Yei Bi Chei (Yebichai) Night Chant-Third Day

It is understood that the patient has been sweated in the morning, as on the second day.

Navajo Medicine Man

Photo of Navajo Medicine Man

Sources of Information for the Article:

The Night Chant, A Navaho Ceremony. By Washington Matthews – May, 1902.
Legend Of The Night Chant- The North American Indian By Edward S. Curtis 1907
The Nightway:A History and a History of Documentation of a Navajo Ceremonial by: James C. Faris – 1990.
Earth is My Mother, Sky is my Father, by Trudy Griffin-Pierce, 1992

On this night he is dressed in spruce boughs by the assisting medicine-man, bound around the wrists, arms, ankles, legs, and body, and fastened on the head in the form of a turban.

After several songs, Nayenezgani and Tobadzischini cut the boughs from the body, using a stone arrow-point as a knife. Then the boughs are cut into fragments over the patient’s head, after which the singer takes a feather wand, points it toward the four cardinal points above the fire, and brushes the patient, chanting meanwhile.

At the end of the brushing he points the wand out of the smoke-hole, at the same time blowing the dust from it out into the open air.

See the Yei Bi Chei Ceremony now going on in Shiprock at  the Northern Navajo Nation Fair

 

Tobadzischini – Born From Water – Navajo Mask

This is Born From Water, the second of the twin miracle-performing sons of Yolkai Estsan, the White-Shell Woman. His brother is Nayenezgani.

Tobadzischini - Born From Water - Mask
Mask representing the younger twin, known both as Na?ídígishí, He Who Cuts Life Out of the Enemy, and Tóbájíshchíní, Born of Water. Mask used in Night Chant Ceremony, recorded by Matthews in 1902

The mask is the usual inverted bag made of set sacred buckskin. It is the painted with red ocher all except a space over the face, triangular informed with round corners.

This space is black bordered with white and large enough to include eye-holes and a mouthful. On the ground of the red ocher, both the front in the back of the mask are painted a number of few symbols in white. These vary in number, position, and arrangement on different mask in at each new painting of the mask but the number is always a multiple of four.

To an angle of each mouthful and I whole is all diamond shaped is attached a white shell. A fringe of red or yellow here are wool, either staff or flowing is attached to the seam across the crown from side to side.. A turkey feather and a eagle feather are fixed to the top of the mass, to one side of the center. It collar is a fox skin.

Nayenezgani – Slayer of Alien Gods

Two of the most important characters in Navaho mythology are twin miracle-performing sons of White-Shell Woman, Yolkai Estsan, chief goddess. This photo pictures the leader of the two the first conceived and the first-born, whose father is the sun.

Nayenezgani - Slayer of Alien Gods

Mask representing Naayéé’ Neizghání, Monster Slayer, used in Night Chant Ceremony.
Source: The Night Chant, A Navajo Ceremony by Washington Matthews – Date = 1902

His name means “Slayer of Alien Gods,” . By him, with the assistance of Tobadzischini, his twin brother, were killed numerous bird, animal, rock, and human monsters, typifying evils, who wantonly destroyed human life.

The masks the usual inverted buckskin bag of the male character. It is
painted black with sacred charcoal and has a lightning symbol on one cheek, either right or left, consisting of five white, narrow, zigzag parallel lines -which present,each, four obtuse angles.

To each of the holes for eyes and mouth is affixed a brilliant white sea-shell.
A fringe of hair is secured to the seam of the mask, from side to side; this is usually red or yellow and may be either flowing or stiff. A turkey-plume and a downy eagle-feather are attached at the top of the
mask, at one side of the center.

gend of the Navajo Hero Twins cover

The Legend of the Navajo Hero Twins Book 

Navajo creation story

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Tsidil – Navajo Stick Game
Book Review of  ”The Legend of the Horse”
Legend of the Horse Poster
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Haschebaad – Female Deity, or Goddess

In Navajo mythology there are numerous references to benevolent female deities, who are personated in medicine rites by men wearing masks, as shown here. Haschebaad may be translated “female deity,” or “goddess.” The Mask is Used in Yebichai Night Chant Ceremony

Haschebaad -  female deity, or goddess

Source: The Night Chant, A Navajo Ceremony by Washington Matthews – Date = 1902

 

The mask differs much from the male mask. While the latter, like a bag inverted, covers the entire head and neck, and completely conceals the hair of the wearer, the former conceals only the face and throat and allows the hair to flow out freely over the shoulders.

