The Marquesas Islands

The soaring heights of Nuku Hiva

After a 3,000 mile voyage across the worlds largest ocean, we arrived in The Marquesas. Called Henua Enata, or Land of Men, these islands are a bastion of Polynesia culture. They were never subjected to blackbirding (a practice of abducting indigenous people, then taking them to Australia or South America), and some of the most spectacular stone sculptures and sites can be seen in these islands. Tattooing is also alive and well, and is considered to be one of the most intact and refined of all the Polynesian islands.

There are several types of stone construction in the islands. The names often have the type of place included in the name, which makes it easier to identify what the sites use was. Tohua are large rectangular spaces used for dances and ceremonies. Me'ae are temples, and can range from expansive complexes, to platforms that are hard to distinguish from houses. Paepae are house platforms, and are easily the most prolific. They can be found in towns or up in the hills.
These constructions and sculptures are not considered ancient, but are old. They were made somewhere between 1600s-1700s. The larger sites really do stand as a testiment to the ingenuity and skill of the indigenous inhabitants, as well as a healthy population prior to contact.

Cultural Artforms:

Authentic Tiki at Pa'eke Me'ae

Tiki-
One of the most easily identied aspects of Polynesia culture is the iconic Tiki. Old tiki are often found on or around me'ae, but more modern renditions seem to be far more prevelent. Old Tiki are considered tapu, or sacred, and are generally treated with respect.

Modern tiki at Taiohae

These modern renditions of tiki in the Marquesas are prolific, sometimes even being places on historic sites. Tourists often take these to be authentic, as there is no plaques or signs stating otherwise. Most however were made for the Marquesas Festival in the late 1980's, actually borrowing inspiration from tattoo, wood sculptures, and existing artifacts, to produce a modern idea of a tiki.

Petroglyphs-
With an abundance of available surfaces to inscribe symbols and figures, the Marqueseans left petroglyphs all over the archipelago. On our visit we did not visit many of the more prominent petroglyph sites, but we did find this one curious figure near a river in Fatu Hiva.
There have been studies done on the correlation of petroglyphs to tattoos, which share many designs.

Tattoo ("Patau'i Te Tiki")-
Derived from the Tahitian word "tatau", tattooing is currenty undergoing a renaissance. The people of the Marquesas are actively reviving this art form, which is considered to be the most refined and intact out of all of French Polynesia.
It was not uncommon for Marquesean men to be entirely tattooed, and over 400 different styles of design have been identified in the Marquesas. Traditional materials and tools for producing tattoos were the use of candle nut soot for ink, and sharp combs that were struck with a finely decorated mallet to puncture the skin. The small combs used have extremely fine needle-like points, and are often only an inch or so in size.
Men are most often seen tattooed, with their legs and arms heavily decorated with traditional designs.

Notes on tattooing in French Polynesia(courtesy of Tahiti Tourisme):
Society Islands: "...men and women wore tattoos on their shoulders, arms and legs but never on the face. Their buttocks uniformly blue, were enhAnced from the lower back to the hips by several rows of designs....More stylized designs based on human, vegetal, or animal shapes were also used."

Austral Islands:
"...marked their differenece by the use of hand-width tattooed bands below the armpits. In Tuamotu, tattooing was widespread in the west, and much less practiced in the east. The men of Rangiroa could be tattooed from head to toe with irregular designs such as curved lines, concentric circles, or with checkerboard designs."

Gambier Archipelago:
"...tattoo was compulsory. The archipelago's special mark was circle tattooed under the armpits of teenagers."

Basalt adzes-
The primary source for lithics in these volcanic islands is basalt, and the Marqueseans were masters at knapping and grinding the stone into finely made adze blades. Though useful as a woodworking tool, perhaps to build the impressive oceangoing catamarans for example, they may have also used them as a weapon like the natives of Mangaia, another Polynesian island west of the Marquesas.
These deeply grooved stones, a common sight around the islands, were used as building material for the church in Taiohae, but their original purpose was to shape and sharpen the adze blades. They are often associated with the deep, pecked holes also found on large stones or around stone platforms.

