angular

26 particles (tuff), along with some clear crystalline grains (phenocrysts). The basic techniques of manufacture, such as the preparation of the paste, the building up of the vessel by the coil method, and the thinning of the vessel walls were essentially the same for all the pots made during the Medio Period. Of the 32 pottery pots from the Casas Grandes area within the Sorensen collection 19 were effigy pots, i.e. vessels shaped as representations of such figures as humans, frogs, owls, fish, coyotes, lizards, and birds. Pottery making was such an intergal part of the lives of the Casas Grandes people, they often manifested their art in the reproduction or representation of those living creatures surrounding them. The ceramic concept of using man and animal effigies as part of the design was widely distributed throughout the Americas during the Casas Grandes time frame, so it probably was not developed independently by this culture. Of particular interest are the human effigies included in the collection. These vessels (#1,2,3,4,5,8,13) were made with black-on-white pottery or polychrome using red and black on white and were manufactured throughout the zone principally affected by what is referred to as the Chaco culture, reaching as far north as southerwestern Colorado (Martin 1936, p.62). Most of the human effigies of this culture had their knees drawn up and the hands or elbows resting on them, the vessel orifice being in the top of the head. The orifice on the Casas Grandes seated figures was the mouth of the jar that formed the body of the

27 individual as shown in #1 & #2. In addition the humpback feature some human effigies had decorations about the eyes as indicated on #1. The human effigy vessel appears to have come from an early Mesoamerica culture, as it has been found throughout all of Mexico and central America. The animal effigy jars in the Sorensen collection (#10-#21) are similar to effigy jars found throughout the archeaological zone during all periods of the Casas Grandes culture. Similar pots have been uncovered in the lower United States region known as the Middle Mississippi vessel complex dating to the same time as these Casas Grandes effigies. However, there is a Casas Grandes effigy, #22 in which two bird heads are attached to opposite sides of a jar that doesn't seem to have any counterpart in other cultures. The representation of birds (#22) were meant to portray Macaws, which were very prevalent during the Casas Grandes period. The people at that time placed sacred meaning to the Macaw, and it served as a symbol to them, much as the roadrunner "bird" serves as a symbol to the Acoma and Zia pueblo potters of today. The animal and human effigies of the Sorensen collection are excellent examples of the vessel construction that took place during the Casas Grandes period. The darker brown paste used for construction of the pots is particularily noted in the effigies represented, and their firing in an oxidizing atmosphere, as indicated by the light reddish-brown colors that seem to be

28 characterisitc of those within the collection. Of particular note is the non-flat (rounded) bottoms of the pots represented. Since all of these jar bottoms are circular in shape, the actual jar sits at an angle, few being perfectly symmetrical, which causes some to appear rather unbalanced. This characteristic is existent on all the Casas Grandes pots. Such a practice apparently was the norm in pre-historic times. The Casas Grandes pots within the collection represent the pottery making of the ancient Chichimecans. These pots within the collection are rare and valuable in the sense that relatively few exist throughout the United States today to teach us of the lives of these ancient people.

29 Projectile Points

Any significant Indian artifact collection will contain a good number of projectile points made by the Indian himself for hunting, fishing, warring (against one another, as well as the white man), ceremonial, or any number of other purposes. Projectile points in some form are the most common of all artifacts found when searching for Indian treasures of the past. A good campsite (one in which the Indians used for hundreds of years) could produce as many as 2000 arrowheads in a space no larger than a typical front yard of today's home. In such a campsite, many types of tools and instruments could be uncovered which were used for daily living around the camp. Most of the everyday tools are not known, or even recognized, by the layman were he to visit an old Indian campsite. But never-the-less, they are there, and considered by the knowledgeable individual, as being just as much an artifact as the arrowhead. Such tools as hide scrapers, drills, knives, perforators, hammerstones, choppers, pestles, stone grinding bowls, awls, hoes, bone needles, among others, are often discarded or ignored by the typical Indian enthusiast "looking for arrowheads". The distinctive shape of the projectile point and the material from which it is made is what draws the attention of the public to that particular artifact. The interesting aspect to this phenomena is the fact that some of the discarded artifacts

30 (tools) are much more rare and valuable than the arrowheads so animately sought after. As is the case with most artifacts, 99.9% of all indian artifacts are found beneath the surface, requiring careful excavation of the area in order to properly record and salvage the information existent with the artifact. In fact, the knowledge of how they lived, the time frame of occupation from beginning to ending represented by the site, the cultural practices, and much, much more information is determined from careful excavation of the site itself. An excavation may be a simple--testing of the site by performing a series of "test pits" to gather specific information, or it may be a full-blown excavation of the entire site, "peeling off, layer by layer" the history of what took place during those hundreds of years of occupation. Some excavations may require removal of several feet of over-burden before any artifact is first found. Then, anywhere from 3 to 20 feet (or more) of additional measured excavated surface to uncover the secrets hidden for hundreds or thousands of years. It should be understood that the artifacts there (specifically the arrowheads) were not purposely placed there for future generations to discover. In the everyday living around the campsite, people dropped or lost items in the dirt and never retrieved them, for whatever reason. In a campsite that is 1000 years old, with many people having lived there over the years, if 10 to 20 of such arrowheads were lost per year of occupation, there could be eventually 10,000-20,000 arrowheads to

31 be discovered. It is not difficult to imagine an excellent campsite as containing literally thousands of artifacts. Those artifacts, properly documented and analyzed, tell the stories and secrets of the past. Such stories must "come from the ground", through analysis and interpretation, since almost nothing involved in early Indian life was ever written down by the Indian. We must piece-together the life style and history of the early Indian people by what they left behind. The modern Indians have tradition and legends to draw from, but their existence has, for generations, been reservation life which is a far cry from the actual= early Indian lifestyle. In far too many cases the modern_day Indian's interpretation of their early ancestors practices and traditions have been just that, interpretations. A case in point is the very item being discussed, arrowheads. An Indian flintknapper (maker of arrowheads) is almost non-existent today within the tribes of the United States. The experts (flintknappers) are those white men that have intense -interest in the craft, and have learned to reproduce the early Indian's art. In addition, even modern Indians can't decipher the exact messages left by their early ancestors in the form of pictographs and petrographs. Old Indian campsites are easy to discover, once the basics of what to look for are mastered. Earl Sorensen learned early in his life how to recognize such sites, and thus specifically searched them again and again for arrowheads. He started this process here in Idaho, developing his collection with arrowheads

32 from this region. Although he initially was not well versed in the history of the Indians in this area, he did become acquainted with them through their artifacts. Most of the detailed information concerning the Indians of this region, those representing the majority of the projectile points within the Sorensen collection, has been learned through excavations of specific caves by experts. The undisturbed nature of caves make them prime targets for detailed studies of their "temporary" inhabitants over the long history of man's existence within the region. Virtually every cave in the region represented by the Sorensen collection has had the occupancy-of early man at some time or another. Artifacts of all sorts are found in such "basins". In fact, in today's world it is rare to find any significant artifacts lying on the surface, waiting to be discovered, unless it be in some undisturbed, undiscovered cave hidden way out in some remote area of the arid desert west. What makes the Sorensen arrowhead collection so extremely unique is that the majority of the projectile points in the collection were found by himself, on the surface, without any excavations taking place, nor without resorting to cave hunting. Mr. Sorensen covered literally thousands of miles walking and searching for such artifacts over the past 60 years. Sixty years ago, such artifacts could be found on the surface if one went far enough away from "civilization" to chance upon them. Today, it is extremely rare to gain a collection of arrowheads by simply searching the surface, even in remote areas. His collection was,

33 therefore, gathered "a piece at a time", as he searched and re- searched his favorite spots. He would hear of some area that had possibilities, or learn of a spot that yielded a few items last year, or search maps that indicated possibilities. Then he would follow-up on such possibilities, gaining new spots to search all the while. From these experiences grew his love and appreciation of the Indian and his way of life. He, figuratively, walked miles in the Indian's moccasins, over the same terrain, in order to understand and feel the thoughts and feelings of the Indian as he lived them. Upon finding the arrowheads, he would stop and ponder what the Indian was doing when he lost it, what the environment must have been like when the Indian lived there experiencing it. Such experiences by Mr. Sorensen', especially when gained in the solitude of the actual place of discovery, served as the pattern in weaving an inter-relationship between the collector and the maker of the arrowhead. It should be mentioned here that his collection of projectile points represent only those that are full and perfect. For every full arrowhead found, as many as 100 or more broken- ones were discovered. Broken arrowheads, although just as valid an artifact as whole ones, do not carry any significance in the public's eye. It is a risky and dangerous task to go miles and miles into the hot desert alone in search of items whose actual location is not known. The unforeseen is ever present in such locations,

