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diff --git a/26544-h/26544-h.htm b/26544-h/26544-h.htm new file mode 100644 index 0000000..25c4237 --- /dev/null +++ b/26544-h/26544-h.htm @@ -0,0 +1,1916 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of The Dance Festivals of the Alaskan Eskimo, by E. W. Hawkes. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .box { width: 700px; + margin: 0 auto; + text-align: center; + padding: 1em; + border-style: none; } + + a { text-decoration: none; } + ins.unicode{border-bottom: #0099FF thin solid; text-decoration: none;} + + .pagenum { visibility: hidden; + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + + .caption {font-weight: bold; font-variant: small-caps;} + + .figcenter {margin: auto; text-align: center;} + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {font-size: .8em; text-decoration: none;} + + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Dance Festivals of the Alaskan Eskimo, by +Ernest William Hawkes + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Dance Festivals of the Alaskan Eskimo + +Author: Ernest William Hawkes + +Release Date: September 6, 2008 [EBook #26544] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK DANCE FESTIVALS--ALASKAN ESKIMO *** + + + + +Produced by Anne Storer and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + + +</pre> + + +<div class="box"> + +<p>Transcriber’s Notes:<br /> +1) For correct rendering of some diacritical marks please change browser default font +to Arial.<br /> +2) There are a number of words in the native language that appear to mean the +same thing, but have different accents. It is unknown if this is intentional +or a printing error - these have been left as printed.<br /> +eg: Nuleága / núleaga ... Takináka / takínaka / Takinaka ... Wáhok / wahok<br /> +</p> + +<hr style="width: 95%;" /> + +<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> +<h3>UNIVERSITY OF PENNSYLVANIA</h3> +<h2>THE UNIVERSITY MUSEUM</h2> +<h2>ANTHROPOLOGICAL PUBLICATIONS</h2> +<p class="center"><span class="smcap">Vol. VI</span> <span style="margin-left: 21em;">No. 2</span></p> +<p class="center">————————————————————————————</p> + +<p> </p> +<p> </p> +<h1>THE DANCE FESTIVALS OF THE<br /> +ALASKAN ESKIMO</h1> + +<p> </p> + +<p class="center"><strong>BY<br /> +E. W. HAWKES</strong></p> + +<p> </p> +<p> </p> + +<p class="center">PHILADELPHIA<br /> +PUBLISHED BY THE UNIVERSITY MUSEUM<br /> +1914</p> + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span></p> +<h2>CONTENTS</h2> + +<div class='center'> +<table border="0" cellpadding="5" cellspacing="0" summary=""> + +<tr> <td align='left'></td> <td align='right'><span class="smcap">page</span></td> </tr> +<tr> <td align='left'><a href="#INTRO">INTRODUCTION</a></td> <td align='right'>5</td> </tr> +<tr> <td align='left'><a href="#PHONETIC">PHONETIC KEY</a></td> <td align='right'>7</td> </tr> +<tr> <td align='left'><a href="#Page_9">THE DANCE IN GENERAL</a></td> <td align='right'>9</td> </tr> +<tr> <td align='left'><a href="#Page_10"><span style="margin-left: 2em;" class="smcap">The Chorus</span></a></td> <td align='right'>10</td> </tr> +<tr> <td align='left'><a href="#Page_11"><span style="margin-left: 2em;" class="smcap">Participation of the Sexes</span></a></td> <td align='right'>11</td> </tr> +<tr> <td align='left'><a href="#Page_13">THE KÁSGI OR DANCE HOUSE</a></td> <td align='right'>13</td> </tr> +<tr> <td align='left'><a href="#Page_15"><span style="margin-left: 2em;" class="smcap">Paraphernalia</span></a></td> <td align='right'>15</td> </tr> +<tr> <td align='left'><a href="#Page_19">THE DANCE FESTIVALS</a></td> <td align='right'>19</td> </tr> +<tr> <td align='left'><a href="#Page_22"><span style="margin-left: 2em;" class="smcap">The Asking Festival</span></a></td> <td align='right'>22</td> </tr> +<tr> <td align='left'><a href="#Page_26"><span style="margin-left: 2em;" class="smcap">The Bladder Feast</span></a></td> <td align='right'>26</td> </tr> +<tr> <td align='left'><a href="#Page_29"><span style="margin-left: 2em;" class="smcap">The Feasts to the Dead</span></a></td> <td align='right'>29</td> </tr> +<tr> <td align='left'><a href="#Page_31">THE ANNUAL FEAST, <ins class="unicode" title="the middle I is a combined macron and acute">AILĪ́GI</ins></a></td> <td align='right'>31</td> </tr> +<tr> <td align='left'><a href="#Page_33">THE GREAT FEAST, <ins class="unicode" title="the accented A is a combined macron and acute">AÍTHUKĀ́TUKHTUK</ins></a></td> <td align='right'>33</td> </tr> +<tr> <td align='left'><a href="#Page_34"><span style="margin-left: 2em;" class="smcap">The Feast Givers</span></a></td> <td align='right'>34</td> </tr> +<tr> <td align='left'><a href="#Page_35"><span style="margin-left: 2em;" class="smcap">The Ritual</span></a></td> <td align='right'>35</td> </tr> +<tr> <td align='left'><a href="#Page_38"><span style="margin-left: 2em;" class="smcap">The Clothing of the Namesakes</span></a></td> <td align='right'>38</td> </tr> +<tr> <td align='left'><a href="#Page_40">THE INVITING-IN FESTIVAL</a></td> <td align='right'>40</td> </tr> +</table></div> + + + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span></p> +<h2><a name="INTRO" id="INTRO"></a>INTRODUCTION</h2> + + +<p style="margin-left: 20%; margin-right: 20%;"> +This account of the Dance Festivals of the Alaskan Eskimo +was written from material gathered in the Bering Strait District +during three years’ residence: two on the Diomede Islands, and +one at St. Michael at the mouth of the Yukon River. This +paper is based on my observations of the ceremonial dances of +the Eskimo of these two localities.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span></p> +<h2><a name="PHONETIC" id="PHONETIC"></a>PHONETIC KEY</h2> + + +<p style="margin-left: 32%;">ā, ē, ī, ō, ū, long vowels.</p> + +<p style="margin-left: 32%;">a, e, i, o, u, short vowels.</p> + +<p style="margin-left: 32%;">ä, as in hat.</p> + +<p style="margin-left: 32%;">â, as in law.</p> + +<p style="margin-left: 32%;">ai, as in aisle.</p> + +<p style="margin-left: 32%;">au, as ow in how.</p> + +<p style="margin-left: 32%;">h, w, y, semivowels.</p> + +<p style="margin-left: 32%;">c, as sh in should.</p> + +<p style="margin-left: 32%;">f, a bilabial surd.</p> + +<p style="margin-left: 32%;">g, as in get.</p> + +<p style="margin-left: 32%;">ǵ, a post-palatal sonant.</p> + +<p style="margin-left: 32%;">k, as in pick.</p> + +<p style="margin-left: 32%;">l, as in lull.</p> + +<p style="margin-left: 32%;">m, as in mum.</p> + +<p style="margin-left: 32%;">n, as in nun.</p> + +<p style="margin-left: 32%;">ng, as ng in sing.</p> + +<p style="margin-left: 32%;">p, as in pipe.</p> + +<p style="margin-left: 32%;">q, a post-palatal surd.