Pecked holes

The Sites:
Arguably the most impressive of Marquesean sites are the Me'ae and Tohua. During our time in the islands, we found the most unique and impressive in the Island of Nuku Hiva, considered to be the first island to be settled in the archipelago.

Pa'eke Me'ae, Taipivai
The valley of Taipivai's claim to fame is that in the 1840's, the would-be writer of the famed book "Moby Dick", jumped ship with a shipmate Toby Green, and was subsequently taken in by the Taipi tribe of the valley. He eventually went on to write a now out of print book called "Typee", which chronicals his time there.
Though the Marqueseans, indeed if not all of Polynesia, had a healthy reputation of cannibalism, the Taipi were said to have been particularly cannibalistic. Of course, Melville never was eaten by his hosts, and neither was his shipmate, so it's hard to say if their intent in helping him was out of friendliness or if they had a different fate in mind, one possibly including the impressive me'ae site of Pa'eke.
Boasting 11 tiki, this site is perched atop a bluff that is accessed by an unmarked path that actually starts in someones front yard! On the way up, you will notice the ever present paepae, house platforms.
During it's heyday, the site must have been even more impressive. One unusual aspect of it is the seemingly haphazard placement of tiki around the platforms.

Anahao Bay, Nuku Hiva

After our stay in Taipivai, it was time to move to the secluded and well sheltered bay of Anaho. From here we hiked over the pass and into Hatiheu valley, where two more sites waited.
In much of the Marquesas, each valley is home to an individual tribe, and the valley of Hatiheu belonged to the Api Papua people. These people build an impressive tohua in the highland, dedicated to the goddess Tevanaua'e. Here they would have primarilly held dances and ceremonies.

Hikoku'a Tohua:
If it weren't for the sign, this site could have easily been missed.
It's about as big as Pa'eke, but it is edged with low platforms for many people to sit and observe the ceremonies. There is only a couple tiki associated with this site, one of the goddess herself, which is unique because the tiki also forms part of the wall.

Modern Tiki

A number of modern tiki, noticably more detailed than their historic counterparts, were added in 1989 for the Marquesas Islands Festival.

Uniface tool made of basalt

Archeological material is very common in these islands. Some stores even have large collections of locally found tools on display, and the museums (when they're open), have impressive collections of bone, stone, shell, and wood artifacts.

Te I'ipoka Me'ae

The final, and most stunning, site of the day, is the expansive Te I'ipoka Me'ae. The size and reputation of this site is hard to convey in mere words and pictures. It has many me'ae and paepae platorms, a large petroglyph gallerey nearby, and a tohua that dwarfs the Hikokua site.
However, size is not the main draw to this site. Te I'ipoka is a documented sacrificial site. Not only were many people sacrificed and eaten here, but it also played host to one of the last human sacrifices of the 19th century. It is said that a member of the Ha'apa'a tribe was lured to the site, under false pretenses, where he met his fate.

The pit is roughly 7-8 feet deep

As a physical testiment to the cannibalistic rituals practiced here, two massive pits, one situated directly under a sacred Banyan tree, were built into a huge platorms, for the purpose of holding the victims before being brought out for sacrifice.

The Great Banyan of Te I'ipoka Me'ae

Pits are not uncommon at me'ae or tohua, but the Te I'ipoka Me'ae pit is by far the largest we have seen in the islands.

Efforts have been made to restore and preserve this site, and a traditional structure has been rebuilt atop one of the platforms.

A note on cannibalism in the Marquesas, through talking to locals, I was informed that it was not a widely practiced act amoungst the general populations of the islands. The Marquesean societies operated under a caste system, with only the upper echeleon of the community (priests, priestesses, chiefs, prominent warriors, etc) permitted to eat sacrificial victims, and even then it was only the thighs. Cannibalism was practiced or ritualistic reasons, as opposed to a means of sustenance.

