Spring 2021
Volume 3 (Issue 3)
OKPAN QUARTERLY
(Cover Image: Canola Field near Lawton, Oklahoma by Barry Albrecht)
Ongoing series highlighting OKPAN staff, volunteers, interns, and advisory board members.
19 Photo Contest Winner Announcement
21 OKPAN Faces
The latest events and news from OAS.
Ongoing series highlighting OKPAN staff, volunteers, interns and advisory board members
Congratulations to the Spring 2021 Photo Contest winner, Barry Albreicht!
4 Spring Events Calendar
10 Digging for the Truth
Anna Goldfield, co-host of The Dirt, discusses podcasting as a medium for public outreach.
20 Oklahoma Anthropological Society
Did Netflix get it right? A discussion of the portrayal of archaeology and fieldwork in Netflix's The Dig.
3 Letter from the Director
5 The Dirt on Archaeology Outreach
A letter introducing the spring issue from our executive director, Dr. Bonnie Pitblado.
IN THIS ISSUE
Our spring events calendar for all things archaeology-related in Oklahoma and beyond. Keep an eye out for virtual events!
Learn about the National Cowboy & Western Heritage Museum's exhibit.
15 Community Spotlight: Spiro and the Art of the Mississippian World
3
Letter from OKPAN'S Executive Director
Bonnie Pitblado OKPAN Executive Director Robert E. and Virginia Bell Professor of Anthropological Archaeology University of Oklahoma
Dear OQ Readers, Spring is upon us, and as another academic year wraps up, the field season has begun to blossom for Oklahoma archaeologists. In this spirit of endings and beginnings, we hope you enjoy the spring issue of OKPAN Quarterly, which celebrates both the twilight of the spectacular Spiro and the Art of the Mississippian World exhibit at the National Cowboy & Western Heritage Museum and the fluorescence of the entertaining and educational The Dirt podcast. In addition, OQ writers share thoughts about the Netflix hit movie The Dig, which you can (and should!) queue up anytime. The film does a better job of portraying the field of archaeology than the much-loved (but in archaeological circles, also much maligned) Indiana Jones series. Not to worry, though, it is still entertaining! Happy spring and summer to all, and we hope that you can escape your walls and enjoy the beauty of the great outdoors… and maybe even a visit to an archaeological site or two. A trip to Spiro, anyone? Yours in heritage solidarity,
(Background photo courtesy of Delaney Cooley)
Dr. Bonnie Pitblado
Archaeology Trowel, HeritageDaily, CC BY-SA 3.0
Spring Events Calendar
(Scroll down to see full list of events)
On the Peak Lecture (Virtual) Pawnee Bill Ranch and Museum
May 14, 10:00AM
Tribal Histories Series: TBA (Virtual) OKPAN Tribal Histories Lecture Series
June 23, 1:00PM
Section 106 of the National Historic Preservation Act Workshop (Virtual) Oklahoma Historical Society
NAGPRA PRogram presented by Deanna Byrd(Virtual) OKPAN Archaeological Skills Workshop Series: The Choctaw NAtion of Oklahoma Preservation Department
Section 106 Consultation Program presented by Lindsey Bilyeu (Virtual) OKPAN Archaeological Skills Workshop Series: The Choctaw Nation of Oklahoma Preservation Department
Tea and Talk at Horizon Hill: Women and Wild West Shows Chisholm Trail Museum and Horizon Hill, Kingfisher
Tribal Histories Series: Brice Obermeyer (Delaware Tribe THPO) (Virtual) OKPAN Tribal Histories Lecture Series
July 7, 1:00PM
Tribal Histories Series: Chief Nelson Harjo (Alabama-Quassarte Tribal Town) (Virtual) OKPAN Tribal Histories Lecture Series
May 26, 12:00PM
Section 106 and Tribal Consultation Workshop (Virtual) Oklahoma Historical Society
June 9, 1:00PM
Cultural GIS and Indigenous Archaeology Programs presented by Dr. Kristen Walczesky and David Batton (Virtual) OKPAN Archaeological Skills Workshop Series: The Choctaw NAtion of Oklahoma Preservation Department
May 15, 11:30AM
Tribal Histories Series: Matt Reed (Pawnee Nation THPO) (Virtual) OKPAN Tribal Histories Lecture Series
May 12, 12:00PM
May 13, 1:00PM
Pawnee Bill Puzzle Club (Virtual) Pawnee Bill Ranch and Museum
May 11, 1:00PM
May 12, 1:00PM
May 12, 10:00AM
May 11, 10:00AM
Archaeological Survey Forms and Field Work Workshop (Virtual) Oklahoma Historical Society
Oklahoma Archeological Survey and Section 106 Workshop (Virtual) Oklahoma Historical Society
May 13, 10:00AM
May 26, 1:00PM
May 30, 5:00PM
4
16
5
By Anna Goldfield
The Dirt on Archaeology Outreach
(Images courtesy of Anna Goldfield and Amber Zambelli)
