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GHOSTS AND FLINTKNAPPING
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COPYRIGHT SEPTEMBER 30, 2013 PETER A. BOSTROM
Abstract image of Dan Theus ghosts and pumpkin.
ABSTRACT IMAGE OF DAN THEUS ART

Abstract image of Dan Theus ghosts.

ABSTRACT
GHOSTS AND FLINTKNAPPING
CULTURAL RITUALS AND MODERN ART

    Believe-it-or-not, the subjects of ghosts and flintknapping do cross paths in art, collecting and cultural drama. The most extreme examples are in the form of stone tools used in self-mutilation mourning rituals. At the other end of the spectrum, are examples of flintknapping art. This article illustrates and describes several examples of Dan Theus Halloween ghost art forms, Reinhart's gray ghosts, collector's ghost points and a finger cutting stone from New Guinea. Plus, a reference to ghost appeasing rituals, as reported and observed by anthropologists.

    "The true scientist is one who is committed to knowing, to scientia, which is the attempt to understand the ultimate nature of reality, without bias, prejudice, or commitment to an ideology or belief system. Otherwise, he is unworthy of the name."--------1974, Astronaut, Edgar D. Mitchell (6th man on the moon), "Psychic Exploration, A Challenge For Science," p. 32.
    "----(as observed by Spencer & Gillen) the (aboriginal) women (in Australia) cut into their scalps with their digging sticks (during self-mutilation rituals for the deceased person) until blood poured down their faces, while their male relatives gashed themselves deeply across their thighs with stone knives until they could not stand. Now the natives say that this "Donnybrook Fair" placates the ghost of the dead man, but it is obvious that the angriest ghost in Australia could not harm them as much as they harm themselves---"---------, 1948, William Howells, "The Heathens, Primitive Man And His Religions" republished in 1962 by the American Museum Of Natural History, p. 163.
   "---on the second day of the (Dani tribe) funeral ceremony (in New Guinea). After the hand (of a young girl) has been numbed by a blow on the elbow, the fingers are chopped off with a blow from a stone adze. Like pigs and shell goods, the fingers are gifts considered necessary to placate the ghosts. Although nearly every Dani girl loses several fingers, as a woman she does a wide range of work--"--------1968, Robert Gardner & Karl G. Heider, "Gardens Of War, Life And Death In The New Guinea Stone Age," pp. 100 & 101.
     "It is in blood sacrifices, especially where human beings are offered instead of animals, that "part-of-the-whole" sacrifices, like the offerings of human fingers, hair, or blood drawn through self-inflicted wounds are sometimes used as replacements."--------1999, O. W. Hampton, "Culture Of Stone, Sacred And Profane Uses Of Stone Among The Dani," p. 21.
    "In one anthropological account after another I had read of the custom of sacrificing a finger joint when a relative died. No imagining can equal a picture of a woman with only stumps on her hands working or caring for a child. The word "sacrifice" suddenly assumes new meaning."--------1968, Margaret Mead, comments in "Foreword" in, Robert Gardner & Karl G. Heider, "Gardens Of War, Life And Death In The New Guinea Stone Age," pp. 100 & 101.
    
"---the dominant attitude in most simple cultures is fear, and distaste for any contact (with a ghost), the more so as the poor ghost has little to do except watch the living and wish he were one of them again."1948, William Howells, "The Heathens, Primitive Man And His Religions" republished in 1962 by the American Museum Of Natural History, pp. 157.
    "No phenomenon (in tribal New Guinea), either real or imagined, is of greater significance to Dani life than their belief in ghosts. The logic of their existence tests on their premise that all happenings are the result of both human and ghostly instrumentality."---------1968, Robert Gardner & Karl G. Heider, "Gardens Of War, Life And Death In The New Guinea Stone Age," p. 87.
    "During the period of mourning which follows immediately upon the death of a man and occupies a period of from twelve to eighteen months, no person must mention the name of the deceased except it be absolutely necessary to do so, and then only in a whisper for fear of disturbing and annoying the man's spirit which in ghost form, or as they call it, Ulthana, walks about"--------1899, Baldwin Spencer & F. J. Gillen, "Native Tribes Of Central Australia," p. 498.

Abstract image of Dan Theus ghosts and pumpkins.
GHOSTS AND FLINTKNAPPING
CULTURAL RITUAL AND MODERN ART

    Ghosts and flintknapping seem unrelated. But they actually do connect in different ways, from whimsical to terrifying. Whimsical as modern flint-knapped art and terrifying for stone tools used in self-mutilation rituals. When considering every aspect of ghosts and flintknapping, there are interesting perspectives worth mentioning. Ghosts do have a long history. Some archaeologists believe that religious ideas may date sometime prior to 300,000 years ago, within the Lower Paleolithic period. Stone tools date to at least 2.5 million years ago.

