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| Errett Callahan (b. December 17, 1937) is an American archaeologist, flintknapper, and pioneer in the fields of experimental archaeology and lithic replication studies. |
UNDERSTANDING DR. ERRETT CALLAHAN’S BRAIN, HIS GROUND BREAKING CONTRIBUTIONS
BY RAY HARWOOD
“Over days I’ve searched for errors – or something left out – I am at a loss”….J.B. Sollberger
“Yea he was genius, but he was a bad ass.”..Me
“life is the journey not the destination” ...EC
“life is the journey not the destination” ...EC
Intro:
In 1979 a family member gifted me a newly released book by
astrophysicist, Carl Sagan. Being largely reading impaired, it took me months
to read through it, but when you read something slowly and intently, you
remember what you read. Sagan is now part of the cosmos he loved so well, but can
be seen in his TV series of the same name on Netflix and YouTube. In the afore
mentioned book Sagan, pays homage to
French anthropologist Pau1 Broca
(1824-1880) whom discovered among other things, different functions come from,
or are assigned to, different parts of the brain, including flintknapping. Sagan contemplated “If we don’t destroy
ourselves, most of us will be around for the answers” , as the 1970s were alive
with new science and discoveries. Oddly, we managed not to destroy ourselves
but perhaps we backed stepped a great deal on science. Archaeology went from a
noble scientific endeavor to a business (Cultural Resource Management) and what
was once a useful tool of experimental archaeology(knapping) became an artistic
endeavor aimed mostly at extracting funds from collectors whom were left
without a source for obtaining collectors’ items by way of an array of new laws
protecting artifacts. Academic knappers
from the 1970s were also caught up in the exhilarating time when we were
experiencing what Sagan called “the time which we pass from ignorance to
knowledge”. It was this fertile ground that produced an amazing array of
flintknappers. The 1970s knappers were truly ground breakers, as well as rock
breakers! The concepts that they brain stormed, discovered or pried from the
past are all taken for granite today. Weather
it was searching for early Americans or debating Calico there were hot debates
all over the board. Knap-ins were not sales booths set up like some stone age
swap meet but places where craftsmen debated deep thought provoking issues that
was locked up inside the stone. One of these knapping pioneers of the 1970s was
Dr. Errett Callahan. With my pea size brain I will make an attempt to reveal, in
some cases unravel, some of the massive
contributions that emanated from this perplexing individual.
Becoming Callahan:
I could literally write volumes on the complexity of Errett
Callahan the man, his art and his research, but alas I will give the substance
and give you a hunger to do more research on your own, he has penned dozens of
books and over 150 research articles He considered himself a reconstructive
archaeologist with over 50 years’ experience in all aspects of flintknapping.
He was a true pioneer in the art and science of knapping. He was a thoughtful
and thought provoking individual, and highly educated. In 1973 he received an
advanced degree from Virginia Commonwealth University and his first PhD in 1978.
At home in an Igloo teaching Eskimos their own lost arts or in the world’s
Universities he was always an esteemed and consummate professional. In 1990 Errett was on an Arctic odyssey teaching 200 Inuit Eskimos on
Belcher Islands in Hudsen Bay, what they had forgotten. He was given an
honorary PhD for his many Danish
studies It was as he said “life
is the journey not the destination”
and he always paid 100% attention to every detail. He was a hard task master to his students, but he held himself to an even higher discipline. He said what was on his mind, and it was a lot, some got peeved at him, some even threatened him. It was funny, sitting by the camp fire and Errett was discussing another knapper that had threatened to “kick his ass” , given the image I could see flickering in the flames I had to laugh, he was at least six feet, had giant biceps, the eyes of a wolf and I’d seen him lift lithic boulders of massive size, he could have “kicked all their fat asses” and all at the same time! He would regularly bench press 250 pounds and was capable of multitudes of pull-ups and what not. He was a master bowyer and archer, and even won first place in atlatl in the 1975 Pennsylvania Society of Archaeology he won first place in a massive atlatl contest. Yea he was genius, but he was a bad ass.
and he always paid 100% attention to every detail. He was a hard task master to his students, but he held himself to an even higher discipline. He said what was on his mind, and it was a lot, some got peeved at him, some even threatened him. It was funny, sitting by the camp fire and Errett was discussing another knapper that had threatened to “kick his ass” , given the image I could see flickering in the flames I had to laugh, he was at least six feet, had giant biceps, the eyes of a wolf and I’d seen him lift lithic boulders of massive size, he could have “kicked all their fat asses” and all at the same time! He would regularly bench press 250 pounds and was capable of multitudes of pull-ups and what not. He was a master bowyer and archer, and even won first place in atlatl in the 1975 Pennsylvania Society of Archaeology he won first place in a massive atlatl contest. Yea he was genius, but he was a bad ass.
Callahan was always interested in wilderness skills. Edar
Rice Burrough’s Tarzan character always fascinated him. The book unleashed
Errett’s imagination. He made his first bow when he was 5 years old. He has now
made over 100 bows from long bows to the most advanced laminated recurve. As a teen he round the woods with his
homemade bows and arrows with stone points. In the 1960s Errett ended up in
Africa for A year where he visited many famous archaeology sites and living in
the wilderness. It was back in 1956, just out of high school, he spend the
summer in Yellowstone working at the general store. Here he was exposed to
various point types and had access to obsidian. He figured out the basics of
pressure flaking on his own and didn’t meet another knapper for another 10
years.
In college, a young Errett was assigned to escort French knapper Francois Bordes on a demo for the Leaky Foundation. Then in 1977 Bordes spent 4 days knapping in Richmond, he was a master of percussion and Errett was hanging on every word and strike.
Armed with his new found percussion mythologies Errett’s endocrinal capacities began to work overtime. His major contributions are no less than the history of modern knapping encapsulated in one man’s story, presented in no particular order of development or importance:
"Errett Callahan was born in Lynchburg, Virginia on December 17, 1937. Callahan’s interest in the outdoors and Native American lifeways began quite early on. As a boy Callahan was a member of the Boy Scouts of America and it was as a Boy Scout that he was first exposed to the skills and techniques that the Native Americans used to survive in the outdoors.[1] His father, who was also his Scoutmaster, played a large role in this, not only imparting his technical knowledge, but also instilling a sense of self-reliance and independence that would shape Errett’s outlook his entire life.
Callahan attended Hampden-Sydney College in Hampden-Sydney, Virginia from 1956 to 1960. While at Hampden-Sydney Callahan majored in French to better prepare himself for the missionary work in West Africa he hoped to do after graduation.[1] Callahan became a free-lance artist and went instead to East Africa in 1965 where English was readily spoken. He returned to the United States a year later in 1966, where he painted landscapes for three years and then taught art at a prep school for another two."
In college, a young Errett was assigned to escort French knapper Francois Bordes on a demo for the Leaky Foundation. Then in 1977 Bordes spent 4 days knapping in Richmond, he was a master of percussion and Errett was hanging on every word and strike.
Background (Excerpt from Callahan's catalog, "Piltdown Productions Catalog #5" p.4 - 6, 1999)
"I started knapping in 1956 - not counting a few slate pieces I knapped out in 1950 - and have been at it without let-up ever since. During these past 42 years, I have produced, as of August 1998, 9049 stone tools, all duly signed and recorded. I was raised on quartzite and the tougher cherts. I didn't work obsidian much until the early 1980s.
"I started knapping in 1956 - not counting a few slate pieces I knapped out in 1950 - and have been at it without let-up ever since. During these past 42 years, I have produced, as of August 1998, 9049 stone tools, all duly signed and recorded. I was raised on quartzite and the tougher cherts. I didn't work obsidian much until the early 1980s.
I made my first hafted stone knife in 1966. Knife production was occasional thereafter until 1984, when I started obsidian knife production in a big way. Since 1984, I have produced 860 stone knives, all duly signed and documented. (I make and sell about 50-60 knives a year. That's about one knife a week. But I spend 1-2 months on my big showpieces.) Today, knife production comprises the vast majority of my stone work; I'm considered a halftime maker. (See Below.)
I knap 2 - 2 1/2 hours a day and have done so for decades. (Between 1990 and 1998, I knapped a measured average of 2.2 hours a day. Range 1.8 - 2.7 hours.). I love flintknapping.
The Importance of Reputation
In his article, "So You Want to Be a Knifemaker?" (BLADE, June '89:30...77), Bernard Levine notes that of the three factors which most influence sales - design, craftsmanship, and reputation - the most important is reputation. Yes, the design must be sound and the craftsmanship excellent, but, among knife collectors, it's your name which is taken as the best indication of a sound investment. That is, one's reputation, ethical stand, and professionalism must be above reproach. So what I'd like to do here is to introduce myself, not in order to toot my own horn, but so you can get to know me a little better, to show you that I mean business, and to assure you of that sound investment.
In his article, "So You Want to Be a Knifemaker?" (BLADE, June '89:30...77), Bernard Levine notes that of the three factors which most influence sales - design, craftsmanship, and reputation - the most important is reputation. Yes, the design must be sound and the craftsmanship excellent, but, among knife collectors, it's your name which is taken as the best indication of a sound investment. That is, one's reputation, ethical stand, and professionalism must be above reproach. So what I'd like to do here is to introduce myself, not in order to toot my own horn, but so you can get to know me a little better, to show you that I mean business, and to assure you of that sound investment.
Mentors
I'd like to say I am self-taught, for I worked completely alone and without reading any instructional material for the first 10 years. My only guides were the silent ancient original artifacts. But since then, though I did not attend their classes (few taught), I've sat down and had intensive, hands-on instruction from the Master-level knappers - Don Crabtree, Gene Titmus, Francois Bordes, J. B. Sollberger, and Jacques Pelegrin. And that's instruction. And I've read practically everything in and out of print on the subject. And that's instruction. So I owe a debt of gratitude and thanks to these, my mentors. (I've also seen hundreds of other knappers work and learned countless bits of information from them. That's learning too.)
I'd like to say I am self-taught, for I worked completely alone and without reading any instructional material for the first 10 years. My only guides were the silent ancient original artifacts. But since then, though I did not attend their classes (few taught), I've sat down and had intensive, hands-on instruction from the Master-level knappers - Don Crabtree, Gene Titmus, Francois Bordes, J. B. Sollberger, and Jacques Pelegrin. And that's instruction. And I've read practically everything in and out of print on the subject. And that's instruction. So I owe a debt of gratitude and thanks to these, my mentors. (I've also seen hundreds of other knappers work and learned countless bits of information from them. That's learning too.)
TRADITIONAL MENTORING
Go to a teacher. Study under him. Take his classes, if possible. If not, then read his works, visit with him, write to him, talk to him. Listen. Learn. Consult with him on future projects and publications. Stay in touch. Then thereafter give him credit for helping you on your way.
Go to a teacher. Study under him. Take his classes, if possible. If not, then read his works, visit with him, write to him, talk to him. Listen. Learn. Consult with him on future projects and publications. Stay in touch. Then thereafter give him credit for helping you on your way.
MENTORING IN THE 90S
Being aware of a teacher far ahead of you, do your utmost to take a shortcut to get ahead of him. Study his work carefully; but either have no direct contact with him or take his courses and put on a front of appreciation. Try to get into print in his specialty before him. Then when you make your tiny mark, make little or no mention of his influence, give him little credit. EC
Being aware of a teacher far ahead of you, do your utmost to take a shortcut to get ahead of him. Study his work carefully; but either have no direct contact with him or take his courses and put on a front of appreciation. Try to get into print in his specialty before him. Then when you make your tiny mark, make little or no mention of his influence, give him little credit. EC
Reinventing the Wheel
Those first 10 years were a real struggle. I had to work it all out by trial and error. I didn't even know what the questions were, much less the answers. Sometimes I'd find myself banging away for years, making one mistake after the other, trying to isolate what causes what. As slowly as evolution itself, I eventually sorted most of it out.
Those first 10 years were a real struggle. I had to work it all out by trial and error. I didn't even know what the questions were, much less the answers. Sometimes I'd find myself banging away for years, making one mistake after the other, trying to isolate what causes what. As slowly as evolution itself, I eventually sorted most of it out.