</p> + +<p style="margin-left: 32%;">ṙ, a uvular sonant spirant.</p> + +<p style="margin-left: 32%;">s, as in sauce.</p> + +<p style="margin-left: 32%;">t, an alveolar stop.</p> + +<p style="margin-left: 32%;">tc, as ch in chapter.</p> + +<p style="margin-left: 32%;">v, a bilabial sonant.</p> + +<p style="margin-left: 32%;">z, as in zone.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> +<h2>THE DANCE FESTIVALS OF THE ALASKAN ESKIMO</h2> + +<p class="center"><strong>THE DANCE IN GENERAL</strong></p> + + +<p>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 sprung. The dances vary in +complexity from the ordinary social dance, in which all share +promiscuously and in which individual action is subordinated +to rhythm, to the pantomime totem dances performed by +especially trained actors who hold their positions from year to +year according to artistic +merit.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> +Yet even in the totem dances +the pantomime is subordinate to the rhythm, or rather superimposed +upon it, so that never a gesture or step of the characteristic +native time is lost.</p> + +<p>This is a primitive 2-4 beat based on the double roll of the +chorus of drums. Time is kept, in the men’s dances, by stamping +the foot and jerking the arm in unison, twice on the right, then +twice on the left side, and so on, alternately. Vigorous dancers +vary the program by leaping and jumping at intervals, and the +shamans are noted for the dizzy circles which they run +round the púgyarok, the entrance hole of the dance hall. The +<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span> +women’s dance has the same measure and can be performed +separately or in conjunction with the men’s dance, but has a +different and distinctly feminine movement. The feet are kept +on the ground, 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 gull. Some of +their dances are performed seated. Then they strip to the waist +and form one long line of waving arms and swaying shoulders, +all moving in perfect unison.</p> + + +<p class="center"><span class="smcap">The Chorus</span></p> + +<p>The chorus which furnishes the music, is composed of from +six to ten men. They sit on the inǵlak, a raised shelf extending +around the dance hall about five feet from the floor, and sing +their dance songs keeping time on their drums. They usually +sit in the rear of the room, which is the post of honor. Among +the island tribes of Bering Strait this position is reversed and +they occupy the front of the room. Some old man, the keeper +of tribal tradition and song, acts as the leader, calling out +the words of the dance songs a line ahead. He begins the +proceedings by striking up a low chant, an invitation to the +people assembled to dance. The chorus accompany him lightly +on their drums. Then at the proper place, he strikes a crashing +double beat; the drums boom out in answer; the song arises +high and shrill; the dancers leap into their places, and the dance +begins.</p> + +<p>The first dances are usually simple exercises calculated to +warm the blood and stretch stiffened muscles. They begin with +leaping around the púǵyarok, jumping into the air with both +<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span> +feet in the Eskimo high kick, settling down into the conventional +movements of the men’s +dance.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p> + + +<p>Quite often a woman steps into the center of the circle, +and goes through her own dance, while the men leap and dance +around her. This act has been specialized in the Reindeer and +Wolf Pack Dance of the Aithúkaguk, the Inviting-In Festival, +where the woman wearing a reindeer crest and belt is surrounded +by the men dancers, girt in armlets and fillets of wolf skin. They +imitate the pack pulling down a deer, and the din caused by their +jumping and howling around her shrinking form is terrific.</p> + + +<p class="center"><span class="smcap">Participation of the Sexes</span></p> + +<p>There appears to be no restriction against the women +taking part in the men’s dances. They also act as assistants to +the chief actors in the Totem Dances, three particularly expert +and richly dressed women dancers ranging themselves behind +the mask dancer as a pleasing background of streaming furs and +glistening feathers. The only time they are forbidden to enter +the kásgi is when the shaman is performing certain secret rites. +They also have secret meetings of their own when all men are +banished.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> +I happened to stumble on to one of these one time +when they were performing certain rites over a pregnant woman, +<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span> +but being a white man, and therefore unaccountable, I was +greeted with a good-natured laugh and sent about my business.</p> + +<p>On the other hand, men are never allowed to take part in the +strictly women’s dances, although nothing pleases an Eskimo +crowd more than an exaggerated imitation by one of their clowns +of the movements of the women’s dance. The women’s dances +are practiced during the early winter and given at the Aiyáguk, +or Asking Festival, when the men are invited to attend as spectators. +They result in offers of temporary marriage to the +unmarried women, which is obviously the reason for this rite. +Such dances, confined to the women, have not been observed in +Alaska outside the islands of Bering Sea, and I have reason to +believe are peculiar to this district, which, on account of its +isolation, retains the old forms which have died out or been +modified on the mainland. But throughout Alaska the women +are allowed the utmost freedom in participating in the festivals, +either as naskuks<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> +or feast givers, as participants or as spectators.</p> + +<p>In fact, the social position of the Eskimo woman has been +misrepresented and misunderstood. At first sight she appears +to be the slave of her husband, but a better acquaintance will +reveal the fact that she is the manager of the household and the +children, the business partner in all his trades, and often the +“oomíalik,” or captain of the concern as well. Her husband +is forbidden by tribal custom to maltreat her, and if she owns +the house, she can order him out at any time. I have never +known a woman being head of a tribe, but sometimes a woman +is the most influential member of a tribe.