Navajo Night Chant and the Sacred Dark by Sara Wright

With Winter Moon’s passage and the approach of the winter solstice just a little less than a week away I am much aware of the (potential healing) dwelling place that I inhabit that also characterizes these dark months of the year.

Unfortunately, even those who acknowledge our seasonal turnings rarely honor the dark as sacred. At the winter solstice the emphasis is still on light.

As Carol Christ writes so succinctly we manage to celebrate light at both solstices – at its apex and at its return.

This attitude reveals to me an inability to be present to dark, in both its generative and non-generative aspects. The original inhabitants of this country honored the dark months of the year very differently than westerners do. Their most important ceremonies occurred during the winter months. Both aspects of the dark were acknowledged and explicated through ceremony. What follows is a history of one of the Navajo healing ceremonies that occur only during the winter months of the year.

The Navajo Night Chant is part of Native American religious tradition. The history of Native American cultures dates back thousands of years into prehistoric times. According to many scholars, the people who became Native Americans migrated from Asia across a land bridge that may have once connected the territories presently occupied by Alaska and Russia. The migrations, believed to have begun between 60,000 and 30,000 B. C. E., continued until approximately 4,000 B. C. E. This perspective, however, conflicts with traditional stories asserting that the Indigenous Americans have always lived in North America or that tribes moved up from the south.

The historical development of religious belief systems among Native Americans is not well known. Most of the information available was gathered by Europeans who arrived on the continent beginning in the sixteenth century. The data they recorded was fragmentary and oftentimes of questionable accuracy because the Europeans did not understand the native cultures they were trying to describe and Native Americans were reluctant to divulge details about themselves.

The nine-night ceremony known as the Night Chant is believed to date from around 1000 B. C. E., when it was first performed by the Indians who lived in Canyon de Chelly (now eastern Arizona). It is considered to be the most sacred of all Navajo ceremonies and one of the most difficult and demanding to learn, involving the memorization of hundreds of songs, dozens of prayers, and several very complicated sand paintings. And yet the demand for Night Chants is so great that as many as fifty such ceremonies might be held during a single winter season, which lasts eighteen to twenty weeks.

The Navajo call themselves Diné, meaning” the people.” Their deities are known as the Holy People, and include Changing Woman, Talking God, the Sun, Earth, Moon, and Sky.

The Night Chant is designed both to cure people who are ill and to restore the order and balance of human and non -human relationships within the Navajo universe as part of one process. It’s worth repeating: The two are not separated.

Led by a trained medicine man who has served a long apprenticeship and learned the intricate and detailed practices that are essential to the chant, the ceremony itself is capable of scaring off sickness and ugliness (cruelty etc) through the use of techniques that shock or arouse. Once disorder has been removed, order and balance are restored through song, prayer, sand painting, and other aspects of the ceremony. It’s important to note that this is a two – step process.

On the day of the chant, crowds gather expectantly outside the lodge where rehearsals have been taking place. The outdoor area in which the ceremony will be held is cleared of spectators, and many fires are lit to take the chill out of the night air. The dancers, who represent the gods, are led in by the medicine man and the maternal grandfather of the gods, along a path of meal that has been laid down for them to follow. The patient emerges from the lodge, sprinkles the gods with meal from his or her basket, and gives each one tobacco. The medicine man intones a long prayer for the patient, repeating each phrase four times. At no time is the patient’s illness separated from the disharmony that occurs around him in Nature. Afterwards the four gods dance, moving rhythmically back and forth, hooting at the end to denote the gods’ approval.

The original Night Chant involved four groups who danced twelve times each with half-hour intervals in between-a total of ten hours. The dance movements involve two lines facing each other. Each of the six male dancers takes his female partner, dances with her to the end of the line, drops her there, and moves back to his own side. The chant itself is performed without variation and has a hypnotic effect on the listeners.

The medicine men who supervise the Night Chant insist that everything-each dot and line in every sand painting, each verse in every song, each feather on each mask-be arranged in exactly the same way each time the curing ceremony is performed or it will not bring about the desired result. There are probably as many active Night Chant medicine men today as at any time in Navajo history, due to the general increase in the Navajo population, the popularity of the ceremony, and the central role it plays in Navajo life and health.

The use of masks, sacred bundles, and sand paintings are all used during this healing ritual. Masks are vital to the application of many “medicines”. They also play a vital role in the initiation of the young. The masks of the female goddesses are actually worn by men, since women are not allowed to minister to the person for whom the chant is being sung.

The sacred bundle is made up of the medicine man’s ritual objects; special feathers, stones, bones, a blade made of flint and pollen to help him effect a cure.