All in all, I'd say I spent 20 years working my way through the Paleolithic, Paleo-Indian, Archaic, and Woodland levels and another five years working through the Mesolithic - all the while voluntarily restricting myself to replicas of ancient forms. This was my basic training and excellent discipline it was.
During the last 20 years I have been working my way through the complex Neolithic levels, finally breaking through into the unexplored Post-Neolithic territory shown herein. These latter years have also been a real struggle, for once again I've had little to guide me. What do you use for guidance when you're trying to break a new trail into unexplored territory? - Only intuition.
But I don't forget to check my backtrail to see how others are coming along. That's why I offer my workshops. (My students are now learning in one week what it took me the first 10 years to learn on my own.) And that's why I founded the Society of Primitive Technology in l989 and served as President of the Board from 1989-1996.(See Tribute by Steve Watts in SPT Bulletin #14, in 1997.)
Education and its Relevance to Knife-making
That MA, MFA and PhD after my name do indeed relate to knife-making, as Steve Shackleford alludes.
That MA, MFA and PhD after my name do indeed relate to knife-making, as Steve Shackleford alludes.
"Perhaps nowhere in the business of sharp edges does one's background prepare him so well for his livelihood as does that of obsidian knife-maker Errett Callahan." - Steve Shackleford, Editor, BLADE Magazine SE/OC '87:20.
This means that I have a master's and a doctorate in anthropology (with emphasis in lithic technology and experimental archeology respectively) and a masters in Fine Arts. (My Master's Thesis, THE BASICS, is still a best seller after 20 years and four printings. It's the basics of instruction in my workshops.) In 1992, I was awarded an Honorary Doctorate from Uppsala University in Sweden for my work on the Mesolithic and Neolithic there. Thus I am now on the faculty of Uppsala University, Archeology Department.
This means that I have a master's and a doctorate in anthropology (with emphasis in lithic technology and experimental archeology respectively) and a masters in Fine Arts. (My Master's Thesis, THE BASICS, is still a best seller after 20 years and four printings. It's the basics of instruction in my workshops.) In 1992, I was awarded an Honorary Doctorate from Uppsala University in Sweden for my work on the Mesolithic and Neolithic there. Thus I am now on the faculty of Uppsala University, Archeology Department.
These degrees may not be responsible for my craftsmanship but they have indeed forced me to think hard about design, about historical context, and about field testing my products. Throughout the 1970s, I pioneered the field of "Living Archaeology, conducting subsistence projects in which participants lived off the land for from two to nine weeks under primitive conditions. We used stone knives and other primitive tools exclusively, while testing certain archaeological hypotheses. When your life and very material comfort depend exclusively upon your stone tools, you learn a few things about function, design, and craftsmanship. So when I say that my knives are functional, I think I know what I am talking about. The knives shown in my catalog are the culmination of all that experience".
Armed with his new found percussion mythologies Errett’s endocrinal capacities began to work overtime. His major contributions are no less than the history of modern knapping encapsulated in one man’s story, presented in no particular order of development or importance:
Biface reduct
1 Biface reduction stages stages.
2. Lithic grade scale.
3. Nature of flake scars and mapping /drawing .
4. Replication vs simulation/ signing your work.
5. Invented “ living archaeology”
6. Quantitative analysis width/thickness ratio.
7. Center line plane, platform location –predictable flakes
and edge angle analysis.
8. Categorizing the learning curve.
9. Launched “Flintknapper’s Exchange”
10. Pioneered patterned flaked knives, lapidary knapping.
11. Pioneered Obsidian surgical blade industry.
12. Ishi notch
methods.
To understand Callahan ‘s
the contributions to experimental archaeology, traditional
archery, primitive skills and flintknapping, you have to understand the
communities when these things were
evolving. I came into these worlds at
the end of the 1970s in California. The
70s were fueled by academic research into these areas and a post hippie
appreciation for Native American arts and crafts and life styles. It has always been my perspective that
Callahan came out of an extremely fertile lithic soil. Errett had tapped into flint knapping as
part of primitive skills rage. He was
the team leader in the now historic project “the Pamunkey Village Experiment”.
This involved building a Pamunky Indian house and mini village to the ancient
Pamunky Indians of Virginia. The project involved building the structures with
stone tools and natural local materials. Errett and his student helpers did and
excellent job . It was so successful that he was asked to go to Denmark and
repeat a similar “living archaeology “project.
In 1992 he was awarded an honorary PhD in archaeology from the
University of Uppsala, Sweden.
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| ERRETT CALLAHAN WITH DANISH DAGGER (RAY HARWOOD) |
Errett Callahan was cofounder of the Old Rag Reports, original
Flintknapper’s Exchange as well as president of the Society of Primitive
Technology for many years . The Society is an international organization
devoted to the preservation of a wide range of primitive technologies. The SPT
preserves and promotes this knowledge principally by means of a remarkable
magazine, the Bulletin of Primitive Technology.
Photo2
Crabtree Connection, Percussion Master:
One of those whom Callahan sought council was Don Crabtree (June
8, 1912 – November 16, 1980) was the one
that took flintknapping back from the shadows of time and brought it back. Don was known as “Dean of America
Flintknappers”.Callahan saw the potential and importance of Crabtree’s work and
he brought him into the fold early . Don
Crabtree started his quest into flintknapping when he was a boy in the Snake
river Valley area of southern Idaho. Eventually through trial and error he
rediscovered the preponderance of lithic technology known today, also the
associated vocabulary. Thermal alteration of lithic materials, Blade core technologies,
pattern flaking, Clovis and Folsom fluting methodologies. Crabtree was on the
forefront of the 1970s academic flintknapping revolution. He published a wealth
of information in both text and film 4. Callahan and Crabtree stayed in close friendship
and research associates until Crabtree’s death. Errett and Don both have the
distinction of having had major surgery with obsidian tools they themselves
crafted ..Callahan was influenced quite
a bit Bordes in France, whom was friends
with Crabtree, at the same time Errett had been reading Don’s work. Errett was
fascinated by Crabtree, they finally met
in Calgary in 1974 and Crabtree gradually became a heavy influence on Errett’s
knapping.
Titmus Lace
Another Idaho master at the time was Crabtree’s friend,
Gene Titmus. Titmus influenced Errett a great deal in his notching and
serrating techniques.
Photo 3
The Texas Clovis Connection, Sollberger:
In Texas, J.B Sollberger was a huge influence, out of
Texas, and as Callahan himself had
become very influential through the original “Flintknapper’s Exchange”. Sollberger and Callahan’s
friendship is legendary in the cloudy distancing of time.
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| J.B. SOLLBERGER, JEFFERY FLENNIKEN, GENE TITMUS, ERRETT CALLAHAN (CLAY SINGER) |
J.B. Sollberger
,1914-1995 . The body (the theme of which should be the answer to one
simple question J.B. Sollberger, of Dallas, Texas. Sollberger was a true
flintknapping pioneer and a legend in his time.Not only was Sollberger a master
knapper, he was truly a gentleman and humble as well. He was very analytical
with his theoretical papers and articles being the best in the field. His
literary works were of the highest quality where he published in many journals
including American Antiquity, Lithic Technology, Flintknappers’ Exchange,
Flintknapping Digest, and The Emic Perspective. J.B. Sollberger started
flintknapping when he was middle aged, sometime around 1970. He always had a
curiosity about knapping but didn’t get the "lithic erg" until he
observed a scrapper making demonstration at the 1970 Dallas Archaeological
Society meetings. Below is a letter from J.B Sollberger to Errett dated 17th Sept. 1975.The
letter is in response to Sollberger’s reading of The Basics Of Biface Knapping In The Eastern Fluted Point Tradition.
“Errett,
your paper is undoubtedly no.1 No other work even approaches it in grading
stone for lithic fracture. No other paper gives hammer stone-billet data that
is even comparable. You quote others on
biface stages… but I can’t believe others lay out the knapping strategy as you
do. You plainly thrash Painter – but like a gentleman. You put in one volume more on the art of
flintknapping than can be found in a dozen other volumes. You generously honor others working in the
field- especially me. Even your “MYTH KILLING” is necessary and worthwhile. For
days I’ve searched for errors – or something left out – I am at a loss to find
such…Frankly, and not because of our
friendship, I can’t find anything to criticize.”
Though Callahan was close friends with both Sollberger and Crabtree
but the two masters oddly never met .Though they were contemporary, they only knew
of each other through their mutual involvement with Callahan and the original Flintknapper’s
Exchange. Idaho/ Californian Crabtree
and Texan J’B’ Sollberger spurred on two separate early schools of
thought. Crabtree the obsidian school and Sollberger the Texas flint school.
Both men rediscovering Their perspective paleo technologies. While Callahan was
influenced by other early knappers he had many others as well. He was a master,
but also a sponge like student soaking up even more from the old masters and
new revolutionary knappers.. Crabtree had many important students,
including academic knapper Jeff Fleniken, whom carried on
Crabtree’s famous lithics school.
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| ERRETT CALLAHAN WITH DANISH DAGGER CLASS (RAY HARWOOD) |
"Throughout the 1980s the fields of experimental archaeology and lithic replication studies endured some harsh criticisms in the United States from various members of the academic community (Callahan 1999). These criticisms stemmed mainly from unscrupulous flint knappers attempting to pass their modern reproductions off as authentic prehistoric stone tools. As a result of this many practitioners went into a kind of academic hiding, choosing not to publish the results of their ongoing research. While “in hiding” the field continued to grow with every new technique that was rediscovered and, as Callahan puts it in his article What is Experimental Archaeology? (1999), “the field was bursting at the seams for expression”. In an effort to bring together members of the community, Callahan invited ten of the leading primitive technology teachers and practitioners to theSchiele Museum of Natural History’s Center for Southeastern Native American Studies in Gastonia, North Carolina in November 1989 (Wescott 1999). It was at this gathering thatThe Society of Primitive Technology was founded to promote the practice and teaching of aboriginal skills, foster communication between teachers and practitioners, and to bring about a set of standards for the authenticity, quality and ethics of the research that was being carried out. The society, of which Callahan was president from its inception until he retired his post in 1996 (Watts 1997), publishes the biannual journal Bulletin of Primitive Technology which includes articles on a variety of experimental archaeological topics including but not limited to stone and bone tools, aboriginal structures, nutrition, clothing, and fire production."
Errett was one of a small handful of knappers in America
that were struggling with the Dannish dagger mystery technologies in the early 1970s-1980s
. He did decode them and have written a great deal on the subject. Many of his
students have picked up the torch and now it is not a rarity to see knappers
making Danish Daggers. Bo Madsen is Denmark's premier flintknapper, a grand-
master of the Danish art. Madison is an expert on Danish lithics and earned his
Ph.D. at Arhus in Jutland, Denmark. Madsen's dagger research influenced
Callahan greatly and this spread to America and in this era many knappers were
attempting dagger production: Waldorf, Patten,Stafford, Flenniken and Callahan
in particular. Errett spend a good deal of time in the 1970s in Scandinavia and
returned again in August of 1984. Madsen had moved over to the University of
Arhus and was teaching a talented portage, Peter Vemming Hansenat at the Universityof
Copenhagen, the two had co-wrote and published a paper on the replication of
square- sectioned axes. While in Scandinavia Callahan gave several
flintknapping workshops sponsored by the Archaeological Institute of the
University of Uppsala, Sweden, he was assisted by Bo Madsen and Dr. Debbie
Olausson. According to Callahan, the Copenhagen area has several talented
non-academic knappers as well Thorbjorn Peterson, Asel Jorgensen, and Soren
Moses.
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| ERRETT CALLAHAN WITH DANISH DAGGER (RAY HARWOOD) |
Some other overseas influences on Errett were Jacques Pelegrin
and Bo Madsen. Pelegrin had been Bordes number one student in France,working
under him for years. Pelgrin first trained with Bordes over six summers, for
three weeks each summer. Pelegrin worked with a hardwood billit, which he
learned to use from Bordes's friend inParis, Jacques Tixier, whom was one of
the Masters of flintworking of the time. Pelegrin became very good with
boxwood. Jacques Pelegrin's father built a cottage in the French woods, here
Jacques reflected on archaeological concepts and flintknapping. At this time,
in the 1970s, Pilegrin was writing a bit back and forth to Master Don Crabtree
in the USA and Jacques had begun to read and interpret Crabtree's publications.
