Navaho and Sandpainting: How they access the unseen world
The significance of the sandpainting is that each pattern, and the entity invoked by it, is specific to each cultural circumstance, “the felt human needs that call for it and are often considered in the selection of the sandpaintings”. This means that the painting is not just art unchanged, but an aspect of Navaho tradition, and only one of the “many Navaho ceremonial ways”.
Sand painting also acts as a rite of re-creation for the ailing person. Although forces act against the ailing person, the idea is for the person to learn to live with what they have been given. Therefore, the result is not a life threatening disorder, but a newly molded Navaho with the ability to cope with their ailment. In the center of the sand painting is where the Navaho will be faced with all the tensions of their culture and the wholeness of the universe.
The painting, along with its flaws, becomes a part of the ailing person, and when it’s destroyed and the holy people disappear, the “tensions and imbalances that gave rise to the suffering”, disappear with them.
2 Comments:
This course sounds fascinating! Are there many people practicing the religion today?
@Emm
I know sandpainting is still a large part of Navaho culture. As far as how many people are still practicing it, I believe Tibetan monks, Native Americans in the Southwestern United States, Aborigines, and Latin Americans all practice some form of sand painting on religious days. Maybe not in same context as the Navaho.
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