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Wolf Journey Chapter 7 - Mammal Mysteries
Order a fine print - signed, numbered, limited edition on 6x9 or 8.5x11 of Joanna's Artwork - here with Nikki as model.
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Tracking Bigfoot story by Joel Hardin to be uploaded ASAP.
Spirit of the Animals by Chrism to be uploaded ASAP.
The Tree music written by Dana Lyons to be uploaded ASAP.
To listen to these audio files, you may need the free RealOne Player if it's not already installed in your system. Inspirational Artwork on this page by Joanna Colbert and Nikki.
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Introduction & Contents:
• Field Exercise 7A - Finding Sign of a Mammal
• Field Exercise 7B - Sketching & Journaling Tracks
• Field Exercise 7C - Sketching & Journaling the Mammal
• Field Exercise 7D - Sharing the Tracking Challenge
• Chapter 7 Celebration
Six Arts of Tracking
Jon Young made a wonderful improvement to the pedagogy of tracking which he calls the calls the Six Arts of Tracking:
Question 1: Why? The Art of Habitat: Why would the animal be in the area? What food, water and shelter is available to it? What effect do people, water, weather, geology, plants, and other animals have on the one you tracked?
Question 2: When? Art of Aging: When did the animal leave the track or sign? To answer this question, you will need to study the substrate, such as by pushing your thumb into the soil to determine its "give". You will have to know how much water is in the soil, because water is what holds a track together.
It is also of utmost importance that you know the weather in detail since before the track could have been laid, for it is the rain, sun, wind, dew, frost and all sorts of other weather effects which primarily age a track. Aging a track is perhaps the hardest of the five arts, so have patience with your lack of information, because in the end, you really only know when the track was laid if you saw the animal pass by and noted the time on your watch.
Question 3: Where? Art of Trailing: Where did the animal go, and where did it come from? First, I recommend making a map of the area which indicate trails, feeding areas, bedding areas, dens, nests, scrapes, trees, plants, water and any other important markers that you may have found.
Is there a place where a track or sign seem to disappear? If so, rejoice, because the next track you find will make you a better tracker. Find a stick and measure the distance between the tracks you can see. Then lie it down in the direction where the next track or sign should be and describe any sign that the animal made its mark there. That is probably the track. Do you see it?
Some other tricks of the trade include looking at the tracks from a severe angle. In other words, get down on the ground. Also, try to place yourself on the opposite side of the track from the source of the greatest light. The tracks will stand out a lot better than if you cast a shadow on them. And take a lot of breaks so that your eyes don’t get worn out.
If you want to find the animal, remember to use wide angle vision so that you don’t keep spooking the animal without noticing. Also, use your expanded hearing, and see if you can determine its location through bird language. Otherwise, prepare to spend the night with your flashlight and be sure to carry enough food and water to last the hours or days it will take to catch up to the animal.
Question 4: How? Art of Imitation: You really cannot know how an animal was moving without getting down on all fours and imitating it as best as possible. This is a critical act for anyone who spends time imagining plants or animals on a spiritual level. Try again and again to move like the species you are imagining. Do it until you are accurate, because imagining is worthless if it’s never physically actualized.
The art of imitation is also critical to understand animals or plants. Investigate how a plant grew, how it moved with the weather, and how it changed with the seasons. Move yourself in the same way, and find out where the stresses in your own body were. For animals, it’s fun to discover how, for instance, a four legged deer can leave tracks that look like it was hopping in one leg.
Get down and pretend your knees and hands are the hooves. Put your right hand out front, then just as you start to move the left hand out even further, bring your left knee forward and put it right where your left hand was. Then right when you are moving your right hand out in front, bring your right knee right into the spot where your right hand just was. Now you’re tracking.
Question 5: What? Art of Interpretation: What was the animal doing? To answer this question, sketch the track or sign you found in detail. Figure out which are the front right and left, and the rear right and left tracks. Use your field guide as examples of how to sketch tracks and sign.
Next, sketch the gait pattern and practice imitating how the animal moved in order to figure out if the animal was pacing, stalking, trotting, bounding, loping, galloping etc. Watch out for "double register" tracks, where the rear foot went right into the front track. Often, there will be a succession of tracks that each look like one track, but they are really two tracks in one.
