ABOUT THUNDERHANDS



About Me: "Wakiya" (Thunder)
I am a Tribal, Musician, Writer, Artist. I try to walk the path and have studied the tradition of the "Wisdom keepers" like Lame Deer, Fools Crow, Black Elk, and Rolling Thunder from the tribes of this region, and Lao Tzu, Buddha, Bodhidharma, Yeshua, and other enlightened ones from the many various tribes of the earth. I understand the worlds religions and belief systems, and realize the division this can cause by the lack of understanding the "real message" from the Masters. My intention, and life's prayer is to try to live in harmony with Grandmother Earth, Grandfather sky, (Nature) and "the spirit that moves in all things," and help in any way I can to build a bridge between all men and tribes so they can walk their path in a manner that will benefit themselves, the Earth and others. I open up, and ask Great Spirit, The creator, The Tao, The Universe, to work and direct healing and positive energy through me by different means, like the Flute, drums, Words, Prayer, and Touch. I try to be loving and accept others from the heart, and practice forgiveness. I honor all people, the winged one's, and four legged ones considering us all equal, not one being above another. I honor the bountiful Harvest from Mother earth in the form of plant life, water, air and herbs which sustain our oneness with her. I pray all tribes should re-unite as one, so we may protect the planet and live in harmony. Within you, without you.

Mitakuye Oyasin
( all my relations)
Wakiya

Friday

Navajo Sand Paintings



Painting: Coyote Steals Fire



SAND PAINTING
Sand-paintings are another unique and symbolic art form originating with the Holy People who lived in the underworld. Sandpaintings were, and still are, primarily ceremonial.

Depicting the tools used by the Holy People, which were strictly intended for ceremonial purposes, sand paintings represent an array of ceremonies and sacred songs. However, today many artists create pictures of ceremonial figures for commercial purposes. Sand painting in itself is not forbidden as long as Holy people are not depicted.

Tribal legend indicates that most Dine' arts and crafts sprang from roots that began with the Holy People. Virtually everything a Dine' says or does is somehow linked with his cultural past, consequently they help him set the course for the future. Dine' land is, as it has always been, a land in transition, a blending of the past and the present, reaching out confidently to embrace the future.

This sand-painting is similar to one that is done during a Blessing Way ceremony. The representation of Sun Father is in the center, the four sacred plants like spokes from the center, and four deities. As with all ceremonial paintings, each symbol has specific meaning with its own story and chants.

The Eagle Dancer kachina is beautifully adorned and displayed in sand art. The Dine' believe the universe to be delicately balanced. Only man can upset it, causing disaster and/or illness. Each illness or disaster has a particular part that is related to a portion of Dine' history. Balance is restored in the universe by healing the offender with chants, herbs, prayers, songs, and sand-paintings.

The Healer (Medicine Man) or Singer goes to the offenders hogan. Restoration begins with chanting accompanied by rattles and recounting adventures of Dine' heroes.

The sand painting is begun on a bed of clean white sand on the dirt floor, Mother Earth.

Sand paintings are created with an opening facing east - the same direction as the door to the hogan, to make it difficult for evil to enter. In the sand-painting design itself, the rainbow yei is used to provide protection for the design.

Each design and figure must be produced carefully and in a knowledgeable way, using only the five sacred colors of sands. Every detail must be completed with exactness, or the harmony of the universe will not be restored, but worsened.

Decorative variations can be left out, but never introduced to a ceremonial sand-painting.

Some symbolic designs provide additional power or strength; i.e., buffalo
horns added to increase the dosage. When the sand-painting is completed, the patient is seated in its center.

The Medicine Man then touches a particular place on the painting and relays the medicine by touching the patient, restoring harmony and health.

The sand painting is then erased and swept into a blanket. Before sunset, it is carried outside and blown into the wind, returning it to Mother Earth so that trapped evil forces will not escape. sand-paintings which are done at night ceremonies are similarly destroyed before sunrise.

There are more than a thousand ceremonial sand-paintings; less than half are produced today. Many are only in the memories of Medicine Men and unless they are recorded in some way, will be lost as these old men die off.

In addition to healing, sand-paintings have been used to relate folklore stories. One of the most common is the Coyote Stealing Fire part of the Dine' creation story.

1 comment:

Anonymous said...

wonderful