The Yebichai actor never wears the hair bound up in a queue. While the male mask is soft and pliable, the female mask is stiff and hard, being made of untanned skin.

It is nearly square in shape; the top is always slightly rounded and ‘in some cases the base is a little broader than the top.

There is a flap or wing, called the -ear, on each side about two inches broad, as long as the margin of the mask proper, and indented or created on the outer margin. The margins are all alike in each. set of. masks but not in any two sets.

The hole for the mouth is square’ The holes for the eyes are triangular,-the apices pointing outwards. The mask is painted blue, the ears white, a square field around the mouth-hole and a triangular field around each eye-hole are black.

The kethawns and the dry-paintings represent the female mask as having a yellow horizontal stripe-.at the bottom, like the male masks ; but this has not been observed on any mask ; ‘instead there is sometime’s a horizontal line of bead-work, about two inches broad, not uniform in design on all masks.

From the bottom of the mask proper, i. e., the piece of raw-hide, a curtain of red flannel or red baize, or other material, usually hangs.

Sometimes this curtain ‘is covered with beads, or adorned with fragments of shell. No definite rules seem to prevail with regard to this curtain. There is always a piece of abalone (haliotis) shell secured with thongs in the center at the top, behind which feathers of turkey and eagle, or of red-shaved woodpecker, are stuck.

The mask is tied to the head by means of long buckskin strings. Sometimes there is a fringe of short hair at the upper margin.

Navajo Mythology Twins – Monster Slayer

Two of the most important characters in Navajo mythology are twin miracle-performing sons of White-Shell Woman, Ylkaists¡n, 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 an, alien; ye, gods; to kill. By him, with the assistance of Tobadz­schin, his twin brother, were killed numerous bird, animal, rock, and human monsters, typifying evils, who wantonly destroyed human life.

Navajo Hero Twins Poster

Naayéé’neizghání (Slayer of Monsters) and Tóbájíshchíní (Born for Water) are the Navajo Hero Twins.

Navajo Hero Twins Poster

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, Chaa­li and Tza­lhnahodaa­hla­. On the eastern slope of Chin­li, brought forth as the daughter of Earth and Sky, was born Ylkaiestsan, White-Shell Woman. First Man took her to his home near Tza­lhnahoda­hla, 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.

Monster Slayer - Tóbájíshchíní ­ - Navajo

Monster Slayer – Tóbájíshchíní – Navajo

Yalkai Estsa¡n 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 Yalkaiastsa¡n 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 Nayainazgana­, Slayer of Alien Gods; the other was always known as Tobadza­scha­ina­, 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, Ya­tso, Big God, as large as a mountain, was the only one in human 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 Ä”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 Nayaitnazgana­.

“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.”

Nayaitnazgana­ turned to his younger brother and said, “Sa­tsa­la­, 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 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.

gend of the Navajo Hero Twins cover

The Legend of the Navajo Hero Twins Book 

Navajo creation story

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Tsidil – Navajo Stick Game
Book Review of  ”The Legend of the Horse”
Legend of the Horse Poster
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Navajo Mythology Twins – Born From Water

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

“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.

Born From Water - Tobadzîschíni­ - Navajo

Born From Water – Tobadzîschíni­ – Navajo

The boys took the feathers, thanked her, and resumed their journey. After travelling 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 travelled 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 travellers 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 canyon 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 Wasaka­da, or Grasshopper People, who received them kindly,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 Wasaka­da­ 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 Wasaka­da­ 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 Wasaka­da­ 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 bowlders 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 centre 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.

