TO BE IT YOU NEED TO SEE IT: WHAT IF INDIANA JONES HAD BEEN A WOMAN?

Merle Greene Robertson, Archeologist, Artist, Scholar

I've written about Maya women warriors and queens, women archeologists, anthropologists, epigraphers, authors and artists, all who've inspired the masses. After reading a Washington Post Op-Ed (A Woman to Reboot Indiana Jones? Yes, Please) by bio-archeologist Brenna Hassett about the new film starring Hollywood's favorite archeologist, she reminded us that overall, the study of archeology is dominated by men. Says Hassett, "This is what generations of girls—me included—saw when we saw archeology, and that's a problem. Because to be it, you need to see it."

So let's address women trailblazers in archeology who've carved a place for themselves and those who came after—the likes of Merle Greene Robertson and Linda Schele for starters. In her study of the Maya, Robertson lived as many adventures as the more famous Dr. Jones, traipsing through Central American jungles, crossing rivers, evading looters, working hours on end creating a multitude of life-size art rubbings in dam, cramped spaces. 

Linda Schele was a major scholar, author and trail blazer in the decipherment of Maya hieroglyphic writing and the study of ancient American civilization. Her death at age 55 in 1998 was a terrible loss to archeology and the study of the ancient Maya.

I'll begin with a previous 2022 post on Robertson, a larger than life presence in the world of Maya archeology and culture. Next will be Linda Schele and I'll then continue with women outliers in the global field of archeology and anthropology, several of whom I've already written about.

MERLE GREENE ROBERTSON

Merle Greene Robertson was an archeologist, artist, scholar and Maya explorer, but these are mere labels. Her entrance into the study, portrayal and exploration of the Maya culture was a catalyst for introducing the ancient Maya to the modern world through art, photography and exploration of numerous Maya sites. After I read Never in Fear, her autobiography, I realized she well could have been the glue that stuck it all together, the Gertrude Stein of the Maya world. Along with fellow scholars, she shaped an understanding of the ancient Maya civilization. She galvanized others, as an organizer, planner, dynamo and she knew everyone in the field from Eric S. Thompson and Alberto Ruz to Michael Coe, George Stuart and those who came after.

INCIDENTS OF TRAVEL IN YUCATÁN

Her enthusiasm and limitless energy in regard to Maya culture made her a fulcrum at the very moment the Maya re-emerged on the world stage after an unduly long absence. The first European and American explorers who stumbled onto these pyramid sites in the 1840s were floored by what they saw. A blockbuster bestseller in 1846, Incidents of Travel in Yucatán, written by John Lloyd Stephens with drawings by Frederick Catherwood, ushered the reader into Maya sites at Uxmal, Chichen Itza, and Copan for starters. The book literally blew the collective mind of the world. No one had a clue that intricate stepped pyramids lay hidden, covered by centuries of vines and forest, deep in Mexican and Central American jungles. The archeology world lay in the mid-east and far east. Before the release of Stephens' and Catherwood's book, the word "bestseller" had not yet been coined. 

Frederick Catherwood Maya Drawing

The world clambered for more knowledge of this mysterious civilization, hidden in southern rainforests of North America. Stephens' concise writing along with Catherwood's magnificent drawings assisted in shaping the identity of one of the world's great civilizations—the Maya. Previously unknown, the Maya had joined an iconic club alongside other great civilizations: Egypt, Mesopotamia, the Indus Valley and China.

ROBERTSON AND HER WORK 

Robertson is nearly indefinable, so interwoven was the role she played with her Maya work over the past fifty years—from assisting in breaking the Maya hieroglyphic code, to co-founding the Palenque Roundtable talks, including trekking to and exploring scores of pyramid sites in Mexico and Central America. Not to mention the body of work she left behind after reviving an ancient archeological rubbing technique using Japanese ink on rice paper.

She created beautiful reproductions of countless stela, columns, tombs, sarcophagus lids, often produced in unfavorable circumstances after trekking through rugged terrain and dense forests crawling with snakes and buzzing with bothersome mosquitoes. Occasionally she and her crew had close calls with grave robbers. A life of leisure was never to be hers— she wouldn't have wanted it. Not unlike Frederick Catherwood's drawings, Robertson's sublime rubbings brought the Maya to the world visually.

