AMERICAN TYPE IV
DANISH DAGGER MASTERS
 |
| ED MOSHER DAGGERS |
The classic Danish Dagger style is the type IV, with the leaf blade and incorporated squared off and stitched handle. The Neolithic Period, “Hindsgavl” Dagger, in the National Museum in Denmark is of this sort. According to the National Museum in Denmark “the daggers were prestige objects and do not seem to be usable for everyday activities”. Here are some authentic Danish Daggers Link: https://youtu.be/a3HvgMbgRWY
"In the Neolithic period the flintworkers achieved very high technical standards. The magnificent dagger from Hindsgavl with its blade less than 1 cm thick is the finest example of the flintworkers’ outstanding skills at the end of the Stone Age. It was found around 1876 on tihe island Fænø in the Little Belt. The dagger type is called a ‘fishtail dagger’ because of the fishtail-formed hilt. Pressure-flaked daggers mark the beginning of the end of the Stone Age, and are the reason why the period from 2400-1800 BC is called the Dagger Period."
-Danish National Museum
Anytime an archaeologist labels an artifact ritualistic, ceremonial or a prestige item I always get suspicious. This leads to curiosity and often experimentation. The first step in my Danish Dagger experiment is to procure a task set of Danish Daggers, Ed Mosher, of Monticello, Indiana is one of the ever growing Number of modern flintknappers that produce excellent knapped replicas of this amazingly well-crafted flint artifact type. I contacted and purchased several type IV daggers from Ed. I supplied Ed with Glass Buttes obsidian for this big mutha, silver sheen. I used that in my article on deer butchering with a type IV Danish Dagger. Mr Mosher knapped the front cover dagger out of Peoria flint, photo by Ray and Bryan Harwood. These dagger experiments will be published, hopefully in a serries of furure articles in Knapper's Quarterly, PSK website and this blog.
Ed Mosher told me in an interview (2013) that he had had been flintknapping in the biface tradition for many years before he had a Danish dagger epiphany. Like a Native American vision, the exact dagger replication code came to Mr. Mosher in a dream.
“As for the daggers. I watched Mike Stafford make a small dagger back around 91 and I watched every flake removal. I never tried to make till about 3 years ago.”
Within days he was a dagger master. Mr. Mosher began flintknapping at the very early age 10 years old after being exposed to stone tools and arrowheads that had been collected by his grandparents. Ed Mosher is a 2013 inductee of the “Flintknapping Hall of Fame”. Here is the YouTube film of Ed making a Danish Dagger: https://youtu.be/273hqNzkhWw and https://youtu.be/0fBYSIszKFE
http://en.natmus.dk/historical-knowledge/denmark/prehistoric-period-until-1050-ad/the-neolithic-period/the-hindsgavl-dagger/
see above link.
Other American knappers that have become “dagger masters” of sorts are scattered around the country.
Casting lab dagger Link:
http:/2002septemberdanishdaggerpage1/lithiccastinglab.com/gallery-pages/.htm
Callahan Flintknapper
THE ULTIMATE DAGGER FLINTKNAPPER.
ERRETT CALLAHANBy: Ray Harwood
HARWOOD CALLAHAN
The Thinking Man: One of the most knowledgeable and talented
flintknappers of our time was a Virginia Flintknapper, whom has
influenced hundreds, if not thousands, Errett Callahan. We can sit
and wonder where Callahan came from and why he was such an influence.
The answer is this, Callahan came into knapping with a great deal of
skill, intellegence and strength, at a time when a whole new
generation of archaeologists were coming out of the old school with a
lot of questions. Crabtree had just released his book and was bumping
out students by the bus load. Archaeology was hungry and Callahan was
just what the doctor ordered. He had fresh ideas and an uncanning
knapping ability intertwined the craft and theory like no one before
or since.
In 1956, just out of high school, Errett spent the summer in
Yellowstone National Park working at the Old Faithful general store.
He was exposed to a lot of history at the park and had access to
obsidian, this gave him the start he needed and he began knapping
seriously then and has been doing it full steam ever since, later
combining his early grinding methods as part of his flaking strategy.
It started on a trip out when he was waiting for the train in
Montana. He went into a local library and found a book on various
point types. He was fascinated by this and it sort of plugged some
into his memory. In his spare time he would try to duplicate these,
using small pieces of obsidian and bottle glass and guided only by
the flintknapping picture in Holling's book. It was another 10 years
before Errett realized that there were other people flintknapping. Up
until then he thought he was the only one.
Errett read more and more of Bordes's works and met him several
times. Francois Bordes stayed at Callahan's house for several days in
1977. Bordes, as Errett, was inspired by Edgar Rice Burroughs and he
published numerous science fiction novels. Callahan, as a college
student, had once been assigned to be Bordes's escort to a knapping
demonstration sponsored by the Anthropology department in D.C. for
the Leaky Foundation lectures. In 1977 Bordes spent four days
knapping there in Richmond. Bordes had plenty of money to visit the
U.S.A. because not only was he a master flintknapper and Europe's
leading archaeologist, but also one of the most popular science
fiction writers in France. According to Callahan Bordes wrote dozens
of novels under the pen name of Franci Carsac. Callahan was
influenced quite a bit by Bordes. At the same time Errett was also
reading the works of Don Crabtree. Errett was Fascinated by Crabtree,
they met in Calgary in 1974 and Crabtree gradually became a heavy
influence on Errett's knapping. J.B. Sollberger was another major
influence and led Errett to bigger and better things than he could
have without that input. Gene Titmus of Idaho, a friend of Crabtree
was also a major influence on Callahan, mostly his notching and
serrating techniques. Errett stayed in close contact with Gene for
many years, Gene a master knapper of percussion and, like Don, about
the nicest and humblest guy he'd ever met.
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 in
Paris, 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 interprit
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.
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 University
of 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.
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- and
that'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 the
craft for metal technology or extinction. In short Richard's quest
was for knapping for the sake of art-perfection, by any means
possible. Richard used the term "Teleolithics" to describe what we
now 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
these blades to the medical community. The 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 discovered by
Callahan.
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
of Blue Ridge Orthopedics at Lynchburg General Hospital. Callahan's
rotor cuff tendon had become completely torn off the top of his
humerus bone and had to be extensively reworked. Dr Hopkins said that
it was as bad a tear as he had ever witnessed. All incisions were
made with Callahan's obsidian scalpels. Dr. Hopkins, after performing
the operation, was impressed with the great reduction of bleeding in
the initial incisions and states: I used the obsidian blade for a
shoulder operation and found them quite satisfactory. They performed
very much like a scalpel and the bleeding with the first cut through
the skin was minimal. Healing appears to be very much normal, if not
accelerated.
Errett Callahan was founder and 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. Errett has now retired from his editor and
chief and president but he will stay an active member. For more
information contact Society of Primitive Technology, P.O. Box 905,
Rexburg, Id 83440. The Bulletin is now being edited and produced by
Primitive skills expert David Wescott. At this time Errett Callahan
is in the midst of writing a major book on flintknapping - everything
he knows...and he knows a lot..The book is going to focus a on Danish
Daggers. The book is addressed to both the archaeologist and
flintknapper a like. This book is a 20-year research project in which
200 daggers were replicated. The research was funded by a grant from
the King of Sweden and by Uppsala University. Callahan is cowritting
the book with Jan Apel, a PhD student at Uppsala and fellow
flintknapper. The new book will do for daggers what his biface book
did for that field. Callahan is also working on a book on
experimental archaeology.
Callahan still puts on his week long classes at Cliff Side on
flintknapping, traditional archery, primitive pottery, lithic
analysis, and more. Bob Verrey, a former student and long time
flintknapper, archaeologist and supplier of knapping tools offers a
scholarship to the school but it is very competitive. .
http://cart.occpaleo.com/vol1theflintdaggersofdenmark.aspx
THE ULTIMATE DAGGER FLINTKNAPPER.
ERRETT CALLAHANBy: Ray Harwood
HARWOOD CALLAHAN
The Thinking Man: One of the most knowledgeable and talented
flintknappers of our time was a Virginia Flintknapper, whom has
influenced hundreds, if not thousands, Errett Callahan. We can sit
and wonder where Callahan came from and why he was such an influence.
The answer is this, Callahan came into knapping with a great deal of
skill, intellegence and strength, at a time when a whole new
generation of archaeologists were coming out of the old school with a
lot of questions. Crabtree had just released his book and was bumping
out students by the bus load. Archaeology was hungry and Callahan was
just what the doctor ordered. He had fresh ideas and an uncanning
knapping ability intertwined the craft and theory like no one before
or since.
In 1956, just out of high school, Errett spent the summer in
Yellowstone National Park working at the Old Faithful general store.
He was exposed to a lot of history at the park and had access to
obsidian, this gave him the start he needed and he began knapping
seriously then and has been doing it full steam ever since, later
combining his early grinding methods as part of his flaking strategy.
It started on a trip out when he was waiting for the train in
Montana. He went into a local library and found a book on various
point types. He was fascinated by this and it sort of plugged some
into his memory. In his spare time he would try to duplicate these,
using small pieces of obsidian and bottle glass and guided only by
the flintknapping picture in Holling's book. It was another 10 years
before Errett realized that there were other people flintknapping. Up
until then he thought he was the only one.
Errett read more and more of Bordes's works and met him several
times. Francois Bordes stayed at Callahan's house for several days in
1977. Bordes, as Errett, was inspired by Edgar Rice Burroughs and he
published numerous science fiction novels. Callahan, as a college
student, had once been assigned to be Bordes's escort to a knapping
demonstration sponsored by the Anthropology department in D.C. for
the Leaky Foundation lectures. In 1977 Bordes spent four days
knapping there in Richmond. Bordes had plenty of money to visit the
U.S.A. because not only was he a master flintknapper and Europe's
leading archaeologist, but also one of the most popular science
fiction writers in France. According to Callahan Bordes wrote dozens
of novels under the pen name of Franci Carsac. Callahan was
influenced quite a bit by Bordes. At the same time Errett was also
reading the works of Don Crabtree. Errett was Fascinated by Crabtree,
they met in Calgary in 1974 and Crabtree gradually became a heavy
influence on Errett's knapping. J.B. Sollberger was another major
influence and led Errett to bigger and better things than he could
have without that input. Gene Titmus of Idaho, a friend of Crabtree
was also a major influence on Callahan, mostly his notching and
serrating techniques. Errett stayed in close contact with Gene for
many years, Gene a master knapper of percussion and, like Don, about
the nicest and humblest guy he'd ever met.
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 in
Paris, 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 interprit
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.
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 University
of 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.
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- and
that'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 the
craft for metal technology or extinction. In short Richard's quest
was for knapping for the sake of art-perfection, by any means
possible. Richard used the term "Teleolithics" to describe what we
now 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
these blades to the medical community. The 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 discovered by
Callahan.
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
of Blue Ridge Orthopedics at Lynchburg General Hospital. Callahan's
rotor cuff tendon had become completely torn off the top of his
humerus bone and had to be extensively reworked. Dr Hopkins said that
it was as bad a tear as he had ever witnessed. All incisions were
made with Callahan's obsidian scalpels. Dr. Hopkins, after performing
the operation, was impressed with the great reduction of bleeding in
the initial incisions and states: I used the obsidian blade for a
shoulder operation and found them quite satisfactory. They performed
very much like a scalpel and the bleeding with the first cut through
the skin was minimal. Healing appears to be very much normal, if not
accelerated.
