Chantways
Chantways refers to the Navajo ceremonial healing system that integrates singing, sand painting, prayer, and sacred objects, all rooted in Navajo creation myths. This intricate system aims to restore balance and harmony in an individual’s life by addressing disharmony caused by factors such as bad dreams, evil spirits, and excesses. The ceremonies, which can last from two to nine days, involve a variety of rituals that are both curative and preventative. Central to these ceremonies are sand paintings, which serve as ritual altars designed to attract supernatural beings known as the Holy People, thereby facilitating healing through their power.
Chantways are categorized into complexes that align with specific myths and procedures, and they are used to treat various ailments. Three primary rituals—Holyway, Evilway, and Lifeway—guide these practices, with Blessingway rites concluding each ceremony to promote peace and harmony. The rituals are traditionally performed by trained male singers, with strict protocols in place to protect participants from any potential negative influences. Despite the availability of modern medicine, many Navajo people continue to engage in Chantways, reflecting a deep connection to their cultural identity and holistic approaches to wellness.
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Chantways
- TRIBE AFFECTED: Navajo
- SIGNIFICANCE: “Chantways” is the term used to refer to the Navajo ceremonial healing system based on creation myths, using a combination of singing, sand painting, prayer, and sacred objects
The Navajo ceremonial system is composed of rites, chants, and rituals for restoring balance and harmony to life. Based on Navajo creation myths that explain their understanding of the reciprocity of the natural and supernatural worlds, religious rituals requiring from two to nine days and nights are conducted that are both curative and preventative.
Belief
This nation from the Southwest culture area believes that the universe is interrelated. All of creation is maintained by a delicate balance of natural and supernatural elements that results in a state of harmony and well-being. The natural and supernatural operate in a system of mutual interchange to achieve this ideal state of health.
In this system, it is believed that people become ill due to disharmony in the world caused by bad dreams, evil spirits and sorcery, excesses in activities, and the hoarding of property. Navajos adhere to a rule of moderation in living to avoid sickness, injury, and other misfortune. For those suffering, the sacred ceremony centering on Indigenous American sand painting is the means to physical, emotional, and psychological restoration.
Sand Paintings
Sand paintings are freehand drawings that serve three main purposes: to attract “the supernaturals,” to identify the patient with them, and to serve as a medium of exchange, absorbing evil or imparting good. Completed sand paintings obligate the Holy People to come and infuse the painting with their power. Because of this exchange's sacred and powerful nature, complete and accurate sand paintings are always used only in a ritual context.
Sand paintings are a type of ritual altar on the floor of the hogan, and they are the center of activity and power in the Chantways ceremonials. The symbols and images used in sand painting are irresistible for the supernaturals; they are compelled to come to their likenesses in the painting. A painting can take from thirty minutes to ten or more hours to complete, often with several apprentice assistants working on it. When the painting is completed it is inspected, sanctified, and used immediately.
Practice
Chantways, so called because of the singing and shaking of rattles during the ceremonials, are organized into ceremonial categories or complexes based on the interrelatedness of procedure and myth. Of twenty-four known complexes, about half are well known, with seven or eight of these performed often. These seven are called Shootingway, Mountainway, Nightway, Flintway, Hand Tremblingway, Navajo Windway, and Chiricahua Windway. They treat ailments such as respiratory disease, arthritis, head ailments, emergencies, nervousness, and heart and lung trouble, respectively. They are regulated by one of three rituals: Holyway to attract good, Evilway to drive away evil, or Lifeway for injuries. Holyway uses the greatest variety of sand paintings and is performed at such events as marriage, childbirth, and the consecration of a new home. These rituals include Blessingway rites to ensure peace, harmony, and good and Enemyway rites, used to exorcise evil spirits or ghosts from outside the Navajo nation. Every ceremonial ends with a Blessingway rite.
Holy People are supernaturals composed of two groups. One is represented by mythological figures such as Sun, Changing Woman, and their twin children, Monster Slayer and Born-for-Water. The other group is called the “Yei.” The Yei are led by Talking God and Calling God (who participate in the Nightway chant wearing masks).
Participants include the singer and his assistants, the patient, family members, a diagnostician, and the supernaturals. Trained singers possess the knowledge of the ritual and have undergone a long apprenticeship. Many singers learn only a few ceremonials, each of which involves songs, prayers, plant medicine, sand paintings, sacred objects, and the correct ritual procedure. The singing must be complete and correct to attract the Holy People. If the Holy People are pleased, they are obligated to come and infuse the sand paintings with their power and restore health and harmony to the patient.
Services are performed when needed. Indigenous American men are usually the singers. Indigenous American women are allowed to participate, but extreme care is taken to protect them from contacting and absorbing any evil spirits. Pregnant women are not allowed to participate.
The ceremony is held in the family or relative’s home, or hogan, which has been ritually consecrated. A diagnostician determines what has caused the patient’s illness or trouble and which Chantway is needed to effect the cure. The sand painting is made, and prayer sticks are placed where the supernaturals will see them and be compelled to come. The patient is prepared for the ritual by being cleansed physically and spiritually; the individual then sits almost naked facing east on a specific part of the painting determined by the singer to relate most directly to the patient’s trouble. The patient is touched by the singer and his medicine bundle, and then sand is sprinkled from appropriate parts of the sand painting. After the patient leaves, the painting is erased in the order in which it was made, and the sand from the sand painting is deposited at a distance from the hogan. Blessingway paintings, however, may be left on the floor of the hogan to become part of the home’s floor, continuing to impart their good.
The Chantway system, involving songs, prayers, sand paintings, herbal remedies, and ritual actions, is unique to the Navajo and reflects a holistic approach to health and healing. Although modern medicine is available to contemporary Navajo, they continue to preserve this method of bringing harmony to their world, often combining both modern medicine and traditional practices. The continuation of the Chantway system connects the Navajo to their culture and history and provides wellness and social support for the community.
Bibliography
Circle, Black Mustache. Waterway. Recorded by Berard Haile. Museum of Northern Arizona Press, 1979.
"Enemyway." The Tony Hillerman Portal, ehillerman.unm.edu/1545#sthash.i3f8707Q.dpbs. Accessed 20 Oct. 2024.
"An Introduction to Ways/Chantways." Twin Rocks Trading Post, twinrocks.com/legends/ways-chantways/an-introduction-to-ways-chantways.html. Accessed 20 Oct. 2024.
"Navajo Chants." Natural History Museum of Utah, https://nhmu.utah.edu/sites/default/files/attachments/Navajo%20Chants.pdf. Accessed 20 October 2024.
Parezo, Nancy J. Navajo Sandpainting. University of Arizona Press, 1983.
Reichard, Gladys A. Navaho Religion: A Study of Symbolism. 2 vols. Princeton University Press, 1950.
Sandner, Donald. Navaho Symbols of Healing. Healing Arts Press, 1991.
Wyman, Leland C. Southwest Indian Drypainting. School of American Research Press, 1983.