Not all Marquesean sites are dedcated to gods, goddesses, and eating your tribal enemies, however. An interesting site we came across in the island of Ua Pou (pronounced oo-ah poe), was the agricultural settlement of Tetahana. This area was used up until the 1980's to cultivate taro and breadfruit. They used an ingenious system of terraced fields along the two converging streams, and were able to dam the streams and divert the flow into these terraces to irrigate their crops.


Sources and recommended reading:
Exploring The Marquesas by Joe Russel-Cruising guide to the Marquesas
Moon Handbook: South Pacific- very useful travel guide to the South Pacifc
Te Patu Tiki: Le Tatouage aux Iles Marquises- a superb French book on Marquesean tattoo
Typee by Herman Melville

Thanks to Tahiti Tourisme for their informative pamphlets!

Glass-tipped Spear

Spears are some of the oldest weapons used by by humans, both for hunting and warfare. They are also what comes to mind when most people think of when they hear "primitive", "paleo", or "tribal". Though not necessarily the easiest of weapons to use, both on a day to day basis, or in an immediate survival situation, they are nonetheless a very versatile tool in the paleo arsenal.

This is really the meat of it. Without a good point, your lance or spear is just a pole. When is comes to putting the business end on your spear you can go two ways, either a stone/glass point (or some scavenged metal if your knapping skills leave something to be desired), or fire hardened tip. I find fire hardening to be a skill I have no yet mastered, as it takes a certain amount of intuition on my part to tell whether I am indeed fire hardening it, or simply burning it into charcoal. So being halfway decent with a rock and some glass, I settled on using knapped points for my spears. The points above are as follows: (left to right)

-Large glass point, I believe from an old window from an abandoned hospital I visited
-Obsidian point, Idaho, no notching
-Notched Obsidian point, very thin
-Raw Texas Chert point, small enough that it might be better suited for an arrow
-Bottle glass point, I really like this one, I was able to flute it on one side
-Raw Texas Chert point, the overall form of this one is very nice, quite a robust point. I used it as an atlatl dart point for awhile

I used pitch to hold the point in place, then wrapped it with sinew I had soaked in the nearby creek. I finished that off with a strip of rawhide to secure everything and protect the hafting. I used a beech sapling for the shaft.

The finished product. It's not as long as some spears can be, but I feel it's size suits the sometimes dense woodlands of the east coast.

Day in the woods

I filled up my gourd canteen and took it with me into the woods today. I've found it doesn't change the taste of the water and works quite well, though it still needs a stopper.
I've decided this summer is the time to make a good hunting bow. I've learned alot about what to do with an animal once you've taken it, and I hope to begin hunting my own animals. Up until now I have been relying on others to provide me with meat, hides, bones, sinew, etc.
There is a hickory tree I have been aware of for a number of years and it appears to be the perfect size for a bow. I want to get to know it before I cut it, so I'll visit it for a while until I feel its the right time to cut. For something like a bow, where so much goes into the making of the tools and hunting of the animals, I feel like this should be done right, and not rushed.

A Box Elder (Ash leaf Maple) fell near my old debris hut, which I am very grateful for since it it one of my favorite friction fire woods around here. I try not to ever cut live branches, and to come across an entire tree like this is an appreciated gift. Some of the upper branches are very straight so I've made a hand drill set. I tested it out but produced only white wood dust. I'll make a video so I can explain it easier. This is the first time I've made a handrill set with a wood other than yucca, cotton wood root or mullein.

Oetzi's Knife sheath

Last night I stripped some basswood (American Linden) fibers from some basswood branches I scavenged, and made a replica of Oetzi's lime bast knife sheath. Its holding up well, and looks nice. I simply made a ring of basswood, then looped vertical strips on the ring, then twined it together and tied off the end. Fairly simple and easy to make.

Elk Ear Pouch

I sewed up the tear in the elk ear. I had to do it carefully and precisely, so I used a very small splinter of chert and a little stick to poke through the ear and push the buckskin through with the stick. Its very thin, so you have to be careful not to tear it. Its works and holds together though. I left the buckskin long so it can be wrapped and tied to hold the pouch closed.