Errett Callahan was founder and 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. Errett has now retired from his editor and
chief and president but he will stay an active member. For more
information contact Society of Primitive Technology, P.O. Box 905,
Rexburg, Id 83440. The Bulletin is now being edited and produced by
Primitive skills expert David Wescott. At this time Errett Callahan
is in the midst of writing a major book on flintknapping - everything
he knows...and he knows a lot..The book is going to focus a on Danish
Daggers. The book is addressed to both the archaeologist and
flintknapper a like. This book is a 20-year research project in which
200 daggers were replicated. The research was funded by a grant from
the King of Sweden and by Uppsala University. Callahan is cowritting
the book with Jan Apel, a PhD student at Uppsala and fellow
flintknapper. The new book will do for daggers what his biface book
did for that field. Callahan is also working on a book on
experimental archaeology.
Callahan still puts on his week long classes at Cliff Side on
flintknapping, traditional archery, primitive pottery, lithic
analysis, and more. Bob Verrey, a former student and long time
flintknapper, archaeologist and supplier of knapping tools offers a
scholarship to the school but it is very competitive. .
flintknappers of our time was a Virginia Flintknapper, whom has
influenced hundreds, if not thousands, Errett Callahan. We can sit
and wonder where Callahan came from and why he was such an influence.
The answer is this, Callahan came into knapping with a great deal of
skill, intellegence and strength, at a time when a whole new
generation of archaeologists were coming out of the old school with a
lot of questions. Crabtree had just released his book and was bumping
out students by the bus load. Archaeology was hungry and Callahan was
just what the doctor ordered. He had fresh ideas and an uncanning
knapping ability intertwined the craft and theory like no one before
or since.
In 1956, just out of high school, Errett spent the summer in
Yellowstone National Park working at the Old Faithful general store.
He was exposed to a lot of history at the park and had access to
obsidian, this gave him the start he needed and he began knapping
seriously then and has been doing it full steam ever since, later
combining his early grinding methods as part of his flaking strategy.
It started on a trip out when he was waiting for the train in
Montana. He went into a local library and found a book on various
point types. He was fascinated by this and it sort of plugged some
into his memory. In his spare time he would try to duplicate these,
using small pieces of obsidian and bottle glass and guided only by
the flintknapping picture in Holling's book. It was another 10 years
before Errett realized that there were other people flintknapping. Up
until then he thought he was the only one.
Errett read more and more of Bordes's works and met him several
times. Francois Bordes stayed at Callahan's house for several days in
1977. Bordes, as Errett, was inspired by Edgar Rice Burroughs and he
published numerous science fiction novels. Callahan, as a college
student, had once been assigned to be Bordes's escort to a knapping
demonstration sponsored by the Anthropology department in D.C. for
the Leaky Foundation lectures. In 1977 Bordes spent four days
knapping there in Richmond. Bordes had plenty of money to visit the
U.S.A. because not only was he a master flintknapper and Europe's
leading archaeologist, but also one of the most popular science
fiction writers in France. According to Callahan Bordes wrote dozens
of novels under the pen name of Franci Carsac. Callahan was
influenced quite a bit by Bordes. At the same time Errett was also
reading the works of Don Crabtree. Errett was Fascinated by Crabtree,
they met in Calgary in 1974 and Crabtree gradually became a heavy
influence on Errett's knapping. J.B. Sollberger was another major
influence and led Errett to bigger and better things than he could
have without that input. Gene Titmus of Idaho, a friend of Crabtree
was also a major influence on Callahan, mostly his notching and
serrating techniques. Errett stayed in close contact with Gene for
many years, Gene a master knapper of percussion and, like Don, about
the nicest and humblest guy he'd ever met.
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 in
Paris, 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 interprit
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.
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 University
of 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.
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- and
that'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 the
craft for metal technology or extinction. In short Richard's quest
was for knapping for the sake of art-perfection, by any means
possible. Richard used the term "Teleolithics" to describe what we
now 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
these blades to the medical community. The 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 discovered by
Callahan.
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
of Blue Ridge Orthopedics at Lynchburg General Hospital. Callahan's
rotor cuff tendon had become completely torn off the top of his
humerus bone and had to be extensively reworked. Dr Hopkins said that
it was as bad a tear as he had ever witnessed. All incisions were
made with Callahan's obsidian scalpels. Dr. Hopkins, after performing
the operation, was impressed with the great reduction of bleeding in
the initial incisions and states: I used the obsidian blade for a
shoulder operation and found them quite satisfactory. They performed
very much like a scalpel and the bleeding with the first cut through
the skin was minimal. Healing appears to be very much normal, if not
accelerated.
Errett Callahan was founder and 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. Errett has now retired from his editor and
chief and president but he will stay an active member. For more
information contact Society of Primitive Technology, P.O. Box 905,
Rexburg, Id 83440. The Bulletin is now being edited and produced by
Primitive skills expert David Wescott. At this time Errett Callahan
is in the midst of writing a major book on flintknapping - everything
he knows...and he knows a lot..The book is going to focus a on Danish
Daggers. The book is addressed to both the archaeologist and
flintknapper a like. This book is a 20-year research project in which
200 daggers were replicated. The research was funded by a grant from
the King of Sweden and by Uppsala University. Callahan is cowritting
the book with Jan Apel, a PhD student at Uppsala and fellow
flintknapper. The new book will do for daggers what his biface book
did for that field. Callahan is also working on a book on
experimental archaeology.
Callahan still puts on his week long classes at Cliff Side on
flintknapping, traditional archery, primitive pottery, lithic
analysis, and more. Bob Verrey, a former student and long time
flintknapper, archaeologist and supplier of knapping tools offers a
scholarship to the school but it is very competitive. .
| ||
Dr Errett Callahan of Virginia was one of the first of the American knappers to crack the “dagger code”
Errett Callahan was founder and 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
he 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 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 discovered by Callahan.
ny 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 discovered by Callahan.
4. Selected References (books and some other important published work [not everything])
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.
5. External Links (Wikipedia and other sites)
Mike Stafford Ph.D. in anthropology, specialty in the prehistory of Denmark and the American Great Lakes; Lithic technology and flint working; Museum science
Activities and Societies: Fulbright Scholar/Denmark. Danish dagger student of Dr. Errett
Callahan when he was giving classes at his Cliffside flintknapping Skills School. I was told that Dr. Stafford was responsible for bringing D.C Waldorf to Denmark for his research. Stafford (1998) asked the question “Type IV daggers: the world’s most complex stone tool form?” He describes the dagger form, categorized by Lomborg (1973), as the most famous of the six letter-designated sub-types.
“Type IV” daggers are Characterized by broad, leaf-shaped blades with tapering handles, a squared base or “pommel”, and a pressure-flaked handle with a seam-like appearance on the lateral handle margins and median. Some sub varieties have a ground and pressure-flaked blade, resulting in the elegant parallel flake patterns common to the earlier type Ic lanceolate form. Lenticular transverse cross-sections are common on the type IV dagger blades, and handles are either triangular or diamond-shaped in transverse section. A rare sub variant, the type IVf, has a square-section handle, much like that of a quadriface flint axe.” Mike Stafford Ph.D (1998)
Link:
http://science.cranbrook.edu/sites/default/files/sdarticle.pdf
D.C. Waldorf was also an early American Dagger master influenced hundreds, if not thousands, 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 book, "Art of Flintknapping". The books has sold many thousands of copies and is considered a classic.
D.C. and his wife Val took over the "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 became one of the pioneers of the new Danish Dagger movement.
Waldorf Dagger Film link:
See also:
2007 D.C. Waldorf's Guide to the Flint Daggers of Southern Scandinavia and North Germany. Mound Arts and Trading Co., Branson, MO.
Waldorf, D. C.
1984 The Art of Flintknapping. 3rd ed. Mound Arts and Trading Co., Branson, MO.
Courtesy of The Public Opinion - Watertown, South Dakota and the PSK
May 31 1963 - May 26 2014 |
and I'll see that they get added!
DAGGER MONTH! By Emory Coons
They was a rock i chipped them out..... the end.....Lmao I always liked daggers and swords stone, metal, or ground out like the terracotta warrior's in china, they always held a fascination to me. each is individually done and even though there the same shape each has it's own unique feel and story. It is like i say a art not just a tool to be used for death and destruction. the angles challenge the artist when being made out of each stone.
If the blow to the edge is off the piece might be several and nothing more than dust on the pile of flakes for some lucky archaeologist in the future if we have one left. When i was younger i couldn't afford metal swords or blades so i made my own some with eagle heads on or the shape of it depending on if I was trying a design and the rock let me know what it was going to be or had the look of. there was no set plan and some just manifest out of the stone, sure it's nice to build something that no one else has tried or seen and that's why i love chipping rock because you never know they'll be around long, long after I'm gone and if they inspire the next great artist great it truly is the best feeling to know I here at this point and time to enjoy what I do.
If the blow to the edge is off the piece might be several and nothing more than dust on the pile of flakes for some lucky archaeologist in the future if we have one left. When i was younger i couldn't afford metal swords or blades so i made my own some with eagle heads on or the shape of it depending on if I was trying a design and the rock let me know what it was going to be or had the look of. there was no set plan and some just manifest out of the stone, sure it's nice to build something that no one else has tried or seen and that's why i love chipping rock because you never know they'll be around long, long after I'm gone and if they inspire the next great artist great it truly is the best feeling to know I here at this point and time to enjoy what I do.
"Emory Coons ( By Ray Harwood) was born in Burns Oregon in 1971 and started flintknapping at the age of five, 33 years ago. He has been on OPB on The Caveman at Glass Buttes and Channel 2 News Boise Idaho about the Nyssa rock and gem show multiple times. Several news paper articles have been written on his art from gem and mineral shows he has attended in Nyssa Oregon, Burns Oregon, Madras Oregon, The Dalles Oregon, Pendleton Oregon, Mission Oregon, Salem Oregon and the Oregonian in Portland Oregon and Golden Dale Washington. The Pendleton Mission papers had a mention for round-up as well as the blades he chipped were built into the Umatilla Veterans’ Memorial. He has taught classes in flintknapping at Indian Lake for the Umatilla tribe four years also the wild horse atl-atl demonstration as well as Pipestone Creek Alberta Canada and in Medicine Hat British Colombia Canada for the Jr. Forest Wardens, at Northern Lights out of Slocan Canada twice, also demonstrated flintknapping along the Oregon Wagon Train in 1993, Baker interruptive center, and Windows to the Past for the BLM and Forest Service. Then there's knapp-ins (arrowhead makers conventions) at Glass Buttes Oregon, Ed Thomas Golden Dale Washington knap-in, Richardson’s rock ranch knap-in and the Brad Boughman- Jim Hopper Knapp-in on the upper North Umqua .some of the worlds best knappers come to these events to show there skills and teach. Emory attends gem and mineral shows like the Confederated show in Onterio, Nyssa Thunder Egg Days, Prineville Oregon, Hines Oregon Obsidian Days show his father started and the Madras, Oregon gem and mineral show.Emory made the massive obsidian blade for the movie Reddick. He has the current world record biface, for a living knapper. He crafts amazingly notched eccentrics, including his amazing eagles. He has influenced at least one generation of knappers."
