Chinese (Mandarin)

Spanish

English

Hindi

Arabic

Portuguese

Bengali

Russian

Japanese

Punjabi

German

Javanese

Malay

Telugu

Vietnamese

Korean

French

Marathi

Tamil

Urdu

Turkish

Italian

Chinese, Yue / Cantonese

Thai

Gujarati

Chinese, Jin

Chinese, Min Nan

Persian, Dari

Persian, Western

Polish

Pashto

Kannada

Chinese, Xiang

Malayalam

Sundanese

Hausa

Odia

Burmese

Chinese, Hakka

Ukrainian

Bihari, Bhojpuri

Tagalog

Yoruba

Bihari, Maithili

Uzbek

Sindhi

Amharic

Fula

Romanian

Oromo

Igbo

Azerbaijani

Chinese, Gan

Dutch

Kurdish, Central

Kurdish, Northern

Kurdish, Southern

Malagasy

Lahnda, Saraiki

Nepali

Sinhalese

Chittagonian

Zhuang

Khmer

Turkmen

Assamese

Madurese

Somali

Marwari

Bihari, Magahi

Haryanvi

Hungarian

Chhattisgarhi

Greek

Chewa

Dakhini

Akan, Twi

Akan, Fante

Kazakh

Chinese, Min Bei

Sylheti

Zulu

Czech

Kinyarwanda

Marwari, Dhundhari

Haitian Creole

Chinese, Min Dong

Ilocano

Quechua

Kirundi

Swedish

Hmong

Shona

Uyghur

Hiligaynon

Mossi

Xhosa

Belarusian

Balochi

Anthropology

<OpenstaxParagraph>
	The traditional <OpenstaxTerm>material cultures</OpenstaxTerm> of Indigenous peoples showcase an impressive array of styles and skills. Native art was heavily collected by individuals and museums in the 19th century, when there were fears that Indigenous cultures were disappearing. Native art remains popular today. While many Indigenous artists continue to work in traditional styles, some are also incorporating contemporary styles and techniques. Native material cultures embed much cultural philosophy. As anthropologist and museum director Nancy <OpenstaxTerm>Parezo</OpenstaxTerm> says, “To anthropologists, Native American/First Nation arts are windows to understanding other cultures and societies. They can be specimens used to support evolutionary theories or explain the maker’s cultural concepts of beauty—to show universal concepts and cultural differences, shared meanings, and modes of communication” (1990, 12).
</OpenstaxParagraph>
<OpenstaxFigure id="fig-00005" src="https://openstax.org/apps/archive/20240226.174525/resources/2357681f43e9925131f1aa678bf5f69e8bb8be0a" alt="Collection of approximately 40 baskets arranged on the steps and banisters of a porch. They display a variety of shapes, patterns, and construction techniques." mediaType="image/jpeg" width="800" height="620" />
<OpenstaxFigureText width="800">
	Figure 19.15 Klickitat baskets. Traditional techniques and stylistic motifs in Native material culture reveal a great deal about a people’s cultural beliefs. (credit: “Image from Page 123 of ‘How to Make Indian and Other Baskets’ (1903)” by George Wharton James/Internet Archive Book Images/flickr, Public Domain)
</OpenstaxFigureText>
<OpenstaxParagraph>
	Artistic styles such as <OpenstaxTerm>petroglyphs</OpenstaxTerm>, in which images are carved into stone, and <OpenstaxTerm>pictographs</OpenstaxTerm>, or drawings, can be appreciated as both historic and spiritual statements. The petroglyph site in <OpenstaxTerm>Cascadia Cave</OpenstaxTerm>, near Sweet Home, Oregon, has hundreds of carvings. The most easily recognizable are the bear paws on the wall of the cave. There are also numerous lines, zigzags, and holes carved out of the cave wall. Willamette Forest Service archaeologist Tony <OpenstaxTerm>Farque</OpenstaxTerm> noted that people had long thought that the place was used to gain “bear power” for Native shamans. However, when one steps back, it is apparent that the decorated area of the wall is bordered by a large relief of a salmon, with one hole as its eye and the carved lines creating gills. The cave is now understood as a site where Indigenous peoples—Kalapuya, Molala, and other tribes in the region—sought to gain power when fishing in the nearby South Fork Santiam River, where salmon were known to spawn.
</OpenstaxParagraph>
<OpenstaxParagraph>
	Cultural sites such as <OpenstaxTerm>Cascadia Cave</OpenstaxTerm> are in danger of being destroyed by too much attention from archaeologists and the public. For more than a century, Cascadia Cave has been visited by thousands of tourists who have touched the walls, dug in the ground in search of artifacts, taken rubbings of the carvings, and sometimes even carved their initials or painted over petroglyphs to make them stand out more. All these activities degrade the site. Early archaeologists did much the same, digging into the ground and moving many yards of dirt, which has caused rainfall to pool at the walls of the cave. The pooling moisture accelerates the growth of mosses and other plants, which also degrade the walls of the cave. Digging also destroys the archaeological context of the site. It is important to note that in many countries, including the United States, it is illegal to dig up and remove archaeological materials. Those who continue to dig up materials for private collection or for sale are conducting illegal activities. Many of the sites illegally dug are cemetery sites, containing the remains of people and cultural artifacts that are related to descendant tribal populations today.
