,transcriber's ,notes3 #a7 ,there are a number of words in the native language that appear to mean the same thing1 but have different accents4 ,it is unknown if this is intentional or a printing error - these have been left as printed4 eg3 ,nuleaga _/ nuleaga 444 ,takinaka _/ takinaka _/ ,takinaka 444 ,wahok _/ wahok #b7 ,characters with diacritical marks are noted as follows3 ,acute 'x macron x combined 'x ,macron 7below7 x ,dot above 4x ,breve 7x 99 99 99 99 99 ,,university ,,of ,,pennsylvania ,,the ,,university ,,museum ,,anthropological ,,publications ,,vol4 ,,vi ,no4 #b ,,the ,,dance ,,festivals ,,of ,,the ,,alaskan ,,eskimo ,,by ,e4 ,w4 ,,hawkes ,,philadelphia ,,published ,,by ,,the ,,university ,,museum #aiad ,,contents ,,page ,,introduction #e ,,phonetic ,,key #g ,,the ,,dance ,,in ,,general #i ,,the ,,chorus #aj ,,participation ,,of ,,the ,,sexes #aa ,,the ,,kasgi ,,or ,,dance ,,house #ac ,,paraphernalia #ae ,,the ,,dance ,,festivals #ai ,,the ,,asking ,,festival #bb ,,the ,,bladder ,,feast #bf ,,the ,,feasts ,,to ,,the ,,dead #bi ,,the ,,annual ,,feast1 ,,ail',i,,gi #ca ,,the ,,great ,,feast1 ,,aithuk',a,,tukhtuk #cc ,,the ,,feast ,,givers #cd ,,the ,,ritual #ce ,,the ,,clothing ,,of ,,the ,,namesakes #ch ,,the ,,inviting-,,in ,,festival #dj ,,introduction ,this account of the ,dance ,festivals of the ,alaskan ,eskimo was written from material gathered in the ,bering ,strait ,district during three years' residence3 two on the ,diomede ,islands1 and one at ,st4 ,michael at the mouth of the ,yukon ,river4 ,this paper is based on my observations of the ceremonial dances of the ,eskimo of these two localities4 ,,phonetic ,,key a1 e1 i1 o1 u1 long vowels4 a1 e1 i1 o1 u1 short vowels4 ae1 as in hat4 a1 as in law4 ai1 as in aisle4 au1 as ow in how4 h1 w1 y1 semivowels4 c1 as sh in should4 f1 a bilabial surd4 g1 as in get4 'g1 a post-palatal sonant4 k1 as in pick4 l1 as in lull4 m1 as in mum4 n1 as in nun4 ng1 as ng in sing4 p1 as in pipe4 q1 a post-palatal surd4 4r1 a uvular sonant spirant4 s1 as in sauce4 t1 an alveolar stop4 tc1 as ch in chapter4 v1 a bilabial sonant4 z1 as in zone4 99 99 99 99 99 ,,the ,,dance ,,festivals ,,of ,,the ,,alaskan ,,eskimo ,,the ,,dance ,,in ,,general ,the ceremonial dance of the ,alaskan ,eskimo is a rhythmic pantomime--the story in gesture and song of the lives of the various ,arctic animals on which they subsist and from whom they believe their ancient clans are sprung4 ,the dances vary in complexity from the ordinary social dance1 in which all share promiscuously and in which individual action is subordinated to rhythm1 to the pantomime totem dances performed by especially trained actors who hold their positions from year to year according to artistic merit4#a ,yet even in the totem dances the pantomime is subordinate to the rhythm1 or rather superimposed upon it1 so that never a gesture or step of the characteristic native time is lost4 ,this is a primitive #b-d beat based on the double roll of the chorus of drums4 ,time is kept1 in the men's dances1 by stamping the foot and jerking the arm in unison1 twice on the right1 then twice on the left side1 and so on1 alternately4 ,vigorous dancers vary the program by leaping and jumping at intervals1 and the shamans are noted for the dizzy circles which they run round the pugyarok1 the entrance hole of the dance hall4 ,the women's dance has the same measure and can be performed separately or in conjunction with the men's dance1 but has a different and distinctly feminine movement4 ,the feet are kept on the ground1 while the body sways back and forth in graceful undulations to the music and the hands with outspread palms part the air with the graceful stroke of a flying gull4 ,some of their dances are performed seated4 ,then they strip to the waist and form one long line of waving arms and swaying shoulders1 all moving in perfect unison4 #a ,this characterization applies to the ,alaskan ,eskimo only2 so far as is now known the other ,eskimo branches do not have totemic dances4 ,,the ,,chorus ,the chorus which furnishes the music1 is composed of from six to ten men4 ,they sit on the in'glak1 a raised shelf extending around the dance hall about five feet from the floor1 and sing their dance songs keeping time on their drums4 ,they usually sit in the rear of the room1 which is the post of honor4 ,among the island tribes of ,bering ,strait this position is reversed and they occupy the front of the room4 ,some old man1 the keeper of tribal tradition and song1 acts as the leader1 calling out the words of the dance songs a line ahead4 ,he begins the proceedings by striking up a low chant1 an invitation to the people assembled to dance4 ,the chorus accompany him lightly on their drums4 ,then at the proper place1 he strikes a crashing double beat2 the drums boom out in answer2 the song arises high and shrill2 the dancers leap into their places1 and the dance begins4 ,the first dances are usually simple exercises calculated to warm the blood and stretch stiffened muscles4 ,they begin with leaping around the pu'gyarok1 jumping into the air with both feet in the ,eskimo high kick1 settling down into the conventional movements of the men's dance4#b #b ,while the northern and southern tribes have the same general movements for their ordinary dances1 they give a very different presentation of the festival dance-songs4 ,the northerners leap and stamp about the kasgi until overcome with exhaustion2 while in the south the performers sit or kneel on the floor1 adorned with an abundance of streaming furs and feathers1 sweep their hands through the air in graceful unison4 ,it is a difference between rude vigor and dramatic art4 ,quite often a woman steps into the center of the circle1 and goes through her own dance1 while the men leap and dance around her4 ,this act has been specialized in the ,reindeer and ,wolf ,pack ,dance of the ,aithukaguk1 the ,inviting-,in ,festival1 where the woman wearing a reindeer crest and belt is surrounded by the men dancers1 girt in armlets and fillets of wolf skin4 ,they imitate the pack pulling down a deer1 and the din caused by their jumping and howling around her shrinking form is terrific4 ,,participation ,,of ,,the ,,sexes ,there appears to be no restriction against the women taking part in the men's dances4 ,they also act as assistants to the chief actors in the ,totem ,dances1 three particularly expert and richly dressed women dancers ranging themselves behind the mask dancer as a pleasing background of streaming furs and glistening feathers4 ,the only time they are forbidden to enter the kasgi is when the shaman is performing certain secret rites4 ,they also have secret meetings of their own when all men are banished4#c ,i happened to stumble on to one of these one time when they were performing certain rites over a pregnant woman1 but being a white man1 and therefore unaccountable1 ,i was greeted with a good-natured laugh and sent about my business4 #c ,this custom appears to be widespread4 ,low writes of the ,hudson ,bay ,eskimo3 ,during the absence of the men on hunting expeditions1 the women sometimes amuse themselves by a sort of female angekoking4 ,this amusement is accompanied by a number of very obscene rites4444 ,low1 ,the ,cruise of the ,neptune1 p4 #agg4 ,on the other hand1 men are never allowed to take part in the strictly women's dances1 although nothing pleases an ,eskimo crowd more than an exaggerated imitation by one of their clowns of the movements of the women's dance4 ,the women's dances are practiced during the early winter and given at the ,aiyaguk1 or ,asking ,festival1 when the men are invited to attend as spectators4 ,they result in offers of temporary marriage to the unmarried women1 which is obviously the reason for this rite4 ,such dances1 confined to the women1 have not been observed in ,alaska outside the islands of ,bering ,sea1 and ,i have reason to believe are peculiar to this district1 which1 on account of its isolation1 retains the old forms which have died out or been modified on the mainland4 ,but throughout ,alaska the women are allowed the utmost freedom in participating in the festivals1 either as naskuks#d or feast givers1 as participants or as spectators4 #d ,literally ,heads or directors of the feasts4 ,in fact1 the social position of the ,eskimo woman has been misrepresented and misunderstood4 ,at first sight she appears to be the slave of her husband1 but a better acquaintance will reveal the fact that she is the manager of the household and the children1 the business partner in all his trades1 and often the oomialik1 or captain of the concern as well4 ,her husband is forbidden by tribal custom to maltreat her1 and if she owns the house1 she can order him out at any time4 ,i have never known a woman being head of a tribe1 but sometimes a woman is the most influential member of a tribe4 ,,the ,,kasgi ,,or ,,dance ,,house ,with few exceptions1 all dances take place in the village kasgi or dance hall4 ,this is the public meeting place where the old men gather to sit and smoke while they discuss the village welfare1 where the married men bring their work and take their sweat baths1 and where the bachelors and young men1 termed kasgimiut1 have their sleeping quarters4 ,the kasgi is built and maintained at public expense1 each villager considering it an honor to contribute something4 ,any tools or furnishings brought into the kasgi are considered public property1 and used as such4 ,when a kasgi is to be built1 announcement is made through messengers to neighboring villages1 and all gather to assist in the building and to help celebrate the event4 ,first a trench several feet deep is dug in which to plant the timbers forming the sides4 ,these are usually of driftwood1 which is brought by the ocean currents from the ,yukon4 ,the ice breaks up first at the head of that great stream1 and the debris dams up the river1 which overflows its banks1 tearing down trees1 buildings and whatever borders its course as it breaks its way out to the sea4 ,the wreckage is scattered along the coast for over a hundred miles1 and the islands of ,bering ,sea get a small share4 ,the islanders are constantly on the lookout for the drifting timber1 and put out to sea in the stormiest weather for a distant piece1 be it large or small4 ,they also patrol the coast after a high tide for stray bits of wood4 ,when one considers the toil and pain with which material is gathered1 the building of a kasgi becomes an important matter4 ,after the timbers have been rough hewn with the adze 7ulimon7 they are set upright in the trench to a height of seven to eight feet and firmly bedded with rock4 ,this is to prevent the fierce ,polar winds which prevail in midwinter from tearing the houses to pieces4 ,in the older buildings a protecting stone wall was built on the sides4 ,most of the houses are set in a side hill1 or partly underground1 for additional security1 as well as for warmth4 ,the roof is laid on top of the uprights1 the logs being drawn in gradually in pyramid shape to a flat top4 ,in the middle of the top is the 4ralok or smoke hole1 an opening about two feet square4 ,in a kasgi thirty feet square the ralok is twenty feet above the floor4 ,it is covered with a translucent curtain of walrus gut4 ,the dead are always taken out through this opening1 and never by the entrance4 ,the most important feature of the room is the in'glak1 a wide shelf supported by posts at intervals4 ,it stands about five feet high extending around the room4 ,this serves the double purpose of a seat and bed for the inmates of the kasgi4 ,the rear1 the kaan1 is the most desirable position1 being the warmest1 and is given to headmen and honored guests4#e ,the side portions1 kaaklim1 are given to the lesser lights and the women and children2 and the front1 the oaklim1 being nearest the entrance and therefore cold and uncomfortable is left for the orphans and worthless men4 #e ,the order of the seating on the in'glak of invited guests is a matter of great concern to the ,eskimo1 as it is an indication of worth4 ,children purchase their right to a seat in the kasgi by making presents1 through their parents1 to all the inmates1 kasgimiut4 ,until they do so they have no right to enter4 ,for the same reason strangers on entering the kasgi offer a small present to the headman1 who divides it among the people4 ,the floor of the kasgi is made of rough planking1 and the boards in the center are left loose so that they may be easily removed4 ,these cover the kenethluk or fireplace1 an excavation four feet square1 and four feet deep1 used in the sweat baths4 ,it is thought to be the place where the spirits sit1 when they visit the kasgi1 during festivals held in their honor4 ,offerings are poured to them through the cracks in the planks4 ,in the center of the floor is a round hole about two feet in diameter1 called the entrance hole or pugyarok4 ,this connects with a long tunnel1 the a'gveak1 which leads outside4 ,the tunnel is usually so low that it is necessary to enter in a stooping position1 which the ,eskimo does by placing both hands on the sides of the pugyarok1 and drawing himself through4 ,some dance-houses have another entrance directly into the room on a level with the ground1 the underground passage being used only in winter4 ,the diagram 7,plate ,,xi7 gives an idea of this arrangement4 ,,paraphernalia ,the drum 7sauyit7#f is the only instrument employed in the dances4 ,it is made of a circular hoop about eighteen inches in width over which is stretched a resonant covering made from the bladder of the walrus or seal4 ,it is held in place by a cord of rawhide 7o'klinok7#g which fits into a groove on the outer rim4 ,the cover can therefore be tightened at will4 ,it is customary during the intermissions between the dances for the drummers to rub a handful of snow over the skins to prevent them from cracking under the heavy blows4 ,the drum is held aloft and struck with a thin stick 7mumwa74#h ,it gives a deep boom in answer4 ,the shaman uses a smaller