The Navajo

Recorded and Edited by Willard Rhodes
Issued from the Library of Congress Recording Laboratory AFS L41
The Navajo with a population of 156,000 in 1978, is the largest Indian tribe in the United States and certainly one of the most creative and colorful. They occupy a reservation of sixteen million acres that spreads over the desert, dry and waterless mountains of northeastern Arizona, northwestern New Mexico, and the southeast corner of Utah. Theirs is a land magnificent in its vast panoramas of sky and land, is fantastic rock formations, forbidding canyons, bright desert flowers, and wind-weathered pinyon trees. But it is a land in which the elements of nature conspire to resist and defy man in his efforts to wrest a living from its soil.

Sometime after the tenth century A.D. nomadic bands of Indians, speaking a language now described as Athapaskan, trekked their way south from Western Canada into the area of the Southwest which they now occupy. As to the route that they took or the years spent on the journey, one can only conjecture, but by 1700 many of the pueblos along the Rio Grande were abandoned for fear of them.

At that time the Navajo and Apache were undifferentiated. Except for differences of dialect, they spoke the same language and shared an economy of hunting and food gathering. They were called by the Tewa pueblo people apache, meaning stranger or enemy. Organized into small bands, the ancestors of the present day Apache roamed far and wide in their raiding forays and became quite independent from their cousins, the Navajo, whose name was derived from apache de nabahu, "enemies of the cultivated fields." In their, own language they call themselves Dine or Dineh - the People.

The Navajo were also raiders, but appear to have become more restricted in the range of their sorties. They raided the Pueblos for corn and women whom they married, This contact of the Navajo with the Pueblos was important in their future development for it introduced them to new ideas which they adopted into their economy and religion.

From the Pueblos they learned horticulture, the planting of corn, beans, squash, and peach trees, and the craft of weaving. From the Spanish they acquired, legally or illegally, horses and sheep, the latter of which soon became the base of their economy. Sheep assured them a steady Supply of meat and protein in their diet, wool to be spun into yarn for weaving, and skins for their own use or for trade.

Traditionally, the Navajo are a matrilineal society in which clans are organized through the lineage of the oldest woman or mother. A son is responsible for fulfilling the religious duties of the clan. Upon marriage man goes to live with his wife and her family. Woman's position in the society is assured, for she owns both the hogan, a six- or eight-sided log house in which the family lives, and the flock of sheep which provides a steady source of income. An increasing reliance on wage economy has begun to change the picture to something closer to the style of white society, but women are still highly important in Navajo philosophy and daily life.

With the conclusion of the Mexican War in 1848, the United States became responsible for protecting citizens from raiding Indians. Kit Carson, a trapper, guide, and finally Indian agent, was charged with subduing the Navajo. By killing their sheep, burning their corn, and cutting down their peach trees, he starved them into submission. They were assured food and clothing if they would go to a huge internment camp in Fort Sumner, or Bosque Redondo, New Mexico. In 1864 some eight thousand consented and began what came to be known as the "Long Walk" into exile, a tragic experience in the history of the Navajo.

After four years a treaty was signed and "the People" were allowed to return home. The government issued sheep and goats and provided rations in its attempt to resettle the Navajo in their homeland. It was during this period that a few Navajo men learned the art of silversmithing from a traveling Mexican. With the encouragement and guidance of friendly traders, the women developed their world famous talent for weaving rugs. These arts and crafts, so representative of the traditional Navajo culture, are an important factor in the economy of the tribe today.

On their return to their homeland in 1868, the Navajo worked hard to reestablish themselves, Their recovery and growth is unique among Indian tribes of North America and leads one to ask how to explain this change. The Navajo are not only industrious but are avid and rapid learners. They have enriched their religious ceremonies by adopting and adapting symbolic and artistic elements from the rites of the neighboring Pueblos. While holding to their traditional beliefs and ways, they have not hesitated to accept the technological resources of the modern world.

During the early decades of the twentieth century, they lived an idyllic pastoral life with their sheep, goats, and homes until it was interrupted by a governement order that called for a reduction of sheep, the source of their economy. The land was being destroyed by overgrazing, and it was plainly evident that the desert land could not support the rapidly growing population. To meet the critical situation many Navajos migrated to cities where they found employment.