</OpenstaxParagraph>
<OpenstaxFigure id="fig-00006" src="https://openstax.org/apps/archive/20240226.174525/resources/ecae7e9798ac24018a53dd16cb0922aba4bdbb0f" alt="Cave wall with images of bear paws. Red paint has been applied behind the paws, making them more visible." mediaType="image/jpeg" width="800" height="600" />
<OpenstaxFigureText width="800">
	Figure 19.16 Cascadia Cave petroglyphs. Note that the bear paws have been painted to make them more distinct, but this partially destroys the context of the petroglyphs. Additional petroglyphs are all over this portion of the wall. (credit: 46percent/Wikimedia Commons, Public Domain)
</OpenstaxFigureText>
<OpenstaxParagraph>
	<OpenstaxTerm>Weaving arts</OpenstaxTerm> are another significant aspect of material culture for many Indigenous peoples. <OpenstaxTerm>Basketry</OpenstaxTerm> techniques were and still are used to construct vessels used for regular household and resource-gathering activities. Indigenous groups developed various techniques for weaving, such as right twist, left twist, overlay, and false embroidery. These techniques result in decorative styles unique to individual tribes. Weaving techniques make use of many natural materials. Large objects such as mats were typically made with cattail and tule, while baskets could be made from a wide variety of materials, including juncus, hazel branches, cedar bark, bear grass, spruce roots, willow, and maidenhair fern. Some materials were chosen for their stability and durability, others for their flexibility, and still others for their color and luster. Dyeing weaving materials created complex color variations. Baskets were even used for cooking. The technique for boiling water in a basket is similar across many cultures: the basket would be tightly woven, normally with a double weave, and then filled with water. The fibers of the basket and the tight weave created a watertight exterior; additionally, some traditions coated the fibers with grease or pitch. Hot rocks, heated in a fire, would be placed in the basket to make the contained liquid boil. In this manner, food could be cooked without destroying the basket.
</OpenstaxParagraph>
<OpenstaxFigure id="fig-00007" src="https://openstax.org/apps/archive/20240226.174525/resources/9793ff41dc04419f885817438bc7756346a984a0" alt="Left: Black and white image of a woman sitting cross-legged on the ground and doing hand work. Several baskets surround her, some sitting on the ground and others hanging on a structure made of thin sticks and twigs.; Right: Contemporary image of five women sitting around a table and working at weaving baskets. A display of art work is visible on the wall behind them." mediaType="image/jpeg" width="1138" height="380" />
<OpenstaxFigureText width="1138">
	Figure 19.17 (left) A Papago/Tohono basket maker working in 1916. (right) Classes teaching traditional basket weaving help to keep the art alive. (credit: left, “Papago Basketmaker at Work, Arizona” by H. T. Cory/National Archives and Records Administration/Wikimedia Commons, Public Domain; right, Jim Heaphy/Wikimedia Commons, Public Domain)
</OpenstaxFigureText>
<OpenstaxParagraph>
	Many tribes now offer classes to teach people the basic techniques and styles particular to their tribal heritage. The Confederated Tribes of Grand Ronde offer classes in carving, weaving arts, beading, regalia making, drum making, and other arts associated with the 27 tribes that make up the confederation. Arts and crafts are intermixed with education about Native philosophy, spirituality, and language. Some people attend classes for years to master the art style they enjoy, and tribal members may apprentice with master artisans to learn more advanced techniques. Many artisans are creating works of art that are inspired by deep feelings of Native identity, using their art to define themselves and their people within the contexts of both the present and the past. Several artists have become professionals and are producing work for galleries, exhibits, exterior monuments, and contracted sales. The artists employ traditional arts as well as contemporary sculptures and artistic traditions such as painting, drawing, and illustration. Many traditional three-dimensional artworks, such as cedar statues, are now rendered in metal, stone, or even glass so that they are more durable and can survive the rigors of contemporary tourism.
</OpenstaxParagraph>