xplaining archaeology, or any science, to the public can be a tricky task. Often, information about sites, cultures, artifacts, or methods are tucked away in academic journals that are written by experts, for experts. These articles use specialized vocabulary that excludes readers who lack the requisite academic background. Researchers (and those of us who are academia-adjacent) interested in sharing archaeology with a non-specialist audience can write articles for popular consumption, or give public presentations, but those approaches might not have a wide reach. Podcasts, audio shows that can be downloaded or streamed at a listener’s convenience, provide a terrific opportunity for science communication. In 2018, my cohost, Amber Zambelli, and I saw a need for an accessible, fun way to bring archaeology to the public, and so we created The Dirt Podcast, a show for all ages and backgrounds about archaeology, anthropology, and our shared human past. Our trajectory and the success of the podcast has shown me that science communication is not only a viable career but my own passion and calling. I’d like to share some of my enthusiasm for science communication in general, and podcasting in particular, by using The Dirt as a case study—with many thanks to the fine folks at the OKPAN Quarterly for allowing this shameless plug of my own content. My hope is that some of you readers will be inspired to consider podcasting as a way to share your own research or archaeological stories with the world. Amber and I met at Bryn Mawr College, where we were both undergraduates in the archaeology department, and have been close friends since then. Amber specializes in the archaeology of the Arabian Peninsula and the history of archaeology as a discipline and is grounded in theory and critical thinking. My background is in the analysis of animal remains associated with archaeological sites, and I specialize in the evolution and behavior of early Homo sapiens and our close cousins, the Neanderthals. Combined, our expertise is all over the map, which has become a wonderful advantage for two people interested in anything and everything about people in the past. I received my PhD in 2017, and after graduating I was looking for jobs and slowly wrestling with the idea that I wanted a career in science communication rather than as a researcher or professor. Amber was in a similar state of academic limbo. We offhandedly joked that we could start an archaeology podcast since we both had plenty of experience with research and writing and were both interested in education and outreach. It may have begun as a joke, but the idea stuck with both of us, and we realized that we really could start a podcast about archaeology. And after weeks of planning, we released our first episodes in July of 2018. Podcasting is an especially attainable platform for the creation of any sort of content, because it doesn’t require much in the way of expensive equipment. There are mobile apps designed to record and distribute audio, and even without a tailor-made program, anyone can build the skillset required to make a show—though there is certainly a learning curve! Podcasts are also an excellent way to reach listeners in a way that humanizes the hosts and the material being presented. In a podcast, the content is communicated directly to the listener, creating a feeling of intimacy that makes storytelling particularly powerful. Podcasts are also uniquely accessible, because they can be downloaded and enjoyed anywhere, usually for free. For readers interested in creating podcast content of their own, but perhaps daunted by the idea, it is absolutely worth a try! Unlike a lot of the media out there, podcasts don’t require a huge staff. Amber and I are the entire production team for The Dirt, apart from final audio edits provided by the Archaeology Podcast Network, which hosts the show. We research, write, and record each episode. I edit the sound files and create our graphics, and Amber organizes the business end of The Dirt’s operations. It’s often an incredibly demanding production schedule for a side project, but we both love making the show, and the audience response over the past three years has been well worth the work! One of the biggest drivers for the creation of The Dirt was the goal of moving archaeology beyond the classroom and exploring the breadth of human experience in our shared past. Academic