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> +<h2>THE KÁSGI OR DANCE HOUSE</h2> + + +<p>With few exceptions, all dances take place in the village +kásgi or dance hall. This is the public meeting place where the +old men gather to sit and smoke while they discuss the village +welfare, where the married men bring their work and take their +sweat baths, and where the bachelors and young men, termed kásgimiut, +have their sleeping quarters. The kásgi is built and +maintained at public expense, each villager considering it an +honor to contribute something. Any tools or furnishings brought +into the kásgi are considered public property, and used as such.</p> + +<p>When a kásgi is to be built, announcement is made through +messengers to neighboring villages, and all gather to assist in +the building and to help celebrate the event. First a trench +several feet deep is dug in which to plant the timbers forming the +sides. These are usually of driftwood, which is brought by the +ocean currents from the Yukon. The ice breaks up first at the +head of that great stream, and the débris dams up the river, +which overflows its banks, tearing down trees, buildings and +whatever borders its course as it breaks its way out to the +sea. The wreckage is scattered along the coast for over a +hundred miles, and the islands of Bering Sea get a small share. +The islanders are constantly on the lookout for the drifting +timber, and put out to sea in the stormiest weather for a distant +piece, be it large or small. They also patrol the coast after a +high tide for stray bits of wood. When one considers the toil +and pain with which material is gathered, the building of a +kásgi becomes an important matter.</p> + +<p><span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span> +After the timbers have been rough hewn with the adze +(úlimon) they are set upright in the trench to a height of seven +to eight feet and firmly bedded with rock. This is to prevent +the fierce Polar winds which prevail in midwinter from tearing +the houses to pieces. In the older buildings a protecting stone +wall was built on the sides. Most of the houses are set in a side +hill, or partly underground, for additional security, as well as +for warmth. The roof is laid on top of the uprights, the logs +being drawn in gradually in pyramid shape to a flat top. In the +middle of the top is the ṙálok or smoke hole, an opening about +two feet square. In a kásgi thirty feet square the rálok is +twenty feet above the floor. It is covered with a translucent +curtain of walrus gut. The dead are always taken out through +this opening, and never by the entrance. The most important +feature of the room is the inǵlak, a wide shelf supported by posts +at intervals. It stands about five feet high extending around the +room. This serves the double purpose of a seat and bed for +the inmates of the kásgi. The rear, the káan, is the most +desirable position, being the warmest, and is given to headmen +and honored guests.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> +The side portions, káaklim, are given to +the lesser lights and the women and children; and the front, +the óaklim, being nearest the entrance and therefore cold and +uncomfortable is left for the orphans and worthless men.</p> + +<p>The floor of the kásgi is made of rough planking, and the +boards in the center are left loose so that they may be easily +removed. These cover the kēnéthluk or fireplace, an excavation +<span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span> +four feet square, and four feet deep, used in the sweat baths. +It is thought to be the place where the spirits sit, when they +visit the kásgi, during festivals held in their honor. Offerings +are poured to them through the cracks in the planks. In the +center of the floor is a round hole about two feet in diameter, +called the entrance hole or púgyarok. This connects with a +long tunnel, the aǵveak, which leads outside. The tunnel is +usually so low that it is necessary to enter in a stooping position, +which the Eskimo does by placing both hands on the sides of +the púgyarok, and drawing himself through. Some dance-houses +have another entrance directly into the room on a level +with the ground, the underground passage being used only in +winter. The diagram (<a href="#Page_42">Plate XI</a>) gives an idea of this arrangement.</p> + + +<p class="center"><span class="smcap">Paraphernalia</span></p> + +<p>The drum (saúyit)<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> +is the only instrument employed in the +dances. 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 seal. It is held in place by a cord +of rawhide (oḱlinok)<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> +which fits into a groove on the outer rim. +The cover can therefore be tightened at will. 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 blows. The drum is held aloft and +struck with a thin stick (múmwa).<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> +It gives a deep boom in +answer. The shaman uses a smaller baton with which he beats +a continuous tattoo as an accompaniment to his songs. The +<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span> +northerners strike the back of the rim with their sticks, while +the Yukon people belabor the face of the drum.</p> + +<p>The leader of the chorus frequently flourishes a baton, made +from a fox tail or the skin of the ermine which is mounted on a +stick. With this he marks the time of the dance. In <a href="#Page_52">Plate XIV</a>, +the white blur is the ermine at the end of his stick. It is very +difficult to obtain a good picture in the ill lighted kásgi, and not +often that the natives will allow one taken there.</p> + +<p>One indispensable part of a male dancer’s outfit is his +gloves. I have never seen a man dancing without them. +These are usually of wolverine, or of reindeer with elaborate +trimmings, but on ordinary occasions any kind will do. The +women do not share this peculiarity. In place of gloves they +wear handlets of grass decorated with feathers of duck or of +ptarmigan. The men in the Totem Dances also wear handlets +which are carved and painted to represent the particular totem +they seek to honor. These too are fantastically decorated with +feathers, usually of the loon. The central feather is stripped, +and crowned with a tuft of white down. Both men and women +wear armlets and fillets of skin or feathers according to the +animal character they represent. When in the full swing of the +dance with fur and feathers streaming they present a pleasing +spectacle, a picture full of the same wild grace and poetic motion +which characterizes the animal forbears from which they claim +descent.</p> + +<p>The chief characters in the Totem and Comic Dances wear +masks and carry staves decorated with feathers. Occasionally +the women assistants carry feathered wands (Kelízruk).