I tried skinning a Mule Deer ear tonight, however the inside part of the ear stuck firmly to the cartilage and it tore easily. I also noticed the hair to be very different from the elk, far longer and thicker. The inside of the deer ear was almost bare.

Elk in Montana

I was invited to Jared's fathers house to help butcher an elk that was shot on the plateau near his house. The area is an amazing play, and I'm told the plateau is a viciously cold place, which makes it all the more interesting. We made a nice handdrill fire (yucca on cottonwood root) and slept by it. It turned out to be very nice night, considering it had been 18 degrees the morning before.
Anyway, the elk was a beautiful cow. It was an all day job, but very interesting. I'd never done any butchering, or skinned something that large. I used a chert blade of course to do all the cutting. We got the hide, many bones, tendons, leg skins, and even made a pouch from the ear (inspired from Torgus' blog post here). We also got some meat of course.

We had a couple of dogs who did their best to take advantage of my generosity with the scraps. Elk meat is very good, so I can't blame them.

Some of the things we wanted were cannon bones, scapulas, ribs (good for bow drill bows and scrapeing tools) as well as an ulna bone. I'll post pictures of that particular bone when we start to work on it. Also the leg skins were saved (much to the dismay of the dogs who happen to like to eat that part). The ear pouch idea was very interesting, so I'll focus on that.

I started by cutting the ear from the head. I didnt cut all the way to the base, though I wish I did. I didnt use any tools, except my fingernails to seperate the skin from the cartilage. The trick, I found, was to use your fingernail to pick at the skin until it seperates. Its very thin on the inside of the ear, so I took my time and tried not to rush, but I accidently tore it slightly (nothing major, I'll sew it up later). I found the edges of the ear to be a bit tricky, but not impossible. One thing I found was that skinning an ear isnt difficult, just requires patience.

Once I got to the end, its a bit tricky to remove the cartilage, but you just pull it away from the skin. I was worried I'd tear open the bottom of the pouch, but it turned out alright.

Finally, you have your ear pouch. You can see the tear, which luckily doesn't go too far down. I left it inside out to dry, and worked it with my hands until it was no long stiff. I suppose you could brain it, but I'm not sure it would actualy penetrate the hide, because there seemed to be some membrane that would be hard to remove without tearing the ear. I agree with Torgus that this is a resource that has been overlooked, and I plan to make many of these pouches (a few friends have already asked for one). I like that I can get more than just a brain from the deer heads we pick up from the butchers.

Hunting the Antelope

This post it long overdue, but thats ok. A few weeks ago I was invited by my friend Jared to go hunting with his father and friends. We set out on Friday, left a little later then we would have liked but it was a good drive anyway. Montana looks amazing this time of year with the few deciduous trees standing out against the pines on the mountains.

We arrived after dark at the camp. We exchanged greetings with Jared's father and friends and then turned in (I think it about about 10:00 by that point, or slightly later). I made a willow deer effigy before going to bed, hoping it might help with the hunt the following morning.
We woke around 5, before dawn. When we had arrived the evening before it was hard to see the surrounding area, but now with the sun coming up, we could see that we were surrounded by dense willow and open plains with mountains in the distance. It's quite an amazing place. I haven't spent much time out on the plains before, or in this section of the Rockies. It's quite a place.

The ranch we would first hunt on was several miles down the road, so we drove to the ranch just as the sun was beginning to warm the earth. Its easy for your eyes to deceive you in this terrain, to call it expansive would be an understatement. Antelope are a light tan with white, and blend in very well with the surrounding grass. They also have excellent eyesight and stand in the open, which means they see you long before you see them. In almost every instance of seeing one, it was either a mile or more off running in the opposite direction, or looking directly at us. They are truly amazing animals.
I didn't get any pictures while hunting, because I left my camera at camp, and I don't photograph animals that have been recently killed (personal thing). I really wish I had brought the camera to try to capture the terrain.
Back to your eyes deceiving you in this land, while on a hill we tried to estimate how far the next hill over was. I guessed 200 yards. Other guesses were 375 yards. When we used the range-finder, we found it to be 600 yards from us at the base of the hill. Its so difficult to accurately judge terrain and distance, your eyes and brain arn't used to seeing that kind of distance.
We were able to get one young female and a buck. Jared and I helped skin and process them and in exchange got some meat, hides, and head of one.

