I am happy to welcome Teddy Stickney as my guest today. Teddy has been recording rock art in Texas for almost 25 years and helped develop the early guidelines for this task.
Thanks for being with us today, Teddy. How did you first become interested in rock art? I became aware of rock art when I was about 6 years old. There was a large Navajo kachina incised in the sand stone wall in a canyon across the San Juan river from my Dad’s property in New Mexico.
You are an official archaeology steward for the Texas Historical Commission.
What does that entail? I’ve been a volunteer steward for my area in West Texas for 21 years. Stewards monitor archaeological resources for the THC. For example, the THC may want a certain area to be surveyed for archaeological evidence. We volunteer to investigate these sites. We also keep an eye on construction sites that may be near archaeological resources, and try to get to know any arrowhead collectors in the region. We act as additional eyes and eyes for the historical commission. There is so much territory to cover, they just can’t do it all.
I know you’ve been part of a number of field schools and recording projects. What are some of your most memorable ones? One of the best ones for me was during the Texas Archeological Society’s field school near Dolan Springs on the Devil’s River in 1989. The survey crews were out finding new rock art, so we concluded that we were going to have many more sessions of recording on this property. Our group formulated guidelines for recording that we used for at least the next 18 months during these sessions.
Have you done much travelling outside Texas as part of your rock art interest?
Before I got involved in Texas I had worked with Col. James Bain in New Mexico, who was the petroglyph curator for the Museum of New Mexico. I also worked with Jane Kolber who ran rock art field schools in Arizona and did some work in Utah. So I had had some experience with recording rock art before the field in 1989. Also Paul Steed, who wrote The Rock Art of Chaco Canyon (1980), was in the rock art crew for the 1989 field school. Paul had world experience in photographing.
Is there any particular type of rock art you are especially interested in? I don’t think there is any type of rock art that I like better than another. I think all of it is very important because it is record of the culture. Rock art tells a story of the activities of the culture, the people’s daily routine, the animals around them, and so on.
Tell us about any mishaps or adventures you’ve had in your rock art exploration.
Well, one time we were camping in the Texas Panhandle in March, and it was so cold the water in the coffee pot froze. Then there was walking the high ledge to Curly Tail Panther shelter overlooking the Devil’s River in the Lower Pecos. The bad part was that once I got there, I realized I had to walk it again to get out! Then there’s hiking in a rough canyon of Big Bend State Park with heavy backpacks searching for a site in 105 temperatures. Once I walked about six miles on a very worn trail near the Rio Grande and found a recent camp site with a fire pit and modern trash. I figure it was a trail used by illegal immigrants, but I didn’t see anybody.
What are some of the big questions that still interest you about rock art? I would love to talk with one of the artists that painted or incised art on a wall. I’d love to hear their thoughts on their art. What did the site location mean to them? I’m interested in how their mixed their paint and managed all the painting. Did one person do it or was it done as a group?
What advice would you give someone who wanted to get involved in archaeology or learning about rock art? Join the Texas Archeological Society, participate in a field school, and research rock art on the internet.