. External Links (Wikipedia and other)
 |
| RAY HARWOOD, BLOGGER: FLINTKNAPPING MAGAZINE figflint@yahoo.com |
THE ELK BONE KNIFE
By Ray Harwood
 |
| Harwood's Elk leg bone knife |
This year I spent a long period of time in the forests of North Idaho, Washington and Montana,
I found that living in the woods, flintknapping has a fairly low requirement level, not a huge concern for survival, Gathering and scavenging is more effective than hunting, and never get to far from a water source.
Watching the sky for vultures or crows and follow them to the kill. This is great for sineu, bone, antler, hide and often the meat is still good. The thing is what ever killed the animal could kill you and may still be around.
 |
| bear sign |
In this case an elk cow killed by a bear. I thought it had been poached but I called Fish and game and it appeared to be a bear kill and the bear was later found to be on several game cameras in the area, a large Grizzly!
 |
| elk carcass |
In north Idaho, obsidian is very rare, I used an obsidian knife of silver sheen obsidian from Glass Buttes, OR.to help me detach the leg bones and clean the decomposed and mummified tissue off the bone, Then I cut the bone and inserted the silver sheen obsidian blade.
Extreme Flintknapping: part one – Extreme Notching
By Ray Harwood
intro photo 1, knapper Jake Webster.
One aspect of extreme flintknpping is deep notching into the body of the flint blade. Notching arrowheads is an art form in itself. Some flintknappers have perfcted notching to the extreme. The notches can be replicated by pressure flaking with a soft iron nail, horse shoe nail or small copper punch.
Photos number 2 A group Mack Tussinger’s eccentric (Photo courtesy of Peter Bostrom)
In the 1920s, a Indian named Mack Tussinger was able to formulate notching methods that allowed him to achieve extremely complex designs in the flint, these points came to be known as eccentrics . It was in 1921 that Tussinger, a Wyandotte Indian, claimed to have discovered a large cache of ancient eccentric flint points, he had sold as many as 3,500 to wealthy collectors over the fallowing decades before it was discovered he knapped the eccentrics blades himself.
Photos number 3 A group Mack Tussinger’s eccentric (Photo courtesy of Larry Kinsella).
.
Today there are several flinknappers that have mastered Tunnsinger’s eccentric notching styles, Emory Coons, a knapper whom is a local folk hero in the area of Glass Buttes, Oregon, a massive obsidian outcrop, where Emory knaps out massive blades and intricately notched obsidian eagles, he is known for knapping the sword in the movie Reddick 2015. The amazing obsidian eagles using deep notch techniques. A thin biface is knapped very thin, then a long notched ftom the top down and opened for eagle head area. Emory Coons was born in Burns Oregon in 1971 and started flintknapping at the age of five, 33 years ago. He has resided in Burns most of his life and attended Burns Union High School winning awards in the crafts department for jewlery two different years. He has been perfecting his skills as a artist ever since, flintknapping, silversmith, lapidary and teaching his craft to others. He has been on OPB on The Caveman at Glass Buttes and Channel 2 News Boise Idaho about the Nyssa rock and gem show multiple times. Several news paper articles and magazines have been written on his art from gem and dozens of rock and mineral shows he has taught classes in flintknapping at Indian Lake for the Umatilla tribe four years also the wild horse atl-atl demonstration as well as Pipestone Creek Alberta Canada and in Medicine Hat British Colombia Canada for the Jr. Forest Wardens, at Northern Lights out of Slocan Canada twice, also demonstrated flintknapping along the Oregon Wagon Train , Baker interruptive center, and Windows to the Past for the BLM and Forest Service.
Photo 4 obsidian eagles make by Emory Coons .
Ed Mosher flintknapps large intricate eccentrics similar to those found in South America, Ed is also prides himself on his beautiful Danish Daggers. Danish daggers are among the most difficult artifacts to replicate.
Photo 5 ED Mosher of Monticello, Indiana Photo above.
Both of Ed's Grandparents had an artifact collections. He found his first arrowheads when he was 5. He chipped his first arrowhead when I was in the 4th grade. Ed used a nail in a handle and a railroad spike as a hammer. He didn'tt have any knappable material where he lived, so he used small flakes that he found in the fields. When he was in high school, he found DC Wldorf's book on flintknapping. " It Took off The bug bit me hard. In 1988 I meet Jeff Pig and Dan Lincoln at a show that I was knapping at. They gave my a few pointers and some larger chert." He attended his first knapp-in in 1989 at the Jeff Pig farm. Ed has been hitting it hard ever since. "I like to swing large antler. I really like to make large percussion points. Though I love a challenge." Ed has been known to make eccentrics, fluted points, Danish daggers and now working on learning flake over grinding work. Ed was also a member of the flintknappers Halls of fame for his outstanding contributions to the craft and advancement of the art and study of flintknapping.
Photo no. 6 Ghost point by Jake Webster.
Another knapper from the Indiana area is a young and upcoming knapper that is becoming known for his extreme eccentric flint points and his well notched hunting points. His name is Jake Webster and he calls his flint points “ghost points” for he often notches arrowhead images within his arrowheads. Jake is 27 and has been knapping since he was 12 years old. He credits Ed Mosher and Aaron Lincoln as his influences.
Photo 7. of Anthony R extreme long thin notches. ( photo by Ray Harwood.).
. Another extreme notching style is known, by flintknapper,s as long notching and by archaeologists as “Calf Creek” style notching. Anthony Raimondi hails from Denard, Arkansas where he works for a local Timber Company. He and his son T.J are both flintknapping experts and have both won awards for their fantastic close entry and long notching styles. The Raimondis credit “The Art of Flintknapping” by D.C. Waldorf, as their main influence fallowed by attending local knap-ins.
The third extreme notching style is “Ishi” or close entry notching. The notch entry is very small and the notch opens into a tear drop. Steve Alley of Sisters Oregon has the current worlds record for close in notch entry at this time. Steve is a master of many styles of flintknapping, . Steve also hunts with his hand made primitive archer equipment.
Steve Allely is knapper who began breaking rocks in 1967 and hasn't slowed
down much in the last 40 plus odd years of working stone. He specializes
in beautiful high color points of the Western US although he can make many
styles of points and knives. He is also an accomplished flat work artist
in painting and illustration. Additionally, he is a bow maker specializing in the
subject of Native American archery for over 20 years and has illustrated a
number of books and written the periodic chapter on the subject in the well known s Bible book series with Jim Hamm of Bois d' Arc Press. has taken a number of deer with his sinew backed bows obsidian tipped arrows and dressed them out with obsidian knives. He also replicates various Native American material culture items for museums and interpretive exhibits.When he's not breaking rock, scraping on bows or wielding paint brushes he periodically plays Celtic music and doodles with several kinds of bagpipes. Steve andhis wife make their home in central Oregon, a "rock rich" area for a westernknapper. Steve was also a member of the flintknappers Halls of fame for his outstanding contributions to the craft and advancement of the art and study of flintknapping.
Steve Allely is also an expert on the Native Americans from the northern California area and into the entire North West coastal region. The Indian named ISHI who was the last survivor of the Yahi tribe in northern California. Steve has a collection of ISHI memorabilia that he shows and gives talks about; he has a collection Ishi related items.
Above photo 8 Ishi Point cast from Lithic Casting lap. (photo Ray Harwood)
Steve has replica items that he produces and will have seminars on the subject and will be available at his booth for questions. ISHI became a friend of Dr. Saxton Pope in San Francisco and Pope became one of the most famed archers of the early 20th Century who hunted all over the world with a Mr. Art Young and they authored some of the most famous and exciting books on archery ever, Steve can tell you all about it. Steve’s home is in Sisters, Oregon when he is not traveling the world giving talks on this subject (Jerry Dishion, Archery Expo).
Above photo 9. World’s closest entry notch by Steve Alleley (Photo by: Ray Harwood)
Interview With Steve Allely: “A few helpful hints on narrow notching is that first you have to make the area of the point you're going to notch, very thin to begin with. That will solve a number of problems before you even start and is essential. You'll need that part of your point thin so you're not fighting any thickness which is highly helpful. I use a filed down very flat and thin welding rod tip with the end having not a point but a tiny flat area as if one flattened off the end of a wooden popsicle stick but at a slight angle instead of at a 90 degree. This flat and thin tip is tiny and miniature is size and looks something like a tiny screwdriver tip for eyeglasses screws only its at a slight angle if that makes sense. You can use a horse shoe nail, regular nail or any other piece of mild steel or iron like Ishi did. I used a 7 or even a 10 power jewelers hood when doing this (its really hard to see it!) and it took several attempts as its very hard to do. I made a very tiny micro notch to start with using the flat thin flaker that I gradually went into the edge of the point a ways. Then as I got the notch started an in a ways from the edge maybe a 1/16" or so, I inserted the flat tool into the notch from the side, gently set up a little platform, and carefully pressed off a little crescent shaped notch flake to expand the notch outward and into the point but not too big, because if that flake is too large it circles back and tears open your tiny narrow notch entry and wrecks it. One has to "micro narrow notch" a little ways into the point from the edge, and then start to take off larger flakes a bit more aggressively. After you get away from the edge it gets much safer and a bit less of a risk to break it. As you notch you have to set up your platforms to the next side you take your flakes off of. I pop off a flake, very gently crunch my way in a ways but build the platform to the opposite side and very gently scrape (grind) it with my flaking tool which is setting up the platform for the next flake on the other side. Then the process repeats if all goes well. What you don't want is to get your edge to thicken up too much in the mid line of the notch and then you can start to get "stuck" and spin your wheels in taking a flake off as your platform is too far from either side stuck in the middle and it starts to get too thick so your tool keeps slipping instead of taking off a flake. You can sometimes power through and pop off a large one but you can wreck it very easily at that point and will be heard quoting Homer Simpson with a loud "D'oh!"...or worse... In short, it takes lots of practice and I've seen a number of Ishi's old points at the Hearst Museum that Ishi himself "messed up" and popped his notches out wider than he wanted or had planned. That's essentially it, its just meticulous mirco notching. Its not a deep dark secret nor rocket science, just very careful tiny flaking with lots of practice (and many failures) This is probably the smallest entry notched point I've ever managed to make with the notch openings less than
1 mm but I was pushing the envelope and it took several tries before I was successful. When I notch this way I work on my knee on an old green chain leather apron and hold the tool straight down when I get to the 'insert it into the inner notch" stage if that makes sense. The tiniest mistake of twisting your tool wrong can mess you up if you aren't super careful. Practice on glass or obsidian flakes a lot, the more you do it the better you'll get at it.”
Flintknapping can be very dangerous, if you choose to do so, seek a mentor, and use all necessary safety gear: Long pants, boots, leather lap cover, safety glasses and gloves.
 |
| Montana PSK knap-in 2015, |
www.pugetsoundknappers.com for help. and information.