baton with which he beats a continuous tattoo as an accompaniment to his songs4 ,the northerners strike the back of the rim with their sticks1 while the ,yukon people belabor the face of the drum4 #f ,tcauyak1 ,yukon dialect4 #g ,loftak1 ,yukon dialect4 #h ,mumra1 ,yukon dialect4 ,the leader of the chorus frequently flourishes a baton1 made from a fox tail or the skin of the ermine which is mounted on a stick4 ,with this he marks the time of the dance4 ,in ,plate ,,xiv1 the white blur is the ermine at the end of his stick4 ,it is very difficult to obtain a good picture in the ill lighted kasgi1 and not often that the natives will allow one taken there4 ,one indispensable part of a male dancer's outfit is his gloves4 ,i have never seen a man dancing without them4 ,these are usually of wolverine1 or of reindeer with elaborate trimmings1 but on ordinary occasions any kind will do4 ,the women do not share this peculiarity4 ,in place of gloves they wear handlets of grass decorated with feathers of duck or of ptarmigan4 ,the men in the ,totem ,dances also wear handlets which are carved and painted to represent the particular totem they seek to honor4 ,these too are fantastically decorated with feathers1 usually of the loon4 ,the central feather is stripped1 and crowned with a tuft of white down4 ,both men and women wear armlets and fillets of skin or feathers according to the animal character they represent4 ,when in the full swing of the dance with fur and feathers streaming they present a pleasing spectacle1 a picture full of the same wild grace and poetic motion which characterizes the animal forbears from which they claim descent4 ,the chief characters in the ,totem and ,comic ,dances wear masks and carry staves decorated with feathers4 ,occasionally the women assistants carry feathered wands 7,kelizruk74 ,of the masks there is a great variety ranging from the plain wooden masks to those of such great size that they are suspended from the ceiling of the kasgi by a cord while the dancer performs behind them4 ,the ,cape ,prince of ,wales 7,kinigumiut7 ,eskimo construct complete figures of their totems4 ,these are worked by means of concealed strings by the performers1 a climax of art which is supposed to be particularly pleasing to the spirits addressed4 ,then the shaman 7,tungalik7#i has his own set of masks1 hideous enough to strike terror to even the initiated4 ,each one of these represents a familiar spirit 7tunghat7#aj which assists him in his operations4 #i ,tungralik1 ,yukon dialect4 #aj ,tungraniyak1 ,yukon dialect4 ,ordinary dance masks may be made by anyone1 but the masks for the ceremonial dances are made by some renowned shaman1 engaged for the occasion4 ,these masks are burned at the close of the festival1 but may be sold by the actors if they supply an equal amount of wood for the sacrificial fire4 ,many of the masks are very complicated1 having appendages of wood1 fur and feathers4 ,they are all fashioned with an idea of representing some feature in the mythology of the spirit 7,inua7 or animal shade 7,tunghat7 which they represent4 ,in the latter case they are nearly always made double1 the mythical beings who inhabited the early world being regarded as able to change from animal to human shape1 by merely pushing up or pulling down the upper part of the face as a mask4 ,such masks are often hinged to complete the illusion1 the actor changing the face at will4 ,it might be mentioned here that when the actor puts on the mask he is supposed to become imbued with the spirit of the being represented4 ,this accounts1 to the native mind1 for the very lifelike imitation which he gives4 ,the masks are painted along conventional lines2 the favorite colors for the inua masks are red 7,karekteoak71#aa black 7,auktoak71 green 7,cungokyoak71 white 7,katektoak71 and blue 7,taukrektoak71 in the order named4 ,these colors#ab may hold a sacred or symbolic significance4 ,the inua masks are decorated with some regard to the natural colors of the human face1 but in the masks of the tunghat the imagination of the artist runs riot4 ,the same is true of the comic masks1 which are rendered as grotesque and horrible as possible4 ,a mask with distorted features1 a pale green complexion1 surrounded by a bristling mass of hair1 amuses them greatly4 ,the ,eskimo also caricature their neighbors1 the ,dene1 in this same manner1 representing them by masks with very large noses and sullen features4 #aa ,these are the northern names4 ,in the southern or ,yukon dialect black is ,tunguli2 white ,katughuli2 red1 ,kauiguli2 green1 ,tcununguli4 ,the endings and pronunciation of similar ,eskimo words are somewhat different in ,arctic ,alaska and on the ,yukon ,river2 sufficiently so as to produce two distinct dialects4 ,for this reason ,i have given the forms from both sections4 #ab ,red is obtained from red ochre2 white from white clay2 black from soot or ashes2 green from oxide of copper4 ,,the ,,dance ,,festivals ,the ,dance ,festivals of the ,alaskan ,eskimo are held during that cold1 stormy period of the winter when the work of the year is over and hunting is temporarily at an end4 ,at this season the people gather in the kasgi to celebrate the local rites1 and at certain intervals invite neighboring tribes to join in the great inter-tribal festivals4 ,this season of mirth and song is termed ,tcauyavik the drum dance season1 from ,tcauyak meaning drum4 ,it lasts from ,november to ,march1 and is a continuous succession of feasts and dances1 which makes glad the heart of the ,eskimo and serves to lighten the natural depression caused by day after day of interminable wind and darkness4 ,a brisk exchange of presents at the local festivals promotes good feeling1 and an interchange of commodities between the tribes at the great feasts stimulates trade and results in each being supplied with the necessities of life4 ,for instance1 northern tribes visiting the south bring presents of reindeer skins or mukluk to eke out the scanty supply of the south1 while the latter in return give their visitors loads of dried salmon which the northerners feed to their dogs4 ,the festivals also serve to keep alive the religious feeling of the people1 as evidenced in the ,dance to the ,dead1 which allows free play to the nobler sentiments of filial faith and paternal love4 ,the recital of the deeds of ancient heroes preserves the best traditions of the race and inspires the younger generation4 ,to my mind1 there is nothing which civilization can supply which can take the place of the healthy exercise1 social enjoyment1 commercial advantages1 and spiritual uplift of these dances4 ,where missionary sentiment is overwhelming they are gradually being abandoned2 where there is a mistaken opinion in regard to their use1 they have been given up altogether2 but the tenacity with which the ,eskimo clings to these ancient observances1 even in places where they have been nominal christians for years1 is an evidence of the vitality of these ancient rites and their adaptation to