ANCIENT TECHNIQUE

Finished Rubbing, Stela 16, Dos Pilas

Merle Greene Robertson was a legend in the world of Meso-American studies and Maya epigraphy. With over five thousand rubbings to her name, thanks to a generous heart, many landed in museums and universities throughout the world. She not only explored these faraway Maya sites but shared her knowledge with others. Often her expeditions included lucky students who accompanied her in what would no doubt become the experience of a lifetime.

NEVER IN FEAR 

With a career that spanned close to sixty years, it's impossible in a single post to condense all that Robertson accomplished. Turning page after page in her autobiography, Never in Fear, it seemed she lived her life in warp-speed.

Do we shape our lives, or are our lives shaped by our experiences and those we meet along the way? After reading Robertson's autobiography, apparently her future unfolded while growing up in the rural West where she developed an interest in Native American culture.

EARLY BEGINNINGS

Born in Montana, she lived on land flanked by the Rocky Mountains. Her interest in Native American culture was ignited when her father took her to visit Blackfoot Indian chiefs. She was also influenced by nearby Montana neighbor Charles M. Russell, one of the greatest western artists of all time, who encouraged her interest in art and drawing. Meeting Blackfoot Indians and watching Russell paint may have shaped her future at an early age. 

She attended university in California and graduated with a degree in art. Later she attended the Instituto Allende in San Miguel de Allende, Mexico, where she studied watercolors, oils, photography, and mural painting for three summers before earning her MFA from University of Guanajuato.

Afterwards she went to Tikal, Guatemala, to work on a University of Pennsylvania project where she made architectural drawings of the Central Acropolis. This was her entry into recording monuments by means of rubbings. The technique is an ancient one, the earliest taken from Buddhist texts on wooden blocks in 8th century Japan, or from rubbings practiced in 2nd century China. Robertson brought it to an art form. Her perfection of the technique showed how rubbings could be a means of documentation of Maya relief sculpture.

SUMMER EXCURSIONS TO MAYA COUNTRY

Central Acropolis, Tikal (Afar)

Robertson's working life was as a teacher at Robert Louis Stevenson School in Pebble Beach, California, where she met her second husband, Lawrence "Bob" Robertson. In the summer of 1960 they began taking students to Guatemala and Mexico for summer vacation. The main purpose of the trips was to record in photos and rubbings the magnificent monuments on which the ancient Maya carved. Even as early as the 1960s, the looting of Maya sites was common and Robertson's desire was to record as much of the Maya civilization as possible before it was hacked to pieces or sold off to private collectors.

PALENQUE AND PAKAL'S TOMB

Though Tikal, her first jungle excursion, stole her heart, once in Mexico, Palenque replaced Tikal as her number one site. Her documentation of the site was revolutionary. She started with the Temple of the Inscriptions. In order to photograph it before beginning her rubbing, giant scaffolding was constructed for her to stand on. Nothing she did was easy. Her rubbing of Pakal's sarcophagus lid, Palenque's greatest ruler, took super-human tenacity.             

She wrote, "The first thing I started on was the sarcophagus lid, down in the crypt of the Temple of the Inscriptions. A rubbing had never been done before. I worked locked in with only a lantern to see by. It was quite a trick getting myself on top of the lid. It took seven sheets of rice paper (1 x 2 meters). Also, I had to use oil paint instead of sumi ink; there could be no way to work on so much space and keep an inked area from running into the sheet of paper next to it. After two weeks working on the sarcophagus, doing several parts of it over time, I felt that Pakal was not only my friend but a long lost relative."

After the lid, she worked on the side. "Standing in water on the floor of the tomb, trying to do the rubbings and not getting the paper wet was no small feat, especially since the space between the walls of the crypt and the sarcophagus was barely wide enough for me to stand. All of the rubbing equipment had to be kept on top of the sarcophagus, making it difficult to reach when standing on the floor.

"Inch by inch, as different features of the ancestors of Pakal emerged, it was as though I was speaking with these dead kings—I now knew them. Being alone in the tomb was like being in their world long ago."