Beautiful eccentric by Brian Schuch of Juneau, Alaska
rejected so I blogged it!!
After going over the article I am going to pass on it. About the only articles on flint
knapping that we publish are actual how-to types. The pieces you display in the -
article are beautiful, but making them would be well out of our readers range of
expertise. I'm sorry.
Charlie Richie, Sr.
Editor/Publisher | BACKWOODSMAN MAGAZINE"
Editor/Publisher | BACKWOODSMAN MAGAZINE"
XTRA-TERRESTRIAL EVIDENCES FOR ALIEN FLINTKNAPPING (THE ALIEN STONE-AGE)
By Ray Harwood
 |
| ALIEN, MARTIAN FLINTKNAPPER |
In 1999, to the best of my memory, I had the good fortune to be sitting by a camp fire in the woods near Portland, Oregon. There were several quite notable men of science, and an array of students. We were in sort of relaxed contemplation after a day of experimental flintknapping. Most of us had our gaze fixed upon a abnormally bright star. After a long spell we started discussing among each other which planet it mat be. Just about that time the light darted in a zig zag pattern across the cosmos. The speed was not describable as it traversed the horizon in a fraction of a second. The only word uttered was Dr, Callahan whom lightly enumerated “hmmmm” and then the group burst into laughter. Were they getting a free knapping lesson?
Two years later, in the forest above Lake Tahoe, my sons and I were camping beneath the trees but insight of the lake at dusk. My youngest son and I, alerted by a flash of light, looked up from the camp fire to see a massive ball of light travelling through the trees between us and the lake. Last year I saw a green triangle of light dashing, zig zag, over the skies of the Spokane River?? Yikes one might say.
 |
| VITRUVIAN ALIEN AFTER DA VINCI'S MAN (BY RAY) |
In 214 BC Livy recorded flying saucers in Rome, this appears to be the first of thousands of written accounts of extra-terrestrials throughout history (Wikipedia) In 1920s Nikola Tesla, super genius, was confident he had been receiving nightly radio messages from alien life forms, his laboratory assistant, Arthur Mathews, later confirmed this. Guglielmo Marconi also made similar claims a few years later (Swartz 2001). “Why should the earth be the only planet supporting life? It is not singular in any other respect” (Albert Einstein). The internet has multitudes of video and photographic evidence both fake and intriguing. Ancient artifacts and art depict what appear to be flying saucers and alien life forms.
I am not advocating alien existence one way or the other. I would be more inclined to believe there are parallel universes and these things are the result of bleeding through from one to another. In any event these mysterious technologies are very advanced, but all technologies have to develop one step at a time over long periods of time. At some point in the technical development there would have to be a cultural, technical evolution. In other words …Aliens were once stone tool makers, and if they were at some point from another time, another dimension or Mars, then they were most likely flintknappers at one point in their development.
 |
| Ray Harwood with natural glass alien like points he made. Montana PSK knap-in 2015, |
Obsidian and flint are very common raw material for flintknapping:
“Is there Obsidian on other planets? The only way to get a dacite or a rhyolite (rock that melts into obsidian) is to re-melt rocks, usually in the presence of water. We get that on Earth because we have continental crust and plate tectonics that recycle the basalt on Earth. Mars has a chance, but we don’t get felsic rocks like we find in Earth’s continental crust really anywhere else in the solar system, and therefore most of the solar system is obsidian-free” (September 19, 2014 The Earth Story Blog).
 |
| Alien Point of Flint: made by Ed Mosher |
Is there flint on other planets? On planets like Mars, that show that there was once some sort of water, flint may be possible. If you think about what flint is, a type of chert that forms in pressurized Sedimentary limestone. Chambers in the stone get filled with a gelatinous mixture of organic silica from aquatic life, this fills the rock chambers like a mold, and forms nodules. Mars has much evidence of water, in the form of dry river beds meandering on its’ surface. Furthermore, evidence like the Sri Lanka Meteorite show signs of life from outer space in the form of primitive life form fossils.
What flintknapping tools would have been employed by stoneage Alien? On earth it is known that knappers now, and in ancient times, relied on sand stone cobbles as hammer stones and copper tipped pressure flakers. We do know that rocks that look like hammer stones exist on Mars. Studies have shown that there are sedimentary rocks and forms of copper in Shalbatana paleo -lake sediments on Mars (Various: Lunar and Planetary Science Conference. 2014).
 |
| PETER BOSTROM PHOTO, TUSSINGER POINTS. LITHIC CASTING LAB. |
What type of lithic tools and weapons would have been made by stone age aliens? It is unknown what aliens to me eat or ate. Do they eat chemicals, do they get nutrients through photosynthesis or like us do they harvest plant and other biologics for food? The type of tool required would depend on the necessity of food acquisition and or clothing. shelter needs or digging mines and caves for their survival needs.
In conclusion; it appears there is a good possibility that there is amble raw lithic material and knapping tool material to facilitate flintknapping on Mars and similar planets. Was it done? If there are, or was, truly Martians or aliens and they went through a cultural evolution sequence similar to humans, including extra-terrestrial stone age, then yes! If Mars was once flourishing and some sort of horror transpired upon them, and the aliens abandoned ship, perhaps we are they and the ancient astronaut theories can be contemplated and here comes a new Clovis theory!
“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.
 |
| 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.
 |
| 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.
 |
| 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.
 |
| 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 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
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 .
Since 1987
Cliffside Workshops
HISTORIC POST, OFFER NO LONGER VALID
(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..............
Errett Callahan
2 Fredonia Avenue
Lynchburg, Virginia 24503
(or print an addressed letter page viewed here )
Phone: 434-528-3444 (Let phone ring 8 times for message.)
- - Teaching Ancient Skills, Traditional Values, and Self Reliance - -
Offering Classes in
FLINTKNAPPING ; PRIMITIVE TECHNOLOGY
Errett Callahan, Instructor
" 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.)
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.
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.
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.
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."
Testimonials
"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
"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
"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
"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
"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
"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
"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
"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"
_____________________________
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.)
The Education of a Flintknapper
by Michael Frank, 2007
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.
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..
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
ERRETT CALLAHAN WITH BRONZE AND FLINT DAGGERS (RAY HARWOOD)
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
MODERN TEACHING CASTS
"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, 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.
- 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).
Kris West, 2007 Biography of Errett Callahan
-
"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.)"
PARTIAL BIBLIOGRAPHY :
2013
![]()
Both of my Grandparents had an artifact collections.I found my first arrowheads when I was 5. I chipped my first arrowhead when I was in the 4 grade. I used a nail in a handle and a railroad spike as a hammer.We don't have any knappable material where I live close so I used small flakes that I found in the fields. When I was in high school I found DC Wldorf's book on flintknapping. It Took off The bug bit me hard. In 1988 I meet Jeff Pig and Dan Lincoln at a show that I was knapping at.They gave my a few pointers and some larger chert. I attended my first knapp-in in 1989 at the Jeff Pig farm. I have been hitting it hard ever since. I like to swing large antler. I realy like to make large percussion points.Though I love a challenge.I have been known to make eccentrics,fluted points,Danish daggers and now working on learning fog work.
Title: Observations on projectile point fracture
patterns: Some experimental data
3.
NOTE:
Arrow-shaft
Configuration, Effects on Projectile Point Fracture Patterns: Experimental Data
VOL 1. “Projectile Point
fracture experiments”
PLEASE ORDER HERE: https://www.amazon.com/dp/B085RQN428
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.)"
PARTIAL BIBLIOGRAPHY :
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.
Both of my Grandparents had an artifact collections.I found my first arrowheads when I was 5. I chipped my first arrowhead when I was in the 4 grade. I used a nail in a handle and a railroad spike as a hammer.We don't have any knappable material where I live close so I used small flakes that I found in the fields. When I was in high school I found DC Wldorf's book on flintknapping. It Took off The bug bit me hard. In 1988 I meet Jeff Pig and Dan Lincoln at a show that I was knapping at.They gave my a few pointers and some larger chert. I attended my first knapp-in in 1989 at the Jeff Pig farm. I have been hitting it hard ever since. I like to swing large antler. I realy like to make large percussion points.Though I love a challenge.I have been known to make eccentrics,fluted points,Danish daggers and now working on learning fog work.
Title: Observations on projectile point fracture
patterns: Some experimental data
Names of authors:
1. Clay Singer (Professor)
2. Ray Harwood (Student)
3.
4.
Affiliated institutions
of all authors:
1. Northridge Archaeological Research Center, California
State University Northridge, Northridge, CA, U.S.A.
2. _N.A.R.C.
and Independent Researcher
3.
4.
Correspondence details
of all authors (including email addresses):
1. Clay A Singer (Deceased)
2. Ray H. Harwood: Post Falls, Idaho.
NOTE:
In cases where
materials under copyright have been used in the manuscript, please contact the
editor for further instructions.
Arrow-shaft
Configuration, Effects on Projectile Point Fracture Patterns: Experimental Data
VOL 1. “Projectile Point
fracture experiments”
PLEASE ORDER HERE: https://www.amazon.com/dp/B085RQN428
Figure 1: The three
arrow shaft configurations tested (illustration by: Jeff-Burr Garetson)
Abstract:
In 1982, a series of
experiments were conducted to determine something about arrow shaft variability
affecting the breakage patterns of projectile points. Thirty identical points
were made from fused shale (a local meta-sedimentary SiO2), and then
hafted to three different types of arrow-shafts: 1) One-piece solid hardwood (Self
arrow with the nock cut into the shaft), b) two piece hardwood “footed arrow”,
hardwood spliced or inserted into the pile end as a fore-shaft, for durability
and balance, glued in hardwood nock, and c: two-piece hardwood and cane (also a
footed arrow). The three groups of arrows, ten of each type, were shot at
identical wood plank targets with hand held bow from a distance of 25 feet (8 m).
Keywords: projectile points; fracture patterns; Grimes
Canyon fused shale; experimental archaeology; North America, arrow shaft
variability.
In 1982, a series of
experiments were conducted to determine something about arrow shaft variability
affecting the breakage patterns of projectile points. Thirty identical points
were made from fused shale (a local meta-sedimentary SiO2), and then
hafted to three different types of arrow-shafts: 1) One-piece solid hardwood (Self
arrow with the nock cut into the shaft), b) two piece hardwood “footed arrow”,
hardwood spliced or inserted into the pile end as a fore-shaft, for durability
and balance, glued in hardwood nock, and c: two-piece hardwood and cane (also a
footed arrow). The three groups of arrows, ten of each type, were shot at
identical wood plank targets with hand held bow from a distance of 25 feet (8 m).
More than 90% of the points broke on impact
leaving the broken tip imbedded in the plank. Breaks occurred either at the tip
or midsection, sometimes accompanied by basal fractures (broken tangs). Both
hinge and languette (tongue like projection) fractures were generated but no
burinations or spiral fractures occurred in the thirty trials conducted.