Does it seem this animal might have been eating or hunting? Does it display domestic or wild behavior? Does it display behavior of an older, adult, or young animal? Does the animal seem to be in good shape, injured, or anxious? By observing animals, and then by going over and looking at their tracks, you will begin to know how tracks that are left in certain patterns clearly tell what an animal was doing.
Question 6: Who? Art of Identification: Who made the track? Besides comparing your track measurements to those in a field guide, there are other things that can help you identify its maker. Always remember that you are only guessing until you have eliminated through proof all possibilities save one.
Get out there and go tracking. It is like being a detective, solving a mystery, and unraveling a great story. I hope that those who see spirituality in nature begin to ground their imagination in physical experience. Let’s participate in nature instead of observing it from behind glass, or from the security of the maintained trail that is the umbilical chord of the city. Let’s go experience the natural world as it was originally created.
Happy Trails! - Chrism
Field Exercise 7A – Finding Sign Of A Mammal
Required Resource: One of the tracking field guides recommended in the Introduction to Part Two.
____You will have much greater success completing this chapter if there is an area in your study site where tracks regularly appear in mud, sand, or other soft surface. If you don't have such an area, go fill up a wagon or wheel barrow with sand, and then spread it a few centimeters thick along a couple of those animal trails you discovered while doing your animal forms in Chapter 4. Try putting a patch of sand in front of a possible den you may have discovered. This will make Chapter 5 a load of fun.
____As you will discover in Tom Brown's stories, "tracking" is not a two-dimensional view of prints. Rather, it is a wide awareness of all that is happening in a vicinity. Tom Brown even has a new book called "The Science and Art of Tracking - Nature's Path to Spiritual Discovery" which mentions merely 5,000 "pressure releases" (nuances of a print created by a foot/hand/appendage pushing off the ground). But instead of getting bogged down in the details, just feel inspired to go tracking and receive what nature gives you at your skill level. You may be pleasantly surprised by what you are about to accomplish . . . tracking a mammal at your study site and sharing your knowledge with friends by the end of this chapter! So, after reading, get ready as you normally do, and head out to your study site. Remember to incorporate all you've learned in previous chapters during this Field Exercise.
____Keep using your Owl Eyes when you get near your study site as you begin viewing the ground for tracks, scat, trails, and lays, and observing bark and barbs for tufts of fur, scrapes, nibbles, and other sign. We do not care what you find, even the littlest, most indeterminate sign of a mammal is fine. A dog print in the mud would be great. A puncture into leaves is super, if you imagine that a mammal created it. Your interpretation of the track or sign you find does not matter at this point. This exercise is an art. Art is open to however you want to interpret it. Of course, the more you come to know, the more accurate your interpretation will become. Just keep using your Senses Meditations, and let an attitude of thanksgiving in your heart lead you to a track or other sign of a mammal that you will be studying in this chapter. If you need to call your instructor for help, please do.
____Once you find your track or sign, take all the care in the world to leave the immediate vicinity undisturbed. Line the area that may be affected with sticks if you need an obvious reminder where to watch your step, but remember, the story you are about to unfold may extend far to the right or left of your track or other sign. The mammal you discovered certainly had a "concentric ring" effect, as Tom Brown and Jon Young call it, as in moved through the area. In other words, it may have caused the birds to change their behavior, fly away or call out. It may have caused another mammal to hunker down, run off, or come meet it. And there are signs of all those concentric ring effects all around. Can you see them in your mind's eye if not there in physical relief?
____If you find scat, don't sniff at it. It may contain some micro-organisms that could cause you some disease. If you find an animal den or hole, don't stick your hand in it, or even come close if there is a chance you may get in the way of the animal's routine and scare it. Remember your awareness of hazards, and remember that as you gain more tracking skills, you will know better and better what effect you have on the animals, and what your safety level is.
____Take some time to choose a couple "tracking sticks" (probably not green) to measure the track or sign from every angle you can think of. Make a very obvious notch in your stick indicating the length of the track or sign. Then make a notch indicating the width. Then the depth. Try not to damage the tracks or sign as you measure them. We have smooshed many tracks in our studies, but we've come to realize that our clumsiness actually helped in the long run, because it forces us to read tracks and signs where they've been "erased". But don't force yourself to do advanced tracking before you need to.
