Transactions of the Regional Archeological Symposium for Southeastern New Mexico and Western Texas: 1983 Page: 88
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Dancing, like hunting, formed an important aspect of Indian life.
A gathering point such as a spring became the focal point for social
and ceremonial dancing. Lines of dancers form a prevalent theme on the
cliff wall. The dances depicted could be religious, recreational, or
accompaniments to social rites, such as marriage.
One particular chain of dancers from the historic period is both
detailed and intriguing. The figures wear belts from which hang skirts
or weapons. In their hands, they carry rounded objects (shields or
baskets?). They wear some form of headdress. They are linked together
in mid-step.
A lone figure stands just to the right of the dancers. It seems
to belong with them, both in terms of pose and painting style. This
figure wears a robe or long garment. Speculations might include the
possibility the person is a shaman or chief. An alternate theory would
make this a Catholic priest. This may be a pictorial account of an
early encounter between the two cultures.
There is little doubt that the later artists were acquainted with
the Spanish missions and missionaries. One head drawn full face wears
a box-like hat topped with a cross and is surrounded by a series of
crosses. The obvious conclusion is that he is a priest. Another drawing
is a relatively accurate depiction of a mission or chapel.
The Indian was a religious being, living in a world of ritual and
magic. He would naturally paint power symbols and figures garbed in
shamanistic costumes. Circles, sun symbols, horned figures, rectangular
creatures, and all point toward the supernatural aspects of his life.
Priests, missions, and crosses were recognized power sources of his
enemies.
In the final analysis, however, more questions remain than verifiable
conclusions. The paintings can never be fully deciphered. We will never
know all the answers. That is both the frustration and the enticement
of studying rock art.
At the heart of analysis and interpretation are two basic problems:
observation and comprehension. First, one must decide what is being
observed. Are the figures snakes or atlatls? Does this painting belong
with that one? Are these two pictures contemporary or is one superimposed
upon the.other? Is this human, animal, or otherwise? Beyond the problem
of observation, lies the difficulty of "seeing" as the artist saw. The
modern industrial, technological world lies so far from the traditional,
primitive existence of the Native. American that the motives and inspira-
tions of the painters may be forever beyond recall.
For those fortunate few who have had the privilege of visiting
Meyer's Spring, it was an unforgettable experience. Two vastly dissimilar
cultures can be studied side by side; two perspectives on the same land-
scape can be obtained. The site is a laboratory of the past.
Once again, the words of the Yaqui mystic, Don Juan, provide a final
appropriate description of the spring.
"There are worlds upon worlds, right here in front of us,"
Don Juan tells us. "They are here. If you had enough power
you could call them back."
88
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Transactions of the Regional Symposium for Southeastern New Mexico and Western Texas: Index to Volumes 1-57 [1965-2024] (Book)
Index to the proceedings of the regional archeological symposium including separate lists by subject, title, author, and volume along with subject categories, a map of regions, and Texas county abbreviations.
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Transactions of the Regional Archeological Symposium for Southeastern New Mexico and Western Texas: 1983, book, 1984; United States. (https://texashistory.unt.edu/ark:/67531/metapth1661464/m1/96/?q=+date%3A1945-1972: accessed July 16, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Southwestern Federation of Archaeological Societies.