By Trudy Griffin-Pierce
To the Navajo, sandpaintings are sacred, dwelling entities that mirror the interconnectedness of all residing beings—humans, crops, stars, animals, and mountains. This booklet, now to be had in paperback, explores the circularity of Navajo concept in sandpaintings, Navajo chantway myths, and tales mirrored within the celestial constellations. superbly illustrated by way of the writer, this well-documented booklet explores the religious global of the Navajo, their ceremonial practices, and their conceptions of time and stellar movement. Griffin-Pierce indicates how the photographs of sacred sandpaintings not just speak the temporal and spatial dimensions of the Navajo universe but additionally current, in visible shape, Navajo rules approximately relationships between nature, self, and society. "Griffin-Pierce's procedure is very unique, bringing this fabric jointly in an leading edge and inventive demeanour whereas grounding it holistically in the context of Navajo global view."?M. Jane younger, writer of symptoms from the Ancestors: Zuni Cultural Symbolism and Perceptions of Rock artwork
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Additional info for Earth Is My Mother, Sky Is My Father: Space, Time, and Astronomy in Navajo Sandpainting
The Navajo emphasis on active process rather than static product is evident in the films made by the Navajos themselves. In 1966 Sol Worth of the Annenburg School of Communication and John Adair of San Francisco State College taught Navajos how to use motion picture cameras so that Navajos could visually share, through film, their own perceptions of their world, including narrative style and their conceptions of time and space (Worth and Adair 1972). Susie Benally in her film on Navajo weaving devoted only about five minutes out of twenty to the woven product; instead, she chose to emphasize movement and creative process by using three-quarters of the < previous page page_25 next page > < previous page page_26 next page > Page 26 film footage to show the weaver walking to gather vegetables for dye, walking to collect roots for soap, walking to shear the wool, and walking to and from the hogan between all activities (p.
S. " In reality, these men were naat'áanii, local headmen who led only small groups of Navajos. Although naat'áanii were respected for their wise counsel, which was usually heeded, these headmen had no coercive power to command others to follow because the Navajo placed a high value upon individualism. In 1863, under government orders, Kit Carson and his soldiers began burning Navajo crops and homes. Ute, Pueblo, and New Mexican volunteers also took revenge for Navajo raiding by taking Navajo sheep and horses, and capturing women and children for slaves.
A high mesa northeast of Gallup called Mesa de los Lobos has a wide valley with lakes and springs and contains a holy place at its highest point, Ak'iih Nást'ání, Hosta Butte, said to be the home of Hadahoniye' Ashkii and Hadahoniye' At'ééd, Mirage Stone Boy and Girl. The Chuska and Lukachukai Mountains follow the New Mexico-Arizona state line and contain the most luxuriant forests and grasses, and the best water supply on the reservation. To the north of the Chuskas rise Dzil* Nahoozilii*, the Carrizo Mountains, the last home (on the reservation) of grizzly bears and bighorn sheep.