the native mind4 ,the festivals vary considerably according to locality1 but their essential features are the same4 ,taken in order of celebration they are as follows ,local ,festivals4 #a4 ,the ,aiyaguk or ,asking ,festival4 #b4 ,the ,tcauiyuk or ,bladder ,feast4 #c4 ,the ,ail'igi or ,annual ,feast to the ,dead4 ,inter-tribal ,festivals4 #d4 ,the ,aithuk'atukhtuk or ,great ,feast to the ,dead4 #e4 ,the ,aithukaguk or ,inviting-,in ,feast4 ,the ,asking ,festival1 which begins the round of feasting and dancing1 takes place during the ,november moon4 ,it is a local ceremony in which gifts are exchanged between the men and women of the village1 which result in offers of temporary marriage4 ,it takes its name from the ,aiyaguk or ,asking ,stick1#ac which is the wand of office of the messenger or go-between4 ,the ,annual ,feast to the ,dead is held during the ,december moon1 and may be repeated again in spring after the ,bladder ,feast1 if a large number of ,eskimos have died in the interim4 ,it consists of songs and dances accompanied by offerings of food and drink to the dead4 ,it is a temporary arrangement for keeping the dead supplied with sustenance 7they are thought to imbibe the spiritual essence of the offerings7 until the great ,feast to the ,dead takes place4 #ac ,the ,asking ,stick is also used in the ,inviting-,in ,feast 7,aithukaguk74 ,this is held whenever the relatives of the deceased have accumulated sufficient food1 skins and other goods to entertain the countryside and are able to properly honor the deceased4 ,at the same time the namesakes of the dead are richly clothed from head to foot and showered with presents4 ,as this prodigal generosity entails the savings of years on the part of the feast givers 7naskut71 the feast occurs only at irregular intervals of several years4 ,it has been termed the ,ten ,year ,feast by the traders 7,kagruska71 but so far as ,i have been able to inquire1 it has no fixed date among the ,eskimo4 ,it is by far the most important event in the life of the ,alaskan native4 ,by it he discharges all debts of honor to the dead1 past1 present and future4 ,he is not obliged to take part in another festival of the kind unless another near relative dies4 ,he pays off all old scores of hospitality and lays his friends under future obligations by his presents4 ,he is often beggared by this prodigality1 but he can be sure of welcome and entertainment wherever he goes1 for he is a man who has discharged all his debts to society and is therefore deserving of honor for the rest of his days4 ,in the ,bladder ,feast which takes place in ,january1 the bladders of the animals slain during the past season1 in which the spirits of the animals are supposed to reside1 are returned to the sea1 after appropriate ceremonies in the kasgi4 ,there they are thought to attract others of their kind and bring an increase to the village4 ,this is essentially a coast festival4 ,among the tribes of the islands of ,bering ,sea and the ,siberian ,coast this festival is repeated in ,march1 in conjunction with a whaling ceremony performed at the taking down of the umiaks4 ,the dance contests in the ,inviting-,in ,feast resemble the nith songs of ,greenland4 ,they are ,comic and ,totem ,dances in which the best performers of several tribes contest singly or in groups for supremacy4 ,the costumes worn are remarkably fine and the acting very realistic4 ,this is essentially a southern festival for it gives an opportunity to the ,eskimo living near the rivers to display their ingenious talent for mimicry and for the arrangement of feathers4 ,there are a few purely local ceremonies1 the outgrowth of practices of local shamans4 ,an example of this is the ,aitekatah or ,doll ,festival of the ,igomiut1 which has also spread to the neighboring ,dene4 ,such local outgrowths1 however1 do not appear to spread among the conservative ,eskimo1 who resent the least infringement of the ancient practices handed down from dim ancestors of the race4 ,it is not often that they will allow a white man to witness the festival dances1 but1 owing to the friendliness of the chief of the ,diomede tribes1 who always reserved a seat for me next to him in the kasgi1 ,i had the opportunity of seeing the local rites and the ,great ,dance to the ,dead4 ,the same favor continuing with the chief of the ,unalit1 during my residence on the ,yukon1 ,i witnessed the ,inviting-,in ,feast as celebrated by the southern tribes4 ,having described the dances in general1 ,i will proceed to a detailed account of each4 ,,the ,,asking ,,festival ,the ,aiyaguk or ,asking ,festival is the first of the local feasts4 ,it occurs about the middle of ,november when the ,eskimo have all returned from their summer travels and made their iglus secure against the storms of the coming winter4 ,so1 with caches full of fish1 and houses packed with trade goods after a successful season at the southern camps1 they must wait until the shifting ice pack settles and the winter hunting begins4 ,such enforced inaction is irksome to the ,eskimo1 who does not partake of the stolidity of the ,indian1 but like a nervous child must be continually employed or amused4 ,so this festival1 which is of a purely social character1 has grown up4 ,my first intimation that there was a celebration taking place was being attracted by a tremendous uproar in the native village just as darkness had fallen4 ,suspecting that the ,eskimo were making merry over a native brew1 called hoosch1#ad ,i slipped down to the village to see what was the matter4 ,i was met by the queerest procession ,i have ever seen4 ,a long line of men and boys1 entirely naked and daubed over with dots and figures of mingled oil and charcoal1#ae were proceeding from house to house with bowls in their hands4 ,at each entrance they filed in1 howling1 stamping and grunting1 holding out their dishes until they were filled by the women of the house4 ,all this time they were careful to keep their faces averted so that they would not be recognized4 ,this is termed the ,tutuuk or going around4 ,returning to the kasgi they washed off their marks with urine1 and sat down to feast on their plunder4 #ad ,this is a liquor distilled from flour and molasses4 ,in the operation an old cask and a gun barrel are used4 ,the liquid is fermented with sour dough and allowed to distill through the barrel4 ,the ,eskimo had no liquor prior to the advent of the whalers1 who supplied them with the materials and probably taught them the art of distilling4 ,the ,u4 ,s4 ,revenue ,cutter ,bear has been active in breaking up the practice4 ,in #aiji1 six illicit stills were seized on the ,diomede ,islands4 #ae ,the first night of the feast the men and older boys meet in the kasgi1 and two boys named the ,raven 7,tulukauguk7 and the ,hawk 7,teiburiak7 mix the paint and assist the men in ornamenting themselves4 ,the next day the men gathered again in the kasgi and the ,aiyaguk or ,asking ,stick was constructed4 ,it was made by a man especially chosen for the purpose4 ,it