The most interesting discoveries an archaeologist can make occasionally involve artifacts collected decades earlier. I happened upon such a discovery while preparing to carry out fieldwork on behalf of a federal agency. While conducting background research, I learned the State Historical Society houses a small ceramic assemblage originally collected in 1938. These 73 ceramic rims and body sherds represent the bulk of artifacts collected from site 32MO12, or the Jennie Graner site. My search for information about the pottery itself, as well as the history of previous research at the site, led me on a winding path through archival records and the handwritten notes of Thaddeus C. Hecker, a former archaeologist with the State Historical Society.

Hecker is probably most well-known to archaeologists who have read his and George Will’s inventory of Plains Village sites along the Missouri River in North Dakota¹. Previous to this 1944 publication, Hecker and other archaeologists working for the state identified a Plains Village site on the west bank of the Missouri River near the town of Huff. At that time, the site was on the property of Jennie Graner and was named after her. Although Hecker collected pottery in 1938, there is no indication that he conducted excavations at the site:

The first time I visited this site I found a lodge floor in the cut-bank where an unusual amount of pottery of various designs in decoration had weathered out. The rim-sherds were rather thick and all decorations were punch incised; also a number of designs in decoration were different than I had seen before…The pottery of this site is undoubtedly of Mandan Culture.²

Thaddeus C. Hecker, 1938. (State Historical Society of North Dakota C3717-00001)

Although Jennie Graner is considered an earthlodge village site, no remnants of earthlodges or middens are visible on the surface like they are at other Mandan sites such as Huff and Double Ditch villages. There is also no evidence of a palisade or ditch at Jennie Graner. Perhaps the Mandans who lived there did not need a protective wall around their village—or perhaps evidence of lodges and ditches have been obliterated by farming and construction activities. Even in 1944, Will and Hecker reported that the site was eroding into the river and was severely impacted by modern earthmoving activities.

Aerial view of Huff Village State Historic Site, located south of the Jennie Graner site. Note earthlodge depressions and fortification ditch. (State Historical Society of North Dakota 00630-04)

The age of the Jennie Graner site is unknown, but Will and Hecker referred to it as “Archaic Mandan,” or what archaeologists now call the Extended Middle Missouri. The latest regional chronology of village sites gives the Extended Middle Missouri an age range of AD 1200-1400³. Ceramic analysis suggests Jennie Graner would fall toward the end of this age range, possibly in the late 1300s or early 1400s. Pottery styles and designs changed through time, but these changes did not happen overnight. New styles were tested and incorporated slowly, resulting in many ceramic forms occurring contemporaneously. Four types of ceramic “ware” have been identified from this site. The earliest wares are Riggs ware and Fort Yates ware. These are followed chronologically by Stanton ware and Sanger ware, respectively⁴. Riggs and Stanton wares have straight rims, while Fort Yates and Sanger wares have S-rims. The presence of transitional forms between Riggs and Stanton, and between Fort Yates and Sanger, suggests potters at Jennie Graner may have been experimenting with vessel construction and decoration.

Left: (a) Riggs ware rim. Note the tall rim and location of tool impressions directly on the lip; (b) Transitional form between Riggs and Stanton wares. Rim height is shorter, and tool impressions appear lower on the rim; (c) Stanton ware rim. Addition of fillet with tool impressions well below the lip of the rim. (All specimens SHSND 7123)
Right: (a) Fort Yates ware rim. The juncture of the rim and neck is angular; (b) Transitional form between Fort Yates and Sanger wares. The juncture is less angular and becoming more curved; (c) Sanger ware rim. The juncture between the rim and neck is curved. (All specimens SHSND 7123)

Jennie Graner is on land managed by the US Army Corps of Engineers. Recent testing of the site by State Historical Society archaeologists will tell us more about the size, age, and occupation length of the village, as well as whether it qualifies to be nominated to the National Register of Historic Places. We also hope to learn its relationship to the nearby Huff Indian Village State Historic Site and other Missouri River Mandan villages.