training should not be a prerequisite for loving anthropology, nor for seeking new things to learn. The human story that we all share is fascinating, and anthropology and archaeology are uniquely suited to filling in pieces of that story that might otherwise have been lost to time, unrecorded by history. Archaeology has the power to give voice to members of lost populations; to uncover intimate moments of lives lived thousands of years ago. The Dirt has given us a way to share those stories and those voices with anyone who wants to hear them. Some of our most popular episodes have been on the evolution of childbirth, the prehistoric carvings known as “Venus” figurines, underwater archaeology, biological anthropology and intersex individuals, and the domestication of dogs, which should give you some idea of our eclectic range. We also feature interviews with wonderful guest experts who have provided a wide variety of perspectives on ways to study the lives of people in the past. We’ve spoken with Dr. Kimberlee Moran about early colonial life in Philadelphia and with Dr. Ken Feder about early North American populations and the persistent problem of pseudoarchaeology in public-facing media. We’ve talked with Mayowa Adegboyega about the evolution of the human and Neanderthal pelvis and with Dr. Chris Stantis about isotope analysis and the enigmatic Hyksos. Dr. Damian Huffer has taught us how to fight against human remains trafficking, and Tasha Bergson-Michelson has taught us how to be better researchers. In every interview, we ask our guests to describe their trajectory to their current research, and it is always wonderful to be able to show that there is no single way to “do” anthropology or archaeology. The possibilities for outreach via podcast are nearly endless. The perspective that one can gain by learning the stories of people living in all different places and times is incredibly valuable for contextualizing one’s own lived experience. I plan to continue learning and teaching through making The Dirt, and I hope that you, reader, will join me in exploring the fascinating tangle of our shared human past.
E
6
Anna (top) and Amber (bottom) host a special live event, Episode 126 - The Dirt Caves In.
The Dirt Podcast's trademark designs are created by Anna Goldfield.
7
8
Please click on the icon to visit each link.
Can't wait to catch up with Anna and Amber? Check out their social media for more content.
Episode 131 - Race and Biological Anthropology with Dr. Rachel Watkins
Episode 117 - Fish People
Please click on the title of the episode to listen.
Here's what OKPAN's been listening to!
I enjoyed listening to the interview with Dr. Rachel Watkins, because I find biological anthropology fascinating. In the episode, she explained how she got to where she is today, and for a student, that was cool to listen to! -Amber Vinson, Intern
This is such an important subject, and Anna and Amber treat it with their trademark blend of spot-on content and good humor. It's a great way to learn more about why the buying and selling of artifacts is so harmful. -Bonnie Pitblado, Executive Director
This episode explored both Western and non-Western documents, artwork, and photographs to show how different cultures at different times idealized male body types in different ways, with varying amounts of fat or muscle being praised. I enjoyed the connections to modern physiological research on athleticism, as well as the plentiful puns that peppered the podcast. -Sarah Luthman, Education Coordinator
Episode 43 - Spilling the Antiqui-Tea: Artifact Tracking and the Antiquities Black Market
Episode 132 - Other People of Size
I like that this episode showcases a lighter side of archaeology. I learned a lot, even with its very unserious topic, which shows how entertaining and informative The Dirt can be. -Ella Crenshaw, Assistant Director
Episode 101 - Mythteries and Mythnomers
This episode breaks down common anthropological misconceptions ranging from who built the Egyptian pyramids (spoiler: it's not aliens) to how people perceive the Dark Ages. They tackle misinformation, a tricky topic, with humor and ease. -Delaney Cooley, Editor-in-Chief
9
(Replica of the helmet from the Sutton Hoo ship burial 1. IH(40). CC BY 2.0)
By Sarah Luthman and Delaney Cooley
10
Digging for the Truth: A Review of Netflix's The Dig
The Dig stars Carey Mulligan as Edith Pretty and Ralph Fiennes as Basil Brown.