Pelegrin did public flintknapping demonstations in the Archeodrome, which is on
the main road between Beaune and Lyon, France. He is concidered one of the best
flintknappers in the world. Pelegrin and Bordes learned English together and
spend years flintknapping together and learning, master and student became
knapping partners. Jacques Pelgrin went through almost all the Paleolthic
French technologies while learning his craft- Levallois, blade making,
different kinds of Paleolithic tools, different kinds of flint cores, and leave
points, including Solutrean pressure material. It is an interesting fact that
Pelegrin learned to flintknap standing up and only changes after his first
exposure to other knappers and text.
"In 1972 Errett received a call from Hans-Ole Hansen, founder of the former Lejre Experimental Centre, nowadays Land of legends (Sagnlandet Lejre), in Lejre, Denmark.[1]Hansen had founded the center in the 1960s as an experiment in Denmark’s past. Until Hansen contacted Callahan, the center had dealt mainly with Denmark’s Iron Age. With Callahan’s help, the center pushed back the time periods represented to the Neolithic and Mesolithic. Callahan first traveled to Denmark in 1979, where he conducted a conference that dealt specifically with the archaeology of the area. At the conference he set up a small knapping area where he engaged Danish archaeologists and raised awareness in experimental lithic technology. He returned to Denmark in 1981, this time spending seven months at the Lejre Experimental Centre conducting research into the techniques used to produce the stone tool kit of the Neolithic Danes, including the Neolithic Danish dagger, a highly advanced stone knife originally made to copy the forms of theBronze daggers being produced in northern and central Europe at that time. Through his research Callahan was the first experimental archaeologist able to reproduce the daggers using traditional techniques. He is now in the process of compiling his work done in Denmark. The research will be published in his forthcoming book.
Along with his work in Denmark, Callahan has also been part of ongoing research into the Swedish Mesolithic and Neolithic as well. His replication study of Middle Sweden’s Mesolithic and Neolithic quartz and quartzite technology and usage, published in An Evaluation of the Lithic Technology in Middle Sweden During the Mesolithic and Neolithic(1987), shed new light on several long standing questions, including population migration, microblade technology, and knapping efficiency vs. waste, faced by Swedish archaeologists who studied the lithic technologies of the area. As a result of his research in Sweden he was awarded an Honorary Doctorate and faculty position in the archaeology department at Uppsala University in Uppsala, Sweden (Watts 1997)."
Unlocking FOG Knives
Photo 5
In later years
Errett's biggest influence was Richard Warren. Richard was completely
underground and out of contact for most of his knapping life, he became a
lapidary knapper that had an exclusive clientele. Richard Warren's work was
incredibly precise, much more than anyone at the time thought was possible.
Errett had to reconstruct the Warren technique entirely from scratch. Richard
Warren showed Errett one important thing- perfection is possible- andthat's all
he needed to know. Richard Warren died a few years ago,Warren's curiosity was
to know what could be done with flint if someone picks up where the best stone
age knappers abandoned thecraft for metal technology or extinction. In short
Richard's quest was for knapping for the sake of art-perfection, by any
meanspossible. Richard used the term "Teleolithics" to describe what
wenow call lapidary knapping, flake over grinding (lap-knapping). After Hannus'
colon operation, in 1983, for which Errett made the obsidian blades used in the
surgery and observed the entire operation, two of Callahan's students decided
to start a company with him to market hese blades to the medical community. As Crabtree before him Callahan was the only
living flintknapper with the confidence to have major surgery done with stone
tools he crafted himself. According to the news release on December 9th,
1998, Errett Callahan had major surgery done to repair his right rotator cuff
tendon. The two hour landmark operation was done by Dr. Jay Hopkins. The one who was supposed to do the marketing
the obsidian blades for the new company dropped out and the business became
" Aztecnics". Errett markets his obsidian art through
"Piltdown Productions" in Virginia. Callahan is best known for his
published work The Basics Of Biface Knapping In The Eastern Fluted Point
Tradition A Manual For Flintknappers And Lithic Analysts. This was published in
Archaeology Of North America, . He has also published many other books and
articles. Including: "Flintknappers' exchange" (the original
journal), "The Emic Perspective" and "Flintknapping
Digest". The Basics Of Biface knapping In The Eastern Fluted Point
Tradition was the single most influential lithic book ever written. The
Callahan biface book is Vol. 7, No. 1 of the journal Archaeology Of Eastern
North America. The book introduced mahe one who was supposed to do the
marketing dropped out and little became of " Aztecnics”. Errett markets
his obsidian art through "Piltdown Productions" in Virginia. Callahan
is best known for his published work The Basics Of Biface Knapping In The
Eastern Fluted Point Tradition A Manual For Flintknappers And Lithic Analysts.
This was published in Archaeology Of North America, . He has also published
many other books and articles. Including: "Flintknappers' exchange"
(the original journal), "The Emic Perspective" and
"Flintknapping Digest". The Basics Of Biface knapping In The Eastern
Fluted Point Tradition was the single most influential lithic book ever
written. The Callahan biface book is Vol. 7, No. 1 of the journal Archaeology Of
Eastern North America. The book introduced many new techniques for the study of
stone tools, for standard and experimental archaeology. The concepts, "the
lithic grade scale, and biface staging, are widely used in flintknapping
circles to the point the most new knappers didn't even know these concepts were
fairly new and largely discovered by
Callahan. The book introduced many new techniques for the study of stone
tools, and standard for knapping and
experimental archaeology. The concepts are widely used in flintknapping circles
to the point , most new knappers didn’t even know these concepts were fairly
new and Callahan’s research models.
Awards
For Obsidian Knives By
Errett Callahan
_____________________________________
Errett Callahan
_____________________________________
| 1989 - Judges' Choice Award BEST PRESENTATION Chesapeake Knife Show, Baltimore, MD 1994 - WOODEN SWORD AWARD by Ken Warner, Editor, KNIVES 94 (for contribution to field) |  |
| 1996 - BEST FANTASY KNIFE Southeastern Custom Knife Show Winston-Salem, NC 1997 - BEST HIGH ART KNIFE Shenandoah Valley Knife Show Harrisonburg, VA |  |
| 1998 - BEST HIGH ART KNIFE Shenandoah Valley Knife Show Harrisonburg, VA |  |
| 1998 - BEST FANTASY KNIFE Southeastern Custom Knife Show Winston-Salem, NC 1999 - BEST HIGH ART KNIFE Shenandoah Valley Knife Show Harrisonburg, VA |  |
| 1999 - BEST FANTASY KNIFE Southeastern Custom Knife Show Winston-Salem, NC |  |
| 2000 - BEST HIGH ART KNIFE Shenandoah Valley Knife Show Harrisonburg, VA |  |
| 2000 - BEST FANTASY KNIFE Southeastern Custom Knife Show Winston-Salem , NC | Parasarolophus (Not Pictured) |
| 2001 - BEST MINIATURE AWARD North Carolina Custom Knife Show Winston-Salem , NC | (Not Pictured) |
Piltdown productions
"Upon his return from Northern Europe in 1981 Callahan founded Piltdown Productions as a means to sell his many publications, supplies, and instructional materials, as well as the stone tools and knives he produced. He first used the name, which he took from the infamous Piltdown Man hoax of the early 1900s in which British collector Charles Dawsonattempted to pass off the jawbone of an orangutan and fragments of a human skull as an undiscovered human ancestor found in a gravel quarry in Piltdown, England. Callahan first used the Piltdown name in 1974 in a comic strip he drew for Experimental Archaeology Papers, or A.P.E..[1] In the comic strip he presented a humorous look at the life of acaveman. Callahan wrote two more installments of the comic for the A.P.E. and then for the Newsletter of Experimental Archaeology. During this period, he was also producing documentary and instructional films dealing with various aspects of primitive technology as well as beginner flint knapping kits and tool reproductions that he was sold to universities, colleges, and hobbyists around the country. Callahan has produced several catalog editions that contain not only his stone tool and instructional materials but a good deal of his philosophy and ethical stances towards the field of flint knapping.[1]
Two of the more unusual items to be found in Callahan’s Piltdown Productions inventory are his nontraditional obsidian knives and his obsidian scalpels. The nontraditional obsidian knives, which Callahan began producing in quantities in 1984, are made with the same traditional tools as are his prehistoric replications, but in a variety of shapes and sizes that are not based on any known prehistoric typology (Callahan 1999). Callahan originally began his work on nontraditional forms out of a desire to break out of the restrictions of traditional stone knife reproductions. His knives have won many awards and have often been featured in Blade magazine.
While his nontraditional knives were a way for Callahan to step outside the restrictions of the prehistoric typologies, his obsidian scalpels were a way for him to provide a service to mankind.[1] The technology to make scalpel blades out of smoky obsidian, a volcanic glass that allows for the sharpest blade production, was first developed by Don Crabtree in the late 1970s. The blades, which have edges only a few molecules thick, are 100 to 500 times sharper than the traditional surgical steel scalpels (The University Record 1997). These ultra-sharp edges produce less scarring and tissue damage and speed the healing process. Though they are not popular in the medical field, Callahan’s obsidian scalpels have been used with great success in hundreds of operations, many performed by doctors and scientists at the University of Michigan Health System who have done extensive research using scalpels produced by Callahan."
Photo 6
The lithic grade scale was invented by Callahan for several
reasons, mostly, I feel, to create a desirable point of reference for lithic
quality and workability. The chart is based on a numerical system which starts
with opal, the easiest to chip, and ends with felsite, the most difficult.
Nearly every lithic analyst, flintknapper and archaeologist uses this as a
standard reference in reports, papers, and articles. These new techniques for
the study of stone tools, are now a standard and experimental archaeology. The
concepts, "the lithic grade scale, and biface staging, are widely used in
flintknapping circles to the point the most new knappers didn't even know these
concepts were fairly new and again discovered
largely by Callahan.
The stages of biface knapping are conceptual as the lithic
reduction is a continuum, :
"Other stage analyses have focused on specific end products or specific knapping strategies. Biface reduction was analyzed by Errett Callahan (1979) in terms of seven stages: obtaining the blank, initial edging, primary thinning, secondary thinning, shaping to preform, finishing, and reworking/rejuvenation. Diagnostics for the stages were based on the cross-sectional shape of the tool, its width-to-thickness ratio, and its flake scar pattern. Less detailed stage distinctions were proposed for the associated debitage: indicators of relatively early-stage work included cortex, simple dorsal scar morphology, remnants of ventral flake bulbs on dorsal surfaces, and single-faceted platforms."
"Stage 1-
obtaining the blank: Obtaining the raw lithic material
Obtain a blank
{unmodified} piece of raw material. A blank -may be a spall-, irregular chunk,
or any other form suitable for the end product. Action may vary from simply
picking up a suitable piece to systematic flaking of a suitable spall from a
core. Edges may vary from thin and sharp to thick and squared.
Edging. Shape is irrelevant.
Stage 2 rough out:
Create a circumferential, roughly centered edge which is neither too sharp nor
too blunt {ideally between about 55-75}. Work should focus on the zone with
little or no attention being paid to the central zone, cross-section, or shape.
Shape and width-thickness ratios may vary in the extreme. The edge should end up being roughly centered
and bi-convex, without such concavities, convexities, steps, squared edges, or
other irregularities as would hinder successful execution in the next stage.
Stage 3- primary
thinning preform: Create a symmetrical hand
axe-like outline with generous ' lenticular cross-sections and a straight
and centered , bi-convex edge.
Width-thickness ratios should fall between roughly 3.00 and 4.00 while
edge-angles should fall between about
40- 60 degrees. Focus on the middle zone
without losing control of the outer zone . Principal flakes should generally
just contact or overlap in the middle
zone, except on thin pieces, and be without such concavities, convexities ,
steps, or other irregularities as would hinder
successful execution in the next stage.
Stage 4- secondary
thinning preform: Create a symmetrical outline with flattened, lenticular
cross-sections and a straight and centered, bi-convex edge. Thickness should gradually
diminish during reduction so that width-thickness ratios end up falling between
roughly 4.00 and 5.00 or more. Edge-angles should fall between about 25 and 45 degrees. Focus on the middle zone
without losing control of the outer zone.