____Again being very careful not to damage your track or sign, take little twigs and place them about an inch behind each track or sign you found. You'll be pleasantly surprised to see how the tracks stand out in relief once you've done this. Then choose a stick long enough to measure the distance between all the tracks or sign in the set you are looking at. See if you can determine whether a track is a front or rear, left or right, and what the "gait" of the set is - that is, whether it is running, walking extra slow, stalking, or moving at its "harmonic gait" - make note of these points.
____Remember what all the notches mean on your tracking sticks. Take care to make the stick a nice one that you would want to keep, especially if you have a good idea of the identity of the mammal you are tracking. After you are done using your first tracking stick in this chapter, you may want to keep it with your collection of study site memorabilia so that you can always show people the measurements and lessons of the mammal you first tracked. Some trackers often walk with what looks like, at first impression, a nice staff with lots of cool designs on it, when in fact, it is their tracking stick, with countless notches. And they know what each one means; they know every story.
____Based on the sign you found, take some time to relax and think what the "story" may have been there at your study site. Your story can be limited to the very boundaries of the track or sign you found. If you can, postulate what the "concentric ring effect" may have been, perhaps based on other signs you found, such as rabbit tracks running away from the dog tracks you were studying. When you come to the end of your story, give thanks to the real-life players in the story you've been reading, pick up your tracking stick or sticks, but leave the twigs you placed behind your tracks and sign as they are, and head on home.
____Put a tape measure or ruler to your tracking sticks. Make the heading for your journal entry today, and write down all the measurements you found. Use titles you learned by reading Tom Brown's field guide, such as length, width, depth, stride, and straddle. Go ahead and sketch the tracks quickly from memory, then journal the story you discovered today as you see it now. In your next Field Exercises, you will be sketching and journaling the same mammal in a more precise way, so for now, keep your journal entry simple if not short. Yet as always, note very briefly your experience, the weather, animals and plants.
Field Exercise 7B – Sketching & Journaling Tracks
Required Resource: One of the tracking field guides recommended in the Introduction to Part Two.
____Bring along your water, first aid, sanitary supplies, water, Tom Brown tracking field guide, the tracking form we've included on the next page, your tracking sticks or tape measure, your pencils, a couple extra sheets of plain white paper and a hard surface to write on. Off you go back to your tracks or sign at your study site.
____Fill out the tracking form – as much as you can your study site – especially the "arts" of tracking that focus in detail on the track and sign you found. Do the rest back home if you like. As you are filling it out, continue marking the tracks and sign you find at your site with twigs. The reason we are having you do this is so that you can know where they are and witness how they age over time. When you are done with the whole chapter, go ahead and take out all the twigs except for a couple of the best tracks or sign.
____Remember your hazards and thanksgiving and all the skills you've learned up until now while you are out there. Don't miss all those deer looking at you from behind the bushes, laughing at you and your funny investigations into their lives.
Tracks & Sign Recording Form
Record of ____________________ (fill in name of animal after completing the form)
Tracker Name _____________________ Date ___________________
Sit with these tracks you have found and forget all you know but describe the feelings or sensations you have.
Art of Habitat (The Why of Tracking)
What effect do people have on the area you are tracking today?
What effect does the consistency of the earth have on the wildlife of the area today?
What effect does the flow of water have on the area wildlife today?
What effect do the small plants have on the animal life you are tracking today?
What effect do any mammals you know are there have on the area today?
What effect do the tall shrubs and trees have on the area today?
How do any birds you have seen or heard effect the area and its animals today?
What effect does the geologic location have on wildlife in your area today?
Weather. Temperature ___________ Precipitation _____________________________
Wind direction and description ___________________________________________
Cloud types __________________________________________
Sun angle in sky _____________________________________
Moon phase _________________________________________
What has the weather been in the past 3 days in this area?
Based on your knowledge of the area, which animals might be in the area and why?
Art of Timing (The When of Tracking)
Describe the soil and its layers and sketch it.
What amount of water is in the sign or track's soil?
What effect has the weather had on the track or sign you've found?
What effect have other animals had on the tracks?
After pushing your finger into the ground, what does the surface do?