Pumpkin made of Jasper by Dan theus.
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PUMPKIN BY DAN THEUS
"JASPER" THE PUMPKIN

    This nice looking little pumpkin was made this year by Dan Theus. His name is "Jasper" and he happens to be made of Jasper. The mouth was started from a natural cavity and delicately enlarged by pressure flaking. The eyes were started with a dremel tool by grinding from both sides until a small hole was made. Then shaping the circles by pressure flaking. The working time for this pumpkin was two hours. "Jasper" the pumpkin measures 2 inches (5.1 cm) from left to right.

       Wouldn't it be interesting to know when the idea of a ghost first appeared in a human mind. The oldest known, undisputed, human burial dates to 100,000 years ago at Skhul Cave in Israel. This ritual burial contained bones that were stained with red ochre which suggests a concern for ghosts, spirits and possibly a soul. Most people, in today's industrialized societies, relate to ghosts more as entertainment. TV, Halloween and religion have removed all the old fears that once promoted complex rituals that specifically guided and controlled ghosts. This does not mean that ghosts are not real, just that most of the once powerful cultural traditions that dealt with them are no longer important. On-the-other-hand, some areas of the world still have a great fear and respect for ghosts. Many of their ancient traditions are still observed.

Four of Dan Theus ghosts made of white opalescent glass.
"SPOOKY" GHOSTS
BY DAN THEUS
GLASS

     These four phantoms are wonderful examples of Dan Theus' Halloween "ghost art." The material is a uniquely colored white opalescent glass made in China. It's the perfect material for making ghosts. The largest ghost has a wind blown cap and "tail" and out stretched arms with hands. The eyes were carved with a dremel tool and colored with black ink. The flintknapping time was about forty-five minutes. The three smaller ghosts are actually larger in size than they appear in this computer altered picture. They average about 4 inches (10.1 cm) long. The largest ghost measures 4 9/16 inches (11.6 cm) long and 3 1/4 inches (8.3 cm) wide.

     On a lighter side, Dan Theus' Halloween ghosts are wonderful examples of flint knapped art. The five ghosts illustrated in this article were made from a uniquely colored white opalescent glass made in China. It's perfect material for knapping ghosts. The wind blown cap and "tail" and out stretched arms with hands, on the two largest examples, are wonderful design features. The eyes were carved with a dremel tool and colored with black ink. The flintknapping time for these ghosts was about forty-five minutes each. One ghost measures 4 9/16 inches (11.6 cm) long and 3 1/4 inches (8.3 cm) wide. The other ghost measures 4 3/8 inches (11.1 cm) long and 3 5/16 inches (8.4 cm) wide.

Dan Theus ghost rising up to a harvest moon.
GHOST RISING TO A HARVEST MOON
BY DAN THEUS
GLASS

     Two more great examples of Dan Theus' "ghost art. This picture shows a ghost rising up to a harvest moon. The ghost has out stretched arms, curved "tail," and wind blown cap. The eyes were carved with a dremel tool and colored with black ink. The flintknapping time was about forty-five minutes. This ghost is made of white opalescent glass from China and measures 4 3/8 inches (11.1 cm) long and 3 5/16 inches (8.4 cm) wide.

     Another example of Dan Theus' art work is a pumpkin named "Jasper" that happens to be made from a piece of Jasper. The mouth was started from a natural cavity and delicately enlarged by pressure flaking. The eyes were started with a dremel tool by grinding from both sides until a small hole was made. Then shaping the circles by pressure flaking. The working time for this pumpkin was two hours. "Jasper" the pumpkin measures 2 inches (5.1 cm) from left to right.


Reinhart's "gray ghost" points.
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"GRAY GHOSTS"
BY BRYAN REINHARDT
EDWARDS CHERT

     These points have been called "gray ghosts, by collectors of stone artifacts in the US for many years. They were named for and made from gray Edwards chert from Texas. These modern-made "spears" have caused quite a lot of confusion for more than half a century. The buying public has had a "devil" of a time identifying them as either old or new. In fact, they have become a sort of modern legend. The first ones were produced in Bryan Reinhardt's "flint spear" factory sometime in the 1940's. "Gray ghosts" are large modern-made "flint spears" that were made during the 40's, 50's, 60's and early 70's. "Gray ghosts" are scary only when the people that purchase or inherit them, believe they have ancient artifacts of great value. But they're actually nice examples of one man's modern flintknapping art. Each one is a little different and unique. True "gray ghosts" are credited to Bryan Reinhardt because he made so many more than anyone else. He passed away in about 1982, by some reports, of silicosis of the lungs. He sold them by the case of 144 and must have made a great many thousands of them.