34 either in the form of a rattlesnake just under that rock you stepped on, or a scorpion crawling into your sleeping bag as you sleep in the sand. Any number of things could go wrong when you're that far away from "anything", in a hot hostile environment. Yet, it's in such remote locations where your best chances are of finding a small campsite with artifacts lying there "just for the picking", having not been touched since the day the Indian passed through. It's like him passing by hand, to you, his experience. Since most of the arrowheads in the collection were discovered in the above manner, one can well imagine the hundreds of "stories" -(experiences) that Mr. Sorensen must have collected over the years being in such remote locations time and again. Each projectile point in the collection has a story to tell. If we could but know the background and history of its making and purpose, then these artifacts would be more than mere shapes and items- of beauty and wonderment to us, they would be the extension of an individual, whose life had meaning and purpose. That's the real beauty of such a collection - the items represented are really the accumulation of experiences and a way of life that if fully understood, would make modern man stand in astonishment of such grand-people living under such adverse conditions. Of the over 2000 arrowheads in the collection, a hundred or so projectile points are exquisite Paleo points dating from 6000 to 12000 years before the present (B.P.). Archaeologists have verified that man was hunting and living in this region during

35 that time frame. These "ancient ones" (predecessors to the early Indians) made what are referred to today as Clovis and Folsom points for hunting. These points are rare and extremely difficult to find. The Sorensen collection has eight Clovis and eight Folsom points (refer to #1-#15). Such points have been associated with Mammoth and Antique Bison kills, and represent man's earliest entrance into this region. A particular type of projectile point is usually given its name through and in association with its place of discovery, i.e. the Clovis and Folsom points were named such due to being first discovered near - Clovis and Folsom, New Mexico, respectively, in association with extinct animal remains. Both types of points, however, have now been found sparingly throughout the northwest , and into Mexico, as mentioned in the Casas Grandes section of this report. To find such a point in a lifetime is the arrowhead hunter's dream. To have found eight of each is a testimony to the tenacity and extensive effort that must have been put-forth over many years. Although the Clovis and Folsom points are the most famous of ancient points, there are over thirty different types of Paleo points (more than 6000 years old) represented in the Sorensen collection. Basic information on each is included as a supplement to this report in album form. Perhaps the one that standsout so significantly due to its exquisite craftsmanship is the Eden point shown in #21. Eden points were named after the 1. Refer to Album giving a picture and applicable information for each Paleo projectile point in the collection.

36 town of Eden, Wyoming and date from 9500 to 7000 years before the present. They are long narrow lanceolate points that are beautifully parallel flaked. The craftsmanship is unmatched, even up through modern times. Another point of interest is the point shown in #17. This type of point has been found in association with Mammoth kills. This particular one came from Oklahoma. The earlier (Paleo) projectile points were used quite often as -lanceolates (for thrusting or throwing) rather than as "arrowheads" for shooting, and were, therefore, usually larger and bulkier than the modern arrowheads comprising the majority of the collection. The collection contains hundreds of arrowheads found "here and there" by the Sorensens' as different campsites would be visited during a weekend trip, with some points coming from this one, other points coming from another. The Obsidian points (i.e. #5-#8) were principally from the southwest desert region, while the varied "colored" ones were principally from the Midwest. The different colored points were made from a variety of substances including but not limited to such materials as jasper, quartz, flint, agate, petrified wood, chalcedney, obsidian, chert, basalt, limestone, and bone. As that which occurred in the Indian pottery making, the raw materials for projectile point making were gathered from local sources known as quarry sites. The science associated with analysis of projectile points, specifically the materials from which they are made, is so

37 advanced today that in most cases the origin of the material (i.e. the quarry site where the raw material was first gathered) can be determined down to a specific county and state. The fact that many projectile points are found far from where they were quarried is an indication of the trading and nomadic nature of the western Indian when compared to those in the east. The arrowheads and artifacts in the Sorensen collection are more than mere examples of early Indian tools and instruments. They are reminders of a people that lived in our region, in our environment, who knew the secret of living as part of nature, and contributing to it, rather than being a destroyer of it. The artifacts in the Sorensen collection seem to be saying: to my maker you often associate the word "savage" - yet my maker has always known, and always lived (prior to white man's intervention) in harmony with Nature and with one another. My maker has always realized that he was a part of the overall balance of life, and that his environment was not his, but owned by someone much greater than he, who had loaned this beautiful place to him for its care and protection. My maker, although not educated, can teach much unto you, from the heart and from the soul. Things not learned in books, but things of life, of an eternal nature. Study me, touch me, know me --- But more importantly, KNOW MY MAKER!!! Earl Sorensen has generously given us the opportunity to know the artifacts' makers!!!!

38 Bibliography

1. Baldwin, Gordon C., "The Material Culture of Kinishba", American Antiquity, Vol.4, 1939, pp. 314- 327. 2. Bunzel, Ruth, "The Pueblo Potter, A study of Creative Imagination in Primitive Art", Dover Publications, Inc., New York. 3. Cosgrove, H.S. and C.B., "The Swarts Ruin, a typical Mimbres site in Southwestern New Mexico", Report of the Mimbres Valley Expedition, Seasons of 1924-1927, Cambridge Massachusetts, U.S.A., published by the Museum, 1932. 4. DiPeso, Charles, "Casas Grandes a Fallen Trading Center of the Gran Chichimeca", The Amerind Foundation, Inc./Dragoon, Northland Press/ Flagstaff, Volumes 1 - 11. 5. Frank, Larry and Harlow, Francis, "Historic Pottery of the Pueblo Indians 1600-1880", New York Graphic Society, Boston, Massachusetts. 6. Harlow, Francis H., "Historic Pueblo Indian Pottery", Museum of New Mexico Press, Santa Fe, New Mexico, 1970. 7. Martin,Paul Sidney (1936), "Lowry Ruin in

39 Southwestern Colorado. Field Museum of National History, Anthropological Series, Vol. 23, No. 1. 8. Nesbett, Paul H., "The Ancient Mimbrenos", based on Investigations at the Mattocks Ruin, Mimbres Valley, New Mexico, The Logan Museum, Beloit College, Beloit, Wisconsin, Millwood, New York, 1980. 9. Smith, Watson (1962), "Schools, Pots, and Potters", American Anthropologist, N.S., Vol. 64, No. 6, pp. 1165-1178.

40 Interview with Keith Lucero July 12, 1992 - Indian Cultural Center - Albuquerque, N.M.

All the pottery bowls and jars shown were made by the Traditional Methods (#1 through #43), meaning they were made by hand, without any wheel or mechanical apparatus. All were made by the coil technique, fired outside by the pit technique using cow dung as the source. The Acoma pottery (#32,34,35,44) was made using about 1/3 of recycled clay, meaning old broken pots were crushed to powder form and added to the 2/3 original clay - this is a characteristic of Acoma Pueblo pottery. The Zia pottery (#26,33) was made about twice as thick as the Acoma pottery - since most of their pots were used for storage. Generally, the thinner the pot, the more skilled the potter, and the more experienced the potter. The main difference between the Prehistoric and the Traditional Patterns (Ricks has both represented) is that the black on white patterns for Prehistoric tend to have a lot of swirls, whereas, the traditional patterns are of basic diamond shapes. Contemporary patterns are used for sale to tourists. With respect to specific pottery jars and bowls, the following comments were made by Keith Lucero, upon viewing the photographs in the album:

41 #34, 35 - Acoma jar - White of pot represents sky Dark parts represent clouds Fine lines represent rain #34 - This is a Mesa Verde Design - Prehistoric #35 - Traditional Acoma #32 - Orange paint represents sun Black comes from plant or rock crushed to a fine powder #33 - Bird - is a roadrunner - it is a symbol represented

on all Zia pottery (see note on Zia Pueblo interview) #42 - #44 - Rain-Bird-Feather pattern Traditional Acoma design #26 - Corn Plant - considered sacred - one characteristic of Zia pots is that the widest diameter of the pot is above the horizontal centerline of the pot.

42 Interview with Acoma Pueblo - Arthur Cruz July 12, 1992 Acoma Pueblo, N.M.

#32 - The four directions N-E-S-W represented in the design fine lines - mean rain

cloud geometric design

#34 - Rain and Lightning design #44 - The bird is an off-shoot of the parrot, a design used in Prehistoric pottery (traditional) #35 - Diamond design represents wind

The pots (traditional) were used as Utilities - some even had dents purposely put in towards the bottom of the pots as stabilizers for carrying on the head. Another characteristic of Acoma pottery is the fact that all pots are made with a red rim inside of the pots. Supposedly, this is to give the inside of pot some depth perception.

43 Interview with Zia Pueblo - Saebie Shaje - Potter July 13, 1992 Zia Pueblo, N. M.

#33 - This pot was made by Juanita Pino - she died about 5 years ago - many of the potters did not sign the bottom of the pot, as "everyone knew who made the pot, as "everyone knew who made the pot, anyway" - each potter having a "unique" characteristic in their design and results. #26 - Shaje did not know who made this pot. According to Mrs. Shaje it is extremely difficult to make her pottery by the traditional method because dung is so hard to come- by now days. She uses sheep and goat dung - but finds it difficult to get cow dung; since there are very few cows on her reservation. She must go further and further away from the pueblo itself to gather it. The clay itself is still plentiful on the reservation - but the dung is extremely important in the firing process. The firing is done usually in the early morning or late evening when the winds are less likely to be blowing. The blowing winds cause an uneven firing, which could result in a worthless pot. The black color of the Zia pots is obtained by grinding basalt to a powder and mixing it with the clay. She also indicates that on the Zia Pueblo there are only 3 potters that make pottery the traditional way.

