Tag Archives: Cherokee

Cherokee Seven Direction Dreamcatcher

For the past few years I have been sitting with the Cherokee concepts of seven directions. I knew that I wanted to create something to physically represent the concepts held within these seven directions. However I couldn’t quite figure out how to do this….then during a Labor Day backpacking trip, things just fell into place with a picture of what could be. Though the final result was a bit different, the concepts and points given to me by the Creator on that trip stayed the same. And with that, I would like to share the seven directions with you all. =)

The Seven Directions

Like a lot of Indigenous people across Tuttle Island (i.e. North America), the Cherokees assigned a color and a meaning to each the four cardinal directions:

  • East -> red -> success; triumph
  • North -> blue -> defeat; trouble
  • West -> black -> death
  • South -> white -> peace; happiness

What is unique (at least as far as I’ve been able to determine) is that the Cherokees recognize three other directions:

  • Above -> yellow -> the sky above
  • Below -> brown -> the earth below
  • Center -> green -> where we are right now

Though I’m still researching the symbolism of the latter three, I do know that ‘above’ doesn’t represent ‘heaven’ nor does ‘below’ represent ‘hell.’ Heaven and hell are Greco Roman concepts that were combined with Hebraic thought through the move of Christianity into Europe.  Cherokee cosmology has a different outlook on those directions of which I have barely scratched. Hopefully I will be able to understand more about them as time goes on…but for now just know that ‘above’ and ‘below’ are separate from the modern cultural concepts of ‘heaven’ and ‘hell.’

Praying to the Directions

For a lot of Indigenous people prayers physical in nature. We will commonly turn to the four directions (east, west, north, & south) while praying to the Creator. It is a way to physically connect with our surroundings while lifting our voice to the Lord. I would connect this to the ancient Hebraic practice of sacrifices or the offering of incenses at the Temple. Both practices include a physical action in conjunction with prayers to the Creator. Modern Christian practices along these lines include prayer walking, pacing during prayer meetings, dancing, flag waving, clapping, etc. The primary difference being, of course, that these latter actions aren’t necessarily done in a specific order whereas praying to the directions includes turning to face a certain direction before saying a prayer.

In pondering the seven directions of the Cherokees, there have been times when I have physically faced each of the directions while giving thanks to the Creator. Though it seemed strange at first, there is something refreshing about having a physical response to act out while praying. It is also a good reminder that Jesus surrounds and protects us from harm in all directions. I would liken it to Saint Patrick’s Breastplate:

Christ with me, Christ before me,

Christ behind me, Christ within me,

Christ beneath me, Christ above me,

Christ at my right, Christ at my left,

The 8th section of Saint Patrick’s Breastplate

Dreamcatchers

As you all no doubt noticed from the title and below picture, the end result of my art project was a seven direction dreamcatcher. This was because the circular structure of the dreamcatcher just seemed to fit with the theme and concepts I wanted to convey. Historically dreamcatchers are from the Ojibwe people of the Great Lake region and southern Canada. They were adopted as a generic symbol of identification for Native Americans/First Nations cultures during the Pan-Indian Movement of the 1960s/70s. The mainstream public also started seeing them around this time with dreamcatchers being a craft item in the 80s and 90s.

Among the Ojibwe people, dreamcatchers were associated with Asibikaashi (Spider Women) who would protect them from harm by weaving a spider web around them. Hence the spider web design of the dreamcatchers. Noting, of course, that the Ojibwe concept was less about dreams and more about protection from harm in general. The dream component became attached to the object as it went out from the Ojibwe to the rest of the country.

Though I’m not one for charms, I do like the symbolism of the dreamcatcher with protection. It goes back to Saint Patrick’s Breastplate and the prayers to the seven directions for Christ to surround us with his protection. Psalm 91 would be a good example of prayers of this type as would Psalm 139. This latter psalm, by the way, includes several of the seven directions as King David declares the presence of the Creator around himself:

You know when I sit and when I rise;

you perceive my thoughts from afar.

You discern my going out and my lying down;

you are familiar with all my ways.

Before a word is on my tongue

you, Lord, know it completely.

You hem me in behind and before,

and you lay your hand upon me.

Psalm 139:2-5, NIV

The Materials

I have often said that the way in which you do something is just as important as what you do. In this case, I sought out seven different biological materials to form the foundations of my seven direction dreamcatcher. Circles were used as a primary design motif due to the symbolism of circles in the cycle of the seasons, life, time, and nature itself.  I initially wanted seven circles (one per direction) but in the end I went with six circles due to the ease of construction and overall look.