      Another way to look at ghosts and flintknapping are the points known as gray ghosts and ghost points. The most famous examples are "Gray Ghosts." They were named for and made from gray Edwards chert from Texas. These are modern-made "spears" that have caused quite a lot of confusion for more than half a century. The buying public has had a "devil" of a time identifying them as either old or new. In fact, they have become a sort of modern legend. The first ones were produced in Bryan Reinhardt's "flint spear" factory sometime in the 1940's. "Gray ghosts" are large modern-made "flint spears" that were made during the 40's, 50's, 60's and early 70's. "Gray ghosts" are scary only when the people that purchase or inherit them, believe they have ancient artifacts of great value. But they're actually nice examples of one man's modern flintknapping art. Each one is a little different and unique. True "gray ghosts" are credited to Bryan Reinhardt because he made so many more than anyone else. He passed away in about 1982, by some reports, of silicosis of the lungs. He sold them by the case of 144 and must have made a great many thousands of them.

Points that have no reliable provenance & may be modern.
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"GHOST POINTS"
MODERN-MADE

    None of the points in this picture are old. They were made by modern flintknappers and there's no problem if they were collected as art. They become "ghost points" when they're purchased with no evidential information that might support the value placed on them. In-other-words the buyer thinks they're old. They are usually higher priced items that only have a good story. Since the beginning of the great flintknapping boom in the United States, in the 1970's, there are more "ghost points" in circulation that old ones. They number in the millions. Some even have authentic patina, for example, if they've been place in running water for a few months.

    Another ghost that might concern "collectors" are what some have called "ghost points." These are the points that people buy with no evidential information that might support the value placed on them. In-other-words, they can be high priced items that only have a good story. Since the beginning of the great flintknapping boom in the United States, in the 1970's, there are more "ghost points" in circulation than old ones. They number in the millions. Some even have authentic patina, for example, if they've been place in running water for a few months.

Mummy of Dani warrior, western New Guinea.
IMAGE FROM LITHIC CASTING LAB'S COLLECTION OF ORIGINAL IMAGES
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MUMMY OF A DANI WARRIOR
WAMENA, WEST PAPUA, INDONESIA
ISLAND OF NEW GUINEA

     Burial practices vary in New Guinea, just as they do everywhere else in the world. Some cultures believe the soul is directly affected by the way the body is processed, which may be the reason why this Dani warrior was mummified, supposedly 200 or more years ago. It's one of the attractions that people might see when they travel to the Baliem Valley in the highlands of western New Guinea. This area is the home of the Dani people who number about 100,000. The Grand Valley, as the region is also called, was only discovered 75 years ago, in 1938. The tribe is one of the world's more recent stone tool making cultures. The area is only reachable by plane and, as a result, is slow to modernize, due to its remoteness.

    The darker side of ghosts and flintknapping are the stone tools that were used in ritual ceremonies for the purpose of appeasing the ghost of the recently deceased. These funerals can be lengthy and involve self-mutilation. The most extraordinary example may be finger amputation when a close family member dies. Dani women and young girls, of western New Guinea, would traditionally have one joint of one finger removed with a stone adze. One report describes the amputation as being performed by a man who was a specialist in the procedure. The selected finger was tied between the second and third joint. Then the elbow was struck with a hard stick to help deaden the nerves in part of the hand. The operator extends the finger on a board. Then removes it up to the second joint with a small transverse (straight edged) stone adze. The wound is then dressed with a mixture of clay and ashes. The severed finger is burned in the dying ashes of the funeral fire. The procedure is now prohibited but many Dani women still  display their missing fingers to curious tourists.

Irian jaya woman with morning ritual related cut fingers.
IMAGE FROM LITHIC CASTING LAB'S COLLECTION OF ORIGINAL IMAGES
CLICK ON PICTURE FOR LARGER IMAGE
DANI WOMAN SHOWING
RITUALLY AMPUTATED FINGERS
WEST PAPUA, INDONESIA
ISLAND OF NEW GUINEA

     One of the most extraordinary burial/mutilation rituals in the world dates to the recent past in western New Guinea. The practice involved the amputation of a finger when a close family member died. One report describes the amputation as being performed by a man who was a specialist in the procedure. The selected finger was tied between the second and third joint. Then the elbow was struck with a hard stick to help deaden the nerves in part of the hand. The operator extends the finger on a board. Then removes it up to the second joint with a small transverse (straight edged) stone adze. The wound is then dressed with a mixture of clay and ashes. The severed finger is burned in the dying ashes of the funeral fire. The procedure is now prohibited but many Dani women still  display their missing fingers to curious tourists, like the woman in this picture.
    Finger mutilation or amputation is also known in some African tribes for such reasons as curing sickness and even to advertise a sign of engagement or marriage. The phenomena is also attributed to some Pacific islands where fingers are removed when a close relative dies.