</p> + +<p>Of the masks there is a great variety ranging from the plain +wooden masks to those of such great size that they are suspended +<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span> +from the ceiling of the kásgi by a cord while the dancer performs +behind them.</p> + +<p>The Cape Prince of Wales (Kinígumiut) Eskimo construct +complete figures of their totems. These are worked by means of +concealed strings by the performers, a climax of art which is +supposed to be particularly pleasing to the spirits addressed. +Then the shaman +(Túngalik)<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> +has his own set of masks, hideous +enough to strike terror to even the initiated. Each one of these +represents a familiar spirit +(túnghat)<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> +which assists him in his operations.</p> + +<p>Ordinary dance masks may be made by anyone, but the +masks for the ceremonial dances are made by some renowned +shaman, engaged for the occasion. These masks are burned at +the close of the festival, but may be sold by the actors if they +supply an equal amount of wood for the sacrificial fire.</p> + +<p>Many of the masks are very complicated, having appendages +of wood, fur and feathers. They are all fashioned with an +idea of representing some feature in the mythology of the spirit +(Inua) or animal shade (Tunghat) which they represent. In +the latter case they are nearly always made double, the mythical +beings who inhabited the early world being regarded as able to +change from animal to human shape, by merely pushing up or +pulling down the upper part of the face as a mask. Such masks +are often hinged to complete the illusion, the actor changing the +face at will.</p> + +<p>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 represented. This accounts, to the native mind, for the +very lifelike imitation which he gives.</p> + +<p><span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span> +The masks are painted along conventional lines; the favorite +colors for the inua masks are red +(Karékteoak),<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> +black (Auktoak), green (Cúngokyoak), white (Katéktoak), and blue +(Taúkrektoak), in the order named. These +colors<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> +may hold a sacred or symbolic significance. The inua masks are decorated with +some regard to the natural colors of the human face, but in the +masks of the túnghat the imagination of the artist runs riot. +The same is true of the comic masks, which are rendered as +grotesque and horrible as possible. A mask with distorted +features, a pale green complexion, surrounded by a bristling mass +of hair, amuses them greatly. The Eskimo also caricature their +neighbors, the Dènè, in this same manner, representing them by +masks with very large noses and sullen features.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span></p> +<h2>THE DANCE FESTIVALS</h2> + + +<p>The Dance Festivals of the Alaskan Eskimo are held during +that cold, stormy period of the winter when the work of the year +is over and hunting is temporarily at an end. At this season +the people gather in the kásgi to celebrate the local rites, and at +certain intervals invite neighboring tribes to join in the great +inter-tribal festivals. This season of mirth and song is termed +“Tcauyávik” the drum dance season, from “Tcaúyak” meaning +drum. It lasts from November to March, and is a continuous +succession of feasts and dances, which makes glad the heart of +the Eskimo and serves to lighten the natural depression caused +by day after day of interminable wind and darkness. A brisk +exchange of presents at the local festivals promotes good feeling, +and an interchange of commodities between the tribes at the +great feasts stimulates trade and results in each being supplied +with the necessities of life. For instance, northern tribes +visiting the south bring presents of reindeer skins or múkluk +to eke out the scanty supply of the south, while the latter in +return give their visitors loads of dried salmon which the +northerners feed to their dogs.</p> + +<p>The festivals also serve to keep alive the religious feeling +of the people, as evidenced in the Dance to the Dead, which +allows free play to the nobler sentiments of filial faith and +paternal love. The recital of the deeds of ancient heroes preserves +the best traditions of the race and inspires the younger +generation. To my mind, there is nothing which civilization +can supply which can take the place of the healthy exercise, +social enjoyment, commercial advantages, and spiritual uplift +<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span> +of these dances. Where missionary sentiment is overwhelming +they are gradually being abandoned; where there is a mistaken +opinion in regard to their use, they have been given up altogether; +but the tenacity with which the Eskimo clings to these ancient +observances, even in places where they have been nominal +christians for years, is an evidence of the vitality of these ancient +rites and their adaptation to the native mind.</p> + +<p>The festivals vary considerably according to locality, but +their essential features are the same. Taken in order of celebration +they are as follows</p> + +<p style="margin-left: 2em;">Local Festivals.</p> + +<p style="margin-left: 4em;"> + 1. <span style="margin-left: 1em;">The Aiyáguk or Asking Festival.</span><br /> + 2. <span style="margin-left: 1em;">The Tcaúiyuk or Bladder Feast.</span><br /> + 3. <span style="margin-left: 1em;">The Ailī́gi or Annual Feast to the Dead.</span></p> + +<p style="margin-left: 2em;">Inter-tribal Festivals.</p> + +<p style="margin-left: 4em;"> + 4. <span style="margin-left: 1em;">The Aíthukā́tukhtuk or Great Feast to the Dead.</span><br /> + 5. <span style="margin-left: 1em;">The Aithúkaguk or Inviting-In Feast.</span></p> + +<p>The Asking Festival, which begins the round of feasting +and dancing, takes place during the November moon. It is a +local ceremony in which gifts are exchanged between the men +and women of the village, which result in offers of temporary +marriage. It takes its name from the Aiyáguk or Asking +Stick,<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> +which is the wand of office of the messenger or go-between. +The Annual Feast to the Dead is held during the December moon, +and may be repeated again in spring after the Bladder Feast, +if a large number of Eskimos have died in the interim. It consists +of songs and dances accompanied by offerings of food and +<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span> +drink to the dead. It is a temporary arrangement for keeping the +dead supplied with sustenance (they are thought to imbibe the +spiritual essence of the offerings) until the great Feast to the +Dead takes place.