The purpose of the sand paintings is to allow the recipient to absorb the powers depicted in the painting, often by sitting or sleeping on it. It is considered wrong-if not downright dangerous-to reproduce these sand paintings in any way, since they might attract the attention of the gods to a situation where no real healing is intended.

That these healing “work” within the Navajo Universe which includes all of Nature makes sense to me because there is a wholeness to the healing process.

Here are two brief excerpts of the Night Chant that I particularly like.

The first addresses the need to restore balance and harmony to a soul, spirit, body that has been diseased or left alone to deal with bad feelings that others have projected (arrows of harm) because they cannot own their own feelings, or because of a collective need to blame, two aspects of the same problem. What I like best is that there is an acknowledgement that there are natural forces, gods, and people who can create this psychic/physical darkness but that acknowledging these forces can shift the person into a more balanced state. One of Peace.

(There is also an element of absolute trust that this is so…)

Restore my body for me.
Restore my mind for me.
This very day remove your spell from me.
Your spell you have removed from me.

You have taken it away for me.
Far away it has gone.

The second excerpt addresses the healing that occurs for the individual in the context of the whole of Nature. The relationship between humans and the natural world is restored.

Peacefully may I walk.
Peacefully, with abundant dark clouds, may I walk.
Peacefully with abundant showers, may I walk.
Peacefully, with abundant plants, may I walk…
As it was long ago, may I walk.

In Beauty may I walk
In Beauty it is finished.”

 I find that writing about this ritual has a healing effect on me. It’s as if the writing brings the ritual to life in some non – ordinary way – and so it may be.


Sara is a naturalist, ethologist ( a person who studies animals in their natural habitats) (former) Jungian Pattern Analyst, and a writer. She publishes her work regularly in a number of different venues and is presently living in Northern New Mexico.


Author: Sara Wright

I am a writer and naturalist who lives in a little log cabin by a brook with my two dogs and a ring necked dove named Lily B. I write a naturalist column for a local paper and also publish essays, poems and prose in a number of other publications.

10 thoughts on “Navajo Night Chant and the Sacred Dark by Sara Wright”

    1. Yes, this is where we see the problem… I am very interested in finding out how far back this bias goes… from what I can gather it’s been a part of the Navajo tradition for a long time. And I wonder why this is so. Here in the pueblos we do not see that bias – the Pueblo people honor both women and men equally.


  1. Very interesting! Where did you learn about the Night Chant and the individual chants? Have you participated in these ceremonies? The healings must be wonderful. Bright blessings!

    But maybe, these being modern days, the work could be led by women instead of men??


    1. Unfortunately the male bias continues to be part of the present tradition – distressing as it is.

      I have done a lot of research on the Native peoples that inhabit the surrounding areas here in Northern New Mexico because these people are part of the context in which I live…

      And because I have Native American roots…


  2. Very interesting and beautiful. I wonder if the part about the goddess masks being worn by men since women were not allowed to minister to the person has been the way always or if it came into being after the European invasion and conquest of this continent. And this is one more similarity I see between the worldview of the ancient Celts and that of Native Americans – all based in a reverence of nature and a continual seeking of balance between humans and our natural world.

    Liked by 1 person

    1. Judith, I thought at first that the Europeans must have influenced these people but can find no supporting evidence…

      The similarities between Indigenous peoples on all continents are striking aren’t they?

      They are also based on having relationships with all aspects of Nature – leaving these folks open to receiving ( by inhabiting a body) on a level that is foreign to most westerners.

      We have to teach ourselves to be open to receiving especially from Nature…


  3. Thank you for this piece … so beautiful and healing. I felt two thoughts arise:

    One is how I treasure the dark season to such an extent that I find myself grieving the increase of light; not in an out of balance way, but simply as you remark that there is so little appreciation for the Sacred Dark. I find myself staying up later into the night so as to experience as much of the dark as possible.

    Two is you ending that “I find that writing about this ritual has a healing effect on me. It’s as if the writing brings the ritual to life in some non – ordinary way – and so it may be.” This has been apparent within me as well, many many times … whether I am enacting an established ritual or creating one of my own, as I prepare ahead of time for the ritual I have often found no need in the end to act it out because the healing (or links or whatever it was for) have already been energized and born into the world around and within me.

    Blessings … may you walk in beauty and peace.


  4. Darla, I too grieve the coming of light for the same reason… and because I too celebrate ritual and prepare ahead I find that the intentions/releasing have already begun – it seems as if it is the act of writing helps me to tap into whatever it is that needs to happen. So fluid…and mysterious this process.

    Liked by 1 person

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