Are there other tracks or sign on top of or underneath yours that could indicate timing?
Are there rain drops, cob webs, frost cracks, new plant growth, newly fallen leaves, newly blown dirt, or other signs of aging that you can see around the track or sign?
Considering your knowledge of the weather, when was this track or sign left?
Art of Trailing (The Where of Tracking)
First, make a map on one side only of your blank piece of paper of the area where you are tracking. Indicate trails, feeding areas, bedding areas, dens, nests, scrapes, trees, plants, water and any other important markers to the animals.
Sketch the gait pattern and practice animal forms to try and copy its pattern,
Describe the gaits speed and indicate if the animal was pacing, stalking, trotting, bounding, loping, galloping etc.
Which direction might the animal you are tracking be headed, and how do you know?
Is there a place where a track or sign seem to disappear, take your tracking stick and
lay it down in the direction where the next track or sign should be and describe any sign that the animal made its mark there.
Do the same following the trail forwards and backwards as far as you can. Describe the track and sign markings at points you find significant, and mark them on your map.
Where is the very earliest place you could pick up the trail?
Where is the place where the trail ends as far as you can track it?
Describe the trail, from beginning to end, and continue to indicate important places on your map.
Art of Interpretation (The What of Tracking)
Sketch the track or sign you found in detail on the second side of your blank piece of paper. The front right and left and the rear right and left tracks. Use your field guide as examples of how to sketch tracks and sign.
Describe and sketch any "pressure releases", as Tom Brown calls them, that you can find in your set of tracks or rubs. In other words, are there places where the surface of the ground is pushed in one direction or another?
Describe any places where the tracks or sign are irregularly spaced in relation to most, such as a paw print a bit to the right or left of the others, or turned one way or the other?
If you can determine which prints were created by front paws or rear paws, how are they positioned in relation to one another, indicating whether the animal was walking slowly, moving in its "harmonic gait", jumping, or running?
Where there any other significant changes in pace or track placement that happened along the trail?
If you found scat, what were its contents? (Don't touch or sniff - use sticks, etc. to pry into it.)
What does it seem this animal might have been eating or hunting?
Does this animal display domestic or wild behavior?
Does it display behavior of an older, adult, or young animal?
Does the animal seem to be in good shape, injured, or anxious?
Describe what you think the animal was doing and feeling all along the trail you've followed, and use your map to indicate significant events at significant locations.
Art of Identification (The Who of Tracking)
Size:Front print length__________Front print width _________
Rear print length__________Rear print width_________
Sign type and length ____________________________________
Sign type & width_______________________________________
Gait:Number of measurements taken between rear prints ____________
Average distance between rear prints when in harmonic gait _________
Average distance between rear prints when running ___________
Average distance between rear prints when going slow ___________
Type of sign and distance between sets ______________________________
Average width of the trail (furthest print points left and right) _________
Straddle __________________ Pitch _____________________
Right or left dominance _______________________
Where was the track or sign in relation to trails, roads, and edges of water, fields, and forested areas? Was it in the middle of a trail, at a crossroads, buried, etc?
What animals might generally leave sign like what you found?
Which sex is this animal and how did you come to your conclusion? Could you see the species indicator?
How old is this animal? Explain your rationale.
Is this animal pregnant or have any physical abnormalities? Explain.
Family of Animal (Taxometric Classification) __________________ Fairly certain?
Genus _________ Species _________ Common Name ____________ Fairly certain?
General Comments
Describe the event you tracked in general.
Why do you believe your conclusions to be true?
What have you learned about the animal?
What questions do you still have?
What feelings or sensations do you have regarding the trail or animal that made it?
What else would you add?
Field Exercise 7C – Sketching & Journaling The Mammal
Helpful resources include Mammals of the Pacific Northwest by Chris Maser, Skeletons (an Eyewitness book), Reader's Digest Guide to Mammals, and the Golden Guide to Mammals.
____ Remember, these are priorities for your sketchings in order of importance:
• Just doing a sketch, is more important than ...
• Labeling every part of the specimen, is more important than ...
• Drawing organically following how the specimen grew, is more important than ...
• Sketching specimen parts in the correct proportions, is more important than ...
• Making it lovely.