</p> + +<p>This is held whenever the relatives of the deceased have +accumulated sufficient food, skins and other goods to entertain +the countryside and are able to properly honor the deceased. +At the same time the namesakes of the dead are richly clothed +from head to foot and showered with presents. As this prodigal +generosity entails the savings of years on the part of the feast +givers (náskut), the feast occurs only at irregular intervals of +several years. It has been termed the Ten Year Feast by the +traders (Kágruska), but so far as I have been able to inquire, +it has no fixed date among the Eskimo. It is by far the most +important event in the life of the Alaskan native. By it he discharges +all debts of honor to the dead, past, present and future. +He is not obliged to take part in another festival of the kind unless +another near relative dies. He pays off all old scores of hospitality +and lays his friends under future obligations by his +presents. He is often beggared by this prodigality, but he can +be sure of welcome and entertainment wherever he goes, for he +is a man who has discharged all his debts to society and is +therefore deserving of honor for the rest of his days.</p> + +<p>In the Bladder Feast which takes place in January, the +bladders of the animals slain during the past season, in which +the spirits of the animals are supposed to reside, are returned +to the sea, after appropriate ceremonies in the kásgi. There +they are thought to attract others of their kind and bring an +increase to the village. This is essentially a coast festival. +Among the tribes of the islands of Bering Sea and the Siberian +Coast this festival is repeated in March, in conjunction with a +<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> +whaling ceremony performed at the taking down of the +ūmiaks.</p> + +<p>The dance contests in the Inviting-In Feast resemble the nith +songs of Greenland. They are Comic and Totem Dances in +which the best performers of several tribes contest singly or in +groups for supremacy. The costumes worn are remarkably fine +and the acting very realistic. 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 feathers.</p> + +<p>There are a few purely local ceremonies, the outgrowth of +practices of local shamans. An example of this is the Aitekátah +or Doll Festival of the Igomiut, which has also spread to the +neighboring Dènè. Such local outgrowths, however, do not +appear to spread among the conservative Eskimo, who resent +the least infringement of the ancient practices handed down from +dim ancestors of the race.</p> + +<p>It is not often that they will allow a white man to witness +the festival dances, but, owing to the friendliness of the chief of +the Diomede tribes, who always reserved a seat for me next to +him in the kásgi, I had the opportunity of seeing the local rites +and the Great Dance to the Dead. The same favor continuing +with the chief of the Unalit, during my residence on the Yukon, +I witnessed the Inviting-In Feast as celebrated by the southern +tribes. Having described the dances in general, I will proceed +to a detailed account of each.</p> + + +<p class="center"><span class="smcap">The Asking Festival</span></p> + +<p>The Aiyáguk or Asking Festival is the first of the local +feasts. It occurs about the middle of November when the +Eskimo have all returned from their summer travels and made +<span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span> +their iglus secure against the storms of the coming winter. +So, with caches full of fish, and houses packed with trade goods +after a successful season at the southern camps, they must +wait until the shifting ice pack settles and the winter hunting +begins. Such enforced inaction is irksome to the Eskimo, who +does not partake of the stolidity of the Indian, but like a nervous +child must be continually employed or amused. So this festival, +which is of a purely social character, has grown up.</p> + +<p>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 fallen. Suspecting that the Eskimo were +making merry over a native brew, called +“hoosch,”<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> +I slipped down +to the village to see what was the matter. I was met by the +queerest procession I have ever seen. A long line of men and +boys, entirely naked and daubed over with dots and figures of +mingled oil and +charcoal,<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> +were proceeding from house to house +with bowls in their hands. At each entrance they filed in, +howling, stamping and grunting, holding out their dishes until +they were filled by the women of the house.</p> + +<p>All this time they were careful to keep their faces averted +so that they would not be recognized. This is termed the +“Tutúuk” or “going around.” Returning to the kásgi they +washed off their marks with urine, and sat down to feast on their +plunder.</p> + +<p><span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span> +The next day the men gathered again in the kásgi and the +Aiyáguk or Asking Stick was constructed. It was made by a +man especially chosen for the purpose. It was a slender wand +about three feet long with three globes made of thin strips of +wood hanging by a strip of oḱlinok from the smaller end. It +was carried by the messenger between the men and women +during the feast, and was the visible sign of his authority. 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 disgrace. When not in +use it was hung over the entrance to the kásgi.</p> + +<p>The wand maker, having finished the Asking Stick, took +his stand in the center of the room, and swaying the globes, to and +fro, asked the men to state their wishes. 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 it. (Among the +southern tribes the men made small wooden models of the +objects they wished which were hung on the end of the Asking +Stick.) The messenger then proceeded to the house of the woman +in question, swinging the globes in front of her, repeated the +wish and stood waiting for her answer. She in turn recollected +something that she desired and told it to the messenger. Thereupon +he returned to the kásgi, and standing in front of the +first party, swung the globes, and told him what was desired +in return. In this way he made the round of the village. The +men then returned to their homes for the article desired, while +the messenger blackened his face with charcoal and donned a +costume betoking humility. This was considered the only +proper attitude in presenting gifts. The costume consisted of +wornout clothing, of which a disreputable raincoat (Kamleíka) +and a dogskin belt with the tail behind were indispensable parts.