The Second World War contributed to the advancement of the Navajo in a peculiar way. The young men who served in the war were introduced to the world as they had never experienced it prior to their service. Seeing the advantages of education, they returned home with a new world outlook. Whereas they had had a limited Western education because their parents had opposed the government schools, they now insisted that their younger brothers and sisters and their own children "learn paper"

A variety of schools is available to children from five to eighteen years of age, depending upon their needs and the wishes of their parents. These include bureau of Indian Affairs Boarding Schools, day schools, public schools, mission schools, and headstart classes. Of special interest is the Rough Rock Demonstration School, an experiment in total community development. The school is administered by a Board of Education composed of Navajos, and the curriculum teaches Navajo language and culture in addition to courses in English to prepare students for the modern world.

The College of Ganado, it two-year junior college, was opened in September 1970. On April 13, 1971, a campus site of twelve hundred acres for the Navajo Community College was dedicated at Tsaile. A curriculum organized to meet the needs of the students has led to the writing and publication of new text books. Navajo tribal scholarship funds have been available only to graduate students. Undergraduates are assisted through the Bureau of Indian Affairs Grant Program. Some hundreds of Navajos have graduated from colleges off the reservation and some have achieved advanced degrees in law, medicine, and other fields.

The Navajo are governed by a Tribal Council composed of eighty-seven members elected for a term of four years from the nineteen districts scattered over the reservation. The council administers the business affairs of the tribe in cooperation with the Bureau of Indian Affairs, Department of Interior, Washington, D.C.

The leasing of oil, coal, gas, and mineral rights has provided income which, with the addition of government grants, has made possible vast improvements in the welfare of the People. One cannot predict the future of the Navajo nation, but one can be assured that they will determine their own destiny.


Navajo Religion

The Navajo Creation Myth narrates an evolutionary sequence of four worlds culminating in the fifth world in which one lives today. Gladys Reichard in her comprehensive study, Navajo Religion, wrote, "The body of Navajo mythology is to the Navajo chanters what the Bible is to our theologians." The desideratum of' Navajo religion is the attainment of a state of harmony with nature, the cosmos, one's, family, and one's self.

For the curing of illness, protection from contacts with non-Navajos, and establishing the state of harmony with nature and all living things, there exists a large repertoire of chants which are performed by "singers" who constitute a body of religious specialists, trained in the esoteric rites of particular chants. These ceremonies, often spoken of as "sings," last from three to nine days and call for careful and detailed preparation. The making of sand paintings depicting mythological characters is an important element of the ceremony.

Dr. Leland Wyman, an authority on Navajo religion, states, "The name of the rite, Hozhooji, which we render Blessing Way, is derived from a stem that has no single equivalent in English . . . the Navajo term includes everything that a Navajo thinks is good - that is good as opposed to evil, favorable to man as opposed to unfavorable or doubtful . . . its song and prayers cover every aspect of domestic and social life, they invoke blessings upon all of man's possessions, renewing their efficacy and purifying them when necessary.

A characteristic feature of Navajo songs and prayers is the delicacy and color of the imagery of the sacred texts. The ceremonial music is entirely vocal and ranges from deep-voiced chanting to piercing falsetto, often with drum or rattle accompaniment.