was a slender wand about three feet long with three globes made of thin strips of wood hanging by a strip of o'klinok from the smaller end4 ,it was carried by the messenger between the men and women during the feast1 and was the visible sign of his authority4 ,it was treated with scrupulous respect by the ,eskimo and to disregard the wishes conveyed by means of it during the feast would have been considered a lasting disgrace4 ,when not in use it was hung over the entrance to the kasgi4 ,the wand maker1 having finished the ,asking ,stick1 took his stand in the center of the room1 and swaying the globes1 to and fro1 asked the men to state their wishes4 ,then any man present had the privilege of telling him of an article he wished and the name of the woman from whom he wished it4 7,among the southern tribes the men made small wooden models of the objects they wished which were hung on the end of the ,asking ,stick47 ,the messenger then proceeded to the house of the woman in question1 swinging the globes in front of her1 repeated the wish and stood waiting for her answer4 ,she in turn recollected something that she desired and told it to the messenger4 ,thereupon he returned to the kasgi1 and standing in front of the first party1 swung the globes1 and told him what was desired in return4 ,in this way he made the round of the village4 ,the men then returned to their homes for the article desired1 while the messenger blackened his face with charcoal and donned a costume betoking humility4 ,this was considered the only proper attitude in presenting gifts4 ,the costume consisted of wornout clothing1 of which a disreputable raincoat 7,kamleika7 and a dogskin belt with the tail behind were indispensable parts4 ,then the men and women gathered in the kasgi where the exchanges were made through the messenger4 ,if anyone did not have the gift requested he was in honor bound to secure it as soon as possible and present it to his partner4 ,those exchanging gifts entered a relationship termed oilo'guk1 and among the northern tribes where the ancient forms persevere1 they continued to exchange presents throughout succeeding festivals4 ,after this exchange1 a dance was performed by the women4 ,they stripped to the waist1 and taking their places on the i'nglak1 went through a series of motions in unison4 ,these varied considerably in time and movement from the conventional women's dance4 ,according to custom at the conclusion of the dance any man has the privilege of asking any unmarried woman through the messenger1 if he might share her bed that night4 ,if favorably inclined1 she replies that he must bring a deerskin for bedding4 ,he procures the deerskin1 and presents it to her1 and after the feast is over remains with her for the night4 ,whether these temporary unions lead to permanent marriage ,i was unable to find out4 ,the gift of reindeer skin is very like the suit of clothing given in betrothal and would furnish material for the parka which the husband presents to his bride4 ,the fact that the privilege is limited to unmarried women might be also urged in turn4 ,as the system of exchanging wives was formerly common among the ,alaskan ,eskimo1 and as they distribute their favors at will1 it is rather remarkable that the married women are not included1 as in the licentious feasts recorded of the ,greenlanders4#af ,from talks with some of the older ,eskimo ,i am led to regard this as a relic of an ancient custom similar to those which have been observed among many nations of antiquity1 in which a woman is open to violation at certain feasts4 ,this privilege is taken advantage of1 and may become a preliminary to marriage4 #af ,see ,hans ,egede1 ,det ,gamle ,groenlands ,nye ,perlustration1 p4 #gh4 ,,the ,,bladder ,,feast ,the ,bladder ,feast 7,tcauiyuk7 is held in ,december at the full of the moon4 ,the object of this feast is the propitiation of the inua of the animals slain during the season past4 ,these are believed to reside in the bladders1 which the ,eskimo carefully preserve4 ,the ceremony consists in the purification of the bladders by the flame of the wild parsnip 7,aikituk74 ,the hunters are also required to pass through the flame4 ,they return the bladders then to the sea1 where entering the bodies of their kind1 they are reborn and return again1 bringing continued success to the hunter4 ,the first three days are spent in preparation4 ,they thoroughly clean the kasgi1 particularly the kenethluk or fireplace1 the recognized abode of all spirits visiting the kasgi4 ,then the men bring in their harvest of bladders4#ag ,they tie them by the necks in bunches of eight to the end of their spears4 ,these they thrust into the walls at the rear of the room leaving ample room for the dancers to pass under the swaying bladders in the rites of purification4 ,offerings of food and water are made to the inua1 and they are constantly attended4 ,one old man told me that they would be offended and take their departure if left alone for a moment4 ,dogs1 being unclean1 are not allowed to enter the kasgi4 ,neither is anyone permitted to do any work during the ceremony4 #ag ,the mothers also preserve with greatest care the bladders of the mice1 ground squirrels1 and other small animals killed by the children4 ,these are purified at the same time4 ,meanwhile four men1#ah especially chosen for the purpose1 scour the adjoining country for parsnip stalks4 ,they bind these into small bundles1 and place them on top of the latorak1 the outer vestibule to the entrance of the kasgi4 ,in the evening they take these into the kasgi1 open the bundles and spread out the stalks on the floor4 ,then each hunter takes a stalk1 and they unite in a song to the parsnip1 the burden of which is a request that the stalks may become dry and useful for purification4 ,the heat of the seal oil lamps soon dries them1 and they are tied into one large bundle4 ,the third day the sheaf is opened1 and two bundles made4 ,the larger one is for the use of the dancers2 the smaller is placed on a spear and stuck in front of the bladders4 ,the fourth day the bladders are taken down and painted4 ,a grayish mixture is used which is obtained by burning a few parsnip stalks and mixing the ashes with oil4 ,the designs are the series of bands and dots grouped to represent the totems of the hunters4 ,when the paint is dry the bladders are returned to their places4 ,in the evening the men gather again in the kasgi1 and the dancers proceed to strip off every vestige of clothing4 ,snatching a handful of stalks at the common pile they light them at the lamps1 and join in a wild dance about the room4 ,the resinous stalks shoot into flame with a frightful glare1 lighting up the naked bodies of the dancers1 and dusky interior of the kasgi4 ,waving the flaming torches over their heads1 leaping1 jumping1 and screaming like madmen they rush around the room1 thrusting the flame among the bladders and then into the faces of the hunters4 ,when the mad scene is at its height1 they seize one another1 and