Jared and I cook wild meat over coals often, so we put some antelope meat and ribs on. The ribs were a bit scarce in terms of meat, but the meat chunks we put on were good. We also put some onions and potato's on too.
We were able to brain the female antelope hide that night after fleshing and graining. Antelope hair pulls right out after it dies, so no soaking or bucking was needed. The hide softened nicely, but we're going to re-brain it to make it as soft as we can.
Here is our fleshing/graining set up.

The following morning we tried using atlatl darts without fletching. We had seen aboriginal people in Australia, as well as numerous anthropology textbooks demonstrating the atlatl being used without fletching. Our conclusion is that if you don't use fletching, there must be some kind of traditional techniques used to make it work, because our darts didn't fly straight.

The dart is lashed with sinew, dogbane cordage, and buckskin. It's tipped with an obsidian point, the shaft and atlatl is of willow.

There is a lot of game in the area. I heard beaver slapping their tails on the water in the nearby stream, an owl flew over me while collecting wood, you can hunt and trap various waterfowl, rabbits, beaver, elk, whitetail deer, mule deer, antelope, and many other species. Its quite an amazing place.

Before we left Jared took some pictures of me. I brought all my primitive tools, and used stone for cutting and helping with the butchering. I also worn my buckskin shirt, wore my Hudson Bay capote, and slept with my Hudson Bay blanket and elk hide. I enjoyed having these things with me and using them for what they are meant to be used for.


The blue coloured pouch hanging from my satchel is a beadworked pouch. It's a design of my own creation, done in lazy-stitch.

I have many more pictures of brain tanning, so I'll put them up in another post. I have an elk hide which I'll be working to completion which will hopefully be soon.

Pine Pitch

Pine pitch is a rather useful tool when it comes to making things in the woods, or even around the house. Its been used all over the globe for things from binding to water proofing. From hafting blades to sealing canoes. For such an important material, its something that many (myself included) don't or didn't know how to make for some time. I'll try to shed some light on this in this post.

What you'll need:
1. Pine sap. Main ingredient to this. You'll have to collect this from some variety of pine tree. I've collected them from all kinds, pretty much I'm on the lookout for pine sap whenever I come across a stand of pine. Sometimes it hardens and gets a coating that makes it look like bark. You might want to experiment with different consistencies. Even the really hard stuff will soften though.

2. Charcoal. Not those briquette things, I mean real wood charcoal. Make a fire, collect a few pieces. You take the little black chunks and grind it into a powder. As fine as you can. You'll mix about this with the sap, about 50-50. But it can vary, sometimes I add less, sometimes more. It depends on how it looks to me.

3. Dung. Most likely deer, though I like to use elk. You want them dried out, because what you're looking for is the fine grass fibers. It seems to add some extra strength to it. This isn't an essential ingredient, but I add it when available.

You want to warm the pitch, not boil it though. In this picture, I have it in a large scallop shell I bought from Michaels Craft store (chain store, find it in the section with sea shells). You can use pottery too. I've tried using oyster shells, but it fractured and exploded. The reason I settled on a scallop shell was it stands up to heat well.
After the sap is liquid, add the ground up charcoal. Mix it together. Get some sticks and get some on the stick, then form it into little globs on the end. I usualy carry quite a few with me at any given point, so make a few of these. Be careful, pitch hurts like mad if it drips on you, but it should be ok to lightly touch it and form it into the glob shape.

You should have some pitch sticks now :-) Enjoy!

Old pictures

Still haven't bee able to upload my pictures yet, but I did come across an old album of mine that has some pictures from way back before I knew much at all (i.e. debris hut, tracking, etc.) Theres also some old MAPS Meet 2005 pictures in there among others.