Navajo creation story

Books and Posters

The Legend of the Navajo Hero Twins Book Review
Changing Woman Protects Her Sons
The Holy Beings Teach the Navajo Twins Poster
Navajo Winter Storytelling Poster
The Navajo Hero Twins Receive Their Weapons – Poster
Tsidil – Navajo Stick Game
Book Review of  ”The Legend of the Horse”
Legend of the Horse Poster
K’é – Diné (Navajo) Kinship System

Navajo medicine-men (singers,hatáli­)

The medicine-men, who are termed singers,  hatáli­, are a dominant factor in the Navaho life. Like all primitive people, the Navaho are intensely religious, and the medicine-men, whose function it is to become versed in the mysteries of religion, are ever prone to cultivate in the minds of the people the belief that they are powerful not only in curing disease of mind and body but of preventing it by their incantations. Anyone who possesses the requisite ability may become a medicine-man, but owing to the elaborate ceremonies connected with their practices it requires long years of application ere one can attain sufficient knowledge to give him standing among his tribesmen.

To completely master the intricacies of any one of the many nine days’ ceremonies requires close application during the major portion of a man’s lifetime. The only way a novice has of learning is by assisting the elders in the performance of the rites, and as there is little probability that opportunity will be afforded him to participate in more than two or three ceremonies in a year, his instruction is necessarily slow.

The medicine-men recognize the fact that their ritual has been decadent for some time, and they regard it as foreordained that when all the ceremonies are forgotten the world will cease to exist.

Hástin Yázhe (Navaho)

Hástin Yázhe (Navaho)

Hástin Yázhe- Navaho

Photograph 1904 by E.S. Curtis

The most pronounced dread manifested by the Navaho is that derived from their belief respecting the spirits of the dead. It is thought that the spirit leaves the body at death and travels to a place toward the north where there is a pit whence the gods and the animals emerged from an underworld before the first Navajo were created, and which the dead now enter.

Their myths tell of the disappearance of a beautiful daughter of one of the animal chiefs on the fourth day after the gods and the animals came up into this world; diligent search was unrewarded until two of the searchers looked down through the hole and espied her sitting beside a stream in the lower world combing her hair. Four days later death came to these searchers, so that now the Navaho will go to any extreme to avoid coming into contact with spirits of the dead, chinde, which they believe travel anywhere and everywhere at will, often doing evil, but never good. The body is prepared for burial previous to death, and is never touched afterward if it can be avoided.

To the end that the spirit may begin aright its journey to the afterworld, the body is taken out of the hogan through an opening specially made in the wall on the northern side, for the doorway always faces the east. The immediate relatives of the deceased avoid looking at the corpse if possible. Friends of the family or distant relations usually take charge of the burial. A couple of men dig a grave on a hillside and carry the body there wrapped in blankets. No monument is erected to mark the spot.

Before the body is taken out, the hogan is vacated and all necessary utensils are carried away. The two men who bury the remains of the former occupant carefully obliterate with a cedar bough all footprints that the relations of the deceased may havemade in the hogan, in order to conceal from the departed spirit the direction in which they went should it return to do them harm.

The premises are completely abandoned and the house often burned. Never will a Navaho occupy a hogan, and when travelling at night he will take a roundabout trail in order to avoid one. Formerly horses were killed at the grave. So recently as 1906 a horse was sacrificed within sight of a Catholic mission on the reservation, that its spirit might accompany that of a dead woman to the afterworld. This horse was the property of the woman, and her husband, fearing to retain it, yet not daring to kill it himself, called upon another to do so.

Navajo ceremonies rites of the Mountain Chant

Most Navaho ceremonies are conducted, at least primarily, for the purpose of healing disease; and while designated medicine ceremonies, they are, in fact, ritualistic prayers. There are[pg 078] so many of these ceremonies that no student has yet determined their number, which reaches into scores, while the component ritual prayers of some number hundreds. The principal ceremonies are those that require nine days and nine nights in their performance. Of the many now known the names of nine are here given: KléjÄ• Hatál, Night Chant;4 TzÄ­lhkí̆chÄ­ Hatál, Mountain Chant; HozhónÄ­ Hatál, Happiness Chant; Natói Hatál, Shooting Chant; Toi Hatál, Water Chant; AtsósÄ­ Hatál, Feather Chant; Yoi Hatál, Bead Chant; HochónchÄ­ Hatál, Evil-Spirit Chant; Mai Hatál, Coyote Chant. Each is based on a mythic story, and each has four dry-paintings, or so-called altars. Besides these nine days’ ceremonies there are others whose performance requires four days, and many simpler ones requiring only a single day, each with its own dry-painting.