struggle toward the pugyarok 7entrance hole74 ,here each is thrust down in succession until all the dancers have passed through4 ,i am informed that this is a pantomime enactment1 an indication to the inua it is time for them to depart4 #ah ,the number four appears to have a sacred significance among the ,alaskan ,eskimo4 ,the ,raven ,father 7,tulukauguk7 waves his wings four times over the objects of his creation2 the heroes of ancient legends take four steps and are transported great distances2 and important events occur on the fourth night4 ,i understand that the four men who gather the wild parsnips represent the four clans of the tribe4 ,the next day a hole is made in the ice near the kasgi1 and each hunter dips his spear in the water1 and1 running back to the kasgi1 stirs up the bladders with it4 ,the presence of the sea water reminds the inua of their former home1 and they make ready to depart4 ,the bladders are then tied into one large bundle1 and the people await the full moon4 ,at sunrise the morning after the full moon each hunter takes his load of bladders1 and filing out of the kasgi starts for the hole in the ice on a dead run4 ,arriving there1 he tears off the bladders one by one1 and thrusts them under the water4 ,this signifies the return of the inua to the sea4 ,as the bladders float or sink success is prophesied for the hunter by the shaman in attendance4 ,in the meantime the old men build a fire of driftwood on the ice in front of the kasgi4 ,the small bundle of parsnip stalks which stood in front of the bladders is brought out and thrown on the fire1 and as the stalks kindle to the flame1 each hunter utters a shout1 takes a short run1 and leaps through in turn4 ,this performance purifies the hunter of any matter offensive to the inua1 and concludes the ceremony4 ,during the ,bladder ,feast all intercourse between the married men and their wives is tabooed4 ,they are required to sleep in the kasgi with the bachelors4 ,neither is any girl who has attained puberty 7,wingiktoak7 allowed near the bladders4 ,she is unclean 7,wahok74 ,,the ,,feasts ,,to ,,the ,,dead ,the ,eskimo idea of the life after death and the rationale for their most important ritual1 the ,feast to the ,dead1 is nowhere better illustrated than in a quaint tale current along the ,yukon1 in which the heroine1 prematurely buried during a trancelike sleep1 visited the ,land of the ,dead4 ,she was rudely awakened from her deathlike slumber by the spirit of her grandmother shaking her and exclaiming1 ,wake up4 ,do not sleep the hours away4 ,you are dead6 ,arising from her grave box1 the maiden was conducted by her guide to the world beneath1 where the dead had their dwellings in large villages grouped according to the localities from which they came4 ,even the animal shades were not forgotten1 but inhabited separate communities in human shape4#ai ,after some travel the girl found the village allotted to her tribe1 and was reclaimed by her departed relatives4 ,she was recognized by the totem marks on her clothing1 which in ancient times the ,eskimo always wore4 ,she found the inmates of this region leading a pleasant but somewhat monotonous life1 free from hardships and from the sleet and cold of their earthly existence4 ,they returned to the upper world during the feasts to the dead1 when they received the spiritual essence of the food and clothing offered to their namesakes#bj by relatives4 ,according to the generosity or stinginess of the feast givers there was a feast or a famine in spirit land1 and those who were so unfortunate as to have no namesake1 either through their own carelessness#ba or the neglect of the community1#bb went hungry and naked4 ,this was the worst calamity that could befall an ,eskimo1 hence the necessity of providing a namesake and of regularly feeding and clothing the same1 in the interest of the beloved dead4 #ai ,the shapes of animals are thought by the ,alaskan ,eskimo to be like those of men1 and in ancient times animals possessed the power of changing their forms at will4 ,this was effected by pulling the muzzle up over the head to become people or of pulling it down again to regain their original form4 #bj ,the first child born in the village after his death becomes the deceased's namesake4 ,however1 if born in camp1 its mother gives it the name of the first natural object to catch her eye4 #ba ,childless people provide for this contingency by adoption4 #bb ,one who has made himself odious to his fellow villagers is purposely neglected in the feasts to the dead4 ,,the ,,annual ,,feast1 ,,ail',i,,gi ,the ,annual ,feast to the ,dead is a temporary arrangement1 whereby the shades of those recently departed are sustained until the advent of the ,great ,feast to the ,dead4 ,the essence of the offerings of food and drink are supposed to satisfy the wants of the dead until they can be properly honored in the ,great ,festival4 ,in the latter event the relative discharges all his social obligations to the dead1 and the ghost is furnished with such an abundance that it can never want in the world below4 ,the makers of the feast 7n'aeskut7 are the nearest relatives of those who have died during the past year1 together with those villagers who have not yet given the greater festival4 ,the day before the festival the male mourners go to the village burial ground and plant a newly made stake before the grave of their relative4 ,the stake is surmounted by a wooden model of a spear1 if the deceased be a man2 or a wooden dish1 if it be a woman4 ,the totem mark of the deceased is carved upon it4 ,in the north simple models of kayak paddles suffice4 ,the sticks are a notification to the spirits in the land of the dead that the time for the festival is at hand4 ,accordingly they journey to the grave boxes1 where they wait1 ready to enter the kasgi at the song of invocation4 ,to light their way from the other world lamps are brought into the kasgi and set before their accustomed places4 ,when the invitation song arises they leave their graves and take their places in the fireplace 7,kenethluk71 where they enjoy the songs and dances1 and receive the offerings of their relatives4 ,the ,annual ,feast is celebrated after the ,bladder ,feast during the ,december moon4 ,by the ,yukon tribes it is repeated just before the opening of spring4 ,during the day of the festival a taboo is placed on all work in the village1 particularly that done with any sharp pointed tool which might wound some wandering ghost and bring retribution on the people4 ,at midday the whole village gathers in the kasgi1 and the ceremony begins4 ,soon the mourners enter bearing great bowls of food and drink which they deposit in the doorway4 ,then the chorus leader arises and begins the song of invitation accompanied by the relatives of the dead4 ,it is a long minor chant1 a constant reiteration of a few well worn phrases4 ,tukomalra-a-1 tung lik-a1 tis-ka-a a-a-yung-a-a-yung-a1 etc4 ,dead ones1 next of kin1 come hither1 ,tuntum komuga thetamtatuk1 moqkapik