Fracture type and location appear to be strongly correlated with hafting form
and style of shaft. Compound shafts of wood and cane seem to absorb more shock
on impact and therefore fewer points are broken. Also, breaks tend to occur
closer to the tip with compound shafts. Points with broken tips are easily re-sharpened
and reused, whereas medial breaks usually render the point useless as a
projectile point (Knetch 1997, Kelterborn 2001, Titmus and Woods 2006). Broken projectile
points from archaeological contexts may be understood more clearly if the cause
and mechanisms of use-fracture are better understood.
Keywords: projectile points; fracture patterns; Grimes
Canyon fused shale; experimental archaeology; North America, arrow shaft
variability.
Acknowledgements and addendum
The authors wish to
extend their thanks and appreciation to the management of the Grimes Canyon
Decorative Rock Company for permission to collect material from their property
in Ventura County, and to J.E. Ericson, P.V. Aiello, and J.B. Sollberger
for their constructive comments on earlier versions of this paper. The primary
investigator on this project was Clay Allen Singer, MA. Clay was Professor of
archaeology at California State University at Northridge from 1979-1982, also
director of the Northridge Archaeological Research Center on campus. I
conducted several experiments in lithic technology as one of his students and
underlings from 1980-1983, this paper being one of them. I lost contact with Mr. Singer after
graduating from CSUN and because of a rather intrusive case of ADD (attention
deficit disorder) I found it impossible to move forward with my advanced degree
in archaeology. Sadly, Clay Singer died after a brief illness on March 13,
2013. Shortly afterward, I received a Package in the mail with all the data and
notes from our early experiments. It
appears it was Mr. Singer’s dying wish that I complete our research and publish
the results. It was not until two or three
years later when I met and conversed with Mr. Otis Crandell of the Universidade
Federal do Parana, Departamento de Anthropologia and his colleagues that I
gained the confidence and support I needed to proceed with this salient
endeavor. I owe a great debt of gratitude to them for patiently and tirelessly
helping me through what would have been near impossibility without them.
The authors wish to
extend their thanks and appreciation to the management of the Grimes Canyon
Decorative Rock Company for permission to collect material from their property
in Ventura County, and to J.E. Ericson, P.V. Aiello, and J.B. Sollberger
for their constructive comments on earlier versions of this paper. The primary
investigator on this project was Clay Allen Singer, MA. Clay was Professor of
archaeology at California State University at Northridge from 1979-1982, also
director of the Northridge Archaeological Research Center on campus. I
conducted several experiments in lithic technology as one of his students and
underlings from 1980-1983, this paper being one of them. I lost contact with Mr. Singer after
graduating from CSUN and because of a rather intrusive case of ADD (attention
deficit disorder) I found it impossible to move forward with my advanced degree
in archaeology. Sadly, Clay Singer died after a brief illness on March 13,
2013. Shortly afterward, I received a Package in the mail with all the data and
notes from our early experiments. It
appears it was Mr. Singer’s dying wish that I complete our research and publish
the results. It was not until two or three
years later when I met and conversed with Mr. Otis Crandell of the Universidade
Federal do Parana, Departamento de Anthropologia and his colleagues that I
gained the confidence and support I needed to proceed with this salient
endeavor. I owe a great debt of gratitude to them for patiently and tirelessly
helping me through what would have been near impossibility without them.
Clay Allen Singer, beloved son, brother, husband,
father and friend died after a brief illness Wednesday, March 13. 2013, at a
local hospital. Clay was born in March 1944 to Manny and Bert Singer. He grew up
in Reseda, Calif., and went to college at UC Riverside. He met the love of his
life, Lynne Francis, while at Riverside. They were married in 1965 and took
turns putting each other through college. Clay managed Evan's Hardware in Santa
Monica, Calif., while Lynne earned her teaching credential at UCLA. He earned
his BA in 1970 and his master's degree in Anthropology in 1975. Clay was a
teacher at Cal State Northridge from 1979 through 1982. He started his own
consulting company to do EIRs (Environmental Impact Reports) in 1979. He worked
as his own boss until shortly before he died. After having beat lung cancer in
1989, Clay moved the family from Santa Monica to Cambria. He wanted to live
where the air was clean and the pace was slower. Clay was a scientist, who
specialized in stone tools (lithics) - the manufacturing and the use of such
tools. He worked in California, Idaho (Working with Don Crabtree), France
(working with Francois Bordes), Peru and Mexico. As an archaeologist, he worked
with the Native Americans, whose ancestors walked the earth Clay was digging
up. He made very special friends among the Chumash and the Salinans. Clay was
kind, funny and generous with his time and his knowledge. He volunteered for
the SLO Civil Grand Jury in 2011 and 2012, NCAC, Camp Ocean Pines and other
local organizations. He also served as a Senior Judge for the annual California
State Science Fair from 1990 to 2008. He really enjoyed meeting with high school
students and discussing their science projects. He especially loved to cook and
had an extensive cookbook collection. His final wish to me was to publish this
paper. Clay is survived by his wife of 48 years, Lynne; daughter, Erin; sister,
Lili; and many more family members. Clay was much loved and is dearly missed. A
celebration of life has been held.
References
Bicho N.F.,
Marreiros, J.M., Gibaja J.F. 2015, Introduction. Use-Wear and Residue Anylisis
in Archaeology .P1
Blogger, Ray Harwood.
Bicho N.F.,
Marreiros, J.M., Gibaja J.F. 2015, Introduction. Use-Wear and Residue Anylisis
in Archaeology .P1
Bostrom, Peter 2013. Flaked Stone Projectile Point Impact Fractures: Lithiccastinglab.com
Callahan, E. 1979, The basics of biface knapping in
the Eastern Fluted Point Tradition: A Manual for Flintknappers and Lithic
Analysts. Archaeology of Eastern North
America, 7(1): 1-180.
Cheshier, J.& R.L
Kelly. 2006 Projectile Point Shape and Durabilty: the effect of Thickness &
Length :American Antiquity 71 (2) : 353-63 P.
Demack, Carol R 1981
Fused Shale As A Time Marker In Southern California. Masters Thesis, California
State University, Longbeach.
Dockall, E. John (1979). Wear Traces and Pojectile
Impact: A Review of the Experimental and Archaeological Evidence, Journal of
Field Archaeology, 24:3, 321-331
Fisher, A., Vemming
Hansen, P., Rasmussen P. 1984. Macro and
Micro-Wear Traces on Lithic Projectile Points. Experimental Results and
Prehistoric Examples. Journal of Danish
Archaeology 3, 19-46.
Flenniken, J. Jeffery
1985.Stone Tool Reduction Techniques as Cultural Markers.
Stone Tool Analysis, Essays in Honor of Don Crabtree. pp 265-276. Albuquerque:
University of New Mexico Press.
Flenniken,
J.J. & Raymond, A.W. 1986, Morphological projectile point typology:
Replication experimentation and technological analysis. American Antiquity, 51(3): 603-614. doi:10.2307/281755
F. C Frank , and B. R. Lawn 1967 On the Theory of
Hertzian Fracture. Proceedings of the Royal Society 299 : 291–306.
Frison, G.C. & Bradley, B.A. 1980, Folsom tools and technology at the Hanson
Site, Wyoming. University of New Mexico Press, Albuquerque, 135 p.
Harwood, Ray 1986
Points California. Ancient Man Information Exchange. Vol. 2, Tekakwitha
Institute of Ancient Man. Woodbridge, Virginia. 8, 26 P.
Harwood, Ray 1990 A
Rare Lithic Material From Southern Caliornia. Indian Artifact Magazine
9 (3): 32- 33 P
Harwood, Ray 1992
Califfornia Lithics, A World Of Stone. Indian Artifact Magazine
11 (4): 42-46 P.
Harwood, Ray 2001 The
Search For Ted Orcutt: Eugene’s Journey. Indian Artifact Magazine 20 (1): 6-7, 72-74 P.
Harwood, Ray 2015
Re-knapped Broken Points,Preforms, and Typology Issues. Knapper’s Quarterly.
Summer 2015, Vol. 1 No.1 P 36-38.
Harwood, Ray and Otis
Crandell: Practical Applications Of Dekton Artifical Rock For Experimental
Archaeology and Traditional Lithic Technology. The International Symposium on
Knappable Materials (ISKM Barcelona 2015) (http://www.ub.edu/cherts-symp2015/sessions/papers/S09/S09-harwood.html)
Hashizume, Jun,
2009, "Paleoindian Projectile Point
Breakage And Reshaping," Hell Gap, A Stratified Paleoindian Campsite At
The Edge Of The Rockies, p. 282.
Iovita, R., Sano, K.
(Eds.), Multidisciplinary Approaches to the Study of Stone Age Weaponry.
Springer. 2016
Kelterborn, Peter
2001 , Replication, Use and Repair of an Arrowhead. Society of Primative
Technology, Bulletin of Primative Technology.
: No. 21, P. 48-57
Knetch, H. (Ed.), Projectile Technology. Plenum Press. 1997
Nelson, Margaret C. The Study of Technological Organization.
Archaeological Method and Theory. Pp 57-100. Academic Press. New York.
Odell, George 1981
“The Mechanics of Use: Breakage of Stone Tools: Some Testable Hypotheses,”
Journal of Field Archaeology 8: 197-209
Odell, George, and Cowan, Frank. 1986. Experiments with Spears and Arrows on Animal
Targets. Journal of Field Archaeology 13, 195-212 Pargeter, J. 2013. Rock type variability and impact
fracture formation: working towards amore robust macrofracture method. Journal
of Archaeological Science 40(11), 4056-4065
Pargeter, Justin.
2011. Assesing the macrofracture method for identifying Stone Age hunting
weaponry. Journal of Archaeological Science 38, 2882-2888
Patterson, L.W.
“Incidental Impact Breakage of Arrowheads”, La Tierra 21 (4): 19-24.
Plew, Mark G. 1985 A
Prehistoric Settlement Pattern for the Southcentral Owyhee Uplands, Idaho. Ph D
Dissertation, Indiana University.
Pope,
S.T. 1923, A study of bows and arrows. University
of California Publications in American Archaeology and Ethnology, 13(9):
329-414, plates 45-64. URL: https://archive.org/details/universityofcal13univ
Roper, Donna C. 1979 “Breakage Patterns of Central Illinois Woodland
Projectile Points” Plains Anthroplogist. 24 (84): 113-121
Rondeau, Michael.
1981. An Additional Failure Type During Biface Manufacture. Lithic Technology
10, I0-II.
Sano, Katsuhiro,
2009, "Hunting Evidence From Stone Artifacts From The Magdalenian Cave
Site Bois Laiterie, Belgium: A fracture Analysis," Quartar 56, pp. 67-86
Singer,
C.A. 1986, The prehistory of fused shale in southern California. In: The Social and Economic Contexts of
Technological Change (van der Leeuw, S. & Torrence, R., Eds.),
Proceedings of the world Archaeological Congress[ONC4] )
986, University of Southampton and Allen & Unwin, Southampton: p. 2-16. The original reference was for “11th Congress of the International Union of Prehistoric and Protohistoric
Sciences” This event was originally supposed to be the 11th IUPPS but it was
cancelled and renamed WAC-1. The actually 11th IUPPS was held in Germany in
1987. Anyway, from other publications it looks like it’s supposed to be WAC but
maybe Clay was still thinking of the original title when this was written. From
the other citations, I guess that this was written soon before the event.