Play song

Name

Performed by

Description

Native Words

Translation

Notes

Yeibichai The Night Chant, popularly known as the Yeibichai, Grandfather of the Gods, is an important nine-day ceremony that is celebrated only in the winter when there is no thunder and the rattlesnakes are hibernating. Washington Matthews gives a detailed report of this ceremony in The Night Chant, a Navaho Ceremony, Memoirs of the American Museum of Natural History, volume 6, 1902:
Although other great ceremonies have nocturnal performances, I know of none but this that enjoins continuous and uninterrupted song, from dark until daylight, such as is heard on the ninth night of kledze natal (night chant) and the name is peculiarly appropriate. . . White men often witness the dance of the last night, or a portion of it, and they usually call it the Yebitsai dance, from the most conspicuous character of the night, the Yebitsai or maternal grandfather of the gods.
On this night the Yeibichai appears with a company of other masked gods who sing and dance. After a falsetto call of the gods announcing their arrival, the dancers shake their rattles with a swooping movement form the ground to their heads, then whirl to the opposite direction and repeat the rattling. Following the formalized introduction, the dancers begin their rhythmic dance and song, accompanying themselves with the rattles. The hypnotic power of the music is cumulative as an endless profusion of Yeibichai songs follow one another throughout the night. Dance teams that have spent weeks and months in preparation for the ceremony compete with one another not only in excellence of their singing and dancing, but in the composition of new Yeibichai songs. A distinctive feature of the Yeibichai songs is the dextrous alternation between normal singing voice and falsetto, a singing technique rare in American Indian music.
Navajo
Yeibichai Navajo
Chant From The Blessing way The Blessingway has been described by Dr. David McAllester as "the backbone of Navajo religion, the only ceremony that blesses, rather than exorcizes. It is used for weddings, before journeys, for girls' puberty, and before child birth." The section of a Chant from the Blessingway is sung by Grandfather Naataani. The text, freely translated, follows: He na,
I shall be Flint Boy, before me it is beautiful
I shall be Flint Boy, before me it is beautiful, holaghane,
I shall be Flint Boy, behind me it is beautiful,
I shall be Flint Boy, behind me it is beautiful, holaghane,
I shall be Flint Boy, below me it is beautiful,
I shall be Flint Boy, below me it is beautiful, holaghane,
I shall be Flint Boy, above me it is beautiful,
I shall be Flint Boy, above me it is beautiful, holaghane,
I shall be Flint Boy, all around me it is beautiful,
I shall be Flint Boy, all around me it is beautiful, holaghane.
Navajo
Chant For Success In Racing In her scholarly and detailed study of the Navajo Girl's Puberty Ceremony, Kinaaldá, Dr. Charlotte Johnson Frisbie lists the following terms by which songs for racing are known: "Footrace Song," the "Legs Song," the "Race Song," "Young Women's Racing Song," the "Big Song," and the "Racing Songs." The girl's daily races and the songs associated with them constitute an important part of the five-day, Blessingway ceremony.

Regarding the origin of the ceremony, Dr. Frisbie states: "Frank Mitchell [the ceremonialist] said that the Racing Songs originated before the "Kinaaldá," being the first sung by Talking God for Changing Woman as she ran her daily morning races while she was growing up. Changing Woman instructed the people to incorporate these songs, originally sung by her guardian, into the Kinaaldá, when it was started." Like the molding of the girl's body, another element of the ceremony, the foot races are for her health and development into womanhood. A free translation of the "Chant for Success in Racing" follows:
With these I am starting off,
With these I am starting off,

The great male hawk (Prairie Hawk), his legs, with these I am starting off,
Truly with male legs, with these I am starting off,
One dawn cloud, on top of it, with these I am starting off,

With these I am starting off,
With these I am starting off,

The great female hawk, her legs, with these I am starting off,
Truly with female legs, with these I am starting off,
The dawn clouds, on top of them, with these I am starting off,

With these I am starting off,
With these I am starting off,

The great male snake, his legs, with these I am starting off,
Three dawn clouds, on top of them, with these I am starting off,

With these I am starting off,
With these I am starting off,

The great female snake, her legs, with these I am starting off,
Truly with female legs, with these I am starting off,
Four dawn clouds, top of the, with these I am starting off.
Navajo
Silversmith's Song The "Silversmith's Song" is one that Ambrose Roanhorse learned from his grandfather. Ambrose is a master silversmith craftsman who has played an important role in the training of Navajo silversmiths and establishing high standards of workmanship. One can consider the song as a work song, since he sings it as an accompaniment to his work. However, one must make a distinction between work songs what are sung to coordinate the physical labor movements of a group of workmen and those that are sung by an individual for his own pleasure while working. Navajo
Corn Grinding Song Corn Grinding Songs, once a widespread genre that accompanied the laborious work of grinding corn on a stone metate, have become obsolete in function, although cultural and historical interest in them continues. The three corn grinding songs were recorded at Lukachukai, Arizona, August 10, 1942. The singer, Gleehaspa (Deihaazbaa'), a member of the Bitter Water clan, was in her seventies at the time. She accompanied herself by beating an inverted basket. She had learned the songs from her mother.

The first of the three corn grinding songs opens with a rhythmic formula that is characteristic of these songs, a rhythm that facilitates the manual movement of moving the mano on the metate. The tests, accompanied by free translations, follow.

Men as well as women ground the corn and were accompanied by singers, male and female.

