Navajo creation story – the Talking God

November 4, 2009 by

In the world below there was no sun and no moon, and therefore no light, yet vegetation in innumerable forms and the animal people thrived. Among the latter were Gray Wolf people, Mountain Lion,  Badger, Locust,  Pine Squirrel, and  Blue Fox,  Yellow Fox,  Owl,Crow, Buzzard,  four different varieties of the Hawk people, and many others.

Their world was small. At its eastern rim stood a large white mountain, and at the south a blue one. These formed the home of  First Man. A yellow mountain in the west and a black one in the north harbored  First Woman. Near the mountain in the east a large river had its source and flowed toward the south. Along its western bank the people lived in peace and plenty. There was game in abundance, much corn, and many edible fruits and nuts. All were happy. The younger women ground corn while the boys sang songs and played on flutes of the sunflower stalk. The men and the women had each eight chiefs, four living toward each cardinal point; the chiefs of the men lived in the east and south, those of the women in the west and north. The chiefs of the east took precedence over those of the south, as did those of the west over those of the north.

Navaho Talking God

Navaho Talking God

This, the Talking God, is the chief character in Navaho mythology. In the rites in which personated deities minister to a suffering patient this character invariably leads, carrying a four-piece folding wand, balíl, and uttering a peculiar cry.

As yet there was neither sun nor moon to shed light, only dawn, circling the horizon in the four colors ”white in the east, blue in the south, yellow in the west, and black in the north. Deeming it necessary that they should have light to brighten the world, and warmth for the corn and the grass, on their return to the earth’s center one of the chiefs made a speech advocating the creation of a sun and a moon.

First Man and First Woman placed two sacred deerskin’s on the ground as before. On the buckskin a shell of abalone was placed, on the doeskin a bowl made of pearl. The shell contained a piece of clear quartz crystal, and the bowl a moss agate. The objects were dressed respectively in garments of white, blue, yellow, and black wind, and were carried to the end of the land in the east by First Man and First Woman. With their spirit power and  sent both the shell and the bowl far out over the ocean, giving life to the crystal and the agate as they did so, directing that the one who would be known as  the Sun, should journey homeward through the sky by day, shedding light and warmth as he passed; the other,  the Moon, must travel the same course by night. To each were given homes of turquoise in the east and west, and none but the Winds and the gods, and were to visit them.

Filed Under: Navajo Creation Story, Navajo Mythology Tagged With: , , , ,

Navajo Mountain Chant Ceremony Mountain Chant Ceremony Fourth Day

October 28, 2009 by

The Fourth Picture represents the kátsoyisçàn, or great plumed arrows. These arrows are the especial great mystery, the potent healing charm of this dance. The picture is supposed to be a fac simile of a representation of these weapons, shown to the prophet when he visited the abode of the Tsilkè¢igini, or young men gods, where he first saw the arrows.

There are eight arrows. Four are in the center, lying parallel to one another—two pointing east and two others, alternate, pointing west. The picture is bordered by the other four, which have the same relative positions and directions as the bounding serpents in the first picture.

The shafts are all of the same white tint, no attention being paid to the colors of the cardinal points; yet in drawing and erasing the picture the cardinal points are duly honored.

Among the central arrows, the second from the top, or north margin of the design, is that of the east; it is drawn and erased first. The next below it is the arrow of the south; the third is that of the west. The one on top belongs to the north; it is drawn and erased last.

The heads are painted red to represent the red stone points used; the fringed margins show the irregularities of their edges. The plumes at the butt are indicated, as are also the strings by which the plumes are tied on and the notches to receive the bowstring.

Navajo Sandpainting Mountain Chant Ceremony Fourth Day

Navajo Sandpainting Mountain Chant Ceremony Fourth Day

The ground of this picture is crossed with nebulous black streaks. These were originally present in all the pictures. I have omitted them in all but this, lest they might obscure the details of the reduced copies. It has been explained to me (although in the myth it is expressly stated only in one case,) that all these pictures were drawn by the gods upon the clouds and thus were shown to the Navajo prophet.

Men cannot paint on the clouds, but according to the divine mandate they do the best they can on sand, and then sprinkle the sand with charcoal, in the manner indicated, to represent the cloudy scrolls whereon the primal designs of the celestial artists were painted.

Filed Under: Navajo Mythology Tagged With: , , ,

Navajo Sandpainting Mountain Chant Ceremony Third Day

October 27, 2009 by

The Third Picture commemorates the visit of Dsilyi‘ Neyáni to Çaçò‘-behogan, or “Lodge of Dew”. To indicate the great height of the Bitsès-ninéz the figures are twice the length of any in the other pictures, except the rainbows, and each is clothed in four garments, one above the other, for no one garment, they say, can be made long enough to cover such giant forms. Their heads all point to the east, instead of pointing in different directions, as in the other pictures.