¹ Will, George F. and Thad C. Hecker. 1944. The Upper Missouri River Valley Aboriginal Culture in North Dakota. North Dakota Historical Quarterly, vol. 11 (1-2), pp. 5-126.
² Hecker, Thad C. 1938. Morton County Archeology. Manuscript on file at the State Historical Society of North Dakota, Archaeology & Historic Preservation Division.
³ Johnson, Craig M. 2007. A Chronology of Middle Missouri Plains Village Sites. Contributions to Anthropology 47. Smithsonian Institution Scholarly Press, Washington, D.C.
⁴ Ahler, Stanley A. 2001. Analysis of Curated Plains Village Artifact Collections from the Heart, Knife, and Cannonball Regions, North Dakota. Research Contribution No. 42, PaleoCultural Research Group, Flagstaff, AZ. Submitted to the State Historical Society of North Dakota.

When I completed my bachelor’s degree many decades ago, I thought that I was done with school, finished with learning. Whether that was the result of book fatigue or just the glossy idiocy of youth, I am not sure. However, I eventually returned to school and was pretty darn close to 50 when I finally received my Ph.D. in American History. This time, I did not even pause in the learning process but kept on thinking, reading, and writing history – a student with no homework.

I became very comfortable in the study of history and never suspected that I would someday hop back onto that steep learning curve to write a book in an entirely different field of study. Archaeology. I think I took one archaeology course in college (it was required), but I don’t remember much about it.

Now I am writing a book (available next fall) about the people who lived in North Dakota in ancient times. I mean really ancient times. The first people (that we know of) came here around 13,000 years ago. My training as a historian little prepared me to write about people who did not document their lives and beliefs on paper. Throughout this process, I have ranted about archaeologists’ fuzzy dates, my frustration with the limits of archaeological research (they have to go find stuff buried underground!), and their scholarly disagreements. Nevertheless, through study I have actually come to know quite a bit about North Dakota’s earliest peoples.

I find them likable, these people who braved North Dakota before Lake Agassiz had become the Red River, and who probably met some pretty unfriendly animals when they first looked around the northern Great Plains. The first arrivals needed to find resources quickly. They needed food – meat and berries or wild greens – and potable water. They required materials to construct shelter. They had to locate good quality stone to make into projectile points, knives, hide scrapers, and other useful items for their tool kits. These resourceful, hardworking people (like so many who followed them), found all of these things in abundance and returned again and again when they needed what North Dakota had to offer.

Around 500 BC, hardworking people organized villages near the resources they needed to raise their families in North Dakota. (Andrew Knutson, artist)

I have learned a lot from them. No, I can’t knap stone into a useful tool or to turn a bison hide into clothing, though there are people who enjoy doing that sort of thing. My lessons are quieter, more internal, like: Be curious. Eat new foods. Learn new skills. Adapt to the environment. Meet new people and try out new ideas. Don’t settle for what is right in front of you; something better is just over the horizon. Listen to the younger generation; they may have the right answer to the problems you face. And don’t stand still; a short-faced bear may find you delicious!

Museum staff Kiri Stone, museum intern Anna Killian, and museum docent Stephen Deutsch dance behind Lindsay and me during our museum dance off.

This is why we (occasionally) dance in museums.

Once upon a time, a blog was formed by a museum professional as an inside joke about things that happen in museums. The blog denoted the humor, joys, and frustrations of museum life, and became well-known to many individuals working and interested in museums. “When you work at a museum” continues to educate people in so many amusing ways that museums and their staff are not stodgy or static, but are vibrant and alive.

Through that blog, the official Museum Dance Off became a thing. It started with just a handful of videos of museum workers dancing. This year, we joined the 4th annual Museum Dance Off, along with 40 other museums from across the world (that’s right—this is an international competition)!

We didn’t make it out of the first round, but we still love our video. If you haven’t viewed it yet, you can take a peek on YouTube here.

We had so much fun making our submission that I thought the readers of our blog might enjoy a taste of the behind-the-scenes action that led to our beloved film.

The song chosen for our video was Stereo Hearts by Gym Class Hero and Adam Levine. New Media Specialist Jessica Rockeman, our mastermind behind most of the Dance Off video, felt strongly that we needed a song that we (especially she) wouldn’t get sick of. This one fit the bill.

