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Navajo Creation Myth HASTEEN KLAH 1953 Museum of Navajo Ceremonial Art Bulletin
Navajo Creation Myth HASTEEN KLAH 1953 Museum of Navajo Ceremonial Art Bulletin
Navajo Creation Myth HASTEEN KLAH 1953 Museum of Navajo Ceremonial Art Bulletin
Navajo Creation Myth HASTEEN KLAH 1953 Museum of Navajo Ceremonial Art Bulletin

Navajo Creation Myth HASTEEN KLAH 1953 Museum of Navajo Ceremonial Art Bulletin

$ 46.52

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  • Origin: NAVAJO RESERVATION
  • Tribal Affiliation: Navajo
  • Condition: PAGES ARE CLEAN WITH LIGHT TANNING FROM NEARLY 60 YEARS OF STORAGE. COVER HAS MODERATE TANNING / STAINING WHERE THE OIL FROM THE MANY NAVAJO FINGERS THAT READ THIS BOOK HAVE DARKENED AND LEFT THEIR MARK IN HISTORY. CRYSTAL RESIDUE FROM WHERE THE BOOK WAS STORED WITH CRYSTALS FOUND IN THE DESSERT. SEE IMAGES FOR DETAILS. NONSMOKING, PET FREE ENVIRONMENT.
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    Description

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    PUBLISHED NEARLY 60 YEARS AGO!
    NOVEMBER 1953 BULLETIN #6
    FROM
    THE MUSEUM OF NAVAJO CEREMONIAL ART
    SANTA FE -
    NEW MEXICO
    ORAL NAVAJO HISTORY TOLD BY HASTEEN KLAH
    REWRITTEN IN A SHORTER FORM BY MARY C. WHEELWRIGHT
    Hosteen Klah;
    Medicine Man, Sand Painter and Weaver
    The year was 1867; the Navajos had returned from Bosque Redondo to their homelands near Fort Wingate, New Mexico, when Hosteen Klah was born to Hoksay Nolyae and Ahson Tsosie. Growing up, Klah avoided attending boarding school, but received training in weaving from his mother & sister while being trained by his uncle in chanting & sandpainting. Klah was able to master at least eight chants; normal was one or two. He mastered the Hailway, the Mountainway, the Nightway, the Windway & the Chiricahua chants. He was recognized as an important Medicine Man by 1917. After 24 years studying, he could perform the nine-day Nightway (Yeibichai) ceremony perfectly, chant and symbol, establishing himself as a great singer.
    Klah is known for his sand painting weavings, notonly because he was a man weaving them, but because he was making permanent images of sand paintings from chants he knew, something which was not accepted policy for Navajos. He decision to do this was decided by a lack of enough apprentices to whom he could teach his chants. Sand painting weaving was a way of keeping the chants from being lost. He did it with great caution, in fear of upsetting the deities who would be evoked in these permanent images.
    During his life journey, he developed a deep & lasting friendship with Mary Cabot Wheelwright. Together, they formed the Museum of Navajo Ceremonial Art in 1937, known today as the Wheelwright Museum. Mary Wheelwright released this book after his death in 1937