44 Two points of interest with respect to my interview with Mrs. Shaje - 1) These people are simple, plain Pueblo Indians that very seldom get off the reservation. It never occurred to her to "commercially" obtain the cow dung from outside the reservation - I guess in a way that would be destroying the "traditional way". However, it does seem to be a possible solution to her problem. Another thing, why don't they get some cows - possibly because the desolate land they own won't support them - or it costs too much under the present circumstances to raise them. They don't look at a particular problem (such as lack of dung destroying their traditional technique) and figure a way to adjust -- rather they let the tradition die out. 2) Another thing - when she told me that there were only 3 traditional potters in the whole Pueblo, I asked if any of her children were learning the art from her (her six children's pictures were proudly displayed on the living room wall in horseshoe fashion with the mother and father at the top of the horseshoe). She said that none of her children are learning the art - nor is she teaching other pueblo inhabitants the art. It reminds me of my flintknapping class from ISU (learning to make arrowheads by the techniques and tools the Indians used in the "old days". The instructor went onto the Fort Hall Indian Reservation trying to recruit participants - no one was interested in attending the classes (even free without charge). Was it because the instructor wasn't Indian or because the tradition had died - therefore, it could not be picked up again - at least from Indian to Indian. 45 Today much of the pottery made and sold is done by the Contemporary method using a stove of some sort for the firing. In a lot of cases the new generation of potters are "commercial" potters making designs to please the customer, rather than designs of symbolistic meaning of old traditions. Although the art itself may not be dying out - the reason for it and the old traditional ways seem to be changing even in a world (the Pueblo) that has resisted change successfully for generations and generations. When I asked her the meaning of the Bird being placed on each and every pot she has ever made, she said she didn't know the meaning. She said her grandmother used it and taught her how to do pottery and she has made her pots basically the same as her grandmother, having never asked her the meanings of the shapes and designs on the pots, including the Bird. She has just made them by using the art taught her by her grandmother.

46 Interview With the Appraiser - Joe Carr July 13, 1992 Santa Fe, N. M.

The Casas Grandes location in northern Mexico, below the present day New Mexico and Arizona, was possibly the largest trading center in North America at the time these pots were made (A.D. 700 to A.D. 1600). They were designed and used as functional objects, being traded or sold throughout the whole region on a daily basis. The Casas Grandes pots were probably obtained in Deming, New Mexico, and were all purchased at the same time, according to the appraiser. The #24 and #25 pots were earlier forms of Casas Grandes. The Tonto Polychrome pots #27 and #28 are from the Mogollon Rim of Arizona between Flagstaff, Winslow, and Holbrook. A Mr. Juan Quezada lived in the Casas Grandes ruins for years and a book covering him has been written by Masa Ortiz. Another book, Mexican Design Motifs, treats the designs of the Casas Grandes pots. Others with big collections of Casas Grandes pots include: Fort Wayne Museum of Science and History Maxwell Museum of -- University of New Mexico International Museum of Folk Art - Santa Fe, New Mexico

47 Interview with Mrs Dorothy Sorensen at Her Home July 13, 1992 Santa Fe, N. M. When did Earl start this collection of his? I think probably when he was a very small child, like three or four years old, he used to find arrowheads out on the farm in Idaho, in Arbon Valley. The Indians used to go past in their travels with all their horses when he was a little boy. One of the early things he can remember is the Indians. He's always been fascinated by the Indians, and he used to find arrowheads. The first one he found was very beautiful, and the hired man took it away from him. So it wasn't his, huh? Earl was a little kid, so the man just took it. Then his little brothers found some that he'd found and mashed them up with rocks. He had a kind of hard time getting started. When he was a very little boy, he was visiting his Grandmother Copen in Mendon. Now where's Mendon? That's in Idaho, too? That's on the West side of Cache Valley. That's where he was born. Both his grandparents live there. They settled there. They didn't come over in the covered wagons, but they were early settlers. He found an arrowhead up by the spring in back of his grandmother's house, and she told him to keep it, and then she told him that he had a great-great-grandmother who was Indian, but not to tell his mother because his mother was very prejudiced. I see. So when he met you he had a collection already that he had started. Yes. Where did you two meet? We met at a church mutual dance in Logan. In Logan? He graduated from high school like a month after he was sixteen. He was just barely sixteen, and his parents thought he was too young to go to college. They kept him out a year and then the next year they moved down to Logan so that he could go to college in Logan. He lived up in the Eighth Ward. They had a great big house and they rented out rooms to students. This was back in the Depression. Right. 48 I lived in the First Ward, which is the other end of town. Boys didn't go to their own ward dances because it was the same girls they'd known all their lives, so they always went to another ward. This whole bunch of boys were renting from him (and some of them were in my classes at college). Well, I knew them, and they all came down to the dance. He saw me and danced with me and took me home, and about a week later he asked me if I'd marry him. A week later! Wow! It was about nine months before we got married. I see. It was kind of love at first sight I guess. Well, very good. Did you hunt arrowheads with him right after you were married, collecting with him and hunting with him and going out looking for them? Yes. Well, of course, the main place he liked to look was out in Arbon Valley. It was the north end of the valley--Pierce's Canyon, or somebody's canyon--that's where he found a lot of the things. I see. So in the summer we'd go out on the farm. See, he went to school and he worked in the summer, then went to school in the winter for five years. He had to stay out a quarter because he couldn't afford the eighteen dollars tuition. So then he started collecting the arrowheads. When did he get interested in pots? After you moved here to New Mexico? Yes. When his father was plowing, he plowed up a little deerskin bag full of arrowheads. Maybe some of these. Most of these here on the wall are the things that he started collecting as a child. The Palio points he traded or bought. I don't know if he ever actually found any of those. That came later. He was not in any position to look for the Palio points at that young age. She said he started about the age of three. He was born in 1918. See, he went to college for five years, and then he went into the army for three, and then he came back and went back to get his Master's degree and got a job with the Bureau of Reclamation in Colorado, and we were up in Latora, Colorado on the dam in the summer, and then in the winter we were down in Monta Vista. Well, Monta the first winter and Alamosa the second winter. The second winter we got involved with an arrowhead hunting club. A whole bunch of us would go out. It was a lot of fun. 49 Now, did you find more arrowheads in Colorado than you did in Idaho, do you think? A lot of them up in the San Luis Valley. They have sand dunes there and the sand dunes shift when it blows. And they open them up. By then the children were, well Earl Jr. was a baby, and Tonya was 7, and Sheila was 11. That's when we used to go out a lot camping and looking for them. I have a slide of all of us. It's a really pretty slide at the sand dunes. At that point he ordered the plaques. They're covered with plastic with the foam inside, and he got started on those, so then he got those mounted when we were in Raton, which was about 1953. In 1953-54 he started on the plaques for his, and then he changed to these containers I have on the wall now, just a few years ago. The plaques just got saggy, heavier. At that point he had, he figures, 2,000 here on the wall. I think the only one he bought is this one right here. The black one. He bought the eagle up at the top, too, because that isn't anything -you'd ever find, but this one he bought the summer before Sheila was born and he paid $15 for it and that was an enormous amount of money. Fifty dollars is what it cost to have a baby. I see. I was pretty mad at him. It comes from New York State. He'd kind of like to think it was from the Hill Cumorah, but you know, you don't know that, but it was from New York State. Then the big long one on the top row way to the side. That's the one you told me he dug out of somewhere. He traveled around the state a lot and whenever he had a rest stop he would just walk around, and he found arrowheads that way too. He was in this field and cows walking around near this arrowhead with about three inches sticking out of the ground. Oh, my word! How he took it out and how it didn't get broken I don't know. But he figured it was a ceremonial point, anything that long. Now when was Sheila born? Sheila was born in '38. Her birthday is tomorrow as a matter of fact. Ok, so most of the arrowheads, then, he basically found over the years as you went out together or individually. Did he go out a lot alone? Yea. Alone and with me and the kids. What were your feelings in respect to that? 50 Well, some people play golf and some tennis and some....Earl fished and hunted and I went hunting with him once and we went fishing a few times, but this was his love. It was our family thing. All the kids are interested in it. My wife, when I go out alone, she gets, not real nervous, but I go out in the middle of the desert and I'm sure that he ended up 15 miles or 10 miles out in the middle of nowhere. That didn't internally bother you as far as thinking he's going to be You see, we didn't have a car until he got a job. We were married twelve years.... Before you had a car? His brother went on a mission and gave us his old junk which he drove out to Colorado on his first job. Earl Jr. was born in August and he went out the first of September. He went to summer school. He went out to Monta Vista to this Bureau of Reclamation job, and then the kids and I came out on the bus. Of course we all couldn't even get in it, it was a two-seater you know. See, he had no way of going out hunting arrowheads, or he would have, probably. And he also didn't have much time because he had to work and go to school and everything. Right. Now your daughter-in-law or your granddaughter they're more than welcome to sit and listen to this good history if they'd like to or whatever. Where was that found? It was down in, probably around the Heel River or down in the Southwest corner of the state. Of Colorado? Down around Deming, or no, in New Mexico. That was one of the later things he found. Some of these he's had for fifty years. How long ago did he find that? You know, time goes so fast. I think probably, oh, twelve or fifteen years ago. They got harder and harder to find, and harder to find land you could go on. Exactly. And he never did put them in a fair or anything because he didn't want somebody, you know, the government coming and saying it was on their land or something. But most of it is on private land where he had permission.