Many of us who work here have long been hoping that we might take part in it. I love dancing in all of its forms, and combining that passion with the idea of showcasing our awesome museum is just too exciting. Once I heard that we were going to try to submit for this year, I peppered Jess with questions as to where we were in the process. When she told me the song title, I exclaimed, “I love that song! I know it really well!”

“Great. You’re hired,” she proclaimed.

There is a difference between knowing a song and performing it, though. Every clip was filmed multiple times, and sometimes it took a few takes until I had the right words.

“It’s always easy until the camera is on you,” Jess quipped.

We used this video to highlight the galleries and spaces available at our museum. Staff from all of our divisions joined in—in fact, Lindsay and I, the two “lead vocalists,” are both archives staff, and many others who participated or helped were from other divisions. It became a starting point for future endeavors of this type and more, the type of project that both promoted our place of work in many different ways and also showed what fun our jobs are. Claudia Berg, our agency director, even has a cameo in the video. How awesome to see leadership supporting a fun project that showcases our facility!

Our agency director, Claudia Berg, takes part.

Jess made sure that we all wore black and white throughout the film. The reason for this, she said, is that the camera loves black and white. Since I was in so many scenes, I picked out one black and white number (a very comfortable dress that was easy to pull on) and changed into it when we were shooting. I was very concerned about maintaining continuity, to the point that I kept worrying about whether my shoes (which sometimes were boots rather than the shoes you see at the opening of the song) would show on camera, or whether people would notice that I wasn’t wearing my Fitbit Alta on my wrist, or that I was wearing an additional ring during the filming. Jess laughed at this.

“No one will notice,” she said.

It’s true. You have to look really closely to notice many of the things I was concerned about—including that my hair grew probably 1-2 inches from the beginning of the filming to the end. After all, we started in about September, grabbing time whenever we could. All of the outdoor scenes were shot in the fall. We ended the filming a week or two before our deadline in March. Thank goodness we started early!

Oh. There is so much I can say about this video. I literally shed blood and sweat for this project (dancing around in the atrium got pretty warm that afternoon, and I cut my hands up at least once during the filming process). Probably tears, too, from laughing so hard. But it was SO MUCH FUN. From Wendi suggesting that she would push me through a collections area in the bottom of a cart to Becky letting us use the mosasaur puppet she crafted for use with children’s programs, we really took this little film to a level we could be proud of.

We didn’t win this year. (Congratulations, Herman Otto Muzeum of Miskolc, Hungary, for your success in the Museum Dance Off 4: A New Hope! You can watch their video here.) But we did come away with a great experience and ideas for the next dance off.

We’re fun. We’ve got it.

Next year will be our year!

Here, we are in Archaeology’s collections and work area, with Meagan Schoenfelder (right) and Brooke Morgan (left) making this scene amazing. They were so into this portion. It was hilarious and remains one of my favorite shots.

A colleague at the ND Heritage Center recently recommended author Ross Coen’s Fu Go: The Curious History of Japan’s Balloon Bomb Attack on America, describing the relatively obscure World War II story of unmanned paper balloons flown from Japan to North America using only high-level atmospheric currents-- the jet stream-- as propellants. The ultimate goal of these balloon flights was to ignite forest fires across Western America and Canada that would create terror and divert potential military personnel to homeland firefighting.

Before hearing of this book, I knew nothing of this action. As I read it, I became more fascinated with little-known stories related to people of Japanese descent and their involvement (or not) in wartime activity.

Little did I know that this book would soon lead me to another little-known story of World War II, namely Japanese American internment. As I was finishing Fu Go a few months ago, I received a call from Dennis Neumann, public information director at United Tribes Technical College (UTTC). Dennis requested that I become involved in a project being organized by the National Japanese American Historical Society to develop a high school curriculum related to Japanese internment in America during World War II.