Principle flakes should generally overlap, often considerably, in the
middle zone. Generalization of the final shape may start now and pattern flake
removals may be implemented. The resultant piece should be without significant
concavities, steps, or irregularities as would hinder successful execution in
the next stage.
Stage 5- shaping:
Final preform: Create a symmetrical, more-or-less parallel-sided outline (if
final shape is to be parallel-sided) of specific shape, with appropriately
flattened, lenticular cross-sections, and a straight and centered, bi-convex
edge. The outline and thickness should be within one set of principal flake
removals from the final product (i.e., with about 2-4 mm at either edge.)
Pattern flake removals may be employed, with flake terminations being
feathered. Principal flake scars in the middle zone may or may not overlap
those of the previous stage. Width-thickness ratios and edge-angles should be
about the same as on the final product, which may (or may not) be greater than
the secondary preform. Focus on the
middle zone while giving special attention to outer zone regularity. The
resultant piece should be without such concavities, convexity, steps, or
irregularities as would hinder successful execution in the next stage.
Stage 6- flaked implement:
Create an implement of specific, symmetrical shape, cross-sections,
width-thickness ratios, thickness, and contours with a particular flake removal
sequence and flake scar appearance, as appropriate to the type or anticipated
function. The edge should be more or
less straight but without final retouch and alignment, if needed. The focus
should be upon the outer zone, with the flake scars penetrating into the middle
zone as appropriate to the type or function. Fluting, if applicable, is done at this time.
Stage 7- Create a
finished implement, with edges and hafting elements being retouched as
appropriate to the type or anticipated function. Focus on the outer zone only
so as to create a sharp, very straight and centered edge, not prepared in
anticipation of another set of flake removals but for function. Execute basal
hafting or finishing elements such as notching, shouldering stitching, ect.
Lateral notching sequences if applicable, are applied at this time. Basal
abrasion may also be done now, as appropriate."
SEE ALSO: http://www.pugetsoundknappers.com/how_to/how_to_instruction/Percussion.htm
Learning Phases
Callahan actually modified this concept from a multitude of
experiences and research projects and studies. During Errett’s Virginia point
studies he attempted to evolve from an “Abbevillian” level of biface evolution
to an “Acheulean” level, he achieved nothing but a smaller and relatively
thicker Abbevillian like bifaces This was described by Cllahan as learning Phase “A.” In other words, as he worked on a
given biface, the piece evolved along the same cultural lines as lithic
technology in a Leaky or Darwinian scale. I now a lot of knappers do not
believe in human evolution, so I will say that as stone tools became more
complex, they were used for more complicated purpose and the stages of knapping
a biface mirrors the evolution of stone tools. These learning phases mirror
reduction stages and again mirror the evolution stages. I have found in my
wilderness journey that these same stages seem to fallow the natural sequences
of seasons and the human adaptations to these seasons. I will present in the next issue of F M .
The learning phases, individual development Phase “A”, when
billet flaking, platform preparation and near perpendicular, then bifaces
become narrow and thin at the same rate
learning phase “B” , a gradual improvement of biface thinning based on platform
perfecting and billet technique learning phase “C”. It was quite an amazing discovery – the
learning curve fallows the same large scale evolutionary path as the
archaeological record of stone tool development. The width thickness ratio,
that fallows the phases of developmental learning that Robert Patton and
Callahan had been using for descriptive purposes had been the key to stone tool
evolution.
Since 1987
Cliffside Workshops
HISTORIC POST, OFFER NO LONGER VALID
- - Teaching Ancient Skills, Traditional Values, and Self Reliance - -
Offering Classes in
FLINTKNAPPING ; PRIMITIVE TECHNOLOGY
Errett Callahan, Instructor
Testimonials
_____________________________
The Education of a Flintknapper
by Michael Frank, 2007
Smithsonian Museum of Natural History
Cliffside Teaching Assistant, 2007
| (4/6/13) Notice : Errett suffered two bad falls in 2012, resulting in debilitating spinal fractures which currently leave him unable to teach regular classes, though private sessions may still be arranged. However, he would enjoy giving occasional private lessons/coaching for a day or two at a time, any time of year, at your convenience. He misses teaching and invites your participation at Cliffside. (Write for an application. $100 / day.) Some coaching topics to consider: Squaring and de-squaring; Stepping out; Challenge pieces; Holding positions; Staging; the Basic four; Eccentric notching; Punching; just watching demos of topics of your choice; Hammerstones & billets, Etc., etc............... If you want to contact Errett for a possible private lesson, or to get on the mailing list for announcements, send your name and address to Errett.............. 2 Fredonia Avenue Lynchburg, Virginia 24503 |
" FLINTKNAPPING: Learn basic to advanced traditional flintknapping skills. Any skill level welcome. We take you wherever you are and push you upwards and onwards a bit. Learn how to make an arrowpoint from a flake by pressure alone; learn how to do percussion knife-making using traditional hand tools - hammerstones, and antler billets (no copper billets); learn the various stages of reduction in bifacing; witness a wide range of other skills - blademaking, punching, bipolar, stone axe making, square work, parallel flaking, etc. Obsidian is the primary stone used, but other flints are demonstrated as well. Instruction is not haphazard, but systematic, following guidelines in Callahan's BASICS manual. Proven results. Traditional knapping only.
Number of days - For your convenience: For all sessions, choose any number of days instruction, from Day 1 to Day 7, always starting on Saturday, the first day. This way there's no repetition and you may leave any day of the week. Spur of the moment add-ons are allowed, so long as we can manage the food. See page 7 for costs.
Errett's been overwhelmed a bit this winteer (2009) due to divorce and destruction of the kitchen & knapping shed from 2 winter storms. Restoration has turned the house & workshop inside out, but all should be back in order by the June session. He has a lot of catching up to do but do call if you have any questions.
This flyer & application are the same as the previous years except for the dates. (Am trying to save paper.)
Number of days - For your convenience: For all sessions, choose any number of days instruction, from Day 1 to Day 7, always starting on Saturday, the first day. This way there's no repetition and you may leave any day of the week. Spur of the moment add-ons are allowed, so long as we can manage the food. See page 7 for costs.
Errett's been overwhelmed a bit this winteer (2009) due to divorce and destruction of the kitchen & knapping shed from 2 winter storms. Restoration has turned the house & workshop inside out, but all should be back in order by the June session. He has a lot of catching up to do but do call if you have any questions.
This flyer & application are the same as the previous years except for the dates. (Am trying to save paper.)
PRIMITIVE TECHNOLOGY: Choose one topic and see it through to completion. Others may choose other topics so you could see a variety of skills taught and demonstrated. Choose one - flintknapping, bowmaking, arrow making, pottery, basketry, fiber technology, or stone axe making. Other topics by request. Feel free to practice other skills during "down time." Also, Artifact Illustration.
Number of days - For your convenience: For all sessions, choose any number of days instruction, from Day 1 to Day 7, always starting on Saturday, the first day. This way there's no repetition and you may leave any day of the week. Spur of the moment add-ons are allowed, so long as we can manage the food. See page 7 for costs.
Number of days - For your convenience: For all sessions, choose any number of days instruction, from Day 1 to Day 7, always starting on Saturday, the first day. This way there's no repetition and you may leave any day of the week. Spur of the moment add-ons are allowed, so long as we can manage the food. See page 7 for costs.
ARCHEOLOGISTS AND LITHIC ANALYSTS: Here is your chance to learn the "language" of flintknapping. Without an accurate understanding how can you interpret your findings correctly? Archeologist Zakariah Johnson says, "This type of study is essential for any lithics analyst wishing to go beyond static formal classification systems and appreciate the dynamic mental and mechanistic processes underlying past technology systems. Understanding the processes behind manufacturing helps put the leaves back on our currently bare family tree."
INSTRUCTION is one-on-one with plenty of personal consultation. All teaching takes place at Callahan's personal wooded home, Cliffside. His wife, Linda Abbey, handles meals, registration, and keeping the wheels running smoothly. During the evenings, students have the opportunity for campfire discussions or viewing of films and videos of relevant technologies. Students are encouraged to take advantage of Cliffside's large library and numerous recreation facilities. New in 1998 - outdoor lights and a sliding translucent roof over our knapping area. All in all, come prepared to get an education, not just training.
DR. ERRETT CALLAHAN is your principal instructor at Cliffside. He has an MA and Ph.D. in anthropology (lithic technology and experimental archeology); an MFA in fine arts (painting); an Honorary Ph.D. in archeology from Uppsala University, Sweden; is on the faculty of the Department of Archeology, Uppsala University; has had over 200 research papers published (mostly on lithic technology and other primitive technologies); is advisor to countless archeologists, lithic analysts, and flintknappers worldwide. Callahan has over 50 years experience flintknapping and over 50 years shooting the bow. He is Founder of the Society of Primitive Technology and President of the Board 1989-1996. In 2009 he celebrates his 22nd anniversary of teaching workshops at Cliffside. But Callahan has been teaching primitive skills every year since 1971, both here and abroad. During this time he has personally taught flintknapping to 998 students (as of 2006). Callahan is the teacher of teachers, having taught instructors and students from BOSS, Outward Bound, Pathways', Brown's, Riggs', Watts', Cheatham's, Worsham's, the Sherwood's, and dozens of other outdoor programs and nature centers. And he has taught almost all the Board Members of the SPT. About 50% of his students return year after year. Any and all ethical prehistorians are welcome at Cliffside.
Callahan regularly displayed his award-winning obsidian knives at knife shows from 1986-2005. He has now retired and spends his time writing his books on flintknapping and experimental archeology and upgrading his workshops. See his article in BLADE magazine - May, 1977: 16-19. He has won 11 top awards to date.
Beginners - don't let this intimidate you. Most of our students are beginners. In fact Callahan has specialized in clarifying the principles of various primitive technologies especially for beginners. Thus, in the 7 day courses, students learn in a week what it took Callahan 10 years to learn on his own. Nothing makes him happier than passing on his knowledge to his students.
Callahan regularly displayed his award-winning obsidian knives at knife shows from 1986-2005. He has now retired and spends his time writing his books on flintknapping and experimental archeology and upgrading his workshops. See his article in BLADE magazine - May, 1977: 16-19. He has won 11 top awards to date.
Beginners - don't let this intimidate you. Most of our students are beginners. In fact Callahan has specialized in clarifying the principles of various primitive technologies especially for beginners. Thus, in the 7 day courses, students learn in a week what it took Callahan 10 years to learn on his own. Nothing makes him happier than passing on his knowledge to his students.
TEACHING ASSISTANTS: A talented TA is available for most sessions to provide students with additional help. These TA positions, which are also apprenticeships, serve to train up-and-coming technologists in how to prepare for and run a workshop and in answering students' questions and interpreting our explanations. No, we are not turning our teaching over to assistants, but they will be here to help. TAs neither receive nor pay money, but food is free. Nor do you have to be an "expert" to apply. TA applications are hereby solicited - for classes over 6. We need TAs. So, if you have taken one of our workshops in the past and are interested in this opportunity, let us know. Write for details.
TAs in the past have included: David Smith, Sean Grace, Dan Stueber, Jack Cresson, Barry Keegan, Anthony Follari, Darrell Duggins, Greg Nunn, Scott Madden, Doug MacLeod, Mike Jacks, Jan Apel, Ed O'Neill, Mike Stafford, Mark Amon, and Doug Meyer.
TAs in the past have included: David Smith, Sean Grace, Dan Stueber, Jack Cresson, Barry Keegan, Anthony Follari, Darrell Duggins, Greg Nunn, Scott Madden, Doug MacLeod, Mike Jacks, Jan Apel, Ed O'Neill, Mike Stafford, Mark Amon, and Doug Meyer.
SCHOLARSHIPS: We offer one scholarship for a week-long workshop of your choice. This offer, which is competitive, is made possible by a generous gift from Bob Verrey, a former student, who believes in our mission. This scholarship is for a person in financial need and is independent of skill level. You must provide your own transportation. If you couldn't attend without this help, write for a scholarship application.