THE SCULPTURE OF PALENQUE

The results of her Palenque work was documented in a series titled The Sculpture of Palenque. She searched out pigment sources in that region to duplicate the colors used by Palenque artists centuries ago. Her impressive collection of rubbings represents a major archive of Maya monuments throughout the Maya world and has been a major resource for scholars studying the culture. 

Temple of the Sun Reconstruction Painting

At Palenque, she met Moises Morales, head guide and major domo of the site. Her friendship with Moises and his family would be a staple in her and Bob's lives for decades. At first he rented them a room and in the 70s built a house next to his in the La Cañada compound.

Merle and Bob worked together on the Maya projects—she as artist and he as jack of all trades, performing behind the scene duties that greased the wheels. Their presence in Palenque became an interest to traveling scholars and and their house, Na Chan-Bahlum, became a meeting place for every archeologist working in Chiapas, the Yucatán Peninsula, and Belize—their door was always open. Palenque is where Linda Schele and Merle met and became fast friends.

MAYA ROUNDTABLE IN PALENQUE

 In 1973, things were beginning to gel in the Maya world. Through conversations initially with Linda Schele and other Mayanists, an idea emerged— why not have a gathering of like minds? They put together a list and sent out feelers for a get-together. Soon afterwards, Merle heard from famed archeologist Michael Coe. He suggested December would be a good time. The idea ignited and the first Maya conference took place in 1973. Through discussions, lectures, late nights and visits to the pyramid structures footsteps away, the group was at the beginnings of breaking the Maya hieroglyphic code and figuring out who the ancient Maya were. The conference became known as Primera Mesa Redonda de Palenque.

Topic talks ranged from art, history, chronology, iconography, early explorers, inscriptions, sacrifice, trade and the surrounding area. Word got out and everyone came: guides, archeologists, scholars, artists, students. Fourteen universities from the US, Mexico, and Canada came and everyone was asked to have a paper ready to give as a lecture on the art, architecture, or iconography of Palenque. The second year, 1974, the governor of Chiapas opened the ceremonies in Palenque's Municipal Auditorium, it had grown that much. The first had convened in Merle and Bob's house in Palenque.

BREAKTHROUGH AT FIRST CONFERENCE

That first year's highlight was the discovery of the names of Palenque's rulers by Floyd Lounsbury, Linda Schele and Peter Mathews. The second year's highlight along with the governor presiding was the attendance of archeologist Dr. Alberto Lhuillier Ruz, famous for his discovery of the Tomb of the Temple of the Inscriptions where Pakal's sarcophagus was buried. Eventually, through the melding of minds, the Maya hieroglyphic code was broken, the turning point being that first Roundtable in 1973. 

Bob and Merle lived in Palenque and helped host Mesas Redondas until Bob's death in May, 1981. Merle went on to do many more Maya rubbings in the Yucatán, specifically at Chichen Itza, where at Hacienda Chichen, Robertson was given her own suite which became headquarters for her crew. After the Chichen Itza project, Merle traveled the world, visiting other archeologists, artists, and friends while painting and walking ancient ruins everywhere on the planet. 

Stela 1, Ixkun, the Peten, Guatemala

MAYA SITES VISITED

During her time studying and recording the Maya, Robertson visited and worked at Tikal, Sayaxche, Dos Pilas, Aguateca, Itsimte, Naranjo, Tamarindito, Ixkun, Ixtutz, El Peten, Seibal, Yaxchilan, Lubaantun, El Baul, Bilboa, Jimbal, Uaxactun, Lamanai, Caracol, El Palmar, Calakmul, Copan, Palenque, and Chichen Itza. She could definitely compete with Dr. Jones. And to my women readers, I'd say she'd come out on top.

Merle Greene Robertson died at her home in San Francisco in 2011. She was 97 years old.

If you enjoyed this post, check out  Where the Sky is Born: Living in the Land of the Maya, on Amazon. My website is www.jeaninekitchel.com. Books one and two in my Mexico cartel trilogy, Wheels Up—A Novel of Drugs, Cartels and Survival, and Tulum Takedown, are also on Amazon. And my journalistic overview of the Maya 2012 calendar phenomenon, Maya 2012 Revealed: Demystifying the Prophecy, is on Amazon.