00996-00002 Fort Lincoln Entrance Gate

The National Japanese American Historical Society was forming a team to investigate national resources including historic places, stories, images, and other archival material in the visioning process for “Untold Stories: The Department of Justice Internment Teacher Education Project.” Few people realize that many Japanese American people were interned at a camp in Bismarck, North Dakota, during the war. This camp, called Fort Lincoln Internment Camp, was located on land that is now the site of UTTC’s campus, and some of those internment camp buildings remain.

00996-00002 Fort Lincoln Entrance Gate

The team of invited scholars, educators, and cultural interpreters from across the country came together for three days of presentations and discussion about this interesting topic. Their team of curriculum developers helped us consider how high school students across the country would find this story relevant. We discussed historical trauma, cultural suppression, and even bullying as we explored ways this topic might support cultural healing and recovery using public discourse. At the team meeting, I shared some of our State Archives resources including photographs, newspaper articles, and a diary kept by an internee at the internment camp. You can read “Internment Diary of Toyojiro Suzuki” (translated into English) at history.nd.gov/textbook/unit6_3_intro.html.

I also shared details of how content, activities, and resources related to our North Dakota Studies eighth grade and fourth grade curriculums are delivered online.

The outcome of this project will be a high school curriculum that may be available online. There was discussion relating to developing opportunities for teachers across the country to participate in workshops, visit the sites of the internment camps, and view documentaries relating survivors’ stories and the impacts to their families.

UTTC is interested in recognizing that the impacts of government policies relating to Native Americans such as removal, relocation, and the formation of reservations have many parallels to those of Japanese Americans interned at the same physical site during WWII. It’s a fascinating beginning to a project worth exploring further.

The staff at Fort Abercrombie State Historic Site has great appreciation for history and a strong passion to teach others about the history and heritage surrounding the site. Visitors often mention that they studied history in school, but after coming to Fort Abercrombie and taking the guided tour with our staff, they can make a connection and understand what it was like to live here during the mid-19th century. As quoted by many visitors, “I feel like I am a part of history after that tour.”

That said, we do not want to be just a one-time stop. We have learned that programming needs to focus on getting people to return to the site for continuous learning and enjoyment. Our team is constantly working to provide effective programming, and those efforts have sparked a renewed interest among locals and tourists in the history of southeastern North Dakota. We are enjoying an increasing number of people who return each summer to attend events.

For example, each summer Fort Abercrombie hosts a Sunday history program, which focuses on many aspects of North Dakota history. This summer we’ll focus on the challenges of homesteading, local family history, environmental history of the Red River, and the Norwegian heritage of this area. Staff members Carole Butcher and Paul Nelson will spend countless hours researching in preparation for presentations that will allow people to make a connection to this history. Many local musicians will volunteer their talents in providing special music, and historical authors and storytellers will provide guests with entertaining and educational experiences during these programs.

We recognize that, for some people, seeing something with your own eyes can enhance your understanding of written history and create memorable learning experiences. For this reason, Fort Abercrombie hosts a Living History Weekend, as well as a Historical Authors and Crafters Weekend every summer. At this event, Michael Quade demonstrates the craft of blacksmithing in the 1860s at the fort, while Karl Schmidt demonstrates the craft of tinsmithing. These demonstrations give our visitors a way to visualize and engage with historical craftsmanship in the modern day. Visitors can also meet award- winning author Candace Simar, who has written about her family connection to Fort Abercrombie, as her great grandfather was one of the stagecoach drivers on the “Abercrombie Trail.” Historical author and storyteller Jan Smith will provide an entertaining history of real -life experiences at Fort Abercrombie and on the trail. Minnesota history educator and historical author Carrie Newman will help audiences understand different perspectives on the Dakota War. She was inspired to write the book War on the Prairie after taking a tour at Fort Abercrombie and becoming fascinated with Dakota War history. Carrie also demonstrates the craft of Civil War sewing while visiting Fort Abercrombie each summer.

The 5th Minnesota Infantry Company D Civil War re-enactment unit also plays an important role at Fort Abercrombie. The unit provides visitors with a real-life experience of what it was like to be a soldier at Fort Abercrombie and in the Civil War. History is truly alive at Fort Abercrombie. Come see for yourself at this year’s events!