et’s talk about archaeology movies. Every few years or so, the powers that be in Hollywood decide to introduce another archaeology film into the universe, and who can blame them? Archaeology is an exciting field that has captured the hearts and imaginations of generations. When done well, movies like Indiana Jones and The Mummy have made the discipline more relevant and exciting to people everywhere. However, this popularity comes with a slight cost. While there are kernels of truth in these films, some portray archaeologists as reckless treasure seekers or digging up dinosaurs. Archaeology enthusiasts can identify and even enjoy or laugh at some of these misrepresentations, but the general public may not have the background to make these distinctions. In fact, most of these movies form the foundation for their understan- ding. So when Netflix teased the upcoming release of a British archaeology drama at the beginning of the year, The Dig, the trailer’s familiar tone and images of shovel work had us cautiously optimistic for a realistic portrayal of the discipline. The movie depicts the 1939 excavation of a ship burial overlooking the River Deben in Suffolk, England. Recognizing the mounds on her property as archaeologically significant, Edith Pretty hired a professional excavator, Basil Brown, to begin working on the site. His small operation uncovered what is undeniably one of most well-known archaeological sites in the country, Sutton Hoo. The site consists of two early medieval cemeteries dating between the 6th and 7th centuries; however, the film focuses on the excavation of Mound 1, a buried ship containing an elaborate array of offerings. One end held spears and a shield, while the other contained cooking implements and utensils for feasting. At the center of the boat, archaeologists identified the sword, helmet, purse, and clothing of the deceased, likely a prominent leader at the time. The individual was not recovered in the excavations, but soil analyses in the late 1960s suggest the body succumbed to the acidic soil. With this information in hand, the question then becomes how well did the movie depict archaeology? One Saturday night, we decided to snuggle up with our blankets and pop- poporn to answer this exact question. Our hope is that this review will shed some light on the accuracy of the film and provide you with the necessary information to decide if you’d like to watch the movie or recommend it to a friend. For full transparency, this review will focus on the archaeology, but there are certainly other compelling elements of the storyline tied to the imminent threat of World War II, the profound loss of a loved one, and the excitement of a budding romance that readers should consider before deciding whether or not to watch the film. When evaluating the accuracy of the depiction, we thought it was best to start with the techniques or methods the excavators used in the field. Deciding where to dig is a significant but often overlooked component of fieldwork. In the film, Brown reasoned that a depression in the center of Mound 1, the largest at the site, indicated it had been looted at some point in the past, suggesting the area would be heavily disturbed and artifacts would no longer be present. He chose a nearby mound instead, much to the dismay of Pretty who had a gut feeling about the former. Eventually, he changed his mind and convinced himself that Mound 1’s oblong shape meant that part of it had been plowed away and looters had missed the center of the mound in their frenzy to collect. There are several aspects of this that ring true. Disturbances to the landscape from activities like plowing and looting continue to be common frustrations for archaeologists today, and they often must record and plan around them accordingly. Much like Brown hypothesized, these disturbances can heavily distort or even destroy sites. Mound 1 just happened to avoid this fate. It’s also worth men- tioning that modern technology provides archaeologists today an edge that those in the past lacked. For example, geophysical survey consists of a number of non-invasive techniques that archaeologists can use to assess what may lie beneath the soil. While it won’t provide a perfect x-ray image, these techniques spot anomalies that can help archaeologists identify areas of interest if they move forward with excavation. The excavation depicted in the movie is surprisingly spot on. Anyone who has been in the field knows that excavating a site can be a slow process as archaeologists carefully remove dirt to recreate how occupations would have looked in the past. While most movies speed through fieldwork, place it in the background, or ignore it completely, The Dig allows the process to exist, unhurried, as the focal point of the film. Close up shots of