Also remember, do not erase what you've done at any point. If you want to re-
sketch it to make it look presentable, that's fine. If you don't erase your work, but instead repeat this procedure over and over for each subsequent species, you will improve considerably as an artist.
____ Take a look at your specimen in a variety of field guides. Notice all
its body parts, colors, and patterns. Put your drawing paper on a flat surface with nothing to encumber you from sketching. Take out only the colored pencils you know you will need, often just one color. Sharpen your chosen pencil if necessary.
____ Take away your book and the specimen itself if you have it there, then imagine:
a. Close your eyes and picture the seed or beginnings of the specimen.
b. In your "mind's eye", watch its mother birth it into the world.
c. Watch it unfold its limbs, eyes, and mouth, uttering its first cry.
d. Watch it grow into the full shape of its species.
e. Watch it play through its next seasons, growing as large as its parents.
g. Picture it standing tall, fully grown, ready to make more offspring.
h. Remember, like all things, it will deteriorate and die, but before it
does, you are going to sketch it, so open your eyes.
____ Put your pencil on the paper at the very center of gravity of the animal.
Watch your hand draw the animal's insides, then its skin and fir. Remember that it didn't grow from the outside in. Instead, draw out from the center, and don't outline yet. Watch your hand grow its limbs and head, from the inside out along its skeleton and veins.
____ Watch your hand make the final details, including sense organs. Add some
shading at this point, instead of outlines, for a more natural look. Take a look at your specimen in the book to review its parts, and its patterns of growth to correct any inconsistencies. Remember, though, your specimen will normally look different from the one in the book, because there are so many individuals of that species, and probably many varieties and sub-species, which look different at various stages of development, including things like color & texture.
____ Label your sketch at the top, and list the resource materials you used at the
bottom. Finally, draw some habitat around the specimen, such as plants that live symbiotically with it. Write in the "scale", or how large it is in real life. Clear away scat with gloves downwind
____ Now, using your field guides, follow the directions below to draw different parts of the animal in detail. Hopefully, your field guides will have pictures or drawings of the different parts of the animal, or perhaps you can find a carcass to draw its parts. Label each drawing and body part names, including at least:
____Skull
____Skeleton
____Paw pads
____Tracks
____Track patterns
____Scat
____Finally, put a map of its range.
____ Just sit and think about your animal now for a while and let your body relax before continuing with this journal entry.
____ On the page after your sketch, you'll be journaling general information about your mammal, so make a title on that page. Also, as with every journal entry, write the date. Write in any other common names that people may call the animal. Next, begin listing information about the plant, following this order:
____ Latin Name (Genus & Species), Family, Order, Class, Phylum, Kingdom (always Plantae for plants). Take a look at the information page on Taxonomy – Classifying Species in your curriculum booklet to help understand this requirement. Most field guides will tell the Latin Name, and categorize them into their families. The kingdom of all mammals is animalia, the phylum is vertebrates, the order mammalia, but the class and family will vary. An encyclopedia might do the trick for you, or ask your instructor for help finding this information.
____ Habitat. Where it's found, such as forest, field, wetlands, etc. Note where you found your specimen.
____ Size: Note how big it gets, depending on location and compare to the specimen tracked.
____ General Description: Describe your sketch, such as what its texture is like at different parts of the animal, what colors the specimen contained, the best ways to positively identify it.
____ Describe how its young are created, born, and nurtured.
____ Habits: Include what aspects are similar to human traits and those of other animals; what the dangerous qualities might be if you encountered the animal; and what the animal's gift to the ecosystem, and directly or indirectly, to humans may be.
____ Go celebrate your super tracking and research work in the best way you know how to celebrate such an accomplishment. Whatever you choose, journal very briefly your experience, the weather, animals and plants you witnessed.
Field Exercise 7D – Sharing The Tracking Challenge
____This Field Exercise is, simply, taking someone you know into your study site who will honor your space, and leading them through a discovery of the animal you've been tracking. Teach them as we've taught you. So, here's how we do it. First, identify someone who is interested, really.
____Second, arrange a time to have them meet with you for a couple hours.
____Go to your study site and prepare a story to get them interested and understanding of what they are about to experience. Prepare where you are going to bring them, both physically and in the sense of giving them information in a way that makes them learn things on their own.