thetamtatuk moqsulthka4 ,reindeer meat we bring you1 water we bring you for your thirst4 ,when the song is completed the mourners arise1 and going to the food in the doorway set it on the planks over the fireplace1 after which they take a ladleful from each dish pouring it through the cracks in the floor1 and the essence of this offering supplies the shades below with food until the next festival4 ,the remainder of the food is distributed among those present4 ,when the feast is over1 the balance of the day is given over to songs and dances4 ,then the spirits are sent back to their homes by the simple expedient of stamping on the floor4 ,,the ,,great ,,feast1 ,,aithuk',a,,tukhtuk ,after making offerings to his relative at the annual feast the chief mourner begins saving up his skins1 frozen meat1 and other delicacies prized by the ,eskimo1 until1 in the course of years1 he has accumulated an enormous amount of food and clothing4 ,then he is prepared to give the great feast in honor of his kinsman4 ,others in the village1 who are bereaved1 have been doing the same thing4 ,they meet and agree on a certain time to celebrate the feast together during the ensuing year4 ,the time chosen is usually in ,january after the local feasts are over1 and visitors from neighboring tribes are free to attend4 ,there are no set intervals between these feasts as has been generally supposed4 ,they are celebrated at irregular intervals according to the convenience of the givers4 ,at the minor festival preceding the ,great ,feast1 the usual invitation stakes planted before the dead are supplemented by others placed before the graves of those in whose honor the festival is to be given4 ,on these is a painted model of the totemic animals of the deceased4 ,the feast giver sings an especial song of invitation1 requesting the dead kinsman to be present at the approaching feast4 ,on the first day of the ,great ,feast the villagers welcome the guests4 ,early in the morning they begin to arrive4 ,the messenger goes out on the ice and leads them into the village1 showing each where to tie his team4 ,during the first day the guests are fed in the kasgi4 ,they have the privilege of demanding any delicacy they wish4 ,after this they are quartered on various homes in the village4 ,salmon or meat must also be provided for their dogs4 ,this is no small item1 and often taxes the resources of a village to the utmost4 ,i have known of a village so poor after a period of prolonged hospitality that it was reduced to starvation rations for the rest of the winter4 ,immediately on tying up their dogs1 the guests go to the kasgi4 ,on entering each one cries in set phraseology1 ,ah-ka-ka- ,piatin1 ,pikeyutum4 ,oh1 ho6 ,look here6 ,a trifling present4 ,he throws his present on a common pile in front of the headman1 who distributes them among the villagers4 ,it is customary to make the presents appear as large as possible4 ,one fellow has a bolt of calico which he unwinds through the entrance hole1 making a great display4 ,it may be thirty yards long4 ,sometimes they accompany the gift with a short dance4 ,it is considered bad form for one coming from a distance#bc not to make the usual present1 as in this way he purchases the right to join in the festival dances4 #bc ,during the inter-tribal festivals1 guests are given seats of honor next to the headman of the village according to the distance from which they have come4 ,the back of the room 7kaan71 the place of honor1 is reserved for this purpose4 ,as soon as all are gathered in the kasgi1 a feast is brought in for the tired travelers4 ,kantags of sealmeat1 the blackskin of the bowhead1 salmon berries swimming in oil1 greens from the hillsides1 and pot after pot of tea take off the edge of hunger4 ,after gorging themselves1 the guests seem incapable of further exertion1 and the remainder of the day is spent in visiting4 ,,the ,,feast ,,givers ,the feast givers or n'aeskut assemble in the kasgi the second day1 and the ceremony proper begins4 ,they range themselves around the pugyarok or entrance1 the chorus and guests occupying the back of the room and the spectators packing themselves against the walls4 ,each feast giver is garbed according to the sex of his dead relative1 not his own1 so that some men wear women's clothes and vice versa4 ,each bears in his right hand a wand about two feet long 7,kelezruk74#bd ,this is a small stick of wood surmounted with tufts of down from ptarmigan 7,okozregewik74 ,all are dressed to represent the totem to which the deceased belongs4 ,one wears a fillet and armlet of wolfskin 7,egoalik72 others wear armlets of ermine 7,tareak72 still others are crowned with feathers of the raven 7,tulua7 or the hawk 7,tciakauret74#be ,after a short dance they withdraw and the day's ceremony is finished4 #bd ,the same arrangement characterizes the finger masks of the ,inviting-,in ,dance4 7,kiggilunok71 meaning wand1 in southern dialect4 #be ,southern dialect4 ,akkizhzhigik1 ,ptarmigan4 ,teibuviak1 hawk2 ,tulukauguk1 meaning raven4 ,the following day the n'aeskut assemble again1 but they have doffed their fine feathers1 and are dressed in their oldest clothes4 ,the suits of the day before they carry in a grass sack4 ,they wear raincoats of sealgut tied about the waist with a belt of dogskin1 and enter the kasgi with eyes cast on the floor4 ,even in the dances they keep their faces from the audience4 ,this attitude of humility is in accord with ,eskimo ethics4 ,they say that if they adopt a boastful air and fail to give as many presents as the other n'aeskut they will be ashamed4 ,so they safeguard themselves in advance4 ,,the ,,ritual ,advancing with downcast eyes1 the n'aeskut creep softly across the kasgi and take their places before the funeral lamps4 ,then taking out their festival garments1 they slip them on4 ,immediately the drummers start tapping lightly on their drums1 and at a signal from their leader the song of invitation begins4 ,each n'aeskuk advances in turn1 invoking the presence of his dead in a sad minor strain4 ,toakora ilyuga takina ,dead brother1 come hither ,a-yunga-ayunga-a-yunga4 ,or3 ,nuleaga awunga toakora ,sister mine1 dead one1 ,takina1 nuleaga1 takina1 ,come hither1 sister1 come hither4 ,or3 ,akaga awunga takina ,mother mine1 come hither4 ,nanaktuk1 takina1 ,we wait for you1 come hither4 ,to which the chorus answer3 ,ilyuga awunga takina1 ,our brother1 come hither1 ,takinaka1 ilyuga1 takinaka1 ,return1 dead brother1 return4 ,the women advance in line1 holding their wands in the right hand1 and singing in unison2 then the men advance in their turn1 then both n'aeskut and chorus sing together3 ,takinaka1 awunga1 tungalika1 ,return to us1 our dead kinsmen1 ,nanakatuk1 kineaktuk tungalika ,we wait your home coming1 our dead kinsmen4 ,suddenly the drummers cease and rap sharply on the in'glak with their drumsticks4 ,the dancers stop in the midst of their movements and stamp on the floor1 first with one foot then with the other1 placing their hands on their shoulders1 bringing