</p> + +<p><span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span> +Then the men and women gathered in the kásgi where the +exchanges were made through the messenger. 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 partner. Those exchanging +gifts entered a relationship termed oīlóǵuk, and among the +northern tribes where the ancient forms persevere, they continued +to exchange presents throughout succeeding festivals.</p> + +<p>After this exchange, a dance was performed by the women. +They stripped to the waist, and taking their places on the +ińglak, went through a series of motions in unison. These varied +considerably in time and movement from the conventional +women’s dance.</p> + +<p>According to custom at the conclusion of the dance any man +has the privilege of asking any unmarried woman through the +messenger, if he might share her bed that night. If favorably +inclined, she replies that he must bring a deerskin for bedding. +He procures the deerskin, and presents it to her, and after the +feast is over remains with her for the night.</p> + +<p>Whether these temporary unions lead to permanent marriage +I was unable to find out. 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 bride. +The fact that the privilege is limited to unmarried women might +be also urged in turn. As the system of exchanging wives was +formerly common among the Alaskan Eskimo, and as they distribute +their favors at will, it is rather remarkable that the married +women are not included, as in the licentious feasts recorded of +the Greenlanders.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> +From talks with some of the older Eskimo +I am led to regard this as a relic of an ancient custom similar +<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span> +to those which have been observed among many nations of +antiquity, in which a woman is open to violation at certain +feasts. This privilege is taken advantage of, and may become +a preliminary to marriage.</p> + + +<p class="center"><span class="smcap">The Bladder Feast</span></p> + +<p>The Bladder Feast (Tcaúiyuk) is held in December at the +full of the moon. The object of this feast is the propitiation of +the inua of the animals slain during the season past. These +are believed to reside in the bladders, which the Eskimo carefully +preserve. The ceremony consists in the purification of the +bladders by the flame of the wild parsnip (Aíkituk). The +hunters are also required to pass through the flame. They +return the bladders then to the sea, where entering the bodies of +their kind, they are reborn and return again, bringing continued +success to the hunter.</p> + +<p>The first three days are spent in preparation. They +thoroughly clean the kásgi, particularly the kenéthluk or fireplace, +the recognized abode of all spirits visiting the kásgi. +Then the men bring in their harvest of +bladders.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> +They tie them by the necks in bunches of eight to the end of their spears. +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 purification. Offerings of food and water are +made to the inua, and they are constantly attended. One old +man told me that they would be offended and take their departure +if left alone for a moment. Dogs, being unclean, are not +allowed to enter the kásgi. Neither is anyone permitted to do +any work during the ceremony.</p> + +<p><span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span> +Meanwhile four men,<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> especially chosen for the purpose, +scour the adjoining country for parsnip stalks. They bind these +into small bundles, and place them on top of the látorak, the +outer vestibule to the entrance of the kásgi. In the evening +they take these into the kásgi, open the bundles and spread out +the stalks on the floor. Then each hunter takes a stalk, and they +unite in a song to the parsnip, the burden of which is a request +that the stalks may become dry and useful for purification. +The heat of the seal oil lamps soon dries them, and they are tied +into one large bundle. The third day the sheaf is opened, and +two bundles made. The larger one is for the use of the dancers; +the smaller is placed on a spear and stuck in front of the bladders.</p> + +<p>The fourth day the bladders are taken down and painted. +A grayish mixture is used which is obtained by burning a few +parsnip stalks and mixing the ashes with oil. The designs are +the series of bands and dots grouped to represent the totems +of the hunters. When the paint is dry the bladders are returned +to their places.</p> + +<p>In the evening the men gather again in the kásgi, and the +dancers proceed to strip off every vestige of clothing. Snatching +a handful of stalks at the common pile they light them at the +lamps, and join in a wild dance about the room. The resinous +stalks shoot into flame with a frightful glare, lighting up the +naked bodies of the dancers, and dusky interior of the kásgi. +Waving the flaming torches over their heads, leaping, jumping, +and screaming like madmen they rush around the room, thrusting +the flame among the bladders and then into the faces of the +<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span> +hunters. When the mad scene is at its height, they seize one +another, and struggle toward the púgyarok (entrance hole). +Here each is thrust down in succession until all the dancers have +passed through. I am informed that this is a pantomime +enactment, an indication to the inua it is time for them to +depart.</p> + +<p>The next day a hole is made in the ice near the kásgi, and +each hunter dips his spear in the water, and, running back to the +kásgi, stirs up the bladders with it. The presence of the sea +water reminds the inua of their former home, and they make +ready to depart. The bladders are then tied into one large +bundle, and the people await the full moon.</p> + +<p>At sunrise the morning after the full moon each hunter takes +his load of bladders, and filing out of the kásgi starts for the +hole in the ice on a dead run. Arriving there, he tears off the +bladders one by one, and thrusts them under the water. This +signifies the return of the inua to the sea.</p> + +<p>As the bladders float or sink success is prophesied for the +hunter by the shaman in attendance.</p> + +<p>In the meantime the old men build a fire of driftwood on the +ice in front of the kásgi. The small bundle of parsnip stalks +which stood in front of the bladders is brought out and thrown +on the fire, and as the stalks kindle to the flame, each hunter +utters a shout, takes a short run, and leaps through in turn. +This performance purifies the hunter of any matter offensive to +the inua, and concludes the ceremony.