The Mountain Chant

Navajo Ceremony

Washington Matthews

• Publisher: Madison & Adams Press
• Year: 2018
• ISBN:
  9788026888895
• Topic: History
• Subtopic: North American History
• Index: History

"The ceremony of dsilyídjeqaçàl, or mountain chant—literally, chant towards (a place) within the mountains—is one of a large number practiced by the shamans, or medicine men, of the Navajo tribe. I have selected it as the first of those to be described, because I have witnessed it the most frequently, because it is the most interesting to the Caucasian spectator, and because it is the best known to the whites who visit and reside in and around the Navajo country."Contents: Myth of the Origin of DsilyídjeQaçàlCeremonies of DsilyídjeQaçàlFirst Dance (Nahikàï) Second Dance (Great Plumed Arrow)Third Dance Fourth Dance Fifth Dance (Sun) Sixth Dance (Standing Arcs) Seventh Dance Eighth Dance (Rising Sun) Ninth Dance (Hoshkàwn, or Yucca)Tenth Dance (Bear) Eleventh Dance (Fire) The Great Pictures of DsilyídjeQaçàlFirst Picture (Home of the Serpents)Second Picture (Yays and Cultivated Plants)Third Picture (Long Bodies) Fourth Picture (Great Plumed Arrows)Sacrifices of DsilyídjeQaçàlOriginal Texts and Translations of Songs, &c.Songs of Sequence First Song of the First DancersFirst Song of the Mountain SheepSixth Song of the Mountain SheepTwelfth Song of the Mountain SheepFirst Song of the Thunder Twelfth Song of the Thunder First Song of the Holy Young Men, or Young Men GodsSixth Song of the Holy Young MenTwelfth Song of the Holy Young MenEighth Song of the Young Women Who Become BearsOne of the Awl Songs First Song of the Exploding StickLast Song of the Exploding StickFirst Daylight Song Last Daylight Song Other Songs and Extracts Song of the Prophet to the San Juan RiverSong of the Building of the Dark CirclePrayer to Dsilyi' NeyániSong of the Rising Sun Dance Prayer of the Prophet to His MaskLast Words of the Prophet

Table of Contents

Introduction

Myth of the Origin of Dsilyídje Qaçàl

The Ceremonies of Dsilyídje Qaçàl

The Great Pictures of Dsilyídje Qaçàl

Sacrifices of Dsilyídje Qacàl

Original Texts and Translations of Songs, &c.

Songs of Sequence

First Song of the First Dancers

First Song of the Mountain Sheep

Sixth Song of the Mountain Sheep

Twelfth Song of the Mountain Sheep

First Song of the Thunder

Twelfth Song of the Thunder

First Song of the Holy Young Men, or Young Men Gods

Sixth Song of the Holy Young Men

Twelfth Song of the Holy Young Men

Eighth Song of the Young Women Who Become Bears

One of the Awl Songs

First Song of the Exploding Stick

Last Song of the Exploding Stick

First Daylight Song

Last Daylight Song

Other Songs and Extracts

Song of the Prophet to the San Juan River

Song of the Building of the Dark Circle

Prayer to Dsilyi‘ Neyáni

Song of the Rising Sun Dance

Instructions Given to the Akáninili

Prayer of the Prophet to His Mask

Last Words of the Prophet

Introduction

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1. The ceremony of dsilyídje qaçàl, or mountain chant—literally, chant towards (a place) within the mountains—is one of a large number practiced by the shamans, or medicine men, of the Navajo tribe. I have selected it as the first of those to be described, because I have witnessed it the most frequently, because it is the most interesting to the Caucasian spectator, and because it is the best known to the whites who visit and reside in and around the Navajo country. Its chief interest to the stranger lies in the various public performances of the last night. Like other great rites of the shamans, it has its secret ceremonies of many days’ duration in the medicine lodge; but, unlike the others, it ends with a varied show in the open air, which all are invited to witness. Another ceremony which I have attended, and which the whites usually call the “Yaỳbichy Dance” (Yèbitcai), has a final public exhibition which occupies the whole night, but it is unvaried. Few Europeans can be found who have remained awake later than midnight to watch it. Such is not the case with the rite now to be described. Here the white man is rarely the first to leave at dawn.