For the Navajo, in his relation to the forces of the universe, the most commonplace acts of daily living assume a cosmic significance. Every man and woman who follow the traditional ways know and performs rituals, prayers, and songs of a personal nature. They may be directed to the planting of corn, the increase and care of sheep, trading, and for general well-being. It is to this category the corn grinding songs belong.

Before beginning the grinding of the corn, white corn meal was offered to the gods and was ceremonially thrown or sprinkled on the heads, front, back, sides, and top of the singers and grinders.

The songs conform to the basic style of much Navajo music. A clear statement of tonality through the repetition of the tonic or ground tone in the introduction and in the concluding cadence and the triadic pattern of the melodies identify the songs as Navajo. The texts of the songs are often humorous and provide entertainment to lighten the monotonous labor of grinding the corn.

Dr. Charlotte Johnson Frisbie notes, "The words of these songs concern babies as much as grinding. In doing so they suggest a relationship between grinding and fertility. A possible connection between corn grinding songs and the girl's puberty rite lends support to this idea."
1. 'a-na- ne'awe, 'a-na- ne'awe
'elo 'aleho 'eye' yana
'elo 'aleho 'eye' yana.
'ahao-hao howo howo
'eheye heye heye he,
[Go on grinding] 'a-ne- aghe,
[Over there on the mountain]
[Pinyon nuts, plenty of them]
'egana [plenty of them]

2. (all vocables)

3. 'a-na- ne'awe, 'a-na- ne'awe, 'a-na- ne-awe,
[Sweetheart, hello, Johnny, Johnny is coming]
[Sweetheart, hello, Johnny, Johnny is coming]
Hello'o John, Hello'o John, [keep on grinding]
'a-na- ne'awe, 'a-na- ne'awe, 'a-na- ne'awe.

Sizeedi - is cousin, or sweetheart
Navajo
Corn Grinding Song Navajo
Corn Grinding Song Navajo
Moccasin Game Song Game songs provide social entertainment and accompaniment to guessing games that are variously described as moccasin game, shoe game, hand game, and stick game. The games are played by two teams of individuals who sit in parallel lines facing each other. The object of the game is to guess in which moccasin or hand certain objects have been hidden by the opposing team. Scores are kept with sticks, which serve as counters as they are moved from one side to the other as the game proceeds. Betting and gambling provide added interest in the game.

The songs are strong rhythmically, short in length, and subject to endless repetition as the game continues. The excitement that develops in the friendly rivalry between the two groups is reflected in the songs as they increase in volume and tempo. Game songs are widely distributed among the tribes of North America.

Moccasin game songs are forbidden in the summer by the Navajo. Some of the animals mentioned are dangerous, such as snakes and bears, and they might be annoyed and do harm. The moccasin games are played in winter when the animals are hibernating. It has been reported that orthodox Navajos would even prefer that the songs on this record not be played in summer, even though there is no mention of snakes or bears in them.
Beautiful Rock, Beautiful Rock,
Broken Rock, with boulders scattered over it,
The Red Rock wren is dancing on the rock,
The Red Rock wren is dancing on the rock,
With his legs spread far apart
To stay on top of the rocks.
He looks so funny that it makes me laugh.
Dancing on the rock, dancing on the rock,
Dancing on the rock, dancing on the rock.
Navajo
Moccasin Game Song The turkey is your pet.
Over there near the mountain
Where the green grass grows.
He is carrying dried deer meat in a sack
The turkey is your pet.
Navajo
Moccasin Game Song Just where I suspected him
His hat is sticking up.
Navajo
Moccasin Game Song Poke up the old pine fire.
Poke up the old pine fire.
Oh shucks! it's daylight now.
Now it's all over.
Spoken:
Let's stop the game.
Let's go home.
Navajo
Women's Song In most Indian societies the making of music is the prerogative of the men, but this does not prevent the women from singing along with the men in social songs. The first four songs on the side B of this recording are sung solely by women for their own pleasure and enjoyment. "Women's Song," the first such selection, names a school by a mountain which the singer cannot forget. It is with longing for the school that she walks about in her lonesomeness. The singers say the tune is old and was sung before going on a raid. Crazy Woman, leader of the raid on Oraibi, and the first woman raid leader, is reported to have sung this song. The leader of the group said the original words of the song were "the canyon belongs to the one who has it." The song is in Circle Dance style as defined by McAllester in his monograph, Enemy Way Music. Navajo
Tuning Up Song The "Tuning Up Song" is aptly described by the title. It has no words, only resonant vocables that place the voice and prepare the singers for an evening of singing. This is a sway song from the Enemy Way. It has been transcribed by David P. McAllester in his 1954 book, Enemy Way Music ("Sway Song" No. 3, p. 37). Navajo
Farewell Love Song The "Farewell Love Song" is reported to date from the days at Fort Sumner. It expresses the sadness of friends on parting as they return to their homeland. Your home is far away
But you came even though it was hard to do.
It will be lonely if you go.
What you said to me I will remember.
I wanted to go home with you.
Navajo
Social Dance Song This is a Skip Dance song and though social in function, it must not be dissociated from its role in the very serious Evil-way rite. The introduction of text lines in English in alternation with a refrain of traditional Navajo vocables is a source of fun amusement. Songs of this type have been popular with the Plains tribes for some time and may have furnished a model to the Navajo.

