Post Thanksgiving Thoughts

Here are links to two postings featuring Native Americans here in Central New York State and Arizona.

Travel to Canyon De Chelly…..

Portrait of a Navajo Guide

The New York State Fair, north of the Onondaga Reservation…..

Native American Dance Demonstration

 

Enjoy!!!

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Canyon of Music, Wind, Light

there if you want to see it

Canyon de Chelly View
Looking southwest from the Canyon de Chelly visitor center toward the eastern escarpment of Black Mesa of the Hopis.

The village of Chinle is a “census designate place”, in other words it only exists because people live there, it was not formally recorded in “official” records. On the Navajo reservation, people lived here beyond recorded time. It is called in their language “flowing out”, where live giving water flows out from the canyons.

There is a fine Best Western in Chinle, better than most of that brand and the only choice for mile and miles and miles.

Navajo Hogan
This is a cribbed log hogan. The domed earthen roof keeps the interior cool in hot weather and, along with a fire, warm in the winter. The Navajo hogan entrance faces east.

In Junction Ruin Musings, the previous post, a ruin from the Anasazi people was contemplated. Above is a traditional Navajo dwelling from a later, more secure, time.

Ramadan for shade
A good place to cook, read and sleep in hot weather. The entrance faces east and, for this one, the view was superb.

Ouch!!
Ouch!! Everywhere in the southwest, watch where you tread.

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Pictographs Canyon De Chelly

Music

A Native American, seeing the flute playing Kokopelli, hears in the mind the sonorous melodies of their native flutes carried in as if on the wind. The hands waving in rhythm, “Here we are.”

Clan Sign Petroglyph
Canyon de Chelly symbol carved into red sandstone cliff representing a clan sign.

I recall our guide, Peter, describes this as a scorpion.

Desert Varnish Petroglyph
Canyon de Chelly petroglyph, desert varnish over red sandstone. Image is dated by representation of horses, brought by europeans.

The feeling of movement and the story invoked viewing this drawing etched carefully on the rock demonstrates we are in the presence of an accomplished artist. The story of the times for us to learn from.

Raven Woman
Red sandstone formation on ridgeline, north side of Canyon de Chelly is remember by the Navajo for the story of the Raven Woman.

A Navajo woman, fleeing Apache captors, flew over this cliff, or seemed to. Survival depended on knowing how to run over slickrock without stumbling and to know where and how to disappear into the rocks.

South Cliffs below Junction
Canyon de Chelly below the first division into tow arms, the junction. This is looking south east. The cottonwoods are in autumn foliage.

Light

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Juniper o Slickrock
Cahyon de Chelly is is possible here to climb out of the canyon over these lower slopes over what is called slickrock. In the foreground is a juniper tree.
Breadth, Light, Shadow
Canyon de Chelly vista from a slickrock ledge
Beetle on Slickrock
A two inch dung beetle crawls up sandstone slickrock, the origin of this stone apparent from the visible sand granules within an apparent clay matrix. The stone grain, described as cross bedded, suggests this was a former dune of wind blown sand composed of remnants of the Ancestral Rock Mountains.

Wind

Click for the first posting of this series, “Portrait of a Navajo Guide”.

Click for the next posting in this series, “Moon Fin”

Copyright 2017 Michael Stephen Wills Photography

Ledge Ruin Musings

a window in time

Canyon de Chelly, on the map, is shaped like a Y or a chromosome.  A chromosome as the walls of the canyon carry the heritage of the people who made this place their home over millennia.  A Y as in the letter ship, a foot and two arms.

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6.2 miles from the canyon mouth, where the road ends at Chinle, above the branch, on the north cliff, is this photogenic ruin, called the Ledge Ruin.  In my previous posting, this ruin forms the backdrop of Peter Tsosie’s portrait.  Peter is the header image of this posting.

Junction Ruin

Difficult to believe, seeing it for the first time.

Difficult to see, a tiny nook in an enormous cliff, the structures formed from the same rock as though what remained after the cliff fell away.

Difficult to comprehend life there, what drove them to this effort? Fear, certainly, concern for their safety and security.

We know it by our name.  Their name included the word “home.”

Click for the first posting in this series, “Portrait of a Navajo Guide”.
Click for the next posting of this serries, “Canyon of Music, Wind, Light”

Portrait of a Navajo Guide

a window in time

On November 3, 2004 my son, Sean, and I made our way to Chinle, Arizona on the Navajo Reservation at the mouth of Canyon de Chelly.

The next day, driving a rented 4 wheel drive, we arrived at the visitor center, at dawn, and there met Peter Tsosie who worked as a guide. This is how you do it, if learning about the Canyon is your goal. It is possible to walk, unaccompanied, into the canyon to view the “White House” and this I highly recommend. Tourists can also drive around the rim to various overlooks. This is what most people do.

The canyon is still farmed and the tribe only allows visitors when accompanied by a guide. Only Navajos are certified as guides. They know the rights of way and the preferences of the landowners.

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We negotiated with Peter to take us for half a day for our interest in petroglyphs and ruins. It is important to start early when the sun is low in the sky, when directly overhead the details of ruins and petroglyphs are washed out by the light. Catching the late afternoon/evening sun is also an approach that requires detailed knowledge of the route, taking into account the time of year.

Peter was an excellent choice, though he was our only option on that day. He was fluent in Navajo beliefs, the lore of the canyon and generous in sharing what he knew.

Here is Peter, approximately 6.2 miles into the canyon with the “Ledge Ruin” behind. We arrived at the junction just in time, before the sun was high enough to wash out the ruin. It is slow going into the canyon what with the deep sand and water that must be negotiated. Peter did the driving and was expert. We passed other parties bogged down in the wet sand. I do not believe it was luck that kept us moving . We stopped many times to talk and admire the petroglyphs and pictographs.

Peter Tsosie,

Petroglyphs are symbols incised, or cut, into the surface (the name means petro, “rock”, glyph, “symbol”). In the desert climate of the southwestern USA a thin, dark pigment forms on rock surfaces of overhanging cliffs. The pigment forms from infrequent precipitation, in the form of water, flowing downward over the surface or even dew. The high heat of the desert drives a chemical reaction between water, clays, iron and manganese oxide to form a coating on the rock surface. The dark coating, called “desert varnish”, contrasts with the underlying rock. When it is scraped away a line forms. Many of the petroglyphs were of this form. Others were carved into the rock itself, more time consuming and durable. No one knows when the petroglyphs were made, they were always there are respected. People have inhabited Canyon de Chelly for over a thousand years.
The word pictograph has a different meaning when used to describe prehistoric art. The earliest writing were symbols incised in wet clay, then allowed to harden. The pictographs we viewed was prehistoric art, mostly white pigment on the red rock, outlines of hands. There were also kokopelli, the outline of a flute player and jagged lines, symbolizing, Peter told us, lightening.

In November the cottonwoods were in fall foliage, a brilliant yellow under a cloudless sky. The sun is lower in the south and rises later. The Navajo Reservation follows daylight savings time, unlike Arizona. This November morning the sun rose around 7:45 am, so if you are not an early riser this time of year is an excellent choice for a Canyon de Chelly tour.

Click for the next posting in this series, “Junction Ruin Musings”

Copyright 2017 Michael Stephen Wills Photography