Spencer, L. 1974, Replicative experiments in the
manufacture and use of a Great Basin atlatl. In: Great basin atlatl studies (Hester, T.R., Mildner, M.P. & L.,
S., Eds.), Ballena Press Publications in Archaeology, Ethnology and History
Vol. 2, Ballena Press, Socorro: p. 37-60.
Thomas,
D.H. 1981, How to classify the projectile points from Monitor Valley, Nevada. Journal of California and Great Basin
Anthropology, 3(1): 7-43. URL: http://escholarship.org/uc/item/6477q5zn
Towner, Ronald H.,
and Miranda Warburton 1985, Projectile Point Rejuvenation: A
TechnologicalAnalysis. Paper presented atthe Annual Meetings of the Society American Archaeology, Denver.forAmerican Archaeology,
Denver
Titmus, Gene L. &
Woods, James C., 2006, "An Experimental Study Of Projectile Point Fracture
Patterns," Journal Of California And Great Basin Anthropology, Vol. 8, No.
1, p. 43.
Truncer, James. 1988.
Perkiomen Points: A Functional Analysis of Terminal Archaic Point Type in the
Middle Atlantic Region. Journal of Middle Atlantic Archaeology 4:61-70.
Waldorf, D. C. 1984
The Art of Flint Knapping. 3rd ed. Moundbuilder Arts and Trading Co.
Waldorf, D. C. and
Valerie Waldorf 1987 Story In Stone. Moundbuilder Arts and Trading Co.
Whittaker, John
C. 1994 Flintknapping: Making and Understanding Stone Tools. University
of Texas Press, Austin.
 |
| Blogger, Ray Harwood. |
EMORY COONS
div> Emory Coons; Big Blade Maker : By Ray Harwood
Emory trade mark eagle.
Emory, the young prodigy.
"I told that kid to leave my rocks alone, he would cut himself, he was 5 years old - DARN KID IS STILL BRAKING MY ROCKS!" - DAD
"As of late many knappers are creating ever larger
pieces of lithic art in the form of huge bifaces.
Emery Coons reportedly percussion bifaced a 50 inch
preform and managed a 40 inch finished neofact. I
wrote the Coon's family and requested information and
a photo by received no response.
At the California knap in this year, large the key
word.
Many from other states, such as Coons in Oregon, are
also thinking large and obsidian suppliers are selling
more mega slabs than ever.
Named the Orcutt syndrome after an old time knapper
named Ted Orcutt, whom was known for his massive
biface work. More later..." Ray Harwood Aug. 30. 2000
Emory's work. 2
Emory's work. 3
Emory 4
Two of my first flintknapping buddies were Jim Winn and Barney DeSimone. During the old days they starting going up to Glass Buttes and they would tell me stories of the great biface knappers they had up there. One such knapper was really good at the giant blades and he was just a kid.
His name is Emory Coons and he is one of the few big blade makers in the world. His biggest to date is 41 inches finished (mud sedimentary) and he has a 47 inch (world record) pumpkin blade in the shop waiting to be finished. Emory keeps his blades thicker than Cole’s because he transports them to a lot of shows. He sometimes makes them thinner or even pressure flaked. He has been chipping large blades since the 1990's and most have been 20 to 36 inches. If you are interested in purchasing a large blade he is only limited to what pops out of the ground for color and length. Most large blades are out of silver sheen obsidian, pumpkin or red are harder to find and several out of dacite it's a steel grey color. But you never know what color the next large chunk will be.
Above photo is a 42 inch flake. The 18 lbs billet (The billet he got from Dan Stuber) is sitting above the pit, he used this to strike the rock and remove the monster spall.
One of my favorite stories is when Emory traded a 21 and a 31 inch blade for a Winchester riffle with Leopold scope. To make these giant blades Emory Coons digs a ditch and makes sure there are no rocks left in there that can cause vibration. The 30 lbs billet to the rock then as it gets smaller the 18 lbs billet then the 9 lbs, then, use a 1 inch solid or copper cap to build a lot of platforms to take massive flakes. The first stages involves alternate flaking, driving massive spalls off with a 9 pound copper Billet. For finer work he uses a 2 and a half inch copper bopper to reduce end shock. Barney DeSimone introduced Emory to copper billet technology when Emory was 16 years old and Steve Allely taught his copper platform preparation and use. Brian James was a big influence on horn platforms. Emory was introduced to flintknapping by his father, another great knapper, at the age of five years. Emory met Jim Winn a few years back and Jim began making large blades as well.
Emory makes three to four giant blades a year, this since he was 18 he is now 38. which is about 54 mega-blades to date. Emory is so good at spalling that people nearly kidnap him to reduce giant boulders. He is getting a 43 pound billet and the late Rick Woodram left him a 6 foot drag saw, so who knows what monsters may emerge.
Emory 10, blades
Emory 11. dacite blade
Emory 8. knapping
Emory 9. Face off
Emory 12. dacite blade
Emory 13. blade
Emory with Jim Winn 14
Emory 15
Emory 7 A News Paper
Emory 7 B News Paper
Emory 6, NewsPaper.
Emory 5, in News Paper.
BIO:
Emory Coons was born in Burns Oregon in 1971 and started flintknapping at the age of five, 33 years ago. He has resided in Burns most of his life and attended Burns Union High School winning awards in the crafts department for jewlery two different years. He has been perfecting his skills as a artist ever since, flintknapping, silversmith, lapidary and teaching his craft to others. He has been on OPB on The Caveman at Glass Buttes and Channel 2 News Boise Idaho about the Nyssa rock and gem show multiple times. Several news paper articles have been written on his art from gem and mineral shows he has attended in Nyssa Oregon, Burns Oregon, Madras Oregon, The Dalles Oregon, Pendleton Oregon, Mission Oregon, Salem Oregon and the Oregonian in Portland Oregon and Golden Dale Washington. The Pendleton Mission papers had a mention for round-up as well as the blades he chipped were built into the Umatilla Veterans’ Memorial. He has taught classes in flintknapping at Indian Lake for the Umatilla tribe four years also the wild horse atl-atl demonstration as well as Pipestone Creek Alberta Canada and in Medicine Hat British Colombia Canada for the Jr. Forest Wardens, at Northern Lights out of Slocan Canada twice, also demonstrated flintknapping along the Oregon Wagon Train in 1993, Baker interruptive center, and Windows to the Past for the BLM and Forest Service. Then there's knapp-ins (arrowhead makers conventions) at Glass Buttes Oregon, Ed Thomas Golden Dale Washington knap-in, Richardson’s rock ranch knap-in and the Brad Boughman- Jim Hopper Knapp-in on the upper North Umqua some of the worlds best knappers come to these events to show there skills and teach. Emory attends gem and mineral shows like the Confederated show in Onterio, Nyssa Thunder Egg Days, Prineville Oregon, Hines Oregon Obsidian Days show his father started and the Madras, Oregon gem and mineral show. At these shows he can find most of the exotic materials from other countries, like fire opal from Australia, Brazilian agate, Condor agate from Central America, or crystals, Idaho star garnets and other gems to make arrowheads or jewlery out of. The Fire Obsidian is one of his favorites to find and work. His work can be seen at Boise University (display), Omsi (display), Great Basin Art in Prairie City, Oards 'War Hawk'(tomahawk heads assembled by Great Basin Art), The Edge Company magazine (War Hawks), or some of the local Burns stores. Most of his work has been sought after by private collectors and as gifts. His friend in The Dalles, Jason Hinkle, has oregonthundreggs.com and has put a web page up for Coons Lapidary with pictures and contact information for the selling of his art.
Notes:
Progression of age pictures are numbers 1,13,10,8,4,9,14,15,11,12,oldest to now, the eagle was made 3 days ago, the first picture, at the top of the article, knapped inbetween snow storms.
11 is silver scheen obsidian, the one pictured with Jim Winn is dacite and
picture 15 is the mud sedamentry.
Emory Coon's axes and Danish Daggers(above).'War Hawk'(tomahawk heads assembled by Great Basin Art)
</
BALLAD OF EMORY COONS
By Hank Ray
I once new a man named Emory Coons
He lived out in the woods just like- Daniel Boone.
He knew how to live out off the land
Just like Ted Orcutt and Ishi the Indian man.
Emory made giant blades out of obsidian and flint
He stayed out at Glass Buttes in a canvas tent.
He learned how to knap when he was very young
even Errett Callahan couldn't believe what he done.
I once new a man named Emory Coons
He lived out in the woods just like- Daniel Boone.
He knew how to live out off the land
Just like Ted Orcutt and Ishi the Indian man.
Kenny hull a friend of his is a producer and asked him if he knew any big blade makers being he is Emory's x brother-in-law and he taught him how to chip it was nice so Kenny sent him the idea and he chipped the one they wanted and guess Vin Diesel said nope it wouldn't do that one was going on his own personal wall so Emory had to make 2, he only could muster $400.00 each out of Kenny. A 24 incher in movie a 26 incher for Vin's wall. Vin Diesel (born Mark Sinclair Vincent; July 18, 1967) is an American actor, writer, director, and producer. He came to prominence in the late 1990s and became best known for appearing in several successful Hollywood films such as Saving Private Ryan (1999), Pitch Black (2000), The Fast and the Furious (2001), xXx (2002), The Chronicles of Riddick (2004), Fast & Furious (2009), and Fast Five (2011). He is also the founder of the production companies One Race Films, Tigon Studios, and Racetrack Records.
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=54296085 I had some problems playing this video. If you pree the YOUTUBE emblem the video does play.
The International Flintknappers ‘ Hall of Fame and Museum is encouraging individuals of all ages to “Be A Superior Example,” through a new education program as part of a new curriculum to promote healthy habits, while encouraging everyone to live free of drugs and other such substances or vices. It serves as the central point for the study of the history of flintknapping in the United States and beyond, displays flintknapping-related artifacts and exhibits, and honors those who have excelled in the craft, research/ writing, promoting events, and serving the knapping community in an ethical and wilderness loving manner.EXPERIMENTS IN THE USE OF THE TYPE IV DANISH DAGGER (PART 1)
By Ray Harwood
The classic Danish Dagger style is the type IV, with the leaf blade and incorporated squared off and stitched handle. The Neolithic Period, “Hindsgavl” Dagger, in the National Museum in Denmark is of this sort. According to the National Museum in Denmark “the daggers were prestige objects and do not seem to be usable for everyday activities”.
1. The gutting, removing the entrails, of the deer with a Danish Dagger: First I dispatched a medium sized buck deer from the high forests of Northern Idaho. I then hung the animal from a tree by its’ back legs. The tip of Danish daggers are very sharp and the handle is made so a great deal of force can be applied, so for initial slicing incision and gutting the deer the dagger worked quite well for the initial slicing incision. I made use of several sized daggers; a smaller one was needed to aid in the removal of left over gut remanence and fat nodules.