The Navajo relate, as already told, that this is in obedience to a divine mandate; but probably there is a more practical reason, which is this: if they had the cruciform arrangement there would not be room on, the floor of the lodge for the figures and at the same time for the shaman, assistants, and spectators. Economy of space is essential; but, although drawn nearly parallel to one another, the proper order of the cardinal points is not lost sight of.

The form immediately north of the center of the picture is done first, in white, and represents the east. That immediately next to it on the south comes second in order, is painted in blue, and represents the south. The one next below that is in yellow, and depicts the goddess who stood in the west of the House of Dew-Drops. The figure in the extreme north is drawn last of all, in black, and belongs to the north. As I have stated before, these bodies are first made naked and afterwards clothed.

Navajo Sandpainting Mountain Chant Ceremony Third Day

Navajo Sandpainting Mountain Chant Ceremony Third Day

The exposed chests, arms, and thighs display the colors of which the entire bodies were originally composed. The glòï (weasel, Putorius) is sacred to these goddesses. Two of these creatures are shown in the east, guarding the entrance to the lodge. The appendages at the sides of the heads of the goddesses represent the glòï-bitcà, or headdresses of glòï skins of different colors which these mythic personages are said to wear.

Each one bears attached to her right hand a rattle and a charm, or plume stick, such as the gods in the second picture carry; but, instead of the basket shown before, we see a conventionalized representation of a branch of choke cherry in blossom; this consists of five diverging stems in blue, five roots, and five cruciform blossoms in white.

The choke cherry is a sacred tree, a mountain plant; its wood is used in making certain sacrificial plume sticks and certain implements of the dance; it is often mentioned in the songs of this particular rite. Some other adjuncts of this picture—the red robes embroidered with sunbeams, the arms and legs clothed with clouds and lightning, the pendants from the arms, the blue and red armlets, bracelets, and garters—have already been described when speaking of the second picture. The object in the left hand is a wand of spruce.

173. The rainbow which incloses the picture on three sides is not the anthropomorphic rainbow. It has no head, neck, arms, or lower extremities. Five white eagle plumes adorn its southeastern extremity. Five tail plumes of some blue bird decorate the bend in the southwest. 451 The plumes of the red shafted flicker (Colaptes auratus var. mexicanus) are near the bend in the northwest and the tail of the magpie terminates the northeastern extremity. Throughout the myth, it will be remembered, not only is the House of Dew-Drops spoken of as adorned with hangings and festoons of rainbows, but many of the holy dwellings are thus embellished.and blue the female.

Filed Under: Navajo Art, Navajo Culture, Navajo Mythology Tagged With: , ,

Nagaynezgani, or ” Slayer of the Alien Gods – Navajo

February 22, 2008 by

Two of the most important characters in Navaho mythology are twin miracle-performing sons of White-Shell Woman, Yólkai ?stsán, chief goddess. This plate pictures the leader of the two—the first conceived and the first-born, whose father is the sun. His name means “Slayer of Alien Gods,” from aná, alien; ye, gods; agán?, to kill. By him, with the assistance of Tobadz?schí?n?, his twin brother, were killed numerous bird, animal, rock, and human monsters, typifying evils, who wantonly destroyed human life.

When the Spirit People came upon this earth from below they made six sacred mountains, four on the distant horizon at the cardinal points and two in the centre, Chó?li and Tz?lhnúhod?íhl?. On the eastern slope of Chó?li, brought forth as the daughter of Earth and Sky, was born Yólkai Estsán, White-Shell Woman. First Man took her to his home near Tz?lhnúhod?hl?, where she matured in twelve days into a beautiful woman with supernatural powers. Later she lived in a home of her own at the foot of this mountain. It was while there that she gave birth to twin boys who became saviours of their people, slaying alien gods who were fast depopulating the earth.

Yólkai Estsán would often lie on the eastern slope of the mountain as the sun rose through the morning, and when the day grew warm would seek the shade of jutting rocks from which trickled shining drops of water. Quite unknown to herself she had conceived one day from the sunbeams and the dripping water. When she became aware that she was to become a mother Yólkai ?stsán was made very happy, for she did not enjoy living alone. Soon she found herself the proud possessor of twin boys. The first-born and the stronger came to be known in his youth as Nayé?n?zgan?, Slayer of Alien Gods; the other was always known as Tobadz?schí?n?, Born From Water. Their prenatal life covered a period of only twelve days, and maturity was attained in thirty-two days after passing through eight changes, one of which came every four days.

At that time the earth was infested with great giants, foreign gods, who were rapidly destroying the people. Of these, Yé?tso, Big God, as large as a mountain, was the only one in human[pg 099] form. The others were Man-eating Bird, Rolling Stone, that crushed all in its path, Tracking Bear, and Antelope, who killed without mercy. Fearing lest some of these monsters learn of the presence of her boys, Yólkai ?stsán kept them hidden away on the mountain side, but they chafed under confinement, so she made them bows and arrows and let them play about, but admonished them not to stray far from home. The boys promised to obey, but not long afterward, because in reply to their questions their mother told them she did not know who their father was, they became sulky and broke their promise, going off toward the east. They would go and search for someone who knew. When on a small knoll a long way from home they heard a whispered “Sh-h.”