</p> + +<p>During the Bladder Feast all intercourse between the +married men and their wives is tabooed. They are required +to sleep in the kásgi with the bachelors. Neither is any girl +who has attained puberty (Wingiktóak) allowed near the +bladders. She is unclean (Wáhok).</p> + + +<p class="center"> +<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span> +<span class="smcap">The Feasts to the Dead</span></p> + +<p>The Eskimo idea of the life after death and the rationale +for their most important ritual, the Feast to the Dead, is nowhere +better illustrated than in a quaint tale current along the Yukon, +in which the heroine, prematurely buried during a trancelike +sleep, visited the Land of the Dead. She was rudely awakened +from her deathlike slumber by the spirit of her grandmother +shaking her and exclaiming, “Wake up. Do not sleep the hours +away. You are dead!” Arising from her grave box, the maiden +was conducted by her guide to the world beneath, where the +dead had their dwellings in large villages grouped according +to the localities from which they came. Even the animal +shades were not forgotten, but inhabited separate communities +in human shape.<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> +After some travel the girl found the village +allotted to her tribe, and was reclaimed by her departed relatives. +She was recognized by the totem marks on her clothing, which +in ancient times the Eskimo always wore. She found the +inmates of this region leading a pleasant but somewhat monotonous +life, free from hardships and from the sleet and cold of their +earthly existence. They returned to the upper world during +the feasts to the dead, when they received the spiritual essence +of the food and clothing offered to their namesakes<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> by relatives. +According to the generosity or stinginess of the feast givers +there was a feast or a famine in spirit land, and those who were +so unfortunate as to have no namesake, either through their +<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span> +own carelessness<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> +or the neglect of the community,<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> went hungry +and naked. This was the worst calamity that could befall an +Eskimo, hence the necessity of providing a namesake and of +regularly feeding and clothing the same, in the interest of the +beloved dead.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span></p> +<h2>THE ANNUAL FEAST, <ins class="unicode" title="the middle I is a combined macron and acute">AILĪ́GI</ins></h2> + + +<p>The Annual Feast to the Dead is a temporary arrangement, +whereby the shades of those recently departed are sustained +until the advent of the Great Feast to the Dead. 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 Festival. In the latter event the relative discharges all +his social obligations to the dead, and the ghost is furnished with +such an abundance that it can never want in the world below.</p> + +<p>The makers of the feast (nä́skut) are the nearest relatives +of those who have died during the past year, together with those +villagers who have not yet given the greater festival. 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 +relative. The stake is surmounted by a wooden model of a +spear, if the deceased be a man; or a wooden dish, if it be a +woman. The totem mark of the deceased is carved upon it. +In the north simple models of kayak paddles suffice. The sticks +are a notification to the spirits in the land of the dead that the +time for the festival is at hand. Accordingly they journey to +the grave boxes, where they wait, ready to enter the kásgi at +the song of invocation. To light their way from the other world +lamps are brought into the kásgi and set before their accustomed +places. When the invitation song arises they leave their graves +and take their places in the fireplace (Kenéthluk), where they +enjoy the songs and dances, and receive the offerings of their +relatives.</p> + +<p><span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span> +The Annual Feast is celebrated after the Bladder Feast +during the December moon. By the Yukon tribes it is repeated +just before the opening of spring. During the day of the festival +a taboo is placed on all work in the village, particularly that done +with any sharp pointed tool which might wound some wandering +ghost and bring retribution on the people.</p> + +<p>At midday the whole village gathers in the kásgi, and the +ceremony begins. Soon the mourners enter bearing great bowls +of food and drink which they deposit in the doorway. Then +the chorus leader arises and begins the song of invitation accompanied +by the relatives of the dead. It is a long minor chant, +a constant reiteration of a few well worn phrases.</p> + +<p style="margin-left: 2em;"> +<span style="margin-left: -.5em;">“Tukomalra-ā-, tung lík-a,</span> + <span style="margin-left: 4.6em;">tis-ká-a a-a-yung-a-a-yung-a, etc.</span><br /> + Dead ones, next of kin, + <span style="margin-left: 4.9em;">come hither,</span><br /> + Túntum komúga thetámtatuk, + <span style="margin-left: 2.5em;">móqkapik thetámtatuk moqsúlthka.</span><br /> + Reindeer meat we bring you, + <span style="margin-left: 2.6em;">water we bring you for your thirst.”</span></p> + +<p>When the song is completed the mourners arise, and going +to the food in the doorway set it on the planks over the fireplace, +after which they take a ladleful from each dish pouring it through +the cracks in the floor, and the essence of this offering supplies +the shades below with food until the next festival. The remainder +of the food is distributed among those present. When the feast +is over, the balance of the day is given over to songs and dances. +Then the spirits are sent back to their homes by the simple +expedient of stamping on the floor.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span></p> +<h2>THE GREAT FEAST, <ins class="unicode" title="the accented A is a combined macron and acute">AÍTHUKĀ́TUKHTUK</ins></h2> + + +<p>After making offerings to his relative at the annual feast +the chief mourner begins saving up his skins, frozen meat, and +other delicacies prized by the Eskimo, until, in the course of +years, he has accumulated an enormous amount of food and +clothing. Then he is prepared to give the great feast in honor +of his kinsman. Others in the village, who are bereaved, have +been doing the same thing. They meet and agree on a certain +time to celebrate the feast together during the ensuing year. +The time chosen is usually in January after the local feasts are +over, and visitors from neighboring tribes are free to attend. +There are no set intervals between these feasts as has been +generally supposed. They are celebrated at irregular intervals +according to the convenience of the givers.