A Choice Outstanding Academic Title The Zuni are a Southwestern people whose origins have long intrigued anthropologists. This volume presents fresh approaches to that question from both anthropological and traditional perspectives, exploring the origins of the tribe and the influences that have affected their way of life. Utilizing macro-regional approaches, it brings together many decades of research in the Zuni and Mogollon areas, incorporating archaeological evidence, environmental data, and linguistic analyses to propose new links among early Southwestern peoples. The findings reported here postulate the differentiation of the Zuni language at least 7,000 to 8,000 years ago, following the initial peopling of the hemisphere, and both formulate and test the hypothesis that many Mogollon populations were Zunian speakers. Some of the contributions situate Zuni within the developmental context of Southwestern societies from Paleoindian to Mogollon. Others test the Mogollon-Zuni hypothesis by searching for contrasts between these and neighboring peoples and tracing these contrasts through macro-regional analyses of environments, sites, pottery, basketry, and rock art. Several studies of late prehistoric and protohistoric settlement systems in the Zuni area then express more cautious views on the Mogollon connection and present insights from Zuni traditional history and cultural geography. Two internationally known scholars then critique the essays, and the editors present a new research design for pursuing the question of Zuni origins. By taking stock and synthesizing what is currently known about the origins of the Zuni language and the development of modern Zuni culture, Zuni Origins is the only volume to address this subject with such a breadth of data and interpretations. It will prove invaluable to archaeologists working throughout the North American Southwest as well as to others struggling with issues of ethnicity, migration, incipient agriculture, and linguistic origins.

Did a group of 13th century Japanese journey to the American Southwest, there to merge with the people, language, and religion of the Zuni tribe? That is the question proposed by an anthropologist in "The Zuni Enigma". 16 illustrations.

A revelation of how Zuni art, past and present, is an essential expression of Zuni life and heritage. This book places modern work within the context of Pueblo folk art from prehistoric times to the present. Vintage and contemporary photographs show Zuni art and life as it has developed in recent times. 90 photos, 20 in color.

A bold new study of the Zuni, of the first anthropologists who studied them, and of the effect of Zuni on America's sense of itself The Zuni society existed for centuries before there was a United States, and it still exists in its desert pueblo in what is now New Mexico. In the late nineteenth century, anthropologists-among the first in this new discipline-came to Zuni to study it and, they believed, to salvage what they could of its tangible culture before it was destroyed, which they were sure would happen. Matilda Stevenson, Frank Hamilton Cushing, and Stewart Culin were the three most important of these early students of Zuni, and although modern anthropologists often disparage and ignore their work-sometimes for good, sometimes for poor reasons-these pioneers gave us an idea of the power and significance of Zuni life that has endured into our time. They did not expect the Zuni themselves to endure, but they have, and the complex relation between the Zuni as they were and are and the Zuni as imagined by these three Easterners is at the heart of Eliza McFeely's important new book. Stevenson, Cushing, and Culin are themselves remarkable subjects, not just as anthropology's earliest pioneers but as striking personalities in their own right, and McFeely gives ample consideration, in her colorful and absorbing study, to each of them. For different reasons, all three found professional and psychological satisfaction in leaving the East for the West, in submerging themselves in an alien and little-known world, and in bringing back to the nation's new museums and exhibit halls literally thousands of Zuni artifacts. Their doctrines about social development, their notions of "salvage anthropology," their cultural biases and predispositions are now regarded with considerable skepticism, but nonetheless their work imprinted Zuni on the American imagination in ways we have yet to measure. It is the great merit of McFeely's fascinating work that she puts their intellectual and personal adventures into a just and measured perspective; she enlightens us about America, about Zuni, and about how we understand each other.

The demographic upheavals that altered the social landscape of the Southwest from the thirteenth through the seventeenth centuries forced peoples from diverse backgrounds to literally remake their worlds—transformations in community, identity, and power that are only beginning to be understood through innovations in decorated ceramics. In addition to aesthetic changes that included new color schemes, new painting techniques, alterations in design, and a greater emphasis on iconographic imagery, some of the wares reflect a new production efficiency resulting from more specialized household and community-based industries. Also, they were traded over longer distances and were used more often in public ceremonies than earlier ceramic types. Through the study of glaze-painted pottery, archaeologists are beginning to understand that pots had “social lives” in this changing world and that careful reconstruction of the social lives of pots can help us understand the social lives of Puebloan peoples. In this book, fifteen contributors apply a wide range of technological and stylistic analysis techniques to pottery of the Rio Grande and Western Pueblo areas to show what it reveals about inter- and intra-community dynamics, work groups, migration, trade, and ideology in the precontact and early postcontact Puebloan world. The contributors report on research conducted throughout the glaze producing areas of the Southwest and cover the full historical range of glaze ware production. Utilizing a variety of techniques—continued typological analyses, optical petrography, instrumental neutron activation analysis, X-ray microprobe analysis, and inductively coupled plasma mass spectroscopy—they develop broader frameworks for examining the changing role of these ceramics in social dynamics. By tracing the circulation and exchange of specialized knowledge, raw materials, and the pots themselves via social networks of varying size, they show how glaze ware technology, production, exchange, and reflected a variety of dynamic historical and social processes. Through this material evidence, the contributors reveal that technological and aesthetic innovations were deliberately manipulated and disseminated to actively construct “communities of practice” that cut across language and settlement groups. The Social Life of Pots offers a wealth of new data from this crucial period of prehistory and is an important baseline for future work in this area. Contributors Patricia Capone Linda S. Cordell Suzanne L. Eckert Thomas R. Fenn Judith A. Habicht-Mauche Cynthia L Herhahn Maren Hopkins Deborah L. Huntley Toni S. Laumbach Kathryn Leonard Barbara J. Mills Kit Nelson Gregson Schachner Miriam T. Stark Scott Van Keuren

In Correlative Archaeology, Fumi Arakawa applies correlative thinking practices, which are derived from an East Asian view of the world that stresses connectivity, to archaeological interpretations. Arakawa, a Japanese scholar who was trained in Western archaeology, argues that a correlative paradigm can help archaeologists, as well as scholars and researchers from other disciplines, consider competing paradigms and integrate Native American voices and narratives into interpretations of prehistoric art and landscapes.

Documentation, analysis, and explanation of culture change have long been goals of archaeology. Scientific graphs facilitate the visual thinking that allow archaeologists to determine the relationship between variables, and, if well designed, comprehend the processes implied by the relationship. Different graph types suggest different ontologies and theories of change, and particular techniques of parsing temporally continuous morphological variation of artefacts into types influence graph form. North American archaeologists have grappled with finding a graph that effectively and efficiently displays culture change over time. Line graphs, bar graphs, and numerous one-off graph types were used between 1910 and 1950, after which spindle graphs displaying temporal frequency distributions of specimens within each of multiple artefact types emerged as the most readily deciphered diagram. The variety of graph types used over the twentieth century indicate archaeologists often mixed elements of both Darwinian variational evolutionary change and Midas-touch like transformational change. Today, there is minimal discussion of graph theory or graph grammar in introductory archaeology textbooks or advanced texts, and elements of the two theories of evolution are still mixed. Culture has changed, and archaeology provides unique access to the totality of humankind's cultural past. It is therefore crucial that graph theory, construction, and decipherment are revived in archaeological discussion.