51 I know just what you're talking about. I have the same problem in Idaho. Luckily up there the farmers are extremely generous and the place that right now I'm getting my arrowheads from I'm screening them on private land, which you can do in Idaho. I went to the farmer's house and took a big tray of arrowheads and offered him any of them that he wanted because they were off his land. He says, "No, you worked too hard for them." So he didn't even take any. The farmers are very generous. It's very good that way. Well, they didn't value them. When he was in school, and it was probably, I think, probably we just had one child, he found a cave near Preston, Idaho, like south of Preston and he went up there and dug. He wanted the college to lease it or make some kind of an arrangement to legally get the things out, but they weren't interested. That was Utah State. So somebody else did, and they missed it. He had permission to go occasionally, but they wanted a lease or something, and he couldn't afford to do it himself. Most of the stuff he's found has been on the surface, though, hasn't it? Those were dug out, and what those things were, I don't think as much arrowheads as bone needles, which I used in my sewing kit, and they're lost. Oh, is that right? Yea. There may be some. There's a few bone ones here, but not many. I know one for sure, because I used it making crocheted baby nightgowns. I used it to poke holes for the crocheting. He thought that was kind of neat, you know. Did he? He found most of his arrowheads on the surface, though, didn't he? He didn't do a lot of screening. No. That's the only time I remember screening, the only time I was with him that he screened. Did he get quite a bit from screening? Well, It was just a matter of a few weekends because that was a time when he just didn't have much time. When Sheila or Earl Jr. or one of those... Tonya.

52 If they found arrowheads, were the arrowheads theirs or did they sort of go to the family collection? They went to the family. They were yours and mine. Did you often go as a family and go out looking and so on? A couple of times a month. You remember and there may not be as many events as you remember because they are important to you. That was up in Colorado? What year did you folks move down here? We moved to Albuquerque in about 1952, when we were up in Raton until....that's where we did a lot--Albuquerque. In the city we didn't even have time to look, didn't know where to look. Where's Raton? Raton is, you know, Raton Pass goes into Colorado. It's right on the border of Northern New Mexico and Southern Colorado. There's a lot of reservation land up in that area. Is this up in that general area? I don't remember if there was a reservation. There were just places where the wind would blow them out because that would be...see that's on the plains. Once you go to Las Vegas and north, you're on the eastern side of the Rockies. You're over to the Plains Indians, so you're not on a reservation but you're not in the Pueblos or that kind. We were up there from about 1951 or something and then we were there until Sheila was a junior in high school, and she graduated in 1956. That was a good time of our lives. The small town, very caring town, very civic-minded. You moved to town, they put your picture in the paper and they have a big write-up, and everybody is just so nice. Very, very friendly place. We had a little more time there. Earl was the Branch President of a Spanish-American Branch and we were the only Anglos. Everything was in two languages because half spoke English and half spoke only Spanish so we had one prayer in Spanish, and one in English; one hymn in Spanish, and one in English; and then the talks were translated. Did either you or he speak Spanish? Well, that's a good question. I can read it a little. Living here in Santa Fe you have to know some Spanish words because all the streets, and you know. A lot of the words are Anglicized. We call it Spanglish. Even Santa Fe is different than the rest of the world. When did you move into Santa Fe?

53 Well, we went back to Albuquerque for about a year-and-a-half, and then Earl quit the Bureau of Reclamation and we moved up here the summer of 1956. Sheila graduated from high school. She stayed down there for a month or so working and then she went to BYU the next fall. When did you folks actually start the pot collection? You were working on the arrowheads. You don't very often find pots with the arrowheads, do you? No. I didn't think so. I haven't found a pot yet. I was out last week and I had a chard that was oh, about that size. It's the largest one I've found. And that one day I came out with thirty chards out of one little place I was screening, but I've never come out with anything anywhere near a bowl. Out in the thing out there, there's hundreds of pieces of chards, but I couldn't tell you where they're found because they're on the ground, but then they may be old, they may be modern, but you're not to pick them up. Tonya's always been the one that's most interested in the pots. And she does pottery. You don't have sort of a year type of thing of when you started the pot collection? Not really. I can't remember which came first because I could have a little cheap pot as a souvenir someplace. I don't really remember. After the good ones were gone I put the little ordinary ones out to take their place. The first one I really remember is the one we bought as the burning of the mortgage one, which is this one. That was down at Golden at that little, it's a trading post/grocery store. Tell us if you will the story of this polychrome pot here, number 27. That and that black and white one were together. Okay, 27 and 28 that we're talking about. He worked for the State Engineer's office and they worked with water, so he traveled all over the state about one week out of every month. Now this is here in New Mexico? Mm hm. So this is down probably around Deming or down in there. The Highway Department was putting in a new road and they'd gone through a cemetery and these pots were in the river, in the creek down below. He was just walking around. He always walked with his 54 head down looking so he never missed anything.

I know exactly what you're saying. If my head went up like this I'm afraid it would break. In fact, I can't even go out anywhere without, now, always having to look. Even in a city sometimes and stuff. This is ridiculous. It gets to where it's terrible. But he found those two. Do you have any idea what year that was? We've been here 33 years. I think it was less than 20 years ago. And we burned this mortgage thing after we build this room, and the room was just finished for their wedding reception. So, within the last 20 years. When Earl had an interest in something he went whole-heartedly at it, and he went until he was completed. The arrowheads were an ongoing thing, but it was winding down, you see, and then he didn't look for arrowheads he looked for pots. He did that with many things. He was kind of a man of all seasons because he really was very knowledgeable about many things. And the pots were probably 21--about 20 years. The pots were just on the side of the river. They'd been washed out apparently. How they didn't break I don't know. Maybe others had broken. He always said, "They come to me," and that's why he felt it would be sacrilegious, he would never think of selling them. That's why he wanted them where other people could enjoy them because he felt that they came to him so that he could share them. The appraiser said that one that he found there, number 27, is really a valuable pot. He says it's probably the best of the collection. Did Earl buy most of his pots or did he find a lot of them? We bought this one. He found this one and this one, and that big Zia, the black and white. Number 33 is the one that we bought. The Casas Grandes and the Effigies and those, did he go down to Deming and get those out of Deming basically? Yes. Now let me tell you what I remember. They all came together. Now these are a little different and they may have come later. Now we bought this one down at Golden. When we go to Albuquerque sometimes we just go back by way of Golden. Things were very reasonable. We bought all our Navajo rugs and everything down there. Everything was half what it was in town or less and the lady down there is really mad that I'm giving these away. She says, "You're crazy! That could be a fortune for your children." And I said, "They don't belong to my children, they belong to my husband, and this is what he wanted." She really was quite indignant about it. Well I guess she wanted them back herself, kicking herself for not holding on to them longer. There's a Zia pot that he bought there too. A big black and white one. I hope