The rings themselves are made of the following materials:

  • East -> pine -> One of the few trees who stayed awake throughout the seven days of the Cherokee creation story. Since the east is the direction of creation, I placed the pine ring in that direction.
  • North  -> aspen -> When I think of the north, aspen trees come to mind as they are native to the colder regions of North America. Hence the placement of this wood.
  • West -> sage  -> Sage is a ceremonial plant for many Native Americans and is burned when praying as a way to purify oneself. I figured that since the west was the direction of death, it could use some extra prayer and purity.
  • South  -> corn  -> South is the place of happiness and peace to the Cherokee. Hence I used the leaves of the corn plant as the foundation under the white leather in remembrance of Selu the Corn Mother.
  • Up Above and Down Below  -> willow -> Running through and surrounding the other directions is a large ring of willow which represents Jesus of Nazareth through whom all things that were, are, and will be made (e.g. John 1:3, Col 1:16). The weeping nature of the willow played a part in choosing this wood as Jesus wept over Jerusalem when the people failed to respond to his call to walk with him in peace and love (Luke 19:41-44). Furthermore, willows need a lot of water to survive hence why they are normally found near creeks and rivers. Hence the connection (at least in my mind) with the living water of the Holy Spirit that flows throughout Creation (Revelation 22:1-5).
  • Center  ->  oak  -> The oak tree was an important part of Cherokee life with acorns being ground up to make bread, the inner bark used in baskets, and the wood itself used to keep the Sacred Fire alive. Hence the usage of this wood to create the center ring of where each us stands. This is the place where we are; where we live and breathe.

In addition to the six rings, there is a collection of other material used within this dreamcatcher. Below are some thoughts on these items:

  • The Weave – At first I wasn’t sure about the weave as dreamcatchers aren’t really my style. However as I thought about it, I like the concept of the Holy Spirit weaving his way throughout the seven directions and within our lives. He is the one, after all, who calls us toward the Cross which is in the center of life (John 14:15-17).  
  • The Cross – Inside the center ring is a small cross made of spruce. Similar to the pine, the spruce tree stayed awake throughout creation and therefore was blessed with the gift of staying green year-round. The Cross, though bloodied with death and pain, forms the genesis of a new life in and through Jesus. It is a symbol of what was and what is to come.
  • Beads – There are seven small beads within the three center circles (west, center, and east). The three larger gray ones are jasper while the four smaller ones are mahogany obsidian. The mahogany obsidian bead represents the blood of Christ that saves us (east), is saving us (center), and one day will save us (west). There are four obsidian beads in each of the three groups of seven for the four gospel letters which tell us the story of Jesus while the total of 12 is for the twelve apostles who walked with Christ. The three jaspers in each group of seven are for the Trinity (Father, Son, and Spirit). Surrounding the center ring within the weave itself are four jasper beads for the four winds that blow across the earth carrying with them the Spirit of the Living Creator (John 3:8).  
  • Feathers – The feathers are more for me than to share as some things are better left a mystery. Just know that they have a personal meaning that are not connected to the seven directions. =)

Top Cherokee History Books

A quick review of nine (9) great history books about the Cherokee Nation.

Below are the books included in the review in order of appearance:

Two bonus books referenced in my video:

HOW THEY BROUGHT BACK THE TOBACCO: A Holy Spirit Reinterpretation of an Old Cherokee Story

In the beginning of the world, when people and animals were all the same, there was only one tobacco plant, to which they all came for their tobacco until the Dagûlʻkû geese stole it and carried it far away to the south. The people were suffering without it, and there was one old woman who grew so thin and weak that everybody said she would soon die unless she could get tobacco to keep her alive.

Different animals offered to go for it, one after another, the larger ones first and then the smaller ones, but the Dagûlʻkû saw and killed every one before he could get to the plant. After the others the little Mole tried to reach it by going under the ground, but the Dagûlʻkû saw his track and killed him as he came out.

At last the Hummingbird offered, but the others said he was entirely too small and might as well stay at home. He begged them to let him try, so they showed him a plant in a field and told him to let them see how he would go about it. The next moment he was gone and they saw him sitting on the plant, and then in a moment he was back again, but no one had seen him going or coming, because he was so swift. “This is the way I’ll do,” said the Hummingbird, so they let him try.

He flew off to the east, and when he came in sight of the tobacco the Dagûlʻkû were watching all about it, but they could not see him because he was so small and flew so swiftly. He darted down on the plant—tsa!—and snatched off the top with the leaves and seeds, and was off again before the Dagûlʻkû knew what had happened. Before he got home with the tobacco the old woman had fainted and they thought she was dead, but he blew the smoke into her nostrils, and with a cry of “Tsâ′lû! [Tobacco!]” she opened her eyes and was alive again.

The above story was recorded by James Mooney in the late 1890’s during his time with the Eastern Band of Cherokee Indians and the Western Cherokees in Indian Country (i.e. Oklahoma). Tobacco to the ancient Cherokee was a sacred plant that was used as the “guarantee of a solemn oath in nearly every important function—in binding the warrior to take up the hatchet against the enemy, in ratifying the treaty of peace, in confirming sales or other engagements, in seeking omens for the hunter, in driving away witches or evil spirits, and in regular medical practice.” As such, loosing access to the tobacco plant was a bad thing that caused a lot of harm to the People. To help the People, the Hummingbird braved the circle of Dagûlʻkû geese and took back some leaves and seeds so that the Cherokee could regrow the plant and be restored.