    Another extreme example of placating a ghost comes from Central Australia in the late 1800's. Ethnographers Gillen and Spencer describe what they saw as an "orgy of self-mutilation." The event was the funeral of a Warramunga man. The women cut their scalps with their digging sticks until blood flowed down their faces and the men cut their thighs with stone knives until they could not stand. Twenty-three wounds were counted on one man. After they rested for a few hours, the women began hitting each other in the head with war clubs. The next day, some women were still cutting their scalps while others began cauterizing their wounds with burning sticks. Gillen and Spencer comment in their report that "it's obvious that the angriest ghost in Australia could not harm them as much as they harm themselves." They also comment that another reason why they may be so violent to themselves is for a psychological way out of despair.

A finger cutting stone from Irian Jaya.
ADZE / AXE BLADE
DANI CULTURE
WEST PAPUA, INDONESIA
ISLAND OF NEW GUINEA

   This painted blade was collected in September of 1995 from a Loni compound in the village of Ibele. It was given to a brother and sister who were in the village buying bow sets and other items. A tribesman, who was not selling it, asked them to take it away from the village at the request of the local missionary. A display-exchange stone that was used in a recent funeral was also given to them. They had met the child who had died in a fire in the previous year. It's reported that this stone may have been used in a finger cutting ritual. The fact that it's painted suggests that it wasn't used as a normal wood cutting tool. It measures 6 1/2 inches (16.5 cm) long, 2 1/8 inches (5.3 cm) wide and 1 5/16 inches (3.3 cm) thick.
    People in western New Guinea made their axes and adzes from quarried rock that was reduced to manageable size with large hammerstones. They were then percussion flaked into shape with smaller hammerstones then ground smooth. The grinding process sometimes removed all the percussion flake scars. According to Hampton (1999), unhafted axes and adzes are sometimes impossible to differentiate. He comments that, "When I cannot be definitive in typing loose blades as either adze or axe blades, I have chosen to call the blades adze/axe blades."

     Science does not believe in ghosts. It's an illusion of the mind they say. So what are ghosts anyway. Like "Bigfoot" they never go away. Someone is always talking about them, seeing them or hearing them. Many old and traditional cultures know them as malevolent frightful things. They are said to cause everything from death and illness to general mayhem. But, on-the-other-hand, modern witnesses of ghosts often describe more pleasant experiences of loved ones appearing to reassure them that they are ok. So the subject remains complex and each person is left to make his own reality.


PICTURE OF KNIVES FROM LITHIC CASTING LAB'S COLLECTION OF ORIGINAL IMAGES

RESIN HAFTED LEILIRA KNIVES
CENTRAL & NORTHERN AUSTRALIA

      Leilira knives were used for both utilitarian and ritual purposes. As objects of utility, they were used for general purposes, but also as weapons for hand to hand fighting and for butchering animals. As ritual objects, knives of this type could also have been used in self mutilation mourning rituals.

    Belief in ghosts must be one of the most common and long lasting cross cultural metaphysical ideas of humans. Names for them probably reach to the moon by now. Reported sightings are almost always ephemeral (short lived). This writer can offer a ghost story that he saw while traveling a lonely road in 1966 at three in the morning. The only car that past, going the other way with a slow motion effect, was driven by a friend. It was odd, he shouldn't have been there. The next day it was discovered that he died that night in a car accident. Is it a trick of sight or an undigested bit of beef or crumb of cheese, as Scrooge would say? Well just remember, when you look at the phenomenon long enough the phenomenon will often times look back at you. So be careful out there.

"REFERENCES"

1899, Spencer Baldwin & Gillen, F. J., "Native Tribes Of Central Australia."
1948
, Howells, William, "The Heathens, Primitive Man And His Religions" republished in 1962 by the American Museum Of Natural History.
1968
, Gardner, Robert & Heider, Karl G., "Gardens Of War, Life And Death In The New Guinea Stone Age."
1974
, Mitchell, Edgar D., "Psychic Exploration, A Challenge For Science."
1994, Mauze, Marie, "The Concept Of The Person And Reincarnation Among The Kwakiutl Indians," Amerindian Rebirth: Reincarnation Belief Among North American Indians And Inuit, published by the University of Toronto Press.
1999, Hampton, O. W., "Culture Of Stone, Sacred And Profane Uses Of Stone Among The Dani."
2010, Varner, Gary R., "Ghosts, Spirits & The Afterlife In Native American Folklore And Religion."

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