“Are you afraid, my younger brother?” asked Nayé?n?zgan?.

“No!” was the quick response.

Four times they heard the whisper, and then two of the Wind People appeared. “We saw you travelling eastward,” said they, “and came to caution you. The land is cursed with alien gods who kill for pleasure; beware of them! Why do you journey thus alone without your father?”

“Our father! Alas, we know nothing of him and are now starting on a search to learn. Do you know who he is?” asked the boys.

“Yes, the Sun is your father; but if you think to find him you will have to travel far eastward and cross the wide, wide waters.”

Nayé?n?zgan? turned to his younger brother and said, “Síts?l?, let us go.”

The Sun was then overhead. Being in fact of a holy nature, the boys covered distance rapidly and by mid-afternoon had passed well beyond the limits of their homeland. There they[pg 100] came upon an old woman sitting beside a ladder projecting from a hole. She asked them who they were and whither they were going. They told her to the Sun, whose sons they were, but whom they had never seen.

Filed Under: Navajo Creation Story, Navajo Mythology

Tobadzischíni – “Born From Water” – Navajo

February 21, 2008 by
Tobadzischíni - Born From Water - Navajo God

Tobadzischíni – Photograph 1904 by Edward S. Curtis

This is Born From Water, the second of the twin miracle-performing sons of Yólkai Estsán, the White-Shell Woman. His brother is Nayénezgani.

“I pity you, my grandchildren,” said the old woman; “come in here and rest a moment before going on.” She started down the ladder and the boys followed. Twelve ladders were descended before her home was reached. The old woman was Spider Woman, the little grandmother who belonged to the Holy Ones. Her home was well kept, clean and comfortable, and the boys were glad to rest. Said she, “My grandchildren, your journey is long and many trials will beset you before you reach the end. Take these life feathers; they will help you; if difficulties befall you, use them,” and she gave to each two feathers plucked from a living eagle.

The boys took the feathers, thanked her, and resumed their journey. After traveling a long way they came to a ridge of loose, yellow sand. It afforded poor footing for an ascent, but the boys struggled to the top, only to have the whole side of the ridge slide and carry them back. Three times the bank gave way as they were about to reach its crest; on the fourth trial they bethought themselves of the sacred feathers, and putting them on their feet marched readily over.

They traveled unimpeded then for quite a long distance, in time coming to four rows of tall, thorny reeds with spiked branches. The reeds grew far enough apart to permit travelers to pass into them, but closed whenever the unwary allowed himself to be caught, and he never escaped. The boys marched boldly up to the reeds and started in, then darted back quickly. The reeds closed instantly, but did not catch them. Then they put the life feathers on their feet again and jumped over all four rows.

The next obstacle was a deep cayon with precipitous walls. This, however, was not a serious impediment, for the life feathers, as before, helped them to cross it in one bound. By nightfall the boys had arrived at a broad, beautiful meadow where lived the Wósakidi, or Grasshopper People, who received them kindly,[pg 101] giving them food and beds for the night. On being asked whither they were bound, the boys replied that they were journeying to the home of the Sun, their father, whom they had never seen.

The Wósakidi cautioned the boys of dangers ahead, and as they were about to depart in the morning gave them little balls of yellow sputum to put in their mouths to prevent poisoning, should they find it necessary to eat or smoke among hostile people, and two sacred wands of turquoise and white shell. Two of the Wósakidi also accompanied them for a time as guides.

They had not been long on their way when they came to a place where the trail ran between two high, smooth-faced bowlders. “These,” said their Wósakidi companions, “are the Bumping Rocks. If you step into that narrow passageway between them they will crash together and kill you.” The boys started as if to enter, but fell back. The huge rocks came violently together, but did no harm. The feint was made three times, and each time the rocks crashed together and bounded back. The fourth time the boys entered they placed their sacred wands of turquoise and white shell across the gap above their heads and passed through, for these held the boulders apart. As they emerged on the opposite side they saw the Sun rising from his eastern home and he was yet far away.

Soon a wide stretch of water was encountered; so far as they could see there was nothing but water. Here again they used their life feathers and were carried safely over. Four successive stretches of water and land were crossed, and still a fifth sheet of water lay before them. Along its shores paddled many varieties of animals. The boys looked out across the deep and could discern away out in the center a house of turquoise and white shell, its roof glistening in the sunlight. Certain that it must be the home of their father, they readjusted their life feathers to start across, but found that they had lost control over them. They tried them several times in different places, but to no avail. The thought of not reaching their father’s house when so near filled their hearts with bitter disappointment. Seemingly there was naught that they could do, but they sat and pondered.

Filed Under: Navajo Creation Story, Navajo Mythology Tagged With: , ,
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