archaeologists carefully troweling away are a common and welcome sight. Of course, the film does take place in 1939, and archaeologists didn’t operate with the same safety precautions we utilize today. The film shows the repercussions of that in a heart-pounding way. Fair warning readers, that scene will steal your breath away! However, the majority of the fieldwork appears to be in line with our expectations for that time period and work today. The film even shows Brown and others taking detailed notes about the work at the site, including the location of features and artifacts. What’s perhaps more compelling is that the film shows several cringe-worthy accidents and mistakes that do take place in the field. After the ship is mostly exposed, a team led by Cambridge archaeologist Charles Phillips takes over the site. At one point, two excavators try to lift a fragile wooden plank and fail to remove it in one piece. Worse, there is an inexperienced archaeologist who accidentally steps through a brittle piece of wood at the center of the ship and crashes into the burial chamber. This same archaeologist later sees a glimpse of gold beneath the dirt and proceeds to yank it out of the ground without any consideration for its context. While these events were likely embellished to add drama to the film, they aren’t too far removed from some of the incidents that occur at any field school. Even experienced archaeologists can struggle to remove fragile materials like bone, plant, and wood in one piece. These scenes made our stomachs plummet in anxiety, but we couldn’t help but empathize with the people involved. But the film doesn’t stop at the methodological components of archaeology. It also does an excellent job exploring why the discipline is important. As the Cambridge team takes over, Brown is forced to step back as the project lead and becomes frustrated with the lack of control and recognition. His wife none-too-gently reminds him that he doesn’t do archaeology for the fame but rather for the personal connection he has with the job (his father and grandfather had a passion for archaeology) and the importance of teaching the next generation about our shared history. This theme persists through the movie as the script juxtaposes the failing health of one of the characters and the excavation of the burial. As things seem terminal, they resign and say, “We die, and we decay. We don’t live on.” To this pessimistic sentiment, Brown reminds us that handprints in caves have lasted for thousands of years and that we are “part of something continuous, so we don’t really die.” While a bit poetic, The Dig does express a sentiment that attracts many people to the field: the idea of shared history and being a part of something greater than ourselves. While this interpretation may be appropriate in areas like Britain, the issue of shared history becomes far more complex in regions with a history of recent colonization. In the United States specifically, most archaeologists are of European descent, while in contrast, most sites are affiliated with Indigenous communities. Some maintain the argument that any research into the past elucidates our knowledge of human practices and can be valuable to people around the world, but this perspective ignores the unequal power dynamic historically plaguing the field and that fact that some knowledge is exclusive, culturally sensitive, or not meant to be brought into the present. This topic deserves more attention than we can give it here, but we felt obligated to point out this important distinction. As we finish our review, we want to provide an honest answer about the accuracy of the film as it relates to the archaeology. Can we recommend this movie to our friends, or is this simply going to cause more confusion at the next family get-together? We would say you don’t need to worry as The Dig is a heartfelt yet realistic portrayal of fieldwork. While there are certainly artistic licenses taken, the film is one of the few to showcase the excitement of archaeology without embellishing or deviating from the discipline’s core principles. Perhaps this will inspire more realistic portrayals of archaeology in the future. However, we admit this seems unlikely given the announcement of the fifth installment of Indiana Jones franchise due to come out in 2022. Either way, we recommend The Dig as a fun watch for archaeology enthusiasts and an excellent introduction to the field of archaeology for the general public.
L
11
(Burial Mound 2 at Sutton Hoo, Suffolk, UK. Geoff Dallimore. CC BY 2.0)
Reconstruction of a helmet found at Sutton Hoo currently on display at the British Museum.
12
(Reconstructed Burial Mound. John H. Darch. CC BY 2.0; Replica of the Sutton Hoo helmet. Mark Ramsay. CC BY 2.0)
Reconstruction of Burial Mound 1 at Sutton Hoo.