MATERIALS AND SUPPLIES: Students may bring their own tools and materials or purchase some from us. Your registration fee will cover the cost of obsidian and some other materials and tool rentals. But either way, you must have what's needed to attend. Requirements vary with session and topic. Lists will be sent to applicants.
LODGING: There is no charge for "camping out" under our covered porches or patio. We have army cots. Bring pillow and sleeping bag suitable for 20-40 degree nights in the fall and 50-80 degree nights in summer. No tents please. Or stay at a local motel at your own expense. A list will be sent.
MEALS: Food costs of $10/day are included in with tuition. Those who don't prefer our food may deduct this cost and bring their own or eat elsewhere (no place close). Veggies are welcome, but warn us well beforehand. Remember, meals are a high point at Cliffside.
TO REGISTER: Fill out the printable application form and send it in with half of your tuition. Application fee of $25 is refundable only if class is filled. The $25 fee covers our mountains of paperwork and mailings to you and reverts to your materials fee upon arrival, saving you the double cost. Paperwork costs money whether you follow through or not. Tuition is $75/day. To this add the $10/day food cost, and one-time $25 application fee. Our chart on the printable application form simplifies this and shows how much to send in with your 1st and 2nd payments. Second half of payment is due by deadline indicated (usually 1 month before session starts - we now give you two extra months to pay). Tuition is refunded if you drop out before the deadline, but is forfeited if you drop out after the deadline. If you are applying after deadline has passed, don't panic. If we have room, we'll still take you, but you must then send in the entire payment with your application. We'll return it if we're full or if we have to cancel class. Write or call if in doubt.
Applications received without payment will be put on hold until payment is received. If you fail to send in your 2nd payment by the deadline, your place will be forfeited without notice and your place will automatically go to next on list. We have a high demand for these courses so guard your position carefully. (Note: If you must forfeit, consider finding your own substitute and "selling" your spot to him. - Let us know if you do this.)
After you register, you will receive periodic mailings concerning how to prepare, what to bring, how to get here, a suggested reading list, lodging information, etc. Try to do your reading before you arrive, as there will be little time for reading after arrival. Plan on a great time. Please join us."
Applications received without payment will be put on hold until payment is received. If you fail to send in your 2nd payment by the deadline, your place will be forfeited without notice and your place will automatically go to next on list. We have a high demand for these courses so guard your position carefully. (Note: If you must forfeit, consider finding your own substitute and "selling" your spot to him. - Let us know if you do this.)
After you register, you will receive periodic mailings concerning how to prepare, what to bring, how to get here, a suggested reading list, lodging information, etc. Try to do your reading before you arrive, as there will be little time for reading after arrival. Plan on a great time. Please join us."
"Marie and I have stayed in some interesting hideaways over the years, but none more fun than yours. Alaska to Mexico, Maine to Georgia, Cliffside is 5 star..."
Senter and Marie Jackson
Senter and Marie Jackson
"Each time I have studied with Errett, I gain more than just a little training. More than any other aspect, I appreciate the willingness to share what has taken decades to distill into systems that work. At Cliffside, I also find a teacher not just willing to demonstrate skills, but one who encourages close observation of demonstrations. For me, close observation of this type facilitates the ability to transform knowledge into know-how. . . The demos . . . are given at whatever level the students' current abilities will allow them to understand.
Mark Amon
Mark Amon
"Thank you for unselfishly sharing your vast knowledge with me. I can assure you that any information you instilled in me will be passed on to my future students. I only hope I can do as good of a job as you have passing on traditions and values along with knowledge. I feel fortunate to now be both a student and friend of yours . . . . . During my Division 1 wrestling career at Ohio State University, I was coached by numerous Olympians and other World Class athletes . . . Errett Callahan, by far, is the greatest instructor of them all. He not only has a mastery over flintknapping and primitive skills as a whole, but he is a gifted teacher as well. Also to his credit, he is a man who takes time to discuss and pass down morals and values to his students, friends, and family, and lives by them as well . . . I am now extremely fortunate to be among those who consider him a role model, a teacher, and a friend."
William Schindler - Director, Center For Experimental Archeology
William Schindler - Director, Center For Experimental Archeology
"Your concern and patience with the people you are teaching is fantastic. You have a wonderful ability to make people feel confident about what they are doing. You make your lectures interesting and yet light and humorous. You can keep a person's attention for long periods of time with your easy manner of teaching..."
Rod Johnson
Rod Johnson
"Thank you all for opening your home to me and taking the time to teach, cook, and just talk around the fire. Errett, you are an inspiration to anyone doing primitive technology, and people that have not experienced you do not know what they have missed."
Doug Meyer
Doug Meyer
"Thank you for the help with my archery form. Before last week I was having trouble hitting the target . . . but now I have consistent groupings around the bull . . . After your knapping workshops, I can pick up a 10,000 year old stone tool and instantly feel the decisions of the maker . . . The cores are making instant sense."
Mike Frank, Smithsonian Museum
Mike Frank, Smithsonian Museum
"I just wanted to thank you again for the hospitality you extended this past week. I don't feel that I went to a class, but rather went to friends for the week (and learned more than I ever expected). The only thing that impressed me more than Errett's skills was the love I saw in your home. Melody is a very lucky girl to have parents such as you..."
Tom Laskowski
Tom Laskowski
"There are remarkable parallels between you and Heifitz. Heifitz played with matchless precision, yet somehow he endowed the music with a glow that leaves the listener wondering if he truly heard what his ears had beheld. So I remember your master class. Certainly the students of Heifitz. . . must have felt as I did-that I was witnessing greatness, and I was fortunate to have been present..."
Dr. Barbara Harkness"
Dr. Barbara Harkness"
For a thorough review of our Flintknapping workshop, see Chris Wallace's article, "Flintknapping Workshop," in KNIVES ILLUSTRATED, May 1996: 80-83. (We'll send you a copy if you'd like.)
Smithsonian Museum of Natural History
Cliffside Teaching Assistant, 2007
| AVERAGE AMERICAN FLINTNAPPER --------------------------------------------------------- 1 - ARCHEOLOGICAL KNOWLEDGE Aware of a few North American point types of generic shape of end product only. 2 - KNOWLEDGE OF MODERN FLINTKNAPPING Aware of a few modern knappers such as Waldorf, Blackwell and maybe a very few traditionalists such as Bradley, Nunn, and Callahan. 3 - TOOLS Copper billets Copper pressure flakers Rock saws Grinding machines Lever machines | CLIFFSIDE TRAINED KNAPPER ------------------------------------------------ Knowledge of two million some years of stone tool evolution world wide: hand-axes, blade cores and blades, choppers, flake cores and flake types, stone axes and adzes, microblades, Levallois, Neo-lithic tool technology, block-on-block, bipolar, and finally more recent point types through their correct preform stages according to their cultural background -- as shown through the archeological record. Aware of those experimental archeologists that rediscovered stone tool science, such as Crabtree, Sollberger, Bordes, Titmus, Tixier, Callahan, Bradley, Pelegrin, and others that went before them into legitimate flintknapping. Soft stone hammers Antler billets Hardwood billets Antler punches Antler and copper-tipped pressure flakers Ishi sticks with antler and wooden tips Natural abrading stones |
I met Errett in
1983, and we were largely pen pals ever since. He came to California on several
trips that included lithic workshops and similar endeavors. I was steeped in
the influence of the Wrightwood knap-in crowd and the influences of NARC. Clay
Singer at NARC was the one that introduced me to the works of Callahan via the
“Flintknapper’s Exchange” . When Errett
and I would meet up, I was usually in the company of one of my flintknapping buddies, Barney
DeSomone. Barney sums up some of Errett’s influence below:
Influence.
“I learned a lot from reading Errett's work on the Eastern
Fluted Point Tradition. That was seminal for a lot of early knappers out here.
I went to a seminar that Errett held at the Autry Museum back in the 80's along
with several Southern California knappers and archaeologists that was
inspirational. Seeing some of his highly refined points showed us what was
possible in the art of knapping. Errett has had a very big influence in the
knapping community”. Barney DeSimone
3/5/2016
D.C Waldorf of Branson, Missouri held Callahan’s research
in high regaurd and after reading The Basics of Biface Knapping he completely
revised is book in a Callahanian style. This book, showcasing many of
these ideas in layman’s terms, influenced
hundreds, if not thousands, Waldorf was one of the founding fathers of the
Missouri knapping style. When I was a kid I was very interested in arrowheads.
I used to find them once in a while when hunting with my dad and brother. Like
many folks dabbling in flintknapping I eventually came upon Waldorf'’s original
book, "Art of Flintknapping". T he books has sold many thousands of
copies and is considered a classic, before and with the changes..
D.C. and his wife Val took over my "Flintknapping
Digest",at my request, and turned it into "CHIPS" - this was a
huge success. He also wrote many other books, including novels out of his rural
Missouri cabin. D.C. and Val made a good living with "Mound Builder
Books". Later D.C. Waldorf and
Callahan became the pioneers of the new
Danish Dagger movement in America .
I met Errett in 1985. I attended the first workshop he conducted at his home Cliffside. I can only say that it literally changed my life. For me, he became the model of craftsmanship and integrity. His approach to flintknapping, experiential and experimental archaeology influenced everything I did in the profession for the next 30 years. The Society of Primitive Technology was organized under his leadership at my home base, The Schiele Museum of Natural History in Gastonia, NC. That organization went on to define the primitive technology movement with the publication of the Bulletin of Primitive Technology leading the way for twenty-five years. Errett remains my mentor, my inspiration and my dear friend to this day....Steve Watts
“The early literature is comprehensively discussed by Callahan (1979:8-24) and need not be repeated here. It was in this same treatise that Callahan's pioneering work set the stage for more intensive examination of the full range of Clovis bifacial technology. Most subsequent work has heavily relied on his publication (e.g., Saunders 1990; Morrow 1995). We are also guided by many of Callahan's concepts…” Bruce Bradley
I met Errett in 1985. I attended the first workshop he conducted at his home Cliffside. I can only say that it literally changed my life. For me, he became the model of craftsmanship and integrity. His approach to flintknapping, experiential and experimental archaeology influenced everything I did in the profession for the next 30 years. The Society of Primitive Technology was organized under his leadership at my home base, The Schiele Museum of Natural History in Gastonia, NC. That organization went on to define the primitive technology movement with the publication of the Bulletin of Primitive Technology leading the way for twenty-five years. Errett remains my mentor, my inspiration and my dear friend to this day....Steve Watts
“The early literature is comprehensively discussed by Callahan (1979:8-24) and need not be repeated here. It was in this same treatise that Callahan's pioneering work set the stage for more intensive examination of the full range of Clovis bifacial technology. Most subsequent work has heavily relied on his publication (e.g., Saunders 1990; Morrow 1995). We are also guided by many of Callahan's concepts…” Bruce Bradley
Photo 7
 |
| ERRETT CALLAHAN WITH RAY HARWOOD (RAY HARWOOD) |
 |
| RAY HARWOOD'S GLASS KNAPPING RESEARCH USING CALLAHAN |
I took Ishi's reduction stages and applied Dr. Errett Callahan's (
1979) biface staging methodologies for my experimental reduction and
manufacturing sequencing. Lithic reduction staging for bottle glass
projectile points. Aside from the classic staging documentation of
Callahan some most intriguing ethnohistoric and experimental data
comes from several sources discussed below.
Paul Schumacher (1877) documented actual calculated biface staging
observed among the stone workers of the Klamath River Yurok.
Newcomer (1971) identified reduction staging as it applied to
aboriginal hand ax manufacture. Muto (1971), though denying an
actual distinct set of rigid stages, did apply a sequence to the
early stages of Clovis-like bifaced artifacts. Sharock (1966) gave a
five stages reduction sequence to biface reduction sequencing. A
stages sequence was applied to bottle glass reduction by the author
in 1983 and again in 1988. Nami adapted a variation of Callahan's
staging to Argentine lithic reduction in 1991. While the knapping
sequence of the traditional of lithic materials has been widely
documented ( those mentioned above to a lesser degree: Crabtree
1972 ,Callahan 1979., Whitaker, 1994 and Patten 1999 and others) ,
the study of glass knapping technology has been, for the most part,
restricted to a very few (Harwood, 1983, 1988, 2001, Wellman and
Ibarra 1978, 1988). Here again I am further adapting the stage -
sequencing theory to both plate and bottle knapping strategies .
