Ceremonial of Hasjelti Dailjis and Mythical Sand Painting of the Navajo IndiansStevenson, James
Religion
Ceremonial of Hasjelti Dailjis and Mythical Sand Painting of the Navajo Indians
Stevenson, James
Navajo Indians -- Rites and ceremonies
The invalid proceeded to the medicine lodge followed by
the song-priest uttering a low chant. After entering the lodge the invalid
took his seat on the west side; the song-priest, still standing, took from
a small buckskin bag white powdered material which he rubbed on the soles
of the feet, palms, knees, breast, shoulders, and head of the invalid;
then taking a pinch of the same material he extended his hand first toward
the east and then toward the heavens and the earth. After these attentions
he took his accustomed seat in the lodge and joined in conversation with
his attendants.
[Illustration]
SECOND CEREMONY.
Two sheepskins, a blanket, and cotton cloth were spread one upon the other
in front of the song-priest; and from the long reeds that had been first
rubbed with a polishing stone, then with tobacco, were cut ten pieces an
inch and a quarter long and two pieces 2 inches long. These were colored
black and blue, one long piece and five small ones being black, the others
blue. While these were being decorated the song-priest and choir sang "My
fathers, see, we are getting ready! We do our work well, and you would
better go into the house for we are to have rain! Now, mothers, send down
rain upon us!" This song was constantly repeated.
The tubes when completed were laid in position to form a dual person. The
long black tube representing the body was first placed in position. The
long blue tube was then laid by its side and south of it. The pollen end
of the tubes pointed to the east. The right black leg was the next placed
in position, then the right blue leg, the left black leg and left blue
leg. The right black arm, then the right blue arm, the left black arm and
the left blue arm, then the black head and the blue head. (See PI. CXV.)
Public-domain text, read in full here on John Shaqi.
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