13
(Burial Mound 2 at Sutton Hoo, Suffolk, UK. Geoff Dallimore. CC BY 2.0; Tranmer House. Neil Theasby. CC BY 2.0)
Edith Pretty's home near Woodbridge, Suffolk. Pretty and her husband purchased the estate to preserve and research the mounds.
14
COMMUNITY SPOTLIGHT: Spiro and the Art of the Mississippian World
By Delaney Cooley With contributions by Amber Vinson and Savannah Miller
15
(Cover image courtesy of Delaney Cooley. Background photo courtesy of Julie Beynon Burnett/Shutterstock.com)
F
or many of us, a trip to a heritage museum is an ideal way to spend an afternoon. Exploring rooms and getting up close and personal with objects from the past engages our senses and invokes our curiosity and imagination. However, few of us take the time to consider the process behind the scenes. Putting together an exhibit can be a multi-year commitment where museum staff must simultaneously coordinate with academics, descendant communities, artifact repositories, and artists. To tell a story well and do right by the communities they represent, museums must be thorough and considerate in their actions. The National Cowboy & Western Heritage Museum’s recently released exhibit on the Spiro site in Oklahoma and broader Mississippian landscape is a testament to this process. Located along the Arkansas River in LeFlore County, Spiro was once a well-established cultural and religious center. The site began as a small farming village but later expanded as broader social changes led to an increase in sedentism, mound building, and distinctive iconography. At its peak, Spiro consisted of 12 mounds, ceremonial areas, and a support city for elites. The site and associated region are described as Caddoan, communities that shared belief systems, iconography, and social ties with Mississippian culture. Spiro began to decline in power around AD 1400 when widespread environmental changes led to subsequent cultural changes, and the site remained largely untouched until the 20th century. Taking roughly a decade to put together, Spiro and the Art of the Mississippian World focuses on one of the more unique aspects of the site, a ritual display enclosed within a hollow chamber in the largest mound at the site, Craig Mound. The chamber, also known as the Spirit Lodge, contained exotic materials from across North America, including copper, obsidian, pottery, and marine shell. Current estimates suggest up to 90 percent of all known engraved shell and ritual artifacts found in a Mississippian context come from Craig Mound alone. Scholars believe the creation of the chamber and the placement of ritual objects within was related to an unsuccessful effort to revitalize the site near the end of its occupation. While Spiro is rich in material culture, putting together the collection, nearly 200 objects from institutions across the United States, was no small task. Eric Singleton, Curator of Ethnology at the museum, said artifacts from Spiro exist in museums and private collections across the country, but the bulk of the exhibit came from institutions in Oklahoma. An intense looting phase in the early 20th century contributed to the wide distribution of these artifacts. Between 1933 and 1935, a commercial digging company called the Pocola Mining Company (PMC) dug relentlessly into Craig Mound, looting thousands of artifacts. Their activities destroyed nearly a third of the mound and convinced Oklahoma to pass the state’s first antiquities laws in 1935. Taking over in 1936, the University of Oklahoma led a team of Works Progress Administration (WPA) workers to systematically excavate the rest of Craig Mound and others at the site. Additional fieldwork has taken place since the 1960s. This exhibit is the first time objects from these activities and subsequent excavations have been united since the early 20th century. The exhibit also honors the profound connection between the people of Spiro and their closest living descendants. According to Single- ton, the first critical step in putting together the exhibit was to reach out to descendant communities. “These people never stopped living. It is the Caddo and Wichita People. They’re still here today. The site may have declined, but the idea and the people connected to it never left.” To shed light on this relationship, the exhibit features artwork from contemporary Indigenous artists, including pottery, paintings, basketry, stonework, and more. For those who have been following OKPAN, one of these names should sound familiar. Caddo Nation artist Chase Kahwinhut Earles is well-known for his pottery fired using traditional practices and an image of Earles using these techniques was featured on the 2018 Oklahoma Archaeology Month Pos-ter seen here. His work and others explore the idea of origins and connections the people of Spiro have with contemporary communities. Readers can learn more about Earles's journey in the Fall 2018 issue of the OKPAN Quarterly. The exhibit was on display at the National Cowboy & Western Heritage Museum in Oklahoma City until May 9th. Future scheduling includes the Birmingham Museum of Art from October 9, 2021 to February 6, 2022 and the Dallas Museum of Art beginning March 13, 2022 through August 7, 2022. In the meantime, photographs of the collection and a virtual tour of the exhibit are available through the Spiro and the Art of the Mississippian World website (spriomounds.com). The page also features a series of recorded Brown Bag lectures related to the Spiro exhibit, including “Adventures of the Mound Boys: The Looting of Craig Mound and WPA Archaeology” by Dr. Amanda Regnier (Oklahoma Archeological Survey) and “The Arkansas Valley Traditions of Spiro” by Dr. Patrick Livingood (University of Oklahoma).
