George Washington, Slavery, and Contemporary America

When I began this project, my only intention was to document the archaeological survey taking place at the slave cemetery at Mount Vernon. It sounded interesting, so I had planned on discussing their goals and methods, and the progress that had been made since the project began. Almost as soon as I started my research, though, I realized that my questions were really shallow and did not address the reasons why the project needed to be done in the first place.

I knew that George Washington owned captive people, but I was unaware of the magnitude of that choice. Of course, George Washington did not invent American slavery, but his active participation in it has had lasting consequences for this country and the way that we perceive race. As I dug deeper it became easier to see connections between slavery and racial inequalities throughout every time period in American history,  and I realized that this was the story that needed to be told. I still talk about the archaeological survey in terms of restorative justice and moving forward, but it became a much smaller part of my project than I had originally intended it to be.

Most of the dialog from the video is taken directly from my research paper. My biggest struggle was condensing it down into a reasonable amount of time while still getting my point across. I wanted to include a lot more, and it could have easily been twice as long, but I understand the value of conciseness.  I would encourage anyone who watches my video or is interested in learning more about the topic to take a look at my research paper, George Washington, Slavery, and Contemporary America. It provides a lot more context and detail, as well as a full bibliography that pertains to both my paper and my video.

http://%20https://youtu.be/CsB8zY86Nys

Thanks for watching!

-TO

Studying Life Through Death

While it is true that cemeteries are places of death, they can also tell us a lot about how people lived. Through the examination of different elements of the grave markers at Calvary Cemetery (such as size, material, and decorative elements) I was able to better understand the people who were buried there and the times in which they lived.

I chose to do a seriation frequency on decorative motifs in Calvary Cemetery. Through this exercise I learned how decoration changed overtime and I was able to make inferences about the people who were buried there. It is clear that crosses have been a popular decorative element at Calvary Cemetery almost since its beginning, but they were most popular between 1925 and 1950. The importance of religion has remained constant over time, but perhaps increases during and after times of war.

 Spacing of graves can also tell us a lot about relationships and gender roles. For example, one set of graves that I recorded were all part of a family plot and were remarkably similar. They were all the same size, shape, and had virtually the same decoration and inscription, only differing to distinguish between “wife and mother” or “husband and father.” Alternatively, there were burials that suggested very different status for men and women. One example of this can be found in the St. Raphael section of Calvary Cemetery. One man’s gravestone is large, metal, and has an inscription that refers to his military service, as well as other religious decoration. Next to this is his wife’s grave, which consists of only a small, plain stone with her name, date of birth and death, and a small cross.

In addition to design difference, the number of burials every year can tell us a lot about what was going on in society at any given time. At Calvary Cemetery, burials increased after major wars, such as World War I and World War II. After WWII there was a decline in burials until the Vietnam War, when we see another, smaller spike.

In all, while it is true that a cemetery’s main function is to be a resting place for the dead and a place or remembrance for the living, they can also be a repository of information for those who want to learn more about the past.

-TO

Collaborative Storytelling Through Archaeology

Collaboration during archaeological projects have not always been valued, but today archaeology students, like us, learn that we not only can learn more from communities we study, but we can help bring knowledge back into that community. Valuing the assets that community members means taking time to meet with them, take into account the emotions brought up by these projects, and learning how to compensate them. Although there are challenges faced on both the community and the archaeologist’s part of collaboration, the transfer of knowledge makes the stories told by the project at the outcome that much more valuable.

I thought it was particularly important how Professor Gonzalez talked about not only compensating communities with a return of traditional knowledge, but also financial recompense. Sharing histories and personal stories is a form of labor that should be respected and treated as such, as is the time that community members take to meet with archaeologists and any other academic studying their culture or history.

Museums, too, play a major role in the collaboration between indigenous people and academia. This quarter, I have been able to see how the Burke Museum collaborates with the communities from which collections objects originate. One of my classmates, for example, is part of a Oceanian student research group that conducts research on objects in the Burke’s collections. The meaning and understanding that they gain is often through stories that the students are able to tell. The Burke Museum also collaborates with the public so that objects that members of the public are culturally associated with can come and view the objects in person. The open relationship between academia and the public also extends to museums and other institutions, and I think our very own Burke Museum is a good example of such a relationship.

Hunyadi Janos, Fights Ottomans and Constipation!

The hunt for more information about this green, 2-piece-cup bottom bottle started with the word “Bitterquelle”. I thought the embossed letters on the base was another word for “bitters”, as in a cocktail mix, but it turns out that bitterquelle is actually a mineral or spring water.

 

                                        The mineral water bottle company belonged to Andreas Saxlehner of Budapest, Hungary. His brand “Hunyadi Janos” features a Hungarian military hero on the label. Hunyadi Janos, or John Hunyadi, was a military and political leader for the Hungarian military during the 15th century. Outnumbered 2 to 1 in a battle against the Ottomans, Hunyadi escaped from the battlefield to be captured, imprisoned, and eventually set free. He became governor in 1446 and continued to finance wars against the Ottomans.

The marketing campaign for the mineral water took the form of a dietary and health-conscious laxative. The claim was that the mineral water was for fighting “the evil consequences of indiscretion in diet,” and was a primary elixir for relieving hemorrhoids. Perhaps this campaign is a play on words for “diet of Hungary” which was a Hungarian legislative institution that met once every 3 years. Saxlehner’s marketing is so funny. A man known for fighting Ottomans is also on your side to fight constipation and IBS.