55 I tell all this right. If Earl were here, he'd probably be correcting me on some of these things, because, you know, two people remember things differently. He had a better memory than I do, but I'm trying to tell the truth. Which is the pot you had the picture with? Was it 38? I called her up. It was 37. We got there and went through all of them and marked them off and there was no 37. I just panicked. Well, I guess I ought to let you take the 37, but the thing is that I bought that myself, or Earl bought it for me, but it was my pot and it was not a Casas Grandes. Joe was wrong on that because it comes from the Dakotas. You look at it, it's entirely different. It does look like Effigies, but it's not a Casas Grandes. That just about panicked me, and I told her, "I don't know how it ever happened, but number 37 is gone. She said, "Oh, I have 37." I'd taken pictures of them on the shelves and he numbered them just like this. It- wasn't hard for me to find out where it went. Someday you'll get it. So you don't know the year that you actually started collecting these pots. How about the Casas Grandes pots? Do you have any idea about when you purchased most of those? That's probably 15 years ago. Were they down in Deming or where did you get them from? It's a good story, but I have to get this cleared in my mind. Well, there's some black and white ones there but they were Acoma. See that was a little one. This is one of the big ones, and it sat next to this. See, this was on the end and then it was the next one. Now I could go get my photographs. Number 32 you bought at Golden. Shortly after we bought 33. I think Earl started buying the Navajo rugs a little sooner, and that's why he went into the place at Golden to look at rugs and saw the pots and got interested in the pots. You bought these two pots, 32 and 33, before you got the Casas Grandes. The Casas Grandes were probably five years later than that. Probably 15 years ago. Earl knew every second hand store and antique shop in the state. Also, all the good places for 56 enchiladas. There's this little place in Las Cruces. He went in this little place and some new people had bought the store, and he found this cardboard box with all these little pots wrapped in newspaper. He started looking through them and he said, "What do you want for these?" and they said, "Oh, you can have them for $15 a piece." So he bought them all. How many were there? All the Casas Grandes, basically? Not really. All the little Effigies. The little Effigies ones. On these Casas Grandes that are just bowls that look really old like they've been used, like numbers 38, 39, 40. I think he probably bought those from this man over at Ocate, north of Las Vegas. A man there who collects everything. He's an Indian trader. He buys half-million dollar estates and skims off the top for himself and then sells the rest. His is in a safe bigger than this room in a cave. He built a house in front of a cave. It will all go to the Smithsonian. He's the one that found, it was a woman, but it was the old skeleton that was so many years old. Not Lucy, but another one. He was the one that found the Folsom man and woman. The skeleton already has gone to the Smithsonian. He bought most of those little things. A lot of it he traded. Did Earl collect right up to the time of his death, or was there a period of time he didn't? Did he ever consider his collection complete at any time? Oh, I don't think anybody ever does. Probably as far as these, as far as the arrowheads, as far as when you say modern, as far as that. He had completed that, but he had gone into the Palio. He was pretty satisfied with what he had because he figured everything he had was top quality. We were in a museum in London, the Natural Museum. They don't have what he has. They had some very fine things that he didn't have, but their collection as a whole, I don't think, could compare to his. He wouldn't say that, but I think so. Do you know which of these points was his very first find? No, I don't think so. He redid them. He took a picture of them and wrote each plaque, but then he redid them and consolidated them a little better and made them look a little better and more safe. He didn't ever go over and redo them, so it's a little hard. Somebody will have a little fun with that. Do you folks have any of his writings? I've got four you could take.

57 My first one I found, I've never found one quite as nice as that one ever since that time. It was just a perfect white one, just gorgeously done. You were old enough to hold on to it. Yea, you'd better believe it. What happened was, I was hometeaching an inactive family and we were trying to get some things to do with them to try to be friends and do things and he had collected a few arrowheads out by his house and so we got together and said, "Let's take both families and we'll go out looking for arrowheads," and he'd been doing that for about 7 years. So we took both families out and we started scurrying around this one desert place and right on the surface was this beautiful white one. He says he's been looking at that place for seven years and he hasn't found anything anywhere near as nice as that one. So I just happened to luck out. That just really got me started. I've only found two. "I can't find them," I said. He said, "Just look." I looked right where he pointed and there was one. I don't think he planned it. I don't know where it is. I guess it got lost in the dusting. We were out there by the, it was where the first capital of New Mexico was. You go to Santa Clara Pueblo and cross the river and then there's a monument up there. We were up there having a picnic and I found an arrowhead. A little broken piece, it almost looked like glass. Out of obsidian? Yea. Sister Sorensen, what do you envision us doing with the collection as far as educating students and so on? What are your wishes that way and Earl's wishes that way? I really don't know what to say about that. I think some people would just see the beauty and with what information we have, anyone who is really interested could read it. What we plan on doing eventually is taking all of Earl's writings that he has, anything concerned with the collection and what-not, and basically try to organize and work with that so that we can have it in an organized manner and then obviously we'll give the family a copy of all that and then have that available to students that are interested in the collection and what's going on with it. You would know far better what to do than I would. He must have trusted you because his mind was at ease after he knew what he was doing. It took ten years. It really worried him. He always felt like it should be buried, which they do. The dig up these digs and find what was there and they bury it, because that will protect it.

58 He was about ready to do that because he did not want it to go in a museum in a box in the basement, which in the Smithsonian probably many things are. Utah State, he gave them so many things and they disappeared, somebody took them or whatever and he was very disgusted with most the schools and museums.

I myself have had trouble in Idaho with respect to that kind of thing. Idaho has excavated some very, very nice places and has millions of artifacts, and there's none on display anywhere in the state. I get after them. I go down and talk to them about that and they realize it's a real problem, but they don't have the funds. It takes a big amount of funds to do a good job of doing that, but it really bothers me. On my meager collection, for example, I go to grammar schools or junior high schools or scouting people and I try to educate and share and do that. I'm going to have a small little place in my home where eventually I'll build a room and people can come and look and share in that. There's something you can't get from just a university environment and teacher environment and that's being out in the field. When you can say to yourself, "Hey, I was out one day and I was screening in this place and this is what came out of the screen." That has a lot more meaning. I know it had a little more meaning to Earl, like it does to me. That puts me on a high that you can't believe to screen out these arrowheads and see how nice they are. To know, for example, that you're the next person to touch that after the person that actually made it, and that might have been 1,000, 2,000, or any number of years ago. Sometimes when I do that, I get so excited that although they're really dirty, I'll just put them in my mouth and clean them off. Then I'll look at it, and I'll think about the Indian that was there and what was going on and so on. It's incredible and very enjoyable! Some of them are so nicely done; others are pretty crude but real nice, one's you can really appreciate the art work that went on.

The other things we saw in the other rooms like the axes and the shaft straighteners and these others like that, did you find those in the same time frame you found all the arrowheads? Yes.

And how about the Meso-American things that we're going to take back? He bought those in mostly Guatemala, Honduras, and Mexico. You can't bring them out of Mexico. He bought them in Guatemala and had to show them when he went through Mexico that he had them when he went in, so he could take them out. Those were all artifacts from that area? Yes, they're hand made things.

59 Do you have any time frame on how old those were? No, I do have more things that are old. I have a necklace made from beads that were found in the field and Earl knows they were old. He was in the store when farmers would come in and sell them and Earl bought them. Now, those were stone beads? Well, they're carved jade. I just haven't done anything about the Meso-American things. Now when Joe came, some of the things that Earl thought were ancient, aren't. That little tiger (panther) with the eyes, he said it's beautiful but it's not ancient. The little faces of the green, I have two necklaces of a man's face and a woman's face and they're not old. But you can kind of tell, they look older than they are. Where did Earl get most of the Palio points? You have 110 that are there. I think he got most of them from a man he called Pat. Which is here in New Mexico? Yea, he's from Ocate. Up above Las Vegas? Yea. He buys all Indian things and trades them back and forth. Earl felt that the things came to him so that they could be shared and kept as a collection. He didn't want the collection broken up. Sheila has his personal writings and at his funeral that's what she talked about. She just read his letters that he had written and most of them are very personal, but some of them might be applicable to this. At least to his philosophy people. I talked to Sheila earlier and asked her if I could sit down with her and that's what we'll do. We'll sit down with her and talk and do the same thing that we've done with you and see what we can come up with. Anything else you can think of? All three of the children are not terribly interested in worldly things and, they all agree that this is where the collection should go and how it should be handled.