(Background photo courtesy of the Spiro Exhibit at spiromounds.com)
A short introduction to the exhibit currently on display at the National Cowboy & Western Heritage Museum.
Displays highlighting five Mississippian ceremonial centers in Alabama, Georgia, Illinois, and Oklahoma.
Digital recreation of the Spiro archaeological site in southeastern Oklahoma.
(Background photo courtesy of Julie Beynon Burnett/Shutterstock.com. Spiro Aerial. Herb Roe. CC BY 2.0. )
17
18
"Everything Belongs" by Erin Shaw (Chickasaw) is currently on display in the exhibit.
Chase Earles (Caddo) and Starr Hardridge (Muscogee) collaborated on the "Everlasting Fire Plate," acrylic and plaster on ceramic.
(Background photo courtesy of Julie Beynon Burnett/Shutterstock.com. Images courtesy of Dealney Cooley.)
Barry served as CEO of economic development corporations for over 20 years. He has been directly involved in national committees and local organizations that served in protecting military installations and expanding missions that serve military families. His photography hobby began at the age of 12, and as a published photographer, he donates his art to support nonprofit organizations. He currently resides near Lawton where this photograph was taken.
19
A special thank you and congratulations to Barry Albrecht, our Spring issue cover photo contest winner!
20
Need a little more culture in your life? The Oklahoma Anthropological Society welcomes anyone with a passion for Oklahoma history and heritage.
(Photos courtesy of the Oklahoma Anthropological Society.)
Join the Oklahoma Anthropological Society!
THE OKLAHOMA ANTHROPOLOGICAL SOCIETY NEWS AND EVENTS
Please click on the flyer to enlarge and click again to minimize.
Contact okla.anthro.society@gmail.com with any questions about your membership!
Randy Utt
21
Randy Utt is a veteran teacher of 35 years. She is a graduate of Oklahoma Baptist University and holds a M.Ed. from Arizona State University. She currently teaches Gifted and Talented education with Putnam City Schools. In 2015, she traveled to Montana and was trained as a Project Archaeology Master Teacher. She has taught the curriculum to both colleagues and students. Randy is a life-long learner, enjoys traveling, hiking, and all things archaeology!
Bob Pickering
OKPAN FACES
Meet some of the folks on OKPAN's advisory board! We're pleased to introduce you to the talented crew that helps inform the work we do at OKPAN.
Dr. Robert B. Pickering is the founding director of the Museum Science and Management program at the University of Tulsa. In 1984, he received a PhD in Physical Anthropology from Northwestern University after earning his BA and MA degrees in Anthropology from Southern Illinois University-Carbondale. Pickering has severed as an educator, curator, and administrator in major American museums over the last 30 years. Dr. Pickering's professional career has combined anthropological research with the broader educational goals of museums.
~ Letters to the editor may be sent to ~ okpanquarterly@gmail.com
Please follow us on Facebook and Twitter and visit our website, okpan.org!
The Oklahoma Public Archaeology Network's Mission Statement: Bridging communities with a passion for the past through public education and outreach, research and teaching partnerships, and professional development opportunities.
OKPAN Quarterly Staff: Delaney Cooley - Editor-in-Chief
22