2. Skinning the deer: I have skinned deer before with flint and obsidian knives, including Bison, but never with a Danish Dagger. I found a smaller dagger worked best as the larger ones were to cumbersome for the wrist. The deer hangs upside down you start at the top and work your way down toward the head. The tip and the upper blade margin were very effective to remove the skin from the inner thigh crotch- shin area, the cut around the leg and removal of the scent gland area was done with the tip, sometimes you have to hold the dagger on the lower blade instead of the plummel for proper function,.
The tail and torso fallow. Removal of the hide uses a almost circular cutting while pulling up on the skin.A saw like cutting motion was used one the front leg skin removal cutting around the leg and peeling. The next step in the skinning was the head removal. A combination of sawing and hacking was used with the blade margin of the Danish dagger; the weight of the large dagger was an aid in this process. Decapitaion was effective and withing three minutes with a large Danish Dagger.
When skinning any game plan on getting cut, the Dagger is no exception, I lopped off the outer tip of my left thumb right from the get go. The daggers had enough bulk to separate the hide well from the meat without taking too much meat off with the hide. A flake is so sharp that it often does poorly and even can cut the hide, flint flakes are too sharp for skinning. Once the scent glands are removed and the hide is cut and skinned from the carcass can be transported to home for the curing and aging of the meat and butchering.
4. Deer butchering with the Danish Dagger; While the carcass hand head down, the shoulders are pulled away from the torso by the leg, with the left hand and the Danish dagger blade held parallel to the rib cage the dagger is used as a saw like motion and some hacking, similar to the head removal. After the removal of the shoulders the back straps were removed. The back straps are the most desired cut on the carcass.
The Danish dagger is here used as a scraper to removed excess fat tissue. The slicing cut just below the hip bone toward the spine. This is done with the tip of the Danish dagger. The spine is fallowed with a linear tip sawing cut toward the shoulder on both sides of the spine. Then the back strap is removed with a “skinning methodology” and the left hand pulls down on the meat cut. Cutting the carcass in two at the hip is a similar head and shoulder removal. To cut the sirloin, the cut starts at the knee down switching the Danish dagger blade angle 90 degrees. The rest of the process is the removing the remaing meet and cleaning up the prime cuts.
THE BITTERROOT MONTANA KNAP IN
By Ray Harwood
The Bitterroot knap-in is hosted by fellow Wrightwood Knapper Richard Urata and his wife Joan. The knap is was held June 18th-23rd 2015
The knap in was sanctioned by the PSK and according to Jim Keffer there were 75 attendees from OR, WA,TX, MT and many from Alberta, Canada.
, There were bluegrass music jam sessions, knapping, atlatl throwing, archery shooting, lots of food and it was held in the most beautiful place on earth.
PLEASE ORDER HERE: https://www.amazon.com/dp/B085RQN428
div> Emory Coons; Big Blade Maker : By Ray Harwood
Emory trade mark eagle.
Emory, the young prodigy.
"I told that kid to leave my rocks alone, he would cut himself, he was 5 years old - DARN KID IS STILL BRAKING MY ROCKS!" - DAD
"As of late many knappers are creating ever larger
pieces of lithic art in the form of huge bifaces.
Emery Coons reportedly percussion bifaced a 50 inch
preform and managed a 40 inch finished neofact. I
wrote the Coon's family and requested information and
a photo by received no response.
At the California knap in this year, large the key
word.
Many from other states, such as Coons in Oregon, are
also thinking large and obsidian suppliers are selling
more mega slabs than ever.
Named the Orcutt syndrome after an old time knapper
named Ted Orcutt, whom was known for his massive
biface work. More later..." Ray Harwood Aug. 30. 2000
Emory's work. 2
Emory's work. 3
Emory 4
Two of my first flintknapping buddies were Jim Winn and Barney DeSimone. During the old days they starting going up to Glass Buttes and they would tell me stories of the great biface knappers they had up there. One such knapper was really good at the giant blades and he was just a kid.
His name is Emory Coons and he is one of the few big blade makers in the world. His biggest to date is 41 inches finished (mud sedimentary) and he has a 47 inch (world record) pumpkin blade in the shop waiting to be finished. Emory keeps his blades thicker than Cole’s because he transports them to a lot of shows. He sometimes makes them thinner or even pressure flaked. He has been chipping large blades since the 1990's and most have been 20 to 36 inches. If you are interested in purchasing a large blade he is only limited to what pops out of the ground for color and length. Most large blades are out of silver sheen obsidian, pumpkin or red are harder to find and several out of dacite it's a steel grey color. But you never know what color the next large chunk will be.
Above photo is a 42 inch flake. The 18 lbs billet (The billet he got from Dan Stuber) is sitting above the pit, he used this to strike the rock and remove the monster spall.
One of my favorite stories is when Emory traded a 21 and a 31 inch blade for a Winchester riffle with Leopold scope. To make these giant blades Emory Coons digs a ditch and makes sure there are no rocks left in there that can cause vibration. The 30 lbs billet to the rock then as it gets smaller the 18 lbs billet then the 9 lbs, then, use a 1 inch solid or copper cap to build a lot of platforms to take massive flakes. The first stages involves alternate flaking, driving massive spalls off with a 9 pound copper Billet. For finer work he uses a 2 and a half inch copper bopper to reduce end shock. Barney DeSimone introduced Emory to copper billet technology when Emory was 16 years old and Steve Allely taught his copper platform preparation and use. Brian James was a big influence on horn platforms. Emory was introduced to flintknapping by his father, another great knapper, at the age of five years. Emory met Jim Winn a few years back and Jim began making large blades as well.
Emory makes three to four giant blades a year, this since he was 18 he is now 38. which is about 54 mega-blades to date. Emory is so good at spalling that people nearly kidnap him to reduce giant boulders. He is getting a 43 pound billet and the late Rick Woodram left him a 6 foot drag saw, so who knows what monsters may emerge.
Emory 10, blades
Emory 11. dacite blade
Emory 8. knapping
Emory 9. Face off
Emory 12. dacite blade
Emory 13. blade
Emory with Jim Winn 14
Emory 15
Emory 7 A News Paper
Emory 7 B News Paper
Emory 6, NewsPaper.
Emory 5, in News Paper.
BIO:
Emory Coons was born in Burns Oregon in 1971 and started flintknapping at the age of five, 33 years ago. He has resided in Burns most of his life and attended Burns Union High School winning awards in the crafts department for jewlery two different years. He has been perfecting his skills as a artist ever since, flintknapping, silversmith, lapidary and teaching his craft to others. He has been on OPB on The Caveman at Glass Buttes and Channel 2 News Boise Idaho about the Nyssa rock and gem show multiple times. Several news paper articles have been written on his art from gem and mineral shows he has attended in Nyssa Oregon, Burns Oregon, Madras Oregon, The Dalles Oregon, Pendleton Oregon, Mission Oregon, Salem Oregon and the Oregonian in Portland Oregon and Golden Dale Washington. The Pendleton Mission papers had a mention for round-up as well as the blades he chipped were built into the Umatilla Veterans’ Memorial. He has taught classes in flintknapping at Indian Lake for the Umatilla tribe four years also the wild horse atl-atl demonstration as well as Pipestone Creek Alberta Canada and in Medicine Hat British Colombia Canada for the Jr. Forest Wardens, at Northern Lights out of Slocan Canada twice, also demonstrated flintknapping along the Oregon Wagon Train in 1993, Baker interruptive center, and Windows to the Past for the BLM and Forest Service. Then there's knapp-ins (arrowhead makers conventions) at Glass Buttes Oregon, Ed Thomas Golden Dale Washington knap-in, Richardson’s rock ranch knap-in and the Brad Boughman- Jim Hopper Knapp-in on the upper North Umqua some of the worlds best knappers come to these events to show there skills and teach. Emory attends gem and mineral shows like the Confederated show in Onterio, Nyssa Thunder Egg Days, Prineville Oregon, Hines Oregon Obsidian Days show his father started and the Madras, Oregon gem and mineral show. At these shows he can find most of the exotic materials from other countries, like fire opal from Australia, Brazilian agate, Condor agate from Central America, or crystals, Idaho star garnets and other gems to make arrowheads or jewlery out of. The Fire Obsidian is one of his favorites to find and work. His work can be seen at Boise University (display), Omsi (display), Great Basin Art in Prairie City, Oards 'War Hawk'(tomahawk heads assembled by Great Basin Art), The Edge Company magazine (War Hawks), or some of the local Burns stores. Most of his work has been sought after by private collectors and as gifts. His friend in The Dalles, Jason Hinkle, has oregonthundreggs.com and has put a web page up for Coons Lapidary with pictures and contact information for the selling of his art.
Notes:
Progression of age pictures are numbers 1,13,10,8,4,9,14,15,11,12,oldest to now, the eagle was made 3 days ago, the first picture, at the top of the article, knapped inbetween snow storms.
11 is silver scheen obsidian, the one pictured with Jim Winn is dacite and
picture 15 is the mud sedamentry.
Emory Coon's axes and Danish Daggers(above).'War Hawk'(tomahawk heads assembled by Great Basin Art)
</
BALLAD OF EMORY COONS
By Hank Ray
I once new a man named Emory Coons
He lived out in the woods just like- Daniel Boone.
He knew how to live out off the land
Just like Ted Orcutt and Ishi the Indian man.
Emory made giant blades out of obsidian and flint
He stayed out at Glass Buttes in a canvas tent.
He learned how to knap when he was very young
even Errett Callahan couldn't believe what he done.
I once new a man named Emory Coons
He lived out in the woods just like- Daniel Boone.
He knew how to live out off the land
Just like Ted Orcutt and Ishi the Indian man.
Kenny hull a friend of his is a producer and asked him if he knew any big blade makers being he is Emory's x brother-in-law and he taught him how to chip it was nice so Kenny sent him the idea and he chipped the one they wanted and guess Vin Diesel said nope it wouldn't do that one was going on his own personal wall so Emory had to make 2, he only could muster $400.00 each out of Kenny. A 24 incher in movie a 26 incher for Vin's wall. Vin Diesel (born Mark Sinclair Vincent; July 18, 1967) is an American actor, writer, director, and producer. He came to prominence in the late 1990s and became best known for appearing in several successful Hollywood films such as Saving Private Ryan (1999), Pitch Black (2000), The Fast and the Furious (2001), xXx (2002), The Chronicles of Riddick (2004), Fast & Furious (2009), and Fast Five (2011). He is also the founder of the production companies One Race Films, Tigon Studios, and Racetrack Records.
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=54296085 I had some problems playing this video. If you pree the YOUTUBE emblem the video does play.
The International Flintknappers ‘ Hall of Fame and Museum is encouraging individuals of all ages to “Be A Superior Example,” through a new education program as part of a new curriculum to promote healthy habits, while encouraging everyone to live free of drugs and other such substances or vices. It serves as the central point for the study of the history of flintknapping in the United States and beyond, displays flintknapping-related artifacts and exhibits, and honors those who have excelled in the craft, research/ writing, promoting events, and serving the knapping community in an ethical and wilderness loving manner.EXPERIMENTS IN THE USE OF THE TYPE IV DANISH DAGGER (PART 1)
Emory trade mark eagle.
Emory, the young prodigy.
"I told that kid to leave my rocks alone, he would cut himself, he was 5 years old - DARN KID IS STILL BRAKING MY ROCKS!" - DAD
"As of late many knappers are creating ever larger
pieces of lithic art in the form of huge bifaces.