These mineral water bottles were a popular import and were commonly found in the United States between 1870 and 1920. The bottle that I examined in the lab was in pretty good condition. Even some of the paper label glue was still intact. This hunt for more information made me interested in 1900’s marketing campaigns and how we use romanticized images of the past to sell just about anything.

Achieving meaningful collaborations

In the second workshop of the Preserving the Past Together Seminar Series, there were presentations separated by break out sessions. What stood out to me was the conversations that we had during the break out sessions. I was in a group with several people that worked for tribes, people that worked for the state in planning, heritage managers and a few others. I believe we were all there with a similar vision in mind for the future; restoring sovereignty and authority to indigenous peoples in respect to their cultural heritage, acknowledging the fact that colonialism has never ended. However the perspectives and attitudes of all the individuals participating was vastly varied. The students in the group were excited and optimistic that we were having these discussions and we were focusing on these topics in our classes. While many individuals working for the tribe seemed to share optimism with the students, they were the first ones to point out that they are still felt very helpless when it came to working with people outside the tribe, weather it be firms or universities. They pointed out that they could create barriers for outsiders to pass, but they could not stop any work from being done on tribal related cultural property, it would be done eventually – no matter what. While this was a bit disheartening to hear, it is a sign that there is still a long road ahead of us to refining and strengthening this collaborative system. From my own experience in our educational system I feel confident that the future will bring stronger relationships and more care for the culture of those around us. It is exciting to be alive during a critical turning point for cultural preservation in north america and to be part of these invaluable discussions.

Snider’s Catsup – The Flavor of The Past

When looking at the historic bottles from a dump site used in the 19th and early 20th century, I identified one bottle specifically as a Catsup bottle. This bottle has many characteristics that identify it as a Catsup bottle. First
off, the finish, or mouth part, is what is referred to as a screw thread finish, which indicates the kind of cap that screws on and off, which is what a sauce bottle would have.

Another hint is the size and shape. The long neck, sloping shoulders, and carrying capacity looks very similar to a current ketchup bottle. The manufacture method, which can be determined by looking at the two vertical seams on the bottle, is indicative of a mouth-blown, two-part post mould. One can determine that is mouth blown because the seams don’t continue through to the finish.

 

And if all of this information isn’t convincing that this is a Catsup bottle, the maker’s mark on the bottom doesn’t hurt.

Snider’s Catsup. Advertisement. VintageAdBrowser. 2012. Accessed Feb 13, 2017. http://www.vintageadbrowser.com/food-ads-1900s.

When researching Snider’s Catsup bottles, I found an advertisement that shed light on how this product was marketed and used. The ad says hotels, clubs, restaurants, hotels, and even homes choose Snider’s Catsup. This shows a targeting towards mostly non-residential businesses. The advertisement also provides two recipes, which is something most people would now consider slightly odd for a sauce bottle. It also mentions Cincinnati, U.S.A, which is either indicative of where the bottles were made, or where the ad was marketed (I was not able to discern).

Overall, catsup/ketchup was, and still is, an important accessory to the American diet, as shown by it’s abundance in the historical and archaeological record.

Parrington Hall

Thanks to the University of Washington's Special Collections.

Thanks to the University of Washington’s Special Collections.

Parrington Hall was build 6 years after Denny hall making it apart of the original campus (see map below). The building was finished in 1902 and was called the Science Hall. A contract, now within University of Washington’s Special Collections, shows that the owner of the land at the time, Auton Bereus Witnesseth, agreed to let the University of Washington build the Science hall on his land. The document was very hard for me to understand but I interpreted that Witnesseth was going to pay for the building and if he could not the land would go to the University.

Thanks to the University of Washington’s Special Collections.

UW1 <– map from 1909, thanks to the University of Washington’s microfilm collections.

Both the department of Botany and department of Electrical Engineering started in this building and eventually moved to other buildings The Department of Electrical Engineering moved there operations in 1910 and the Department of Botany moved later in 1930’s. Now the building is a center for Daniel J. Evans School of public police and governance.  In 1931 the building was remodeled by John Graham Architect. They installed a new sewer, re-shingled the roof, waterproofed the building and many more. I have read other resources that state it was remolded another time but could not find any documentation of the remodel.

Studying the Past through Stones

Cemeteries are a fascinating way to view the changes in a city, cultures, and belief systems. As the focus of our class project, Calvary Cemetery in Seattle is not only a peaceful and beautifully kept place, but also a wealth of information from an academic perspective. While it certainly doesn’t reflect the entire story of Seattle from the late 19th century to the present, recording information from nearly 200 graves out of thousands still presented patterns in the cemetery’s history.

Focusing on the number of burials per year within our records, this information could represent a number of events in Seattle’s history. The numbers of burials rose after the Great War and in the early 1920’s, spiking from 1925-1930 and again in 1945-1950. While the rise in deaths could be associated with the WWI or II, the Stock Market crash of 1929, or the subsequent Great Depression, it also could reflect the rising population of Seattle in these periods. The layout and numbers of burials in the cemetery could also reflect this rising population, and the tapering off of burials in the latter half of the 20th century more as a question of limited space. I did find it interesting that large portions of the cemetery did not adhere to east-facing gravestones, which can be found in some Christian burials.

On the other hand, the data collection could also be more suggestive of stylistic elements of the gravestones chosen for recording. Inscriptions, unusual design features, age, or intricate carvings on markers could have all influenced the recorders’ choices. Like many aspects of cemeteries, sometimes burials and our continued interest in them is more telling of the living than it is of the dead.