According to Callahan biface reduction is not a random and continual
banging away at the edges, but a structured reduction strategy,
mindful of changing of width thickness relationships and edge
angles, this necessary to create a predetermined form having proper
features and attributes. This structured thought process involves
attaining stages within the reduction continuum, I submit a similar
scenario hold true for glass knapping.
Bottle Glass Reduction Stages {Figure 10}
Stage 1 - Blank: Glass bottle of suitable form for the end product.
Unmodified, beyond vertical edge removal. Plano-convex with at least
3/16 inch thickness. Detachment achieved with percussion
methodology.
Stage 2 - Rough out: Through percussion methodologies a
rough outline in created through the removal of excess raw material.
Large decordication flakes create a semi-lenticular cross-section.
Flakes are exacuted form both faces of the material , but focus on
the outer zone. The roughly centered, bi-convex edge should be
neither too sharp nor too blunt (ideally between 55-75 degrees).
Plano-convexity deminished, with flakes removed from the ventral
side first.
Stage 3 - Primary Preform; Symmetrical handaxe-like outline,
lenticular cross-section and straight/centered, bi-convex edge with
edge-angles falling between 40 - 60 degrees. Percussion methods are
set aside and " power stroke" pressure is used. An antler tine,
thick bone or wooden pressure flaked or dulled wire or untempered
nail was used, according to Callahan (1999) Ishi's flaker (Ishi
Stick) was a piece of deer horn bound to a stick about a foot long A
narrative of Ishi's tools follows from Pope (1918) follows: "he used
deer horn for the heavier work, but while with us he chiefly
employed a soft iron rod three-sixteenths of an inch in diameter and
eight inches long, having a handle of padded cloth bound to it for a
distance of sic Inches. The tool must be a substance that will dent
slightly and thus engage the sharp edge of obsidian." Callahan
reflects (1999), pressure flakers, Ishi sticks to be precise, must
have a flexible main shaft or handle , a rigid handle made for
increased trauma and shorter flakes. " It has been found that a
somewhat flexible shaft of the long composite tool provides an extra
kick that will send those flakes flying". A leather or hide pad
covers the left palm.
Stage 4 -Secondary Preform; Asymmetrical outline with, lenticular
cross-sections and a straight and centered, bi-convex edge. Edge
angles should fall between 25 - 45 degrees. For Ishi, an Isosceles
triangle. A sharper pressure tool tip is needed here and both Ishi
switched to a mounted wire pressure tool for glass work. Variant
angles were selected for desired flake patterns, (i.e. parallel-
oblique flakes directed diagonally across the surface of the biface
preform).
Stage 5 - is the finished preform , final retouch, notching ,
serration or pattern flaking is employed at this stage depending on
the anticipated final product. This process was carried out with
either a wire, nail mounted tool.
Dr. Hugo G. Nami
Archaeologist, National Council of Scientific and Technical Research (CONICET)
Departamento de Ciencias Geológicas (University of Buenos Aires)
Researcher
Department of Anthropology, National Museum of Natural History, Smithsonian Institution, USA
Associated researcher
Email: hgnami@fulbrightmail.org
Qualifications
2000 Ph.D., Anthropological Sciences, Universidad de Buenos Aires, Argentina
1983 Lic. in Anthropological Sciences, Universidad de Buenos Aires, Argentina
Research Fields
Paleoindian Archaeology
Experimental Archaeology
Lithic Analysis
Archaeological Method and Theory
Latest Pleistocene-Holocene Pale magnetism
 |
This newest edition of THE BASICS OF BIFACIAL KNAPPING IN THE EASTERN FLUTED POINT TRADITION: A MANUAL FOR FLINTKNAPPERS AND LITHIC ANALYSTS by Dr. Errett Callahan was produced with the permission of Dr. Callahan in the effort to keep this extremely important volume available to archaeologists, students and flintknappers. THE BASICS is, unarguably, the most important and most referenced work pertaining to the stages of biface manufacture in the archaeological literature.
The text of this new edition is unchanged from the previous Fourth Edition except for the addition, on the cover and first page, of the web sites from which this book will be available for purchase: www.TheBasicsByCallahan.com and www.Thunderstones.com. This new edition is also printed on very high quality 60 lb. paper.
With the purchase of this new edition, you will receive by email a PDF of Callahan's latest revisions (2011) of Generic Biface Stages and Clovis Biface Stages.
New prices for the 2013 Fifth Edition are:
Retail - $30.00 plus postage:
$7.00 for US orders, $22.00 for Canada, $23.95 for all other countries.
Wholesale (minimum 10 book order) -
$25.00 each plus postage (postage determined per order).
Please contact for mailing rates:dan@thunderstones.com
$7.00 for US orders, $22.00 for Canada, $23.95 for all other countries.
Wholesale (minimum 10 book order) -
$25.00 each plus postage (postage determined per order).
Please contact for mailing rates:dan@thunderstones.com
| MODERN TEACHING CASTS |
Archaeology brought to life with functional replicas of Museum artifacts by Michael R. Frank
THE BASIC STAGES $75
In 2011, this set was made by Dr. Errett Callahan for Occpaleo. It was molded and cast in high grade silicones and epoxies, retaining every detail of the originals. With more than 50 years of study in the field, Dr. Callahan has literally written the book on Lithic reduction strategies, and remains one of the best flintknappers in the world. The stages show the correct reduction of bifaces as shown in the archaeological record. For more info/ordering, see (ITEMS FOR SALE) |
|
CLOVIS STAGES CAST SET $100 This set was created by Dr. Errett Callahan in real stone, after a lifelong study of flintknapping and how it is correctly done in the archaeological record. At the forefront of teaching lithic technology, Dr. Callahan knapped these stages of reduction to show students how those stages defined the Clovis Culture tools, dating around 12,000 years ago. To see more photos and descriptions (see ITEM)http://www.occpaleo.com/lithiccasts/modernteachingcasts.html |
The Old Rag report : a practical guide to living archeology
| Author: | Errett Callahan; Virginia Commonwealth University. Department of Sociology & Anthropology. |
|---|---|
| Publisher: | Richmond, Va. : Dept. of Sociology and Anthopology, Virginia Commonwealth University, 1974. |
CALLAHAN, E., The Basics Of Biface Knapping In The Eastern
Fluted Point Tradition: A Manual For Flintknappers And Lithic Analysts, , 1975
CALLAHAN, E., The Basics Of Biface Knapping In The Eastern
Fluted Point Tradition: A Manual For Flintknappers And Lithic Analysts, , 4th
edition, 2000.
- Callahan, Errett (1987). An Evaluation of the Lithic Technology in Middle Sweden During the Mesolithic and Neolithic. Uppsala, Sweden: Societas Archaeologica Upsaliensis.
- Callahan, Errett (1999). Piltdown Productions Catalog#5. Lynchburg, Virginia: Piltdown Productions.
- Callahan, Errett (1999). "What is Experimental Archaeology?". Primitive Technology: A Book of Earth Skills (Salt Lake City, Utah: Gibbs–Smith Publisher)
Harwood, Ray The
History Of Modern Flintknapping. World Flintknapping Sciciety. 1st
Edition 1999.
Harwood, Ray Points of Light, Dreams of Glass. Bulletin of
Primitive Technology. Spring 2001: No. 21
Harwood, Ray It’s a Danish Thing. Flintknapping Magazine.
February 2016.
Sagan, Carl Broca’s Brain. 1979
Waldorf, D. C.The Art of Flintknapping. 3rd ed. Mound Arts
and Trading Co., Branson, MO.
- Watts, Steve (1997). "The Fire Watchers: A tribute to Errett Callahan". Bulletin of PrimitiveTechnology (14).
- Wescott, David (1999). "Foreword". Primitive Technology: A Book of Earth Skills (Salt Lake City, Utah: Gibbs–Smith Publisher).
- "And Now?I am in the midst of writing a major book on flintknapping - everthing I know, practically. It's about how Danish Daggers are made. (Working title: NEOLITHIC DANISH DAGGERS: AN EXPERIMENTAL AND ANALYTICAL STUDY - It's addressed to both the archeologist and the flintknapper. This is a 20-year research project in which about 200 daggers have been produced. It has been funded by you, my dagger and knife buying customers, by a grant from the king of Sweden, and by Uppsala University. I am co-authoring it with Jan Apel, a PhD student at Uppsala and a fellow knapper. The book will do for daggers what THE BASICS did for bifaces but will include the final products in great detail and the debitage story too. Keep an eye out for it.I am also in the final stages of writing a book on experimental archeology - everything I know on that too, another 15-year project. (Working title: THE CAHOKIA PIT HOUSE PROJECT: A CASE STUDY IN RECONSTRUCTIVE ARCHEOLOGY.) Watch for it.Once the books are behind me, then I can start on my videos.Over the years I have fought hard for what is ethical in flintknapping. (Yes, there is a sordid side to our history.) I have supported and will continue to support ethical flintknapping causes. And vice versa. You can count on it.My work is done with the conviction that I can serve best by supporting causes and revealing my so-called "secrets." In fact, I make it my duty to see that my students can duplicate my accomplishments. This may be easier said than done, but that's my goal. I love teaching flintknapping.Bud Lang, Editor of KNIVES ILLUSTRATED, says: "Errett Callahan (is) a master flintknapper, instructor, etc., a gentleman who makes some of the finest obsidian knives ever created." (KI, Oct. 1998: 4).(Thanks Bud, but as I clearly state later on, I make no claims at being a master - though I think I am mature. Having worked extensively with the real masters, I am aware of the vast gap between them and me.)"
2013
CALLAHAN, E., "Fishing Technologies At The Pamunkey
Site – Phase II", Bulletin of Primitive Technology, vol. 46, Utah, Society
of Primitive Technology, pp. 40-49, Fall 2013.
2011
CALLAHAN, E., "Baskets and mats, folding &
plaiting, twining and coiling", Bulletin of Primitive Technology, vol. 42,
Utah, Society of Primitive Technology, pp. 76-77, 10/2011.
CALLAHAN, E., "Final Journey. The passing of Thorbjørn
Petersen, a gentle giant. 4 July 1945 – 29 August 2010", Bulletin of
Primitive Technology, vol. 41, Utah, Society of Primitive Technology, pp.
91-92, 05/2011.
CALLAHAN, E., "Stages of Clovis biface reduction,
revised", Bulletin of Primitive Technology, vol. 42, Utah, Society of
Primitive Technology, pp. 92, 10/2011.
CALLAHAN, E., "Surviving: skills or heart?",
Bulletin of Primitive Technology, vol. 42, Utah, Society of Primitive
Technology, pp. 85-86, 10/2011.
2008
CALLAHAN, E., "Basic training: an opinion",
Bulletin of Primitive Technology, vol. 35, Utah, Society of Primitive
Technology, pp. 91, 2008.
CALLAHAN, E., Old Rag Archeology: experimentation and
excavation, , Rexburg, ID, Society of Primitive Technology, Schiele Museum of
Natural History, pp. 839, 2008.
2007
CALLAHAN, E., "The passing of a legend", Bulletin
of Primitive Technology, vol. 34, Utah, Society of Primitive Technology, pp.
89-91, 2007.
2006
CALLAHAN, E., "From - three levels of investment in
reconstruction: therapy, experience and experiment", Bulletin of Primitive
Technology, vol. 32, Utah, Society of Primitive Technology, pp. 11-12, 2006.
2005
CALLAHAN, E., The Cahokia Project. A case study in
reconstructive archeology, , Rexburg, ID, Society of Primitive Technology,
Schiele Museum of Natural History, pp. 548, 2005.
2003
CALLAHAN, E., Doug Waldorf, Living Legend: A Biographical
Tribute, , 2003.
CALLAHAN, E., "A tribute to Tomas Johansson",
Bulletin of Primitive Technology, vol. 26, Utah, Society of Primitive
Technology, pp. 8, 2003.
2002
CALLAHAN, E., "Hans de Haas: the gentle giant",
Bulletin of Primitive Technology, vol. 23, Utah, Society of Primitive
Technology, pp. 27-28, 2002.