Despite the English words, the song is thoroughly Navajo in its melodic style as it follows a descending triad pattern, E flat, B flat, G, G flat, E flat. In the refrain the G is used, whereas in the text line the G is sung a half step lower and is done consistently, evidently by intention, not by chance. This is another example of the pleasure and amusement that the Navajo find in their social music.
he ye ye ye ya na
yo o o o we yo
o o we yo
o o we ya
he e e e ya
yo o o o we yo
yo o we ya
yo o we ya
he e e e ya
[I don't care if you're married sixteen times I will get you just the same]
yo o o o we ya
he e e e ya
yo o o o we ya
o o we ya
o o we ya
he e e e ya
[You might know
You might know
How I love you]
yo o o o we ya
he e e e ya
Navajo
Song Commemorating Flag Raising At Iwo Jima In the Second World War young Indian men and women from many tribes enlisted in the armed forces and served the nation well. The Navajo were especially effective in the communication of orders and information in their language, which the enemy were unable to decode. The "Song Commemorating Flag Raising at Iwo Jima" was composed by Teddy Draper, who participated in this momentous event. The text follows as translated by Teddy Draper. Iwo Jima is the place
where our soldiers were almost captured.
Surbachi is were our soldiers
planted the flag.
Our flag, red, white, and blue
with its stripes and stars
On Iwo Jima our flag is still waving.
Navajo
Peyote Song The Peyote cult is a synecretic religion that combines native Indian beliefs and practices with Christian symbolism. The cult had its origin in Mexico and by the eighteenth century had crossed the Rio Grande. It has passed from tribe to tribe and has become an intertribal religion. In Oklahoma the Peyote organizations were united under a charter and certificate of incorporation granted "The Native American Church" at Oklahoma City under the signature and seal of the secretary of state, dated October 10, 1918.

The Peyote ceremony, centering around prayer, singing, and the eating of the peyote, a small, fleshy cactus with hallucinogenic properties, is an interesting combination of natavistic and Christian beliefs and practices. In the all-night meetings, which are held in a special tipi, the singing of Peyote songs constitutes an important part of the ritual. Ceremonial paraphernalia, consisting of a staff, a small gourd rattle, and a water drum, specially wrapped and tied for each meeting, are passed clockwise around the circle of participants. Each person is expected to sing four songs, and each song consists of four repeats. The singer holds the staff in his left hand and accompanies himself with the rattle in his right had, while the person to his right provides an accompaniment on the drum. Peyote songs are always sung by individuals, never in chorus, and with a mild vocal technique which distinguishes the Peyote musical style. At four stated intervals during the ceremony, the leader sings special songs which are always sung at these points in the ritual. These four songs, "Opening Song," "Midnight Water Song," "Morning Sunrise Song," and "Closing Song," have been recorded by George Hunt and may be heard on the Kiowa album of this series, AFS L34.