____Practice the animal form of your animal, so that you can show them how it moved through the area. When you come back from your study site, journal very briefly your experience, the weather, animals and plants you witnessed.
____Meet with them at the arranged time, and tell them about your study site, its hazards, its gifts, and your theme for the day: tracking.
____Lead them through the Five Arts of Tracking with the questions: Why might animals be there? When might the animal have been there that left its mark you help your student see? Where did the animal come from, where is it going, and where is it now? What was the animal doing where you are now tracking it? And who is this animal in detail?
____Thank them and the players in your story.
____Journal your story and the day's events.
Chapter 7 Celebration
After you've read the introductory tracking stories and information, then done the four Field Exercises, read this page, follow its directions, and deliver the summary.
____Prepare to go to your secret place, and visit it with no agenda besides having an attitude of wandering, whether you remain in one spot or move around. Return home and complete this chapter summary.
____Complete a written Thanksgiving Address journal entry. For certification, write the extended version.
____Write a short description of your combined experiences at your study stie during these Field Exercises. You may want to describe what feelings came up for you, fears, happiness, sadness, wonder, and more.
____Set goals for yourself regarding Tracking that you are confident you can achieve. What do you wish to learn, experience, gain from practicing this skill?
____Note in writing anything you liked, or saw needs editing, in this chapter of the Naturalist Mentoring curriculum.
____Give the following written information to your instructor:
o Your written Thanksgiving Address
o Your journal entries from all the Field Exercises
o Your summary of experiences with this chapter (see above - feel free to edit)
o The written goals you have set for yourself
o Your written evaluation of this chapter
Index to Wolf Journey (chapters currently uploaded)
• Introduction to Part One - Skills of the Naturalist
• Chapter 1 - Your Secret Place.
• Chapter 2 - Fears & Hazards.
• Chapter 3 - Sensory Awareness.
• Chapter 4 - Sketching & Journaling.
• Introduction to Part Two - Skills of the Tracker
• Chapter 5 - Humans and the Hidden Wilderness.
• Chapter 6 - Shape Shifting.
• Chapter 7 - Mammal Mysteries.
• Chapter 8 - Bird Vocalizations.
• Introduction to Book 3 - Skills of the Herbalist
• Chapter 9 - Caretaking Nature.
• Wolf Journey Handbook for Students & Teachers.
• Chapter 30: Glossary of Terms.
• Chapter 31: Outings Checklists.
• Chapter 32: Understanding Taxonomy.
• Remaining chapters to be uploaded asap.
Wolf Journey is available free online, although donations to the WOLF Foundation - Max Davis Scholarships for earth skills education are requested with the suggested amount of $1.00 per chapter or set of recordings you utilize, with checks payable to the WOLF Foundation, c/o Scott A. Davis, CPA, 103 E Holly #401, Bellingham, WA 98225, or by calling us at 360-799-1997 with your visa or mastercard. An alternative way to contribute is to become a WOLF Booster which gives you the additional benefits of board membership and complimentary access to the Wolf Camp property on Woods Lake. The latter alternative requires completing a property use form. Books and other resources which you will need for successful completion of field exercises throughout Wolf Journey can be purchased through our camp store once it is up and running. In the meantime, we recommend purchasing through Tom & Renee Elpel's wonderful online Granny's Country Store or simply email them at orders@grannysstore.com or call 406-287-3605 to order. We offer this book series as a correspondence course for Wolf Camp alumni and as part of our Summer Camps & School Year Classes and Residential Intensives & Training Camps curricula, but if you would like an instructor to guide you while studying these skills in your own area, we recommend clicking on PrimitiveSkillsLinks.Com to find an earth skills specialist near you who can personally review your field exercises and journaling work. Other schools and outdoor instructors who would like to use this curriculum for their own classes, mentoring, etc, are free to do so. We would appreciate donations, or having your students donate, to the WOLF Foundation as described above. As a supplement to (or instead of) completing the Wolf Journey book series, we also recommend signing up for the Kamana Naturalist Training Program through the Wilderness Awareness School which inspired many of our own field exercises. They can offer academic credit, and they specialize in correspondence mentoring no matter where a student is located.
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