CALLAHAN, E., "Silviculture", Bulletin of
Primitive Technology, vol. 24, Utah, Society of Primitive Technology, pp.
36-39, 2002.
2001
CALLAHAN, E., "Archaeological evidence of a Rotator
Cuff injury", Bulletin of Primitive Technology, vol. 21, Utah, Society of
Primitive Technology, pp. 44-47, 2001.
CALLAHAN, E., "Archery In The Arctic - Part I",
Primitive Technology II, Ancestral skills, from the Society of Primitive
Technology, Utah, Society of Primitive Technology, pp. 119-122, 2001.
CALLAHAN, E., "Archery In The Arctic - Part II",
Primitive Technology II, Ancestral skills, from the Society of Primitive
Technology, Utah, Society of Primitive Technology, pp. 123-127, 2001.
CALLAHAN, E., "Archery In The Arctic - Part III",
Primitive Technology II, Ancestral skills, from the Society of Primitive
Technology, Utah, Society of Primitive Technology, pp. 128-133, 2001.
CALLAHAN, E., "The Bipolar Technique: The Simplest Way
To Make Stone Tools", Primitive Technology II, Ancestral skills, from the
Society of Primitive Technology, Utah, Society of Primitive Technology, pp.
217-220, 2001.
CALLAHAN, E., "Danish Neolithic Boat Project",
Primitive Technology II, Ancestral skills, from the Society of Primitive
Technology, Utah, Society of Primitive Technology, pp. 195-196, 2001.
CALLAHAN, E., "How To Cook In Primitive Pottery",
Primitive Technology II, Ancestral skills, from the Society of Primitive
Technology, Utah, Society of Primitive Technology, pp. 58-60, 2001.
CALLAHAN, E., "Simple Comparative Tests Between
Oldowan, Abbevillian and Acheulian Technology", Primitive Technology II,
Ancestral skills, from the Society of Primitive Technology, Utah, Society of
Primitive Technology, pp. 225-227, 2001.
2000
CALLAHAN, E., The Basics Of Biface Knapping In The Eastern
Fluted Point Tradition: A Manual For Flintknappers And Lithic Analysts, , 4th
edition, 2000.
CALLAHAN, E., "Experiments with Danish mesolithic
microblade technology", Bulletin of Primitive Technology, vol. 20, Utah,
Society of Primitive Technology, pp. 62-68, 2000.
CALLAHAN, E., "Roving at Red House", Primitive
Archer, vol. 8, issue 1, pp. 13-17, 2000.
CALLAHAN, E., "What is traditional
flintknapping?", Bulletin of Primitive Technology, vol. 20, Utah, Society
of Primitive Technology, pp. 11, 2000.
1999
CALLAHAN, E., "About Animal Glues", Primitive
Technology, a book of earth skills, selection of articles from the Bulletin of
Primitive Technology, Utah, Society of Primitive Technology, pp. 190, 1999.
CALLAHAN, E., "Celts and Axes, Celts in the Pamunkey
and Cahokia House building projects", Primitive Technology, a book of
earth skills, selection of articles from the Bulletin of Primitive Technology,
Utah, Society of Primitive Technology, pp. 94-98, 1999.
CALLAHAN, E., "Excerpts from the Pamunkey project,
methodology and documentation", Bulletin of Primitive Technology, vol. 18,
Utah, Society of Primitive Technology, pp. 43-48, 1999.
CALLAHAN, E., "Flintknapper's syndrome: a caution to
flintknappers", Bulletin of Primitive Technology, vol. 17, Utah, Society
of Primitive Technology, pp. 66-70, 1999.
1999
CALLAHAN, E., "Functional Motions, working wood with
stone tools", Primitive Technology, a book of earth skills, selection of
articles from the Bulletin of Primitive Technology, Utah, Society of Primitive
Technology, pp. 116-118, 1999.
CALLAHAN, E., "How to make a Throwing Stick, The
Non-Returning Boomerang", Primitive Technology, a book of earth skills,
selection of articles from the Bulletin of Primitive Technology, Utah, Society
of Primitive Technology, pp. 214-217, 1999.
CALLAHAN, E., "Ishi sticks, Iceman picks and
good-for-nothing things: a search for authenticity in pressure flaking
tools", Bulletin of Primitive Technology, vol. 18, Utah, Society of
Primitive Technology, pp. 60-68, 1999.
CALLAHAN, E., Piltdown Productions Catalog, , vol. 5, pp.
72, 1999.
CALLAHAN, E., and J. JEFFERS, Roving Handbook - an
alternative to hunting, , Lynchburg, VA, Piltdown Productions, pp. 128, 1999.
CALLAHAN, E., "Stages of Manufacture - percussion
reduction", Primitive Technology, a book of earth skills, selection of
articles from the Bulletin of Primitive Technology, Utah, Society of Primitive
Technology, pp. 78, 1999.
CALLAHAN, E., "To whom it may concern (endorsement for
hunting with stone arrowpoints)", Primitive Technology, a book of earth
skills, selection of articles from the Bulletin of Primitive Technology, Utah,
Society of Primitive Technology, pp. 81, 1999.
CALLAHAN, E., "What Is Experimental Archaeology",
Primitive Technology, a book of earth skills, selection of articles from the Bulletin
of Primitive Technology, Utah, Society of Primitive Technology, pp. 4-6, 1999.
CALLAHAN, E., "A Word On Pitch", Primitive
Technology, a book of earth skills, selection of articles from the Bulletin of
Primitive Technology, Utah, Society of Primitive Technology, pp. 190, 1999.
1998
CALLAHAN, E., D. ABBOTT, and K. VIARS, "Problem solving
in primitive ceramics: a three part experiment", Bulletin of Primitive
Technology, vol. 15, Utah, Society of Primitive Technology, pp. 26-33, 1998.
1997
CALLAHAN, E., "Back to the Stone Age: How to Identify
and Use the Best Stone Knives", Blade Magazine, vol. 24, issue 5: Krause
Publications, pp. 16-19, 05/1997.
CALLAHAN, E., "Roving at Red House", Roving
Handbook, pp. 99-107, 1997.
CALLAHAN, E., "Roving at Red House", Roving
Handbook, pp. 99-107, 1997.
1996
CALLAHAN, E., "The basics of biface knapping in the
Eastern Fluted Tradition: a manual for flintknappers and lithic analysts
(preface)", Bulletin of Primitive Technology, vol. 11, Utah, Society of
Primitive Technology, pp. 56-60, 1996.
CALLAHAN, E., "In Defense of Level II", Primitive
Technology Newsletter, vol. 2, Utah, Society of Primitive Technology, pp. 8,
1996.
1992
CALLAHAN, E., L. FORSBERG, KNUTSSON K. KNUTSSON, Helena, and
C. LINDGREN, "Frakturbilder: kulturhistoriska till det säregna
sönderfallet vid bearbetning av kvarts", TOR, vol. 24, Uppsala, pp. 27-63,
1992.
CALLAHAN, E., "The Non Returning Boomerang",
Bulletin of Primitive Technology, vol. 4, Utah, Society of Primitive
Technology, pp. 25-27, 1992.
CALLAHAN, E., "North American House Projects",
Bulletin of Primitive Technology, vol. 3, Utah, Society of Primitive
Technology, pp. 31-33, 1992.
CALLAHAN, E., "Tools and Materials", Bulletin of
Primitive Technology, vol. 3, Utah, Society of Primitive Technology, pp. 25-26,
1992.
1991
CALLAHAN, E., "Arctic Archery", Bulletin of
Primitive Technology, vol. 1, Utah, Society of Primitive Technology, pp. 35-38,
1991.
CALLAHAN, E., "Arctic Archery: Part II", Bulletin
of Primitive Technology, vol. 2, Utah, Society of Primitive Technology, pp.
47-54, 1991.
CALLAHAN, E., "Contrasting Viewpoints: Does dressing
the part detract from Authenticity", Bulletin of Primitive Technology,
vol. 1, Utah, Society of Primitive Technology, pp. 5-6, 1991.
CALLAHAN, E., "The Making of Science (Heaven
Forbid!)", Bulletin of Primitive Technology, vol. 2, Utah, Society of
Primitive Technology, pp. 10, 1991.
CALLAHAN, E., "The Society as Campfire", Bulletin
of Primitive Technology, vol. 1, Utah, Society of Primitive Technology, pp. 8-9,
1991.
1990
CALLAHAN, E., "Bågskytte i Arktis", Forntida
Teknik - Pilbågar, vol. 2, Sveg, Institut för Forntida Teknik, pp. 17-28, 1990.
1987
CALLAHAN, E., "An evaluation of the lithic technology
in Middle Sweden during the Mesolithic and Neolithic (The Suilver Book)",
AUN Archaeological Studies, no. 8, Uppsala, pp. 72, 1987.
CALLAHAN, E., "Flintknapping in Scandinavia",
Flintknapping: an emic perspective, Palmdale, pp. xx-xx, 1987. Harwood, Ray,
publisher.
CALLAHAN, E., Primitive Technology: Practical Guidelines For
Making Stone Tools, Pottery, Basketry, Etc. The Aboriginal Way, , pp. 25, 1987.
1986
CALLAHAN, E., "A Reply to Edwards", Quarterly
Bulletin, vol. 41, issue 2: Archaeological Society of Virginia, pp. 108-112,
1986.
CALLAHAN, E., "A Reply to Thurman", Quarterly
Bulletin, vol. 41, issue 2: Archaeological Society of Virginia, pp. 97-105,
1986.
1985
CALLAHAN, E., The Cahokia Pit House Project: a case study in
Reconstructive Archaeology [Unpublished manuscript], , 1985.
CALLAHAN, E., Various comments and letters on flintknapping,
1984-1995. Flintknapping Digest, Harwood,
Ray, publisher.
CALLAHAN, E., "Experiments with Danish mesolithic
microblade technology", Journal of Danish Archaeology, vol. 4, Odense, pp.
23-39, 1985.
CALLAHAN, E., "The St. Mary's longhouse experiment: the
first season", Archaeological Society of Virginia Quarterly Bulletin, vol.
40, pp. 12-40, 1985.
1982
CALLAHAN, E., "An Interview with Flintknapper Jacques
Pelegrin", Contract Abstracts, vol. 3, issue 1: Atechiston, Inc., pp.
62-70, 1982.
CALLAHAN, E., "The second international work seminar in
lithic technology (Lejre, August 1-9 1981)", Flintknappers' Exchange, vol.
5, issue 1, Washington, pp. xx-xx, 1982.
CALLAHAN, E., "The second international work seminar in
lithic technology (Lejre, August 1-9 1981)[reprint from: Flintknappers'
Exchange, vol 5 (1)]", Bulletin of Experimental Archaeology, vol. 3,
Southampton, Department of Adult Education, University of Southampton, pp.
12-16, 1982.
1981
CALLAHAN, E., "Comment on “Fineness Syndrome”",
Flintknapper’s Exchange, vol. 4, issue 1, Atechiston, pp. 12, 1981.
CALLAHAN, E., The maturation of experimental archaeology: a
critical view, paper delivered at colloquium: "experimental archaeology:
the Old and the New", at the Second International Work Seminar in Lithic
Technology, Lejre Center, Lejre, Denmark, 6 August 1981, typesc, , 1981.
CALLAHAN, E., The new experimental archaeology: a case
study. Paper given at Prehistoric Institute, University of Arhus, Moesgård,
Denmark, 17 november 1981, typescript available from author, , 1981.
CALLAHAN, E., "Pamunkey housebuilding: an experimental
study of late woodland construction technology in the Powhatan
Confederacy", Department of Anthropology, Ann Arbor, Catholic University
of America, University of America, pp. 538, 1981.
1980
CALLAHAN, E., "Spatial Organization of the Work Areas
of Three Contemporary Flintknappers", Quarterly Bulletin, vol. 35, issue
2: Archaeological Society of Virginia, pp. 101-108, 1980.
CALLAHAN, E., "Two new books on experimental
archaeology", Flintknappers' Exchange, vol. 2, Washington, pp. 3-6, 1980.
1979
CALLAHAN, E., "The basics of biface knapping in the
eastern fluted point tradition: a manual for flintworkers and lithic analysts
[Reprinted 1990, 1996, 2000]", Archaeology of Eastern North America, vol.