Pĭké̆hodĭklad - Navaho

Pĭké̆hodĭklad - Navaho

Photograph 1907 by E.S. Curtis

This, the first of the dry-paintings employed in the rites of the Mountain Chant—a nine days’ healing ceremony of the Navaho—as in the Night Chant, is used on the fifth night, when the purpose of the performance is to frighten the patient, and thus banish the evil within him. The name of this painting, “Frighten Him On It,” is identical with that of the one used at the corresponding moment in the Night Chant.

The whole represents the den of a hibernating bear. Inside the ceremonial hogán is thrown up a bank of earth two or three feet high, with an opening toward the doorway. Colored earths picture bear-tracks leading in; bear-tracks and sunlight—sun dogs—are represented at the four quarters, and the bear himself, streaked with sunlight, in the centre. The twigs at the entrance of the bear den represent trees, behind which bears are wont to dig their dens in the mountain side. Everything tends to make the patient think of bears. He enters midst deep silence and takes his seat upon the pictured animal. The play of his imagination has barely begun when a man, painted and garbed as a bear, rushes in, uttering hideous snarls and growls, in which all assembled join. Women patients seldom fail to faint.

Navajo Creation Story 2 – House God

First Man and First Woman placed two sacred deerskins 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 Astsa• Ha¡sta­n and Astsa• A’stsa¡n 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 Cha•honaa¡i, the Sun, should journey homeward through the sky by day, shedding light and warmth as he passed; the other, KlÄ•honaái, 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, HaschaltÄ­ and Haschagan, were to visit them.

Upon their return Astsa• A’stsa¡nn and Astsa• A’stsa¡n were asked if they would leave the sky in so plain a condition, or if they intended to beautify it with jewels. They replied that it was their intention to dot it with many bright stars. All those who had bits of white shell, turquoise, crystal, pearl, or abalone were directed to contribute them for the making of the stars. These were placed upon the two deerskins by First Man and First Woman.

The seven stars of the Great Dipper, Na´hokos Bakaon were the first to be set in the sky. Next, those of Na’hokos Baa¡d, his female complement, were placed in the blue dome. Then followed A’tatso and A’ta’tsaa­, Sa’ntso and Sontsa’a­, and Dalga’hat, the Small Dipper, Sonha’tsÄ­ and Klaka¡i Sta’a­, the Milky Way.

In each instance the arrangement of the stars in the constellation was made when the fragments of precious stones were placed upon the skins, where Ástsĕ Hástĭn and Ástsĕ Ĕstsán imparted glowing light to them and delivered them to the Winds to carry to the sky. Only a small portion of the gems had been thus transformed and sent up, when a fine-looking, well-dressed stranger came up to watch the proceedings. In reply to his question as to what was being done, his attention was directed to the sun, the moon, and the many stars already created, while more were soon to follow. The man was Coyote, son of Darkness. He watched the work for a time, when, seeing his chance, he caught the large deerskin containing the pile of jewel fragments and flung it skyward, blowing into the bits four times ere they could fall, scattering them all over the sky. Thus it is that there are myriads of stars irregular in arrangement and without names. As he strode off Coyote explained curtly that there were already enough sacred things to worship.

Then the Winds were stationed at the horizon to guard the earth, and at the four sacred mountains in the east, south, west, and north, to act as messengers for the Hascha’aa and Hascha’gana Talking Gods and House Gods who had their abodes on them. On the same plane, one behind the other, the Winds were ranged in streaks, White, Blue, Yellow, and Black. Outside of all Coyote placed a streak of Red Wind. This forced itself to the inside many years later and gave rise to disease and premature death, for as the good Winds are life-breathing, so the evil Winds are life-taking. Even now the Red Wind takes the lives of many children every year.