May 13 Preservation North Dakota tour, 2–4 p.m.
May 27th 5th Minnesota Infantry Co. D. Training Day
May 27th Fort Abercrombie Opening Day, 8 a.m.–5 p.m.
June 4–August 13 Fort Abercrombie Sunday History Program, 2 p.m.
June 10-11 Fort Abercrombie Living History Weekend, 9 a.m.–4 p.m.
July 29-30 Fort Abercrombie Historical Authors and Crafters Expo, 9 a.m.–4 p.m.
September 8 Richland School District 9-11 Program, 9:30 a.m.
September 10 North Dakota Archaeology Association Event TBA

Photo 1: 5th Minnesota Infantry Co. D Officer's Wife - reenactor - Jessica Dickson near original 1862 Guardhouse on fort grounds
Photo 2: Fort Abercrombie State Historic Site Aber Days - Paul Nelson & Mick Owen 2011
Photo 3: Fort Abercrombie State Historic Site Interpretive Center Gallery - 1862 Mountain Howitzer Cannon
Photo 4: 5th Minnesota Infantry Company D. Aber Days 2016
Photo 5: Fort Abercrombie State Historic Site Interpretive Center
Photo 6: Ghosted sites of buildings on grounds of Fort Abercrombie
Photo 7: Fort Abercrombie Living History Weekend June 2016 - Tinsmith Karl Schmidt and his wife Nadine
Photo 8: 1862 - Blacksmith Michael Quade - Living History Weekend 2016

In March 2017, our colleague Geoff Woodcox wrote about the State Historical Society of North Dakota’s Museum Division proactively collecting contemporary objects. Specifically, he wrote about staff going to the Oceti Sakowin camp where many of the water protectors protesting the Dakota Access Pipeline (DAPL) resided. That blog post explains some of the activities staff took part in as they gathered stories and objects from camps near the Missouri River and Cannonball River confluence in south-central North Dakota.

Along with this kind of fieldwork, we have also requested objects from various entities involved with the protests. To cover the many sides of the DAPL protest story, we collected from as many sources as feasible within our staff time and budget capabilities. These sources include, but are not limited to, the Oceti Sakowin camp water protectors, the Standing Rock Sioux Tribe, the Morton County Sheriff’s Department, North Dakota Emergency Services (including Morton County Emergency Management), the North Dakota Highway Patrol, the North Dakota National Guard, and media who spent time in the camps. The following is a small sample of those collecting endeavors:

The North Dakota Department of Emergency Services provided us with a piece of concertina wire, also known as razor wire. This wire was placed in coils along the perimeters of various protest sites. (PAR-2017.044)

Morton County Emergency Management gave us riot gear including this riot shield, and other equipment like these flexi cuffs used by law enforcement. (PAR-2017029)

Lauren Donovan, a reporter with the Bismarck Tribune, collected items while gathering information for stories at the camps. We now have multiple items representing camp life, such as this sign with camp rules and a can of baked beans. Lauren also donated the badge she wore identifying her as press. (PAR-2017009)

Major French Pope III, of the Army Corps of Engineers, was at the Oceti Sakowin camp negotiating evacuation of the remaining occupants in February 2017. This placard was placed in the window of his vehicle to grant access to the camp. (PAR-2017025)

The Department of Water Resources at Standing Rock Sioux Tribe received donated items from across the country to support the water protectors. This handmade flag was sent in by an army veteran from California and is signed with well wishes from a myriad of people. (PAR-2017014)

Likewise, the Morton County Sheriff’s Department received donated items in support of law enforcement actions. They provided some of those items for our collections. The handprint and drawings are thought to be from a daycare in Mandan, N.D. (PAR-2017045)

The North Dakota Highway Patrol donated a few items from the Oceti Sakowin camp and from the protest on Thanksgiving Day 2016 that blocked Main Avenue in Mandan, N.D. (PAR-2017041)

The Museum Division is actively collecting additional items from other sources and the agency would like to begin collecting oral histories. These items will be preserved to tell the North Dakota DAPL story for generations.