7, issue 1, Washington/Connecticut, pp. 1-180, 1979.
1978
CALLAHAN, E., "Craftsman Sollberger [Solly J.B.
Sollberger][interview by E.C.]", Flintknappers' Exchange, vol. 1, issue 1,
Washington DC, pp. 12, 1978.
CALLAHAN, E., "Craftsmen: an Interview with Jeff
Flenniken", Flintknappers' Exchange, vol. 1, issue 3, pp. 16-24, 1978.
1976
CALLAHAN, E., "Documentation of artifacts, Pamunkey
Project phase I", Experimental Archaeology Papers (APE), vol. 4, Richmond,
Virginia, Dept of Sociology & Anthropology, Virginia Commonwealth Univ.,
pp. 178-242, 1976.
CALLAHAN, E., "Documentation of artifacts, Pamunkey
Project phase I", Experimental Archaeology Papers (APE), vol. 4, Richmond,
Virginia, Dept of Sociology & Anthropology, Virginia Commonwealth Univ.,
pp. 178-242, 1976.
CALLAHAN, E., Experimental Archaeology Papers (APE), The
Pamunkey Project Phases I and II, , vol. 4, Richmond, Virginia, Dept of
Sociology & Anthropology, Virginia Commonwealth Univ., pp. 456, 1976.
CALLAHAN, E., "Experimental Archeology: Unlocking the
Doors of Time", Quarterly Bulletin, vol. 30, issue 3: Archaeological
Society of Virginia, pp. 154-158, 1976.
ANDREFSKY, W., "Experimentation and analyzation of
unmodified and unifacially modified flakes associated with trapping in a
subsistence based situation", Experimental Archaeology Papers (APE), The
Pamunkey Project Phases I and II, vol. 4, Richmond, Virginia, Dept of Sociology
& Anthropology, Virginia Commonwealth Univ., pp. 304-313, 1976.
CALLAHAN, E., "Fishing technologies at the Pamunkey
site, phase II", Experimental Archaeology Papers (APE), The Pamunkey
Project Phases I and II, vol. 4, Richmond, Virginia, Dept of Sociology &
Anthropology, Virginia Commonwealth Univ., pp. xx-xx, 1976.
CALLAHAN, E., "Fishing technologies at the Pamunkey
site, phase II", Experimental Archaeology Papers (APE), The Pamunkey
Project Phases I and II, vol. 4, Richmond, Virginia, Dept of Sociology &
Anthropology, Virginia Commonwealth Univ., pp. xx-xx, 1976.
HORREÜS de HAAS, R., "How to Get to Pamunkey if You’re
Seventy-one", Experimental Archaeology Papers (APE), The Pamunkey Project
Phases I and II, vol. 4, Richmond, Virginia, Dept of Sociology &
Anthropology, Virginia Commonwealth Univ., pp. 257, 1976.
CALLAHAN, E., "Lithic technology at the Pamunkey site,
phase II", Experimental Archaeology Papers (APE), The Pamunkey Project
Phases I and II, vol. 4, Richmond, Virginia, Dept of Sociology &
Anthropology, Virginia Commonwealth Univ., pp. 376-422, 1976.
CALLAHAN, E., "Lithic technology at the Pamunkey site,
phase II", Experimental Archaeology Papers (APE), The Pamunkey Project
Phases I and II, vol. 4, Richmond, Virginia, Dept of Sociology &
Anthropology, Virginia Commonwealth Univ., pp. 376-422, 1976.
CALLAHAN, E., "The Pamunkey Project, phases I and
II", Experimental Archaeology Papers (APE), The Pamunkey Project Phases I
and II, vol. 4, Richmond, Virginia, Dept of Sociology & Anthropology,
Virginia Commonwealth Univ., pp. xx-xx, 1976.
CALLAHAN, E., "The Pamunkey Project, phases I and
II", Experimental Archaeology Papers (APE), The Pamunkey Project Phases I
and II, vol. 4, Richmond, Virginia, Dept of Sociology & Anthropology,
Virginia Commonwealth Univ., pp. xx-xx, 1976.
WELTON, J., "Shell Technology at the Pamunkey
Site", Experimental Archaeology Papers (APE), The Pamunkey Project Phases
I and II, vol. 4, Richmond, Virginia, Dept of Sociology & Anthropology,
Virginia Commonwealth Univ., pp. 339-358, 1976.
CALLAHAN, E., "Shelter Construction at the Pamunkey
Site", Experimental Archaeology Papers (APE), vol. 4, Richmond, Virginia,
Dept of Sociology & Anthropology, Virginia Commonwealth Univ., pp. 160-177,
1976.
CALLAHAN, E., "Shelter Construction at the Pamunkey
Site", Experimental Archaeology Papers (APE), vol. 4, Richmond, Virginia,
Dept of Sociology & Anthropology, Virginia Commonwealth Univ., pp. 160-177,
1976.
1976
CALLAHAN, E., "Documentation of artifacts, Pamunkey
Project phase I", Experimental Archaeology Papers (APE), vol. 4, Richmond,
Virginia, Dept of Sociology & Anthropology, Virginia Commonwealth Univ.,
pp. 178-242, 1976.
CALLAHAN, E., "Documentation of artifacts, Pamunkey
Project phase I", Experimental Archaeology Papers (APE), vol. 4, Richmond,
Virginia, Dept of Sociology & Anthropology, Virginia Commonwealth Univ.,
pp. 178-242, 1976.
CALLAHAN, E., Experimental Archaeology Papers (APE), The
Pamunkey Project Phases I and II, , vol. 4, Richmond, Virginia, Dept of
Sociology & Anthropology, Virginia Commonwealth Univ., pp. 456, 1976.
CALLAHAN, E., "Experimental Archeology: Unlocking the
Doors of Time", Quarterly Bulletin, vol. 30, issue 3: Archaeological
Society of Virginia, pp. 154-158, 1976.
ANDREFSKY, W., "Experimentation and analyzation of
unmodified and unifacially modified flakes associated with trapping in a
subsistence based situation", Experimental Archaeology Papers (APE), The
Pamunkey Project Phases I and II, vol. 4, Richmond, Virginia, Dept of Sociology
& Anthropology, Virginia Commonwealth Univ., pp. 304-313, 1976.
CALLAHAN, E., "Fishing technologies at the Pamunkey
site, phase II", Experimental Archaeology Papers (APE), The Pamunkey
Project Phases I and II, vol. 4, Richmond, Virginia, Dept of Sociology &
Anthropology, Virginia Commonwealth Univ., pp. xx-xx, 1976.
CALLAHAN, E., "Fishing technologies at the Pamunkey
site, phase II", Experimental Archaeology Papers (APE), The Pamunkey
Project Phases I and II, vol. 4, Richmond, Virginia, Dept of Sociology &
Anthropology, Virginia Commonwealth Univ., pp. xx-xx, 1976.
HORREÜS de HAAS, R., "How to Get to Pamunkey if You’re
Seventy-one", Experimental Archaeology Papers (APE), The Pamunkey Project
Phases I and II, vol. 4, Richmond, Virginia, Dept of Sociology &
Anthropology, Virginia Commonwealth Univ., pp. 257, 1976.
CALLAHAN, E., "Lithic technology at the Pamunkey site,
phase II", Experimental Archaeology Papers (APE), The Pamunkey Project
Phases I and II, vol. 4, Richmond, Virginia, Dept of Sociology & Anthropology,
Virginia Commonwealth Univ., pp. 376-422, 1976.
CALLAHAN, E., "Lithic technology at the Pamunkey site,
phase II", Experimental Archaeology Papers (APE), The Pamunkey Project
Phases I and II, vol. 4, Richmond, Virginia, Dept of Sociology & Anthropology,
Virginia Commonwealth Univ., pp. 376-422, 1976.
CALLAHAN, E., "The Pamunkey Project, phases I and
II", Experimental Archaeology Papers (APE), The Pamunkey Project Phases I
and II, vol. 4, Richmond, Virginia, Dept of Sociology & Anthropology, Virginia
Commonwealth Univ., pp. xx-xx, 1976.
CALLAHAN, E., "The Pamunkey Project, phases I and
II", Experimental Archaeology Papers (APE), The Pamunkey Project Phases I
and II, vol. 4, Richmond, Virginia, Dept of Sociology & Anthropology,
Virginia Commonwealth Univ., pp. xx-xx, 1976.
WELTON, J., "Shell Technology at the Pamunkey
Site", Experimental Archaeology Papers (APE), The Pamunkey Project Phases
I and II, vol. 4, Richmond, Virginia, Dept of Sociology & Anthropology,
Virginia Commonwealth Univ., pp. 339-358, 1976.
CALLAHAN, E., "Shelter Construction at the Pamunkey
Site", Experimental Archaeology Papers (APE), vol. 4, Richmond, Virginia,
Dept of Sociology & Anthropology, Virginia Commonwealth Univ., pp. 160-177,
1976.
CALLAHAN, E., "Shelter Construction at the Pamunkey
Site", Experimental Archaeology Papers (APE), vol. 4, Richmond, Virginia,
Dept of Sociology & Anthropology, Virginia Commonwealth Univ., pp. 160-177,
1976.
1974
RIVERS, S. T., "Some problems in living
archeology", Experimental Archaeology Papers (APE), vol. 3, Richmond,
Virginia, Virginia Commonwealth Univ., pp. 129-134, 1974.
CALLAHAN, E., "The Wagner basalt quaries: a preliminary
report", Experimental Archaeology Papers (APE), vol. 3, Richmond,
Virginia, Virginia Commonwealth Univ., pp. 9-128, 1974.
CALLAHAN, E., "The Wagner basalt quaries: a preliminary
report", Experimental Archaeology Papers (APE), vol. 3, Richmond,
Virginia, Virginia Commonwealth Univ., pp. 9-128, 1974.
1973
CALLAHAN, E., "Flint workshop debitage",
Newsletter of Experimental Archaeology, vol. 2, Richmond, Virginia, 23220, Dept
of Sociology & Anthropology, Virginia Commonwealth Univ., pp. 51-63,
03/1973.
CALLAHAN, E., Lithic Technology Part I: Percussion Biface
Replication, , Richmond, VA, Virginia Commonwealth University, 1973.
CALLAHAN, E., "Living Archeology—Toward a Better
Understanding of the Past", Archaeology Magazine, vol. 26, pp. 220,
07/1973.
CALLAHAN, E., "The Old Rag Project, a preliminary
report", Newsletter of Experimental Archaeology, vol. 2, Richmond,
Virginia, 23220, Dept of Sociology & Anthropology, Virginia Commonwealth
Univ., pp. 64-77, 03/1973.
CALLAHAN, E., The old rag report: a practical guide to
living archaeology, , Richmond, Virginia, 23220, Dept of Sociology &
Anthropology, Virginia Commonwealth University, pp. 156, 1973.
CALLAHAN, E., Variability in the Early Stages of Manufacture
of Virginia Fluted Points: an experimental study, : Catholic University of
America, University of America, pp. 179, 1973.
1972
CALLAHAN, E., "Acheulean Handaxes", Experimental
Archeology Newsletter (APE), vol. 1, Richmond, VA, Virginia Commonwealth
University, pp. 20-24, 1972.
CALLAHAN, E., "Course description. In Experimental
Archeology 499-E: A sampling", Experimental Archeology Newsletter (APE),
vol. 1, Richmond, VA, Virginia Commonwealth University, pp. 3-4, 1972.
CALLAHAN, E., Experimental Archaeology Newsletter, , vol. 1,
Richmond, Virginia Commonwealth University, 1972.
1971
CALLAHAN, E., "Experimental Archaeology 499-E
(mimeographed)", Newsletter of Experimental Archaeology, Richmond, Virginia,
23220, Dept of Sociology & Anthropology, Virginia Commonwealth Univ., 1971.
1969
CALLAHAN, E., "Chip your own arrowheads", Bow and
Arrow Magazine, vol. 6, issue 6, pp. 24-27, 1969.
1964
CALLAHAN, E., "Make Your Own Micropack", Sports
Afield, vol. 151, issue 6, pp. 56-104, 1964.
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