This is me circa senior year of high school. I can remember walking down the road dressed like this to get to some woods that are pretty far from my house. Alot of strange looks. Anyway I have a whitetail deer hide cape with rabbit pelts lashed to my arms and hide wrapped around my legs to keep the snow out with buckskin moccasins. I have an Osage Orange sapling bow with arrow wood arrows (stone tipped), as well as my satchel and quiver behind me under the hide. Even though I have a shirt on I was quite warm and comfortable.

This is a debris hut I made also during my senior year. It's mostly pine boughs from discarded Christmas trees and branches from the surrounding area. Key things that are wrong with this shelter (yes, I froze in this shelter), too many open areas to let heat escape, too big, no leaves. If I had made it smaller and used more leaves, I would have been warmer I'm sure. I did have a small fire in there, but it was placed off to the side and provided little to no heat.

Fast forward to this past winter break. This is me approaching a debris hut made by my brother and I the previous summer. I had been told they had severe flooding in the area while I was away, but surprisingly it was relatively intact and required only minimal repair to be usable. It showed no sign of other human habitation, everything was as we had left it 5 months or so earlier. This means to me that the area is relatively safe from most flooding in the area, and not many people go here. The cool thing about this shelter is that one side of it is a large boulder. I plan to rebuild it, possibly take advantage of the boulder to use it as a heat reflector (possible lean-to style shelter?)

Close view of the shelter showing the framework, severe lack of leaves and me removing various gear. Theres also an Ironwood sapling in the foreground, theres quite a few of them around.

This is from the very first summer camp I taught. It was one I ran where I taught my mums friends children. Pretty basic stuff, some primitive bows, tracking, moving through the woods, making things out of tulip poplar, etc. Just a cool picture from the past.

Fired Pottery and Completed Shell Bead

Here is the completed shell bead. I already have two requests for more of these so apparently they're still as desirable as they were at Cahokia.
We also fired the pots yesterday. It turned out to be a perfect day and night for firing. We started in the afternoon Ashley used her bow drill kit to start the fire. It was the second time she's started a fire with her kit. Its a basswood on basswood set, but she also have a yucca on Western Red Cedar set she practices with. She used an elk knuckle (one I found at my friends ranch in Montana that we think may have been picked over by wolves. It was very white and clean when we found it), and tulip poplar tinder bundle with an oak gall in the center. Perhaps its because she's seen me do it so many times, but she really seems to pick up bow drill skills fairly quickly.
Once we got the fire going, we put the pots around to warm up and dry out more (we dried them for about two weeks or so prior to yesterday, and dried the larger one in the oven for a day. No drying cracks at all were visible.
We built the fire up pretty big and got it fairly hot, for about an hour before letting it burn down to coals and making a ring so we could put the pots in the center. Next step after putting the pots in is you start adding smaller pieces of wood and sticks on top of the ring of coals. These combusted fairly quickly. You continue to add on top of them and begin to place them so they form a kind of igloo of wood and fire over the pots. We added progressively larger pieces of wood, but not so large as to crush the other pieces of wood or risk breaking the pottery. You wouldn't want to put a large log on and accidentally break that nice cooking pot.
We continued to add wood and increase the temperature until I could see the pots glowing red. I was reading an article in a Society of Primitive Technology bulletin on firing pottery and I read that at this point, it is beginning to reach the temperature for ceramic change, and so you maintain this temperature for about 30-45 minutes. You could always keep it that hot for longer, but I suppose that's roughly the minimum amount of time.
You'll notice the edges of the pit are lined with bricks. I believe these might help with maintaining the temperature, or help focus the heat towards the pots.
We kept it going for another hour or so and let it die down. We left it to cool for the rest of the evening and the rest of the night. I did check it at 12 that night, but there were still embers and the pots were too hot to handle even with leather work gloves.
I pulled them out this morning and they turned out great. I did refire some pottery made with clay from Owego, New York, hoping it would harden up, but it's fairly week and still more of a soapstone consistency. Perhaps if I used some kind of grit it might have worked better.
The lighter coloured pot that you don't see in any of the other pictures is Ashley's. She made it at MAPS Meet 2007