60 Review and Reflections on the Collections of Earl F. Sorensen 1918-1991

As written by him, November 3, 1979

[The following note to his children prefaced the Near us is a small stone effigy of the "Great reflections of Earl F. Sorensen as he described his Feathered Serpent" who will remind us of Indian artifact collection and his feelings about the symbol of Christ in America. On the their origin: Last night I accompanied your mother bench is a small chacmool who recalls the to an art show and reception by her class. I enjoyed it, there were a number of nice things, and your much larger ones we have seen at Chichen mother's paintings were among the best. Itza and Uxmal. There are other small In the rooms where the show was held, there are objects such as the small idol we acquired at some exhibits of Casas Grande pots, contemporary Copan and the old bottles dug up at Kelly by pots, arrowheads, etc., and it reminded me I should our friend, Bill, that will recall times past send you slides of things in our collection at home. and places visited; and there in the window Duane and Tina Olsen were there, and as we looked at the old pots, etc., it was rather apparent that our is the old salt container that set on our table collections, in most cases, surpassed what we were on the ranch in Idaho when I was very seeing.] small. It is so old that it has turned purple in the sun. It is an amazing house that Sally and I live in. There is no room where objects of great Then, there are the arrowheads. I look at beauty are not present and will stop you for the small white point I found under a rock a moment or two to reflect. If you get mad, when I was about four years old. It is the you can go ponder a few minutes on the first one I ever found. There are hundreds faces of some of the Casas Grande effigies of the others found in all the states I have and you understand the people who made the lived in, including the large purple point pots knew anger, pathos, joy, and they knew found by Grandmother Copen down near about some other things not so well their barn in Mendon. I remember the New understood -- at least not by me. Anyhow, Mexico points in one small plaque that I the grin on the fish effigy's face tells you found one day in a blowing area in the sand that you are a little silly and you better cool dunes along the Canadian River. The wind off. was blowing like the dickens that day and literally blowing small arrowheads out of the Old Peter [a three foot ancient wooden ground. I could see them dancing along in statue] greets me when I come home at the sand like small minnows shimmering on night, and he will always call to my their tails on the water and I picked up some attention this great land (New Mexico) and of them as they danced along in this way. its people (the Spanish) who live in it. There will go fleeting through my mind Earl, Jr., and I used to go on the Crow some thoughts about the Conquistadors, the Creek Ranch to hunt arrowheads. He was Pueblo rebellion of 1698, Pentatenties first a little boy and was a lot more parading to the Seven Stations of the Cross interested in velvet ants and other bugs than and the beautiful Sangua de Christo's east of he was in looking for arrowheads. I Questa where Peter stayed for who knows remember one cold December day when we how many years. were out at the ranch and there was a large red velvet ant scooting around. We watched Sally and I will eat our supper near the the ant for a little while and then we saw fireplace at a little table we got in Mexico. that little black point in this plaque lying on arroya, as the sun disappeared, the moon the ground just a few feet away. rose in the east. Now you've got to see the fall full-moon rise in Idaho to really believe The first large point I ever found is the one it. The moon looks as big as a wash tub you see in the first plaque on the left side of and is a beautiful yellowish-orange. Just as row 2 (slide 6). I found this one in the moon rose over the horizon, a coyote Matthew Bird's field which is 2-1/2 miles moved into it's dead center. He raised his south of our ranch in Idaho. Mat used to head, and for a few minutes I could hear plow arrowheads out of the ground as he (maybe his mate) an answering call; and as farmed, and every time he plowed I went I went to bed that night I lived with some of out in his field to see what I could find. I the old people who had been there and I was a boy then (10-12 years), and I would hunted the buffalo with them. The next day, get on old Ginger and ride down to Mat's I found the matate'. place. The best time to look for arrowheads was late afternoon/early evening when rays Not on display, but carefully put away is from the sun would reflect from arrowheads one of the finest points ever found in New or flint chips. I found a number of good Mexico. It is a large ceremonial point that points out in that field, but this one was the resembles a spearhead and is over 11 inches biggest and the best. long. Several years ago, I was checking irrigated land near Wagonmound. There are The little matate' near the big matate' was some fields south of the village that I was the first good matate' I ever found (slide 3). walking through and one of them was a I'd found broken ones and several manos large cow pasture. I have the habit of scattered around, but not a real good looking at the ground every few seconds, matate'. Back in those days, I thought New and as I walked along I saw this three inch Mexico was part of Mexico, and the Spanish point slanting upwards in a hummock of language was what they spoke in Spain. So grass. I went over to pick it up, and, by we called these things corn grinders and golly, I couldn't. So I began to dig the rubbing stones. There was an old camp site grass and the dirt away, and when I finally down near the river near Holbrook and I had retrieved it, I had this long, lovely point in gone there a few times with some of my my hand. friends. This time I talked Dad into letting me take the old truck for the weekend and I Among the loveliest points in our collection camped near that old campsite. (I started are those made by the Paleo Indians. These driving a truck when I was eight and by then people are associated with extinct animals I was 12 years old.) It was in the fall of the such as the camel, sloth. etc., and lived year in the full harvest moon of September. some 6,000 years before present to over The nights were cool, but the days were 14,000 years ago. A black cowboy, one wonderful. School had started and the George McJunky, who worked on a ranch harvest (wheat) was over that Saturday near Folsum, New Mexico, found the first morning when I put some quilts in the truck, authenticated paleo-points. Associated with a little food, and got Old Jack (our dog) in bones later identified as Bison Antiques and the cab with me. It took about 30 minutes dated some 2000 years B.P. were these very to drive the 16 miles or so and by 9 a.m. I unusual points now known as "Folsum." was out looking for arrowheads. I found a One of the was lodged in a bone so there number that day and when evening came, I could be no question as to its age. This was was a happy little boy. I made a small in 1927. camp fire and cooked some bacon and eggs and sat watching the setting sun. Across the

2 I read about the Folsum discovery when I Mormon. And though I knew the Nephites was in high school. I never found any in had gone, I knew the Lamanites lived on, Idaho, but I did find some others which I and their descendants were the Indian now know are Paleo. They somewhat people. Since I found my first arrowhead, resemble Pinto Basin points. In New I had become acutely aware of the Indians, Mexico, I found a few broken Paleo points, and simply because the arrowheads were but it was many years before I obtained a old, I figured some of them had to have perfect Folsum point. We now have about been made by the Nephites. If these one-half dozen good ones and others that are Nephites had ever wandered through Utah classified as Eden, Clovis, Anzostura, and and Idaho and had hunted and eaten wild Milnisand. Most are from the eastern part animals, I knew darn well somewhere they of the State. had lost some arrowheads.

I traded one of the Folsums for a large Anyhow, I became interested in the Mayan Plains Indian lance point. This point was people and as time went by I read every found on Paul Baca's grandfather's ranch at thing I could about them. The time came iendre. LaLiendre is located about 10 when Sally and I went to Chichen Itza. She miles downstream from Las Vegas, New stood on the platform where the maidens Mexico, in a deep, narrow canyon along the were sacrificed and we gazed into those Gallinas River. Paul's great-grandfather waters some 60 feet below us. We climbed settled there in the 1860's, and the people of the steps of the great El Castello and went the village built large stone walls around it inside to look at the sacred chocmool and El to protect themselves from the marauding Jaguar. Outside we saw renditions of the Indians. Paul's great-grandfather and others sacred serpent and the jaws of one of them in-the village used to observe the Comanches held Sally (with a bellyache) as I took her up on the rimrock riding their horses, war picture. We later saw Chichen in the whooping, and raising their spears. The moonlight, but unfortunately, the people had point we have was found by Paul's uncle, frightened the monkeys away. upon the rimrock, is about 20 inches long, and was made from the rim of a wagon It was not until we visited Titcal that we saw wheel. Paul has another found by a the monkeys. There were several troops of sheepherder, and these two are among many them in the trees as we walked along th trail 6 tO 12 of these type of points found to date. to the ruins and they threw nuts at us; and finally we could understand the feelings I guess I read every book in the town library Thompson had described. and i the high school library that had anything to do with archeology and Our visits to Mexico and Central America anthropology. One of my favorites was the brought alive the great cities and peoples account of Thompson's excavation of the described in the Book of Mormon. Most of Sacred Well at Chichen Itza. The book was the ruins we have visited were built after illustrated with pictures showing artifacts, 400 A.D., but there is conclusive evidence buildings, and an artist's conception of these places were built on top of cities were throwing young maidens into the well. It are much older. also talked about jaguars, parrots, and monkeys swinging through the trees. I was In our collection is a rather unusual bone fascinated by the monkeys who threw nuts at needle. Sally, myself, and Mike and Shirley the people as they worked. My interest in Cox visited some ruins on Dimatrio Creek these Indians was a result partly because of one time (near Quemado) and spent an my life-long interest in the Book of enjoyable week-end. These ruins are quite

3 extensive and there is one large pueblo were some springs and the next time we complex near which we camped. We spent would go in the opposite direction (to the considerable time looking for arrowheads, north) and climb the top of Old Uncle Tom etc., but they are difficult to find because on the west side of the Valley. many people have visited this site. Ginger knew where the wild horses were. The ruins are located on the western edge of Sometimes I knew he wanted to see them so the Manges Mountains, in a pretty little I would just let him go. There was one canyon. There is a very small creek running band, off to the southeast, and another band by them and nearby, there are a couple of behind Old Uncle Tom. We would locate springs. The hills are covered with Pinons one of these bands and from the top of a hill and west of the Pueblo, near a spring, there we would watch them gaze in the Valley. are remnants on an old irrigation field. In the evening, we built a campfire and after One day in June we located the dens of supper, we talked about the people who some coyotes. These dens were in a little lived there so many years ago. The evening Service Berry patch in the mountains south was very lovely, and Sally and I walked of the ranch. At first the Coyotes were down the road a ways. We passed by a troubled when we came to watch them, but number of the old ruins and we felt that they became sort of used to us and we some of the people -- long since gone -- would stop on the hillside to watch the pups watched us as we walked down the trail. play. The pups rolled and tumbled and tried to pick fights with their mothers, that is until The next morning, on a ledge above the one of them brought home a rabbit or laid Pueblo I found this bone needle. It is about down when they nursed. We went back 4 inches long and one end of it is shaped several years, and I never told anyone where into the form of a cross. Mike thinks these these dens were because I knew somebody Indians may have been influenced by the would trap and shoot the Coyotes. Spanish Friars who, in the late 1500's passed by this way. However, no one really Ginger was more sensitive than I to the knows who made the needle or by whom she things all around us. He also was sure- may have been influenced. footed like a goat. Sometimes he just wanted to run, so I would let him go, and There were in the hills, when I was a kid, up and down the mountains we would run several bands of wild horses. Horse traders with his mane flying in the wind. Ginger rounded them up and occasionally they could jump out of our corral which was over would use Dad's and Uncle Am's corrals to six feet high; and five foot fences and gates keep them over night. When I was about were no problem to cross. This was of eight years old, my Dad bought a two-year- some advantage because we could always go old buckskin for me and I promptly named in a straight line as we rode through the him Ginger. hills.