19.3.5 Traditional Material Culture

1 What Is Anthropology?

1.1 The Study of Humanity, or "Anthropology Is Vast"

1.1.1 The Heart of Anthropology: Central Narrative and Commitments

1.1.2 Central Commitment #1: Exploring Sociocultural Diversity

1.1.3 Central Commitment #2: Understanding How Societies Hold Together

1.1.4 Central Commitment #3: Examining the Interdependence of Humans and Nature

1.2 The Four-Field Approach: Four Approaches within the Guiding Narrative

1.2.1 Biological Anthropology

1.2.2 Archaeology

1.2.3 Cultural Anthropology

1.2.4 Linguistic Anthropology

1.2.5 How the Four Fields Work Together: The Example of Race

1.3 Overcoming Ethnocentrism

1.3.1 Enculturation and Ethnocentrism

1.3.2 Primitivism and Orientalism

1.4 Western Bias in Our Assumptions about Humanity

1.4.1 Primitivism and Orientalism in Popular Culture

1.4.2 The Bias of Backwardness

1.5 Holism, Anthropology’s Distinctive Approach

1.5.1 Society as an Integrated Whole

1.5.2 Sources of Contradiction, Conflict, and Change

1.6 Cross-Cultural Comparison and Cultural Relativism

1.6.1 Relativism Is Not “Anything Goes”

1.6.2 Morality, Activism, and Cultural Relativism

1.7 Reaching for an Insider’s Point of View

1.7.1 The Challenge of Representing Others

1.7.2 Collaborative Methods of Representation

1.7.3 Working across Cultures toward Common Goals

1.7.4 Suggested Readings

2 Methods: Cultural and Archaeological

2.1 Archaeological Research Methods

2.1.1 Archaeological Techniques

2.1.2 Archaeological Dating Methods

2.2 Conservation and Naturalism

2.2.1 Early Efforts

2.2.2 Salvage Anthropology

2.2.3 Museum Collections

2.2.4 Interpretation and Voice

2.3 Ethnography and Ethnology

2.3.1 The Development of Ethnography and Ethnology

2.3.2 Perspective and Interpretation in Ethnography

2.4 Participant Observation and Interviewing

2.4.1 Participant Observation

2.4.2 Interviewing Informants

2.4.3 Ethical Considerations

2.5 Quantitative and Qualitative Analysis

2.5.1 Differences between Quantitative and Qualitative Information

2.5.2 Modeling

2.5.3 The Science of Anthropology

2.6 Collections

2.6.1 Archives

2.6.2 Three-Dimensional Collections

2.6.3 Ownership

2.6.4 Suggested Readings

3 Culture Concept Theory: Theories of Cultural Change

3.1 The Homeyness of Culture

3.2 The Winkiness of Culture

3.3 The Elements of Culture

3.3.1 Culture Is What We Make

3.3.2 Culture Is What We Do

3.3.3 Culture Is What We Think

3.4 The Aggregates of Culture

3.4.1 Symbols

3.4.2 Ritual

3.4.3 Social Structure

3.5 Modes of Cultural Analysis

3.5.1 Evolution, Adaptation, and Historical Particularism

3.5.2 Functionalism

3.5.3 Structuralism

3.5.4 Ontology

3.6 The Paradoxes of Culture

3.6.1 Paradox 1: Culture Is Continuous, but It Changes

3.6.2 Paradox 2: Culture Is Bounded but Mobile

3.6.3 Paradox 3: Culture Is Consensual but Contested

3.6.4 Paradox 4: Culture Is Shared, but It Varies

3.6.5 Suggested Readings

4 Biological Evolution and Early Human Evidence

4.1 What Is Biological Anthropology?

4.1.1 Looking to the Deep Past

4.1.2 Exploring What It Means to Be Human

4.2 What’s in a Name? The Science of Taxonomy

4.2.1 Defining the Science of Taxonomy

4.2.2 Defining a Species

4.3 It’s All in the Genes! The Foundation of Evolution

4.3.1 The Units of Life

4.3.2 Gregor Mendel and the Laws of Heredity

4.3.3 Mendelian Inheritance in Humans

4.4 Evolution in Action: Past and Present

4.4.1 Early Evolutionists and the Fixity of Species

4.4.2 Charles Darwin’s Role in Changing Views of the Natural World

4.4.3 Understanding Darwin’s Theory of Natural Selection

4.5 What Is a Primate?

4.5.1 What Is a Primate?

4.5.2 Primate Behavioral Variation

4.5.3 Explaining Primate Success

4.5.4 Primate Classification and Taxonomy

4.6 Origin of and Classification of Primates

4.6.1 Understanding Concepts of Time

4.6.2 Fossils and Dating Methods

Question	Answer
an art form of many Indigenous peoples, created from woven plant matter. Each tribe has its own traditions and styles, with some tribes using many styles.	basketry
images carved into stone and sometimes painted.	petroglyphs
drawings on the wall of a cave or rock shelter or on animal hide.	pictographs