Accordingly, it is said that the Hummingbird is the hero of the story with the Dagûlʻkû geese being the antagonist. However, I’m wondering if there isn’t another way to read this story in which these roles are switched. Stories, after all, typically have layers of meanings within them that come to light depending on the situation at hand. They are not meant to be static text but rather dynamic tellings that help us navigate this crazy world.

As a proponent of the Holy Spirit being the Wild Goose (An Geadh-Glas), I see the workings of the Spirit in the actions of the Dagûlʻkû. In his last hours, Jesus of Nazareth told his followers that he would send the Holy Spirit to guide them into truth and “convict the world concerning sin and righteousness and judgment” (John 16:8). Because of this job, the Spirit sometimes must get our attention and let us know that what we are doing isn’t healthy.

Photo by Eberhard Grossgasteiger

Therefore when the Dagûlʻkû steals the tobacco from the People, he isn’t doing it out of spite or to harm the Cherokees. Rather he is trying to bring them to the understanding that tobacco isn’t the ‘thing’ that is going to save them. The only true savior of the People is the Creator himself who brings health, peace, and balance to our lives. Our guarantee for life isn’t found in a plant, but rather in the Spirit himself who is our seal of salvation (Eph. 1:13).

This interpretation of the story gains strength when you realize that the Dagûlʻkû flew south with the tobacco. To the ancient Cherokee each of the four cardinal directions had their own symbolic meaning. Mooney records that Power (War), Peace, Death, and Defeat were the symbolic meaning of East, South, West, and North respectively. When the Dagûlʻkû flew south, he went towards peace and happiness rather than west which would have been death. This is a small detail, but an important one when considering the value of the tobacco plant to the Cherokees. The ‘theft’ of their sacred plant didn’t usher in pain and death, but peace and happiness.  

The Hummingbird, when he left, flew east towards power, war, and success. This direction foreshadows the recovery of the sacred tobacco as told within the story. Though the old woman is healed (or resurrected?) by the smoke of the plant, she will eventually die again. There are a lot of things in this world that bring temporary health to our lives even though the end is actually death. Fame, wealth, pride, greed, and selfishness are few ‘plants’ of this world that we seek after – and may even find – only to discover that they leave us empty and hollow. After all, like the Red Letters say, “What does it profit us to gain the world but lose our souls?” (Mt 16:26)

Something to think about. And in pondering it, perhaps you may see that it is right.

History, Myths, and Sacred Formulas of the Cherokees

James Mooney (from Wikipedia.org)

In reading various books on the history of the Cherokee people I kept hearing one name mentioned repeatedly: James Mooney. So, I bought his book. =)

Mooney was a first-generation Irish American who grew up on the stories of the old country. As a teenage in the mid-1800’s he started to memorize the names of all the Native American tribes in the North America. This led to a job with the newly formed Bureau of American Ethnology. From that point one Mooney would dedicate his life to recording the stories of the Cherokees and other Native American tribes across the country.

His first book, The Sacred Formulas of the Cherokee, was published in 1891. Nine years later in 1900 his masterpiece Myths of the Cherokee was released. The first half of this book is devoted to telling the history of the Cherokees from their first contact with European explorers in the 1500’s to the end of the nineteenth century.

In order to gain the information necessary for these books, Mooney spent years living among the Cherokees. Most of the time he was in North Carolina and Georgia among the Eastern Band of Cherokees, which were those people who remained in the ancestral land after the Trail of Tears (1838-1839). However, he did make a few visits to Cherokee Nation in Oklahoma (then Indian Territory) to collaborate the stories he was hearing in the east.

On a personal level, it was awesome to hear the stories my ancestors would have told each other. Stories about creation, the animals, and the land. In researching my family, I discovered that my great-great-great grandfather Zachariah T. Langley would have been in and around the area Mooney was in the 1880s. Both he and his son, John W.D. Langley, was listed on the Eastern Band’s rolls during this time before moving to Oklahoma in 1890. Most of Zachary’s family, including his mother, would stay in the east among the Eastern Band.

The tribe was introduced to Christian in the early 1800’s. Recognizing the shifting cultural tide, the tribal leaders invited the Moravian Church to start a school within the nation. This opened the door to other groups, most of which were helpful to the Cherokee Nation as a whole. As in, several Christian pastors fought for the tribe against the US Government during the 1830s when the government was forcing them to move west. Though it would be remiss of me if I didn’t note that there were other Christian leaders who were not so kind to the Cherokees. History, like today, is a mixed bag of good and evil.

John W.D. Langley and family

As a side note, I think it is really cool that the Moravian were the first group to engage the Cherokee people. My own personal faith journey was impacted by the history and writings of the Moravian as longtime readers of this site will no doubt know. Though I have yet to personal meet anyone who journeys within that stream of the faith, they have left an impact upon my soul.

In the interest of time I will end this review. It is enough to say that I am incredible thankful for James Mooney’s foresight to record the stories of my people. I am also grateful to the elders of the tribe who told the stories to him. It is a blessing to be able to read these stories over a hundred years later.

Grace and peace.