Ginger and I became very good friends -- in There was a small white forelock between a way I guess, because we both loved the Ginger's ears and when this raised up I same things. We loved the mountains and knew he smelled or saw something I had we loved to explore. As time went on, we not. Sometimes it was a rabbit or a small visited all the tops of the mountains and the rodent in the brush or a badger hole in the canyons in between, on both sides of the middle of the trail. Sometimes it was Valley. We would go to the Wood's something else, and I recall the times when Canyon (twenty miles away) where there I saw this forelock rise, especially the first

4 time when we heard the screams of a trees. Near the foot of the hill in a small mountain lion. High on a hill behind Guy glade there was a patch of quakies and some Larsen's place there was a cave. One choke-cherry bushes. The trail lead through afternoon we rode up to this cave and I this brush and as we entered I saw the patch poked around in it for a while. There were of hair rise. Ginger really didn't like that all sorts of debris, packed in by the rats, and place and I wondered why until I saw some in one of the corners there was a nest of old crosses and mounds of earth. Later on leaves apparently used by some wild animal I found out that some murderers and outlaws (no arrowheads). It was getting towards had been buried in this place. sundown and time to go home. As I mounted old Ginger, I saw his forelock was There are mounted with the large scalping raised and as we rode down the mountain knife, four beautiful obsidian arrowheads that's when we heard it. High above the were found near the little spring behind Old cave -- on a ledge -- there were cries like Uncle Tom. those of a hysterical woman. Once you have heard these cried, you never forget Most people thought I was a little odd them. because I spent so much time in the hills and looking for arrowheads. Grandmother The little canyon branching off Bull Canyon Copen did not. When I was a little boy, she went up to a beautiful little spring located told me 'you are just like your Great-Great- behind Old Uncle Tom and near some old Grandmother who was a Iroquois Indian.' abandoned log cabins. This was one of our It -• seems that one of my Great-Great- favorite places because here I could find Grandfathers married this Indian girl, and arrowheads, and not too far away was one was subsequently disowned by his family. of those wild horse bands lived. We often It was sort of a family scandal and not many went there and it was usually about sundown people knew about this story. However, the or late afternoon when we started for home. story was close to my heart, and as I have I'd seen wild sheep in this canyon, wild cats roamed about looking for arrowheads and and deer. This evening, a couple of miles other things, I have known that the things I down the canyon, the forelock began to rise. find were made by some of my ancestors. Ginger left the trail and went to the other I -think about these things as I pick up side of the creek. Long ago I had learned arrowheads, and as I look at the small not to argue with Ginger when he chose objects in our collection. Though they are another route. I looked closely along the made of stone and clay, I know they were cliffs which were on the west, and one a made by people who lived and died and who ledge some 30 feet up there was a mountain had families, aspirations, and who loved lion. It looked like a statue and nothing beauty, for so many of them express this moved but its tail as we passed by some 50 thought to me. feet away. And now you know about arrowheads. There was another time when we'd gone to the top of Old Uncle Tom just to look down on the Valley and to visit a couple of little springs near the top of the hill. This time, we chose to go down the east side of the mountain instead of the west side and down the canyon where we saw the mountain lion. That was a beautiful summer evening and the mourning doves were cooing in the

5 Excerpts from the Life and Writings of Earl Franklin Sorensen As shared at his funeral, January 22, 1991 by his daughter, Sheila Ann Sorensen Olsen

Speaking at my father's funeral is the most about six and eight years old, they stopped difficult speaking assignment I have ever and I saw this pretty Palomino. He came to had. However, I would do anything for my me and muzzled up, and I caused so much mother, and this is something my mother fuss that me dad bought him (he paid $4). asked me to do. Rather than use my own As I shall tell you, Ginger and I became fast words to describe my father's life and friends, and it was not too long before we thoughts, I am going to draw from his own knew every spring where we could find writings. arrowheads, where the wild horses were, and the tops of every mountain range with a Immediately following his death, my brother radius of 50 miles. . . . found among my father's personal papers a letter addressed to me, dated December 3, "In those days we did not have a car and we 1989. He had never finished or mailed the were quite poor. (I didn't really know this), letter, written just after he returned from the but we always had plenty to eat. On major funeral of his brother, Clifford. In it he occasions, like my birthday or on Christmas said: I would receive a nickle or a dime, and I rejoiced when this happened. We could not "Like Scrooge, I have been thinking of afford skies, so I made a pair out of barrel Christmas's past, Christmas present, and staves. I learned how to ski by climbing up Christmas future. The recent death of to the roof of our barn and sliding down to Clifford, the death of one of my best friends the snow drifts below. Many nights, when after I returned home from the funeral, and the moon was shining, I would use these a recent attack of malaria have all reminded skies to go into the fields and hills south of me of the passage of time. . . I think it the house. There I would hear the coyotes, unfortunate that most of us delay writing and I would try to talk with them." what we know and what we have experienced. . . Have you written your Eleven years ago, in mid-January, 1980, I personal history?" received a letter from my dad:

Along with the letter to me was a "There is a funny thing -- while I was handwritten history on the subject "Mothers traveling in the desert country near Las and Fathers." Cruses and Dening last week, I saw a large flock of geese flying south into Mexico. I "The recent death of my mother has hadn't seen this for years. I stopped the car suggested to me that I ought to tell you a and watched them for as long as I could see little bit about my father and mother and my them. I had forgotten what a beautiful sight youth in Idaho. . . . this is."

"In the hills surrounding the ranch, many Along with the letter was a memo: bands of wild horses roamed. People would come and round up these horses and take "This story is a little different. It was fun to them to Malad where they sold them for write. However, there is a moral to it. meat or for some other purposes. They That was the year I decided I would rather would stop at our ranch to water and rest for live with my family than without them; and a little while. One day, when I was between it was a terrible winter for me in Malad." Attached to the memo was a longer story, Among my Father's unfinished writings were written in the form of a letter to my brother, some reflections on war. Although, with Earl: three dependents, he could have easily sought deferment, my father enlisted in "I had the misfortune to graduate from high World War II, serving for two years in the school just after I turned 16. When we went Pacific theater. It was there he contacted back to the ranch for the summer, my dad the malaria that would flair up from time to said to me, 'you're too young to send away time throughout his life. Nevertheless, he to college, so you can move back to Malad was deeply patriotic, and after his discharge this fall and spend another year in high from the war, he served in the National school while you get a little older.' This Guard and then the Army Reserve for the hurt my feelings. I thought about this for remainder of his life. I found insight into about a week, and one afternoon I located his reasons for volunteering to serve in the my Dad and I said to him, 'If you think I military in a letter written, but never am going to spend the rest of my life on this finished, dated January 21, 1980: ranch and especially if you think I am going back to Malad this winter, you are entirely "I had taken, in college, a number of history mistaken. I'm going to leave home and find courses about. Hitler's overall objectives in something else to do.' Europe, and I knew full-well what freedom was all about in this country. I appreciated "He said, 'Is that so -- and where are you the fact that we were a blessed nation, going?' And for some reason I still haven't protected by our Bill of Rights and our figured out, I replied, 'I'm going to Los Constitution. I then believed, and I still do, Angeles.' The next day I got on a bus. . ." that this country was established by principles revealed to our Founding Then follows several pages accounting the Forefathers who devised the Bill of Rights adventures of a 16-year-old Idaho farm boy and Constitution, and who fought in the in Los Angeles. However, he was destined Revolutionary War to gain freedom. The not to stay in the big city. war with Hitler (Europe) and in the Pacific (Japan) in my opinion represented a distinct "In late July, I dreamed one night I saw the threat to the things that I believed in." wild geese flying south and heard them talking to each other. In a week or so it On January 18, 1945, the Herald Journal would be harvest time, and I knew that I printed a story under the headline, "Soldier ought to go home." Describes Burial of Buddy in War Zone:"

Because, as he writes, he didn't have a "The following account of the burying of a great deal of money, he hitch-hiked and then fellow soldier was written by Cpl. Earl F. caught a freight train back into Salt Lake. Sorensen, former Logan man, who is serving with the armed forces on New Guinea. It There is a note of poignancy in his was sent to his wife, who resides at 3088 conclusion: East Center, Logan.

"I got back to the ranch in time to take my New Guinea place on the combine; and when the harvest November 13, 1944 was over, I watched the wild geese flying My Dear: south. Shortly after that we went back to Malad." We buried our fellow soldier this morning in a U.S.A.F. (United States Armed Forces) cemetery in New Guinea....