Emery Coons reportedly percussion bifaced a 50 inch
preform and managed a 40 inch finished neofact. I
wrote the Coon's family and requested information and
a photo by received no response.
At the California knap in this year, large the key
word.
Many from other states, such as Coons in Oregon, are
also thinking large and obsidian suppliers are selling
more mega slabs than ever.
Named the Orcutt syndrome after an old time knapper
named Ted Orcutt, whom was known for his massive
biface work. More later..." Ray Harwood Aug. 30. 2000
Emory's work. 2
Emory's work. 3
Emory 4
Two of my first flintknapping buddies were Jim Winn and Barney DeSimone. During the old days they starting going up to Glass Buttes and they would tell me stories of the great biface knappers they had up there. One such knapper was really good at the giant blades and he was just a kid.
His name is Emory Coons and he is one of the few big blade makers in the world. His biggest to date is 41 inches finished (mud sedimentary) and he has a 47 inch (world record) pumpkin blade in the shop waiting to be finished. Emory keeps his blades thicker than Cole’s because he transports them to a lot of shows. He sometimes makes them thinner or even pressure flaked. He has been chipping large blades since the 1990's and most have been 20 to 36 inches. If you are interested in purchasing a large blade he is only limited to what pops out of the ground for color and length. Most large blades are out of silver sheen obsidian, pumpkin or red are harder to find and several out of dacite it's a steel grey color. But you never know what color the next large chunk will be.
Above photo is a 42 inch flake. The 18 lbs billet (The billet he got from Dan Stuber) is sitting above the pit, he used this to strike the rock and remove the monster spall.
One of my favorite stories is when Emory traded a 21 and a 31 inch blade for a Winchester riffle with Leopold scope. To make these giant blades Emory Coons digs a ditch and makes sure there are no rocks left in there that can cause vibration. The 30 lbs billet to the rock then as it gets smaller the 18 lbs billet then the 9 lbs, then, use a 1 inch solid or copper cap to build a lot of platforms to take massive flakes. The first stages involves alternate flaking, driving massive spalls off with a 9 pound copper Billet. For finer work he uses a 2 and a half inch copper bopper to reduce end shock. Barney DeSimone introduced Emory to copper billet technology when Emory was 16 years old and Steve Allely taught his copper platform preparation and use. Brian James was a big influence on horn platforms. Emory was introduced to flintknapping by his father, another great knapper, at the age of five years. Emory met Jim Winn a few years back and Jim began making large blades as well.
Emory makes three to four giant blades a year, this since he was 18 he is now 38. which is about 54 mega-blades to date. Emory is so good at spalling that people nearly kidnap him to reduce giant boulders. He is getting a 43 pound billet and the late Rick Woodram left him a 6 foot drag saw, so who knows what monsters may emerge.
Emory 10, blades
Emory 11. dacite blade
Emory 8. knapping
Emory 9. Face off
Emory 12. dacite blade
Emory 13. blade
Emory with Jim Winn 14
Emory 15
Emory 7 A News Paper
Emory 7 B News Paper
Emory 6, NewsPaper.
Emory 5, in News Paper.
BIO:
Emory Coons was born in Burns Oregon in 1971 and started flintknapping at the age of five, 33 years ago. He has resided in Burns most of his life and attended Burns Union High School winning awards in the crafts department for jewlery two different years. He has been perfecting his skills as a artist ever since, flintknapping, silversmith, lapidary and teaching his craft to others. He has been on OPB on The Caveman at Glass Buttes and Channel 2 News Boise Idaho about the Nyssa rock and gem show multiple times. Several news paper articles have been written on his art from gem and mineral shows he has attended in Nyssa Oregon, Burns Oregon, Madras Oregon, The Dalles Oregon, Pendleton Oregon, Mission Oregon, Salem Oregon and the Oregonian in Portland Oregon and Golden Dale Washington. The Pendleton Mission papers had a mention for round-up as well as the blades he chipped were built into the Umatilla Veterans’ Memorial. He has taught classes in flintknapping at Indian Lake for the Umatilla tribe four years also the wild horse atl-atl demonstration as well as Pipestone Creek Alberta Canada and in Medicine Hat British Colombia Canada for the Jr. Forest Wardens, at Northern Lights out of Slocan Canada twice, also demonstrated flintknapping along the Oregon Wagon Train in 1993, Baker interruptive center, and Windows to the Past for the BLM and Forest Service. Then there's knapp-ins (arrowhead makers conventions) at Glass Buttes Oregon, Ed Thomas Golden Dale Washington knap-in, Richardson’s rock ranch knap-in and the Brad Boughman- Jim Hopper Knapp-in on the upper North Umqua some of the worlds best knappers come to these events to show there skills and teach. Emory attends gem and mineral shows like the Confederated show in Onterio, Nyssa Thunder Egg Days, Prineville Oregon, Hines Oregon Obsidian Days show his father started and the Madras, Oregon gem and mineral show. At these shows he can find most of the exotic materials from other countries, like fire opal from Australia, Brazilian agate, Condor agate from Central America, or crystals, Idaho star garnets and other gems to make arrowheads or jewlery out of. The Fire Obsidian is one of his favorites to find and work. His work can be seen at Boise University (display), Omsi (display), Great Basin Art in Prairie City, Oards 'War Hawk'(tomahawk heads assembled by Great Basin Art), The Edge Company magazine (War Hawks), or some of the local Burns stores. Most of his work has been sought after by private collectors and as gifts. His friend in The Dalles, Jason Hinkle, has oregonthundreggs.com and has put a web page up for Coons Lapidary with pictures and contact information for the selling of his art.
Notes:
Progression of age pictures are numbers 1,13,10,8,4,9,14,15,11,12,oldest to now, the eagle was made 3 days ago, the first picture, at the top of the article, knapped inbetween snow storms.
11 is silver scheen obsidian, the one pictured with Jim Winn is dacite and
picture 15 is the mud sedamentry.
Emory Coon's axes and Danish Daggers(above).'War Hawk'(tomahawk heads assembled by Great Basin Art)
</
By Hank Ray
I once new a man named Emory Coons
He lived out in the woods just like- Daniel Boone.
He knew how to live out off the land
Just like Ted Orcutt and Ishi the Indian man.
Emory made giant blades out of obsidian and flint
He stayed out at Glass Buttes in a canvas tent.
He learned how to knap when he was very young
even Errett Callahan couldn't believe what he done.
I once new a man named Emory Coons
He lived out in the woods just like- Daniel Boone.
He knew how to live out off the land
Just like Ted Orcutt and Ishi the Indian man.
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=54296085 I had some problems playing this video. If you pree the YOUTUBE emblem the video does play.
By Ray Harwood
The classic Danish Dagger style is the type IV, with the leaf blade and incorporated squared off and stitched handle. The Neolithic Period, “Hindsgavl” Dagger, in the National Museum in Denmark is of this sort. According to the National Museum in Denmark “the daggers were prestige objects and do not seem to be usable for everyday activities”.
Anytime an archaeologist labels an artifact ritualistic, ceremonial or a prestige item I always get suspicious. This leads to curiosity and often experimentation. The first step in my Danish Dagger experiment is to procure a task set of Danish Daggers, Ed Mosher, of Monticello, Indiana is one of the ever growing Number of modern flintknappers that produce excellent knapped replicas of this amazingly well-crafted flint artifact type. I contacted and purchased several type IV daggers from Ed. I supplied Ed with Glass Buttes obsidian for this big mutha, silver sheen.
The first experiment I carried out with the Danish daggers was processing a deer, gutting, skinning and butchering.
1. The gutting, removing the entrails, of the deer with a Danish Dagger: First I dispatched a medium sized buck deer from the high forests of Northern Idaho. I then hung the animal from a tree by its’ back legs. The tip of Danish daggers are very sharp and the handle is made so a great deal of force can be applied, so for initial slicing incision and gutting the deer the dagger worked quite well for the initial slicing incision. I made use of several sized daggers; a smaller one was needed to aid in the removal of left over gut remanence and fat nodules.
2. Skinning the deer: I have skinned deer before with flint and obsidian knives, including Bison, but never with a Danish Dagger. I found a smaller dagger worked best as the larger ones were to cumbersome for the wrist. The deer hangs upside down you start at the top and work your way down toward the head. The tip and the upper blade margin were very effective to remove the skin from the inner thigh crotch- shin area, the cut around the leg and removal of the scent gland area was done with the tip, sometimes you have to hold the dagger on the lower blade instead of the plummel for proper function,.
The tail and torso fallow. Removal of the hide uses a almost circular cutting while pulling up on the skin.A saw like cutting motion was used one the front leg skin removal cutting around the leg and peeling. The next step in the skinning was the head removal. A combination of sawing and hacking was used with the blade margin of the Danish dagger; the weight of the large dagger was an aid in this process. Decapitaion was effective and withing three minutes with a large Danish Dagger.
When skinning any game plan on getting cut, the Dagger is no exception, I lopped off the outer tip of my left thumb right from the get go. The daggers had enough bulk to separate the hide well from the meat without taking too much meat off with the hide. A flake is so sharp that it often does poorly and even can cut the hide, flint flakes are too sharp for skinning. Once the scent glands are removed and the hide is cut and skinned from the carcass can be transported to home for the curing and aging of the meat and butchering.
3. Aging thje meat on the bone: After the field dressing and after the decline of the rigor Mortis the meet was hung and aged for three days, in under 42 degrees Fahrenheit in a cheese cloth deer bag, for the aging of the meat. The aging process of the meat happens naturally when the collagen in the meat is broken down by the natural enzymes.
4. Deer butchering with the Danish Dagger; While the carcass hand head down, the shoulders are pulled away from the torso by the leg, with the left hand and the Danish dagger blade held parallel to the rib cage the dagger is used as a saw like motion and some hacking, similar to the head removal. After the removal of the shoulders the back straps were removed. The back straps are the most desired cut on the carcass.
The Danish dagger is here used as a scraper to removed excess fat tissue. The slicing cut just below the hip bone toward the spine. This is done with the tip of the Danish dagger. The spine is fallowed with a linear tip sawing cut toward the shoulder on both sides of the spine. Then the back strap is removed with a “skinning methodology” and the left hand pulls down on the meat cut. Cutting the carcass in two at the hip is a similar head and shoulder removal. To cut the sirloin, the cut starts at the knee down switching the Danish dagger blade angle 90 degrees. The rest of the process is the removing the remaing meet and cleaning up the prime cuts.
THE BITTERROOT MONTANA KNAP IN
By Ray Harwood
The Bitterroot knap-in is hosted by fellow Wrightwood Knapper Richard Urata and his wife Joan. The knap is was held June 18th-23rd 2015
The knap in was sanctioned by the PSK and according to Jim Keffer there were 75 attendees from OR, WA,TX, MT and many from Alberta, Canada.
, There were bluegrass music jam sessions, knapping, atlatl throwing, archery shooting, lots of food and it was held in the most beautiful place on earth.
PLEASE ORDER HERE: https://www.amazon.com/dp/B085RQN428
No comments:
Post a Comment