them down over their bodies as though wiping off some unseen thing4 ,then they slap their thighs and sit down4 ,i am informed that this is to wipe off any uncleanness 7wahok7 that might offend the shades of the dead4 ,then the namesakes of the dead troop into the kasgi1 and take their places in the center of the room between the two lines4 ,to each1 the n'aeskuk hands a bowl of water and a kantag of frozen reindeer meat cut into small pieces4 ,the namesakes drop a small portion of the meat on the floor4 ,the essence is evidently thought to pass below to the waiting inua4 ,then they finish the remainder4 ,at the same time a large amount of frozen meat and fish is brought in and distributed among the guests4 ,this is done at the end of each day4 ,the fourth day the chorus leader mounts the top of the kasgi and begins again the invitation song4 ,the people scatter to the burying ground or to the ice along the shore according to the spot where they have lain their dead4 ,they dance among the grave boxes so that the shades who have returned to them1 when not in the kasgi1 may see that they are doing them honor4 ,during the dancing the children of the village gather in the kasgi1 carrying little kantags and sealskin sacks4 ,the women on returning bring great bags of frozen blueberries and reindeer fat1 commonly called ,eskimo ,ice ,cream1 with which they fill the bowls of the children1 but the young rogues immediately slip their portions into their sacks 7poksrut7 and hold out their dishes for more1 crying in a deafening chorus1 ,wunga-,t'uk 7,me too74 ,this part of the festival is thoroughly enjoyed by the ,eskimo1 who idolize their children4 ,at the conclusion of the day's feast many presents are given away by the n'aeskut1 the husbands of the female feast givers distributing them for the ladies1 who assume a bashful air4 ,during the distribution the n'aeskut maintain their deprecatory attitude and pass disparaging remarks on their gifts4 ,sometimes the presents are attached to a long line of oklinok 7seal thong7 which the n'aeskut haul down through the smokehole1 making the line appear as long as possible4 ,at the same time they sing in a mournful key bewailing their relative3 ,ah-ka- ilyuga toakora1 takin1 ,oh6 oh6 dead brother1 return1 ,utiktutatuk1 ilyuga awunga1 ,return to us1 our brother1 ,illearuqtutuk1 ilyuga1 ,we miss you1 dear brother1 ,pikeyutum1 kokitutuk1 ,a trifling present we bring you4 ,,the ,,clothing ,,of ,,the ,,namesakes ,the following day occurs the clothing of the namesakes4 ,this is symbolical of clothing the dead1 who ascend into the bodies of their namesakes during the ceremony and take on the spiritual counterpart of the clothing4 ,after a grand distribution of presents by the n'aeskut1 bags of fine clothing are lowered to the feast givers and the namesakes take the center of the floor1 in front of their relatives1 the feast givers4 ,then each n'aeskuk calls out to the particular namesake of his dead kinsman3 ,itakin1 illorahug-naka1 ,come hither1 my beloved1 and proceeds to remove the clothing of the namesake and put on an entirely new suit of mukluks1 trousers1 and parka1 made of the finest furs4 ,then the feast giver gathers up the discarded clothing1 and stamps vigorously on the floor1 bidding the ghost begone to its resting place4 ,it goes1 well satisfied1 and the dancers disperse until another great festival4 ,until the feast is concluded no one can leave the village4 ,,the ,,inviting-,,in ,,festival ,the ,inviting-,in ,festival 7,aithukaguk7 is a great inter-tribal feast1 second in importance to the ,great ,feast to the ,dead4 ,it is a celebration on invitation from one tribe to her neighbors when sufficient provisions have been collected4 ,it takes place late in the season1 after the other festivals are over4 ,neighboring tribes act as hosts in rotation1 each striving to outdo the other in the quality and quantity of entertainment offered4 ,during this festival the dramatic pantomime dances for which the ,alaskan ,eskimo are justly famous1 are performed by especially trained actors4 ,for several days the dances continue1 each side paying the forfeit as they lose in the dancing contests4 ,in this respect the representations are somewhat similar to the nith contests of the ,greenlanders4 ,as ,i have noticed the dances at length elsewhere1#bf ,i shall only give a brief survey here1 sufficient to show their place in the ,eskimo festival dances4 #bf ,canadian ,geological ,survey4 ,memoir #de4 ,the ,inviting-,in ,feast of the ,alaskan ,eskimo4 ,the main dances of the ,inviting-,in ,festival are totemic in character1 performed by trained actors to appease the totems of the hunters1 and insure success for the coming season4 ,these are danced in pantomime and depict the life of arctic animals1 the walrus1 raven1 bear1 ptarmigan1 and others4 ,then there are group dances which illustrate hunting scenes1 like the ,reindeer and ,wolf ,pack dance already described1 also dances of a purely comic character1 designed for the entertainment of the guests4 ,during the latter performances the side which laughs has to pay a forfeit4 ,elaborate masks are worn in all of the dances4 ,the full paraphernalia1 masks1 handmasks1 fillets1 and armlets1 are worn by the chief actors4 ,they are supported by richly garbed assistants4 ,an old shaman acts as master of ceremonies4 ,there is an interchange of presents between the tribes during the intervals but not between individuals1 as in the ,asking ,festival4 ,at the close of the festival the masks are burned4 ,,key ,,to ,,plate ,,xi ,a--,outer ,vestibule4 7,la'tor7ak47 ,b--,summer ,entrance4 7,amek'47 ,c--,front ,platform4 7',oaklim47 ,seat of ,orphans and ,worthless4 ,d--,plank ,floor4 7,na'tuk47 ,e--,rear ,platform4 7,ka'an47 ,seat of ,honored ,guests4 ,f--,smoke ,hole4 74,ra'l7ok47 ,entrance for ,gift-lines4 ,g--,entrance ,hole4 7,pug'y7ar7ak47 ,h--,fireplace4 7,kene'thluk47 ,seat of ,spirit-,guests4 ,i--,underground ,tunnel4 7,ag'veak47 ,j--,side ,platforms4 7,k'aaklim47 ,seats for ,spectators4 ,k--,chorus of ,drummers4 ,l--,feast ,givers4 7,nae'skut47 ,m--,namesakes of ,dead4 ,illustration3 ,,anthr4 ,,pub4 ,,univ4 ,,museum ,,vol4 ,,vi ,,plate ,,xi ,arrangement of ,kasgi during the ,great ,feast to the ,dead4 ,,the ,,kasgi ,,or ,,dance ,,house4 ,,key ,,to ,,plate ,,xii ,a--,first ,movement4 ,the ,chief's ,son1 ,okvaiok is dancing4 ,b--,second ,movement4 ,illustration3 ,,anthr4 ,,pub4 ,,univ4 ,,museum ,,vol4 ,,vi ,,plate ,,xii ,a ,b ,,men',s ,,dance ,,key ,,to ,,plate ,,xiii ,c--,third ,movement4 ,d--,fourth ,movement4 ,illustration3 ,,anthr4 ,,pub4 ,,univ4 ,,museum ,,vol4 ,,vi ,,plate ,,xiii ,c ,d ,,men',s ,,dance ,,key ,,to ,,plate ,,xiv ,children's ,dance4 ,the ,chorus4 ,leader in ,center ,beating ,time ,with an ,ermine ,stick4 ,illustration3 ,,anthr4 ,,pub4 ,,univ4 ,,museum ,,vol4 ,,vi ,,plate ,,xiv ,,children',s ,,dance ,,the ,,chorus ,,key ,,to ,,plate ,,xv ,women's ,dance4 ,illustration3 ,,anthr4 ,,pub4 ,,univ4 ,,museum ,,vol4 ,,vi ,,plate ,,xv ,,women',s ,,dance