2. The appropriateness of the name dsilyídje or tsilgitce—towards (a place) within the mountains—will be better understood from the myth than from any brief description. “Dsilyi‘” may well allude to mountains in general or to the Carrizo Mountains in particular, to the place in the mountains (paragraphs 9 and 38) where the originator of these ceremonies (whom I often find it convenient to call “prophet”) dwelt, or to the name of the prophet (par. 41), or to all these combined. Qaçàl signifies a sacred song or a collection of sacred songs. From the many English synonyms for song I have selected the word chant to translate qaçàl. In its usual signification hymnody may be its more exact equivalent, but it is a less convenient term than chant. The shaman, or medicine man, who is master of ceremonies, is known as qaçàli or chanter—el cantador, the Mexicans call him. In order to keep in mind his relationship to similar functionaries in other tribes I shall, from time to time, allude to him as the priest, the shaman, or the medicine man, following the example of other authors. To all ceremonies of a character similar to this the term qaçàl is applicable. It would seem from this that the Navajo regard the song as the chief part of the ceremony, but since the Americans, as a rule, regard all Indian ceremonies as merely dances and call them dances, I will, out of deference to a national prejudice, frequently refer to the ceremony as a dance.

3. Sometimes the collective rites and amusements of the last night are spoken of as ilnasjíngo qaçàl, or chant in the dark circle of branches, from il, branches of a tree; nas, surrounding, encircling; jin, dark; and go, in. The name alludes to the great fence of piñon branches, erected after sunset on the last night, to receive the guests and performers. I shall often refer to this inclosure as the corral. Some white men call the rites I describe the “corral dance,” but more usually they call them the “hoshkàwn dance,” from one of the minor performances of the last night, the hackàn-inçá‘, or act of the Yucca baccata, a rite or drama which seems to particularly excite the Caucasian interest. To such minor acts the terms inçá‘ and alìli are applied; these may be translated dance, show, act, or exhibition.

4. The purposes of the ceremony are various. Its ostensible reason for existence is to cure disease; but it is made the occasion for invoking the unseen powers in behalf of the people at large for various purposes, particularly for good crops and abundant rains. It would appear that it is also designed to perpetuate their religious symbolism. Some of the shows of the last night are undoubtedly intended to be dramatic and entertaining as well as religious, while the merely social element of the whole affair is obvious. It is an occasion when the people gather to have a jolly time. The patient pays the expenses and, probably in addition to the favor and help of the gods and the praise of the priesthood, hopes to obtain social distinction for his liberality.

5. This, like other great rites of the Navajo, is of nine days’ duration. Some of these rites may take place in the summer; but the great majority of them, including this dsilyídje qaçàl, may be celebrated only in the winter, in the season when the thunder is silent and the rattlesnakes are hibernating. Were they to tell of their chief gods or relate their myths of the ancient days at any other time, death from lightning or snake-bite would, they believe, be their early fate.

6. While in New Mexico I sometimes employed a very liberal minded Navajo, named Juan, as a guide and informant. He had spent many years among Americans, Mormons, and Mexicans, and was, I imagined, almost perfectly emancipated from his “early bias.” He spoke both English and Spanish fairly. On one occasion, during the month of August, in the height of the rainy season, I had him in my study conversing with him. In an unguarded moment, on his part, I led him into a discussion about the gods of his people, and neither of us had noticed a heavy storm coming over the crest of the Zuñi Mountains, close by. We were just talking of Estsánatlehi, the goddess of the west, when the house was shaken by a terrific peal of thunder. He rose at once, pale and evidently agitated, and, whispering hoarsely, “Wait till Christmas; they are angry,” he hurried away. I have seen many such evidences of the deep influence of this superstition on them.

7. When the man (or the woman) who gives the entertainment concludes he is sick and that he can afford to call a shaman, it is not the latter who decides what particular rites are best suited to cure the malady. It is the patient and his friends who determine this. Then they send for a man who is known to be skilled in performing the desired rites, and it is his province merely to do the work required of him.

8. Before beginning to describe the ceremonies it will be well to relate the myth accounting for their origin.

Myth of the Origin of Dsilyídje Qaçàl

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9. Many years ago, in the neighborhood of Dsilyi‘-qojòni, in the Carrizo Mountains, dwelt a family of six: the father, the mother, two sons, and two daughters. They did not live all the time in one locality, but moved from place to place in the neighborhood. The young men hunted rabbits and wood rats, for it was on such small animals that they all subsisted. The girls spent their time gathering various wild edible seeds.