Pottery

Well, the pottery I'm working on is nice and dry and ready to fire. It's supposed to storm tonight, and I'm not sure about tomorrow, but next clear day I'll get onto firing my pottery. I have one small bowl and another that's more like a small personal cooking pot, or a drinking cup. I used clay collected at MAPS Meet 2007, so I'm anxious to see how it turns out. I've used clay from New York and local clays found in my backyard, and they've turned out alright, although they needed a bit more firing. I'm going to put the pieces I have done in the past that weren't quite done, in with this batch. I've taken my time drying these pieces, so that the risk of exploding is reduced somewhat. No cracks are visible so that's a good sign.
I also collected clay from the Little Patuxent River. When I collected the clay it was very wet so I allowed it to dry somewhat, then put it in a bag to prevent it from drying out completely. I'll update on how that clay goes later.

Bow drill videos

At the end of last summer, I posted a couple videos on youtube of me using my bowdrill set. I'll probably put new ones up that might be a bit better than the two I posted before. But regardless, here they are:




The spindle I have is an extended spindle using a deer canon bone. I used this all summer and part of the following fall before it split when I forced a new bit in without supporting it. It worked very well, reduced wear on the string, and because of its irregular shape the string gripped it fairly well. The wood in that video I believe is yucca on box elder. Works quite nicely. Box elder on Box Elder works very well too.

Stone tools

Today the at the river I hafted the stone blade I made earlier. It looks quite nice, feels secure and sturdy, and can be stored in the handle when not in use. I happened upon this design on accident. I had read in the Society of Primitive Technology: A Book of Earth Skills, an article on making a primitive switch blade knife by George Stewart. This design seems to work rather well, since it means I can turn the blade around and insert it into the handle and put it in my pocket, or in my satchel and not worry about the blade getting blunt or breaking. Its possible that you could even drop it and it would be supported enough from snapping. I haven’t tested this so don’t go around making nice stone knives and dropping them on rocks to find out.

This is what the knife looks like when storied in the handle. The blade is about 3 inchs long, the handle is 3 in. x 1 in., and about 5 inches total. It also has a nice feel to it so its easy to use. I've used a number of stone tools for cutting notches, processing antlers, etc. So I'll go over the various types I regularly use.

The first type is the most basic of blades, the flake (Far left). Its easy to make and its disposable. They’re usually the by-product of knapping larger bifaces. I've used them for cutting notches in hearth boards and butchering game, as well as carving and cutting buckskin. It’s a very versatile tools and rather economic, because if you do any knapping, you’re bound to have tons of these little guys laying around. I carry a few around in a little deer legskin pouch.
The second type are blades removed carefully from a core. The blades I’ve produced tend to be long, very sharp, and could double as very lethal dart points. I generally keep them for butchering game though, since they are razor sharp.

There is a video on YouTube that shows these types of blades being removed from a core (http://youtube.com/watch?v=RBNAUfR-uaw). I've tried this, but havnt gotten the hang of it yet.

The next blade type are unhafted, knapped, leaf shaped blades. I use mine like a saw to very quickly cut notches in my heath boards. I haven’t used it for much else. Its bulky and rather heavy-duty, so its ideal for sawing through wood and tougher materials.
The final type is the Basketmaker II Sand Dune Cave Knife, as learnt from David Holladay's article "A Basketmaker II Knife System". I've seen people in Montana use similar ones, probably learnt from the same article of David Holladay himself. I used Texas Chert, yucca stem for the handle, dogbane string, and pine pitch to haft it. It worked very nicely, it can be looped over my wrist so its always at hand, and the blade can easily be replaced if it breaks or wears down, since it is made from a relatively small flake. However, I would prefer my new "switch blade" knife because it has a long edge and can cut notches better (notice a trend in cutting notches yet?).