7 Every man saluted the flag and the boy who a.m., and gets home between 4 and 5 p.m. died for it as he was carried gently to the She is as old as I am, but has the mind of a front and center of the company. girl much younger, and I love her." The chaplain stood bare-headed and bowed as he read the service, then he glanced up at With this letter he enclosed a history us. In very simple words he spoke of the addressed to Tanya, Earl Jr., and myself, mystery of death, the beauty of life and the entitled "Your Mother. " It traced their life truth of religion. He gave just honor to the together, beginning with their courtship at dead, one more boy who shall lie in foreign the ages of 17 and 18, their marriage at the soil as a tribute to freedom. ages of 18 and 19, and continuing through The command to fire was given in a soft yet the experiences of our family life. On the clear voice, and six rifles pointed to the last page he writes: west. Three times they sounded, and echoes faded away into the unknown land that no "I am sure all of you remember our family man has fathomed for sure. life from that time on and you will Last of all, the bugles played, a melody that remember the important part that your sends men asleep and says goodbye to all mother played in it. She was always our good soldiers. focal point, the first to urge us to do what was right. The most important thing in her I'm certain no man will forget for the rest life was her family. . . . of his life how simple, how beautiful a tribute that was made to one who had to leave us. All of us stood equal in the "After Raton, it was back to Albuquerque, presence of it, and felt probably more than then to Santa Fe. Shortly after that, Sheila ever before what an honor it is to be an moved away. By that time, she had grown America soldier up, and then she married. Tanya was next, and then, finally, Earl, Jr. At that point in I am again reminded of the words spoken time, Sally and I found ourselves back by the chaplain on the boat: It is by the grace of God that you are alive and well where we started, alone and together again; today, and by that same grace you look and we wondered where all the time had forward to the Future.' gone. When that time in your life comes, you become very aware how very little time As I stood there these words went through there is to have one of life's great privileges, my mind, and I felt very humble that I have that of living with and raising a family. I been so fortunate in life thus far. Dorothy, would at this time, like to tell each of you may that same grace unite you and I again some day. that I treasure that experience. I enjoyed very much the privilege of being your Yours, father. Earl "Well, I guess there is not too much more to My father generally called my mother by the add at this time except to say my Sally still nickname 'Sally.' The love and devotion to amazes me. She has been and is a joy to his Sally permeated his life and his writings. live with, and I am constantly amazed at her In a letter he wrote to me in November, various and sundry abilities. She is 1980, he said: continuing where she left off in 1936, back in school, and I love her." "It's a beautiful day here in Santa Fe. The sun is shining and your mother is by now in My father wrote 15 pages describing his class. She will get her degree in the spring arrowhead and Indian artifact collection, of 1982, and she is a remarkable woman. beginning with the small white point he She studies until midnight, gets up at 6:45

8 found under a rock when he was four years Jacob Sorensen which he wrote in 1990, he old. Here is the concluding paragraph: said:

"Most people thought I was a little odd "My Grandfather Jacob was one of my very because I spent so much time in the hills best friends. I look forward to the day when and looking for arrowheads. Grandmother I shall again hear his stories and meet Copen did not. When I was a little boy, she [Jacob's father] Nicholia, along with Melina told me 'you are just like your Great-Great- who is one of my beloved Grandmothers." Grandmother who was a Iroquois Indian.' It seems that one of my Great-Great- I will conclude with the first and last Grandfathers married this Indian girl, and paragraphs of the letter written by my father was subsequently disowned by his family. January 25, 1980, addressed to "All of my It was sort of a family scandal and not many Grandchildren. Subject: The Last Days." people knew about this story. However, the story was close to my heart, and as I have "There runs through my mind a number of roamed about looking for arrowheads and things as I ponder the times in which we other things, I have known that the things I live. I recall my childhood, youth, early find were made by some of my ancestors. maturity, and finally, right now. Perhaps I think about these things as I pick up some of the things I have seen, done, and arrowheads, and as I look at the small thought about will be of value as we all objects in our collection. Though they are continue in these somewhat perilous times. made of stone and clay, I know they were made by people who lived and died and who "I know that there are those who have gone had families, aspirations, and who loved before us who watch us, are concerned beauty, for so many of them express this about us, and if we will allow them, they thought to me." can protect and influence us. My father did a great deal for me by giving me money to As with all of us, my father's life was not go to school, and assisting me and my without challenge. In one letter he wrote: family in other ways. When I made a little money, I tried to return some of this. He "I think we all know now that we all face refused to take it, and said to me, 'You can problems and temptations, each in his or her repay me best by helping your children own way. One thing I have found out is when and as they need it. He also told me that these things do not become simplified that I should pass on to those who would with increasing years. So I suggest you come after he had gone, the knowledge that anticipate these things for the rest of your he would continue to love each of his life. However, the beautiful world that we family, and would look forward to renewing live in, the people we know, and the family acquaintances as we joined him in the place that we have do much to offset them." he now lives.

My father's life was filled with projects, "I would join my Father in expressing my hobbies, and interests. In the last year of love and my concern for each of you. his life, perhaps occasioned by the death of Throughout the remainder of my life, and in his mother and brothers, his thoughts and the world to come, there will never be a interests seemed to turn increasingly to his time when I shall cease to be interested in family and to his ancestors. He wrote of his what you do. desire to collect the histories and family group sheets of all of the descendants of his "And last of all, to each of you I bear this parents. In the history of his Grandfather solemn testimony: I know that God, our

9 Father, and His Son, Jesus Christ, lives. I know that Joseph Smith was a Prophet of God, and he restored to this earth the Church of Jesus Christ. I further know that a Prophet of God still heads this Church and if we desire happiness, peace at heart, and the protection of our Father in Heaven, we should listen to and try to pattern our ways to conform to those things he is telling us about in these, the latter days."

I add my own testimony, in the name of Him

• whose resurrection makes certain that the body we have seen today will rise and live again, • whose atonement makes possible repentance and forgiveness of sin, • and whose example of love and service has been manifest in your own lives through your acts of service in recent days,

Even Jesus Christ, Amen. DEAT4SIE

EARL F. SORENSEN

Earl Franklin Sorensen, 72, of Santa Fe died January 15, 1991, at St. Vincent Hospital of a heart attack, following kidney failure.

He was born April 7, 1918, at Mendon, Utah, to Franklin Earl and Dollie Copen Sorensen. He married Dorothy Miles Sorensen, August 9, 1937, at Malad, Idaho. They were sealed in the Logan Temple of the Church of Jesus Christ of Latter-day Saints, January 4, 1939.

He was a engineer for the State of New Mexico from 1955 until his retirement in 1982, at which time he had attained the highest classification available in State government. He was the state coordinator of the federal-state cooperative water-use program; and developed a comprehensive water resources plan for the State of New Mexico. He was a recognized expert in water use planning, serving as an expert witness for the state in legal cases concerning water disputes. He published 30 technical publications on the historical and present uses of water, including planning and management. He worked as an Engineer for the U.S. Bureau of Reclamation from 1949-54. He received a master of science degree in civil engineering in 1949 and a bachelor of science degree in geology in 1942, both from Utah State University. He is listed in Who's Who in Technology Today (1980) and Who's Who in the West (1980-81). He was a registered professional engineer and land surveyor; a member of the American Society of Civil Engineers; and a member of Sigma Tau Engineer Fraternity, an honorary scholastic organization.

He enlisted during WW II and served with engineer troops in the Pacific Theater (1943-1945). Following his discharge, he was a member of the active reserve forces. His assignments included battery commander in Raton (1952-1954); engineer officer in Santa Fe (1956-59); commanding officer in Las Vegas (1961-1962). He retired at age 62 with the rank of lieutenant colonel.

He was a high priest in the Church of Jesus Christ of Latter-day Saints. His church leadership callings included branch president in Raton for two years and Las Vegas for four years. He was on the Albuquerque Stake High Council for three years, and a member of a bishopric. He was director of the Santa Fe Family History Library for the past four years.

For the better part of his life, he actively search for Indian artifacts acquiring an impressive collection which included Indian arrowheads, pre-columbian pottery, and paleo projectile points. He belonged to the New Mexico Facetors' Guild and became an expert in jewelry making. He has traveled extensively in Mexico, Central America, and Europe.

He was preceded in death by his two brothers. He is survived by his wife of Santa Fe; children, Sheila Ann Olsen of Idaho Falls, Idaho, Tanya Le White of Pendleton, South Carolina, Earl Franklin Sorensen Jr. and wife, Mary Jane, of Hartland, Maine; sister, Mrs. Sterling (Beth) Miller of Salt Lake City, Utah; brother, Grant Lyman Sorensen of Torrence, California; 17 grandchildren and 12 great-grandchildren.

Visitation will be from 7-9 p.m. Monday in McGee Memorial Funeral Home and again one hour before services at the church Tuesday. Funeral services will be at 10 a.m. Tuesday in the Santa Fe Stake House, 410 Rodeo Road, with Bishop Ron G. Ulbrich conducting. Burial follow in the Santa Fe National Cemetery.