Haschógan - Navajo House God

Haschógan – Navajo House God

Photograph 1904 by E.S. Curtis

Second in general importance only to Haschaalta­ among Navaho deities is the House God, here shown. His position among the gods is quite parallel with that of peace chief among Indians in life. Like the majority of the myth characters he has numerous counterparts in the various world quarters.

The Da’ai†n made their homes near Cha’a­li, close to the place of emergence. It was there that all ceremonies took place. From their homes the people saw a dark Cloud settle and cover the top of Cha’a­li. For four days it kept lowering until the mountain was completely shrouded in dark blue fog. They did not know whether it portended good or evil, but realized that something of moment was at hand. Astsa• Ha¡sta­n ascended the mountain through the fog to learn what it meant, but found nothing unusual. As he turned to descend, a faint, apparently distant cry reached his ears, but he paid no heed. Ere long the same sound came to him again; then a third and a fourth time, whereupon he turned and walked in the direction whence it came. On the eastern slope he found a tiny baby, and wrapping it in rays of sunbeams he carried it home to his wife.

The Cloud that descended was a portion of the sky which had come to meet the Earth; from the union of the two Ya’lkaia’stsa¡n, White-Shell Woman, was born. In twelve days the baby had grown to maturity, subsisting on pollen only.Astsa• Ha¡sta­n and Astsa• Astsa¡n sent messengers to all the Da­ga­n to tell them of the marvel and to summon them to a ceremony which would be held four days later. Word was sent also to the gods on the four sacred mountains.

Ástsa• a’stsa¡n dressed Ya’lkai Astsa¡n in fine garments ornamented with beautiful jewels. At the western side of her hogan she placed a sacred deerskin and laid upon it several wool and cotton blankets, covering the whole with a mountain-lion skin. These were arranged as the seat of honor for White-Shell Woman, for whom was about to be held a ceremony celebrating her maturity.

Navajo Symbolism and Sand Painting rites

ALL ceremonies are for healing, either of fears or of bodily ailments, and each is a communal affair paid for by the patient’s relatives. A medicine man is consulted as to what ceremony is required and often uses divination to decide the matter. When this and the location are settled, and also whether a complete ritual or a short one should be used, the hogan is selected or built and medicine articles are collected, such as herbs, rocks to crush into colored sands, fuel, and persons to help the ritual. It begins by the lighting of the fire in the hogan, and for four days in a complete ritual the patient and participants take a sweat bath and emetic to cleanse themselves, and ceremonial offerings are made for the Powers to be invoked. In the evening while prayers are sung, a rite of the untying of knots in woolen cords which are pressed to the patient’s body and limbs, may typify the loosening of tensions in the patient.

Navajo Symbolism

Navajo Symbolism

1. Straight bar from E. to W. is rainbow (female) and N. to S. zig-zag bar is lightning (male). 2. Oblong symbols of houses of various powers in Hail Chant. 3. The path of life is shown as a cornstalk crossing a white field. The lower two figures are the Ethkaynahashi, the transmitters of life, and the upper figures are Dontso, the messenger fly.  4. Cross symbolizing fire.  5. Border representing variety of trails connected by black land below the horizon.  6. Central dwelling place and homeland.  7. Place of emergence.

There are several forms of these rites, such as passing the patient through a line of hoops placed outside the hogan on four consecutive days while prayers are said. As he passes through, a covering is progressively removed, which typifies a process of recreating him into health again.

The sand painting rite begins after the purification and is made to embody the powers to be invoked. The painting is made under the medicine man’s direction and is produced by each painter holding a particular colored sand in his hand and pouring it in a delicate stream between thumb and first finger.

When complete, the painting is blessed with pollen and prayer, and the patient sits on it and is treated by the assistant, who first presses the figures of the painting himself, then presses them to the body of the patient. The patient also drinks a decoration of the painting and afterwords inhales incense. In a complete ceremony there are usually four days of sand painting rites; each day after the treatment of the patient the painting is destroyed. Some-times the body of the patient is painted with the great symbols, which ends the rite of healing.