10. After a time they went to a place called Tse‘-biçàï (the Wings of the Rock or Winged Rock), which lies to the east of the Carrizo Mountains, on a plain. When they first encamped there was no water in the vicinity and the elder brother went out to see if he could find some. He observed from the camp a little sandy hillock, covered with some vegetation, and he determined to see what sort of plants grew there. Arrived there, he noticed a spot where the ground was moist. He got his digging stick and proceeded to make a hole in the ground. He had not dug long when the water suddenly burst forth in great abundance and soon filled the excavation he had made. He hastened back to the camp and announced his success. When they left the Carrizo Mountains it was their intention to go to ¢epéntsa, the La Plata Mountains, to hunt for food, and their halt at Tse‘-biçàï was designed to be temporary only; but, now that they had found abundance of water, the elder brother counseled them not to hasten on, but to remain where they were for a while. The spring he developed still exists and is known to the Navajo as Çobinàkis, or the One-Eyed Water.

11. The spring was some distance from the camp, and they had but one wicker water bottle; so the woman, to lighten her labor, proposed that they should move their goods to the vicinity of the spring, as it was her task to draw the water. But the old man counseled that they should remain where they were, as materials for building were close at hand and it was his duty to erect the hut. They argued long about it; but at length the woman prevailed, and they carried all their property down close to the spring. The elder son suggested that it would be well to dig into the soft sandy soil, in order to have a good shelter; so the old man selected a sandy hillock, overgrown with grease-wood, and excavated it near one edge, digging straight down, so as to have a wall on one side.

12. They had a stone ax-head, with a groove in it. Around this they bent a flexible twig of oak and tied it with the fibers of the yucca, and thus they made a handle. The first day after the spring was found the young men went out and chopped all day, and in the evening brought home four poles, and while they were gone the old man dug in the hillock. The next day the young men chopped all day, and at night returned with four more poles, while their father continued his digging. They worked thus for four days, and the lodge was finished. They made mats of hay to lie on and a mat of the same material to hang in the doorway. They made mats of fine cedar bark with which to cover themselves in bed, for in those days the Navajo did not weave blankets such as they make now. The soles of their moccasins were made of hay and the uppers of yucca fibers. The young men were obliged to go hunting every day; it was only with great labor they could keep the house supplied with meat; for, as has been said, they lived mostly on small animals, such as could be caught in fall traps. These traps they set at night near the burrows, and they slept close to the traps when the latter were set far from home. They hunted thus for four days after the house was finished, while their sisters scoured all the country round in search of seeds.

13. With all their work they found it hard to make a living in this place. The land was barren; even rats and prairie dogs were scarce, and the seed bearing plants were few. At the end of the fourth day they held a consultation, and the old man said they would do better to move on to the San Juan River, where food was more abundant, and they could trap and gather seeds as they traveled. They determined to leave, and next morning broke camp. They journeyed on till they reached the banks of the San Juan. Here they found abundance of tciltcin (fruit of Rhus aromatica) and of grass seeds, and they encamped beside the river at night.

14. Next day they traveled up the stream to a place called Tse‘çqàka, and here again they halted for the night. This place is noted for its deposits of native salt. The travelers cut some out from under a great rock and filled with it their bags, made out of the skins of the squirrels and other small animals which they had captured. Thence they followed up the river to Tse‘¢ezá‘ (Rock Sticking Up), and thence to Çisyà-qojòni (Beautiful Under the Cottonwoods), where they remained a day and killed two rabbits. These they skinned, disemboweled, crushed between two stones, bones and all, so that nothing might be lost, put them into an earthen pot to boil, and when they were sufficiently cooked they added some powdered seeds to make a thick soup; of all this they made a hearty meal. The Navajo then had neither horses nor asses; they could not carry stone metates when they traveled, as they do now; they ground their seeds with such stones as they could find anywhere. The old man advised that they should cross the river at this point and he directed his sons to go to the river and look for a ford. After a time they returned and related that they had found a place where the stream was mostly knee deep, and where, in the deepest part, it did not come above their hips, and they thought all would be able to cross there. The father named the hour of bihilçòhigi (when it gets warm, i.e., about 10 a.m.), on the morrow, as the time they should ford the San Juan; so next morning at the appointed time they crossed. They traveled up the north bank until they came to a small affluent whose source was in ¢epéntsa. Here they left the main river and followed the branch until night approached, when they made camp.

15. They moved on next day and came close to ¢epéntsa, to a soil covered with tracks of deer and of other great animals of the chase. Here they encamped, and on the following morning the young men set out by different ways in the direction of the mountain to hunt; but at night they returned empty handed. Thus they hunted four days unsuccessfully. Every day while his sons were gone the old man busied himself cutting down sapling...