Since Peyote songs, particularly the four special songs, are passed on from one tribe to another as an integral part of the ceremony, it is not surprising that they manifest a unity and distinctness of style that sets them apart from other tribal music. In describing the style of Peyote songs, McAllester notes that they are "(1) sung with a relatively 'mild' vocal technique; (2) they are fast; (3) the accompaniment is in eighth-note units running even with the voice and adding to the impression of speed; (4) they are uniquely consistent in the use of only eighth and quarter-note values in the vocal melody; (5) they have the usual Plains phrase patterns but in addition show a significant incidence of paired patterns, restricted compass and unusually long and flat codas; (6) the finals show a cumulative use of the typical peyote song, as diagnostic as the Christian 'amen,' comes the phrase 'he ne ne ya wa.'"

Dr. David P. Aberle in his study The Peyote Religion Among the Navaho states: "Navajo peyotism took its origin from the Ute Peyote cult at Towaoc (Colorado)." The introduction of the Native American Church on the Navajo reservation met at first with bitter opposition from the Tribal Council and traditional ceremonialists. Despite the opposition, which at one time declared Peyote ceremonies illegal on the reservation, this religion is now widely accepted and claims some twenty-thousand members among the Navajo.
Navajo
Chant From The Enemy Way This song may be mislabeled. Professor McAllester questions its designation, thinking it could be from the Flintway. He writes, "My guess is that this is a variation of one of the songs of the Hard Flint Boys from enemy Way, such as are reported in Fr. Bernards Haile's, Origin Legend in Navajo Enemy Way (Yale University Publications in Anthropology, No. 17, 1938). Those songs are a more elaborate way of showing the singer dressed in flints of all kinds. Professor McAllester has kindly made the following translation from the record Around me I hear things,
Around me I hear things,
Around me I hear things,
Around me I hear things,
Around me I hear things, holaghei.
Neye, dark flint being my moccasins,
Around me I hear things,
Dark flint being my leggings,
Around me I hear things,
Dark flint being my clothes, around me I hear things
Dark flint being my face, around me I hear things,
Dark fling being my voice, around me I hear things,
Dark fling being [?] around be I hear things,
Now living on into old age, now causing fear, since I am that one
Around me I hear things,
Around me I hear things,
Around me I hear things, hi- yi- hi!
Navajo
Chant From The Enemy Way Navajo
Circle Dance Song The simple beauty of the Circle Dance songs are enhanced by the lovely mezzo voice of Julia Deal, who was a teenage girl when the songs were recorded in 1942. The Circle Dance is a social dance in which couples proceed with a shuffling step clockwise around a circle. he ne ya na
yo sha a ha na
yo sha a ha na
yo sha a ha na
yo sha a ha na
he ye ya na
yo sha a ha na
yo sha a ha na
yo sha a ha na
yo sha a ha na he ye
ya na yo ha nai
yo ha nai
yo ha nai
yo sha a ha na
yo sha a ha na he e
yo na yo ha nai
yo ha nai
yo ha nai
yo sha a ha na
yo sha a aha na
he ye e ye.
Navajo
Circle Dance Song he ye ya na
yo ho he ya na
yo ho he ya na
yo ho he ya na
he ya he a
ya na yo ho he ya na
yo ho he ya na
yo ho he ya na
he ya he a
ya na e ne yo heyo heyo
he ya he a
ya na e ne yo he yo heyo
he ya he ye ya na
yo ho he ya na
yo ho he ya na
yo ho he ya na
a he he ya.
Navajo
Spinning Dance Song The Spinning Dance is one in which the man stands still and the woman dances around him and then reverses the direction. The two Spinning Dance songs are modern songs in the traditional style. At a place called Defiance
There is a woman who is well mannered
But her daughter has made me to wander
Far from my girl at home.
Navajo
Spinning Dance Song Wheena ni, yei, Wheena, ni yei
Huba huba huba a wei yaa ghai
Your home country may be far away
But come on, let's dance.
Navajo
Squaw Dance Song The Squaw Dance represents the social and secular part of the Enemy Way, a ceremony that has as its purpose laying to rest the ghost of an outsider, that of a non-Navajo person. During the nights of the three-day ceremony, the guests of the family who sponsor the ceremony enjoy dancing and singing.

The Squaw Dance provides an opportunity for young people to meet. It is the custom for girls to choose their partners and for the man to give money to the girl. The couples dance with a shuffling step clockwise around a circle. The music is provided by a group of men who divide into two groups facing each other and take turns in the singing. A strong element of competition soon appears.

Most of the songs are without meaningful texts. A signal song calls for an end of the dancing, and the remainder of the night is spent in singing sway songs.
Navajo