</p> + +<p>At the minor festival preceding the Great Feast, 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 given. On these is a painted model of the totemic +animals of the deceased. The feast giver sings an especial song +of invitation, requesting the dead kinsman to be present at the +approaching feast.</p> + +<p>On the first day of the Great Feast the villagers welcome +the guests. Early in the morning they begin to arrive. The +messenger goes out on the ice and leads them into the village, +showing each where to tie his team. During the first day +the guests are fed in the kásgi. They have the privilege of +demanding any delicacy they wish. After this they are +quartered on various homes in the village. Salmon or meat +<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span> +must also be provided for their dogs. This is no small item, +and often taxes the resources of a village to the utmost. 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 +winter.</p> + +<p>Immediately on tying up their dogs, the guests go to the +kásgi. On entering each one cries in set phraseology, +“Ah-ka-ká Píatin, +Pikeyútum.” “Oh, ho! Look here! A trifling +present.” He throws his present on a common pile in front of +the headman, who distributes them among the villagers. It is +customary to make the presents appear as large as possible. +One fellow has a bolt of calico which he unwinds through the +entrance hole, making a great display. It may be thirty yards +long. Sometimes they accompany the gift with a short dance. +It is considered bad form for one coming from a +distance<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> +not to make the usual present, as in this way he purchases the right to +join in the festival dances.</p> + +<p>As soon as all are gathered in the kásgi, a feast is brought +in for the tired travelers. Kantags of sealmeat, the blackskin +of the bowhead, salmon berries swimming in oil, greens from the +hillsides, and pot after pot of tea take off the edge of hunger. +After gorging themselves, the guests seem incapable of further +exertion, and the remainder of the day is spent in visiting.</p> + + +<p class="center"><span class="smcap">The Feast Givers</span></p> + +<p>The feast givers or nä́skut assemble in the kásgi the second +day, and the ceremony proper begins. They range themselves +around the púgyarok or entrance, the chorus and guests occupying +<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span> +the back of the room and the spectators packing themselves +against the walls.</p> + +<p>Each feast giver is garbed according to the sex of his dead +relative, not his own, so that some men wear women’s clothes +and vice versa. Each bears in his right hand a wand about two feet long +(Kelézruk).<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a> +This is a small stick of wood surmounted +with tufts of down from ptarmigan (Okozregéwik). All are +dressed to represent the totem to which the deceased belongs. +One wears a fillet and armlet of wolfskin (Egóalik); others wear +armlets of ermine (Táreak); still others are crowned with +feathers of the raven (Tulúa) or the hawk +(Tciakaúret).<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> +After a short dance they withdraw and the day’s ceremony is finished.</p> + +<p>The following day the nä́skut assemble again, but they have +doffed their fine feathers, and are dressed in their oldest clothes. +The suits of the day before they carry in a grass sack. They wear +raincoats of sealgut tied about the waist with a belt of dogskin, +and enter the kásgi with eyes cast on the floor. Even in the +dances they keep their faces from the audience.</p> + +<p>This attitude of humility is in accord with Eskimo ethics. +They say that if they adopt a boastful air and fail to give as +many presents as the other nä́skut they will be ashamed. So +they safeguard themselves in advance.</p> + + +<p class="center"><span class="smcap">The Ritual</span></p> + +<p>Advancing with downcast eyes, the nä́skut creep softly +across the kásgi and take their places before the funeral lamps. +Then taking out their festival garments, they slip them on. +<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span> +Immediately the drummers start tapping lightly on their drums, +and at a signal from their leader the song of invitation begins. +Each nä́skuk advances in turn, invoking the presence of his dead +in a sad minor strain.</p> + +<p style="margin-left: 4em;"> + Toakóra ílyuga takína<br /> + Dead brother, come hither<br /> + A-yunga-ayunga-a-yunga.</p> + +<p style="margin-left: 2em;">Or:</p> + +<p style="margin-left: 4em;"> + Nuleága awúnga toakóra<br /> + Sister mine, dead one,<br /> + Takína, núleaga, takína,<br /> + Come hither, sister, come hither.</p> + +<p style="margin-left: 2em;">Or:</p> + +<p style="margin-left: 4em;"> + Akága awúnga takína<br /> + Mother mine, come hither.<br /> + Nanáktuk, takína,<br /> + We wait for you, come hither.</p> + +<p style="margin-left: 2em;">To which the chorus answer:</p> + +<p style="margin-left: 4em;"> + Ilyúga awúnga takína,<br /> + Our brother, come hither,<br /> + Takináka, ilyúga, takínaka,<br /> + Return, dead brother, return.</p> + +<p>The women advance in line, holding their wands in the +right hand, and singing in unison; then the men advance in their +turn, then both nä́skut and chorus sing together:</p> + +<p style="margin-left: 4em;"> + Takinaka, awúnga, tungalika,<br /> + Return to us, our dead kinsmen,<br /> + Nanakátuk, kineáktuk <ins class="unicode" title="the í also has a macron below it">tungalíka</ins><br /> + We wait your home coming, our dead kinsmen.</p> + +<p><span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span> +Suddenly the drummers cease and rap sharply on the inǵlak +with their drumsticks. The dancers stop in the midst of their +movements and stamp on the floor, first with one foot then with +the other, placing their hands on their shoulders, bringing them +down over their bodies as though wiping off some unseen thing. +Then they slap their thighs and sit down. I am informed that +this is to “wipe off” any uncleanness (wahok) that might offend +the shades of the dead.</p> + +<p>Then the namesakes of the dead troop into the kásgi, and +take their places in the center of the room between the two lines. +To each, the nä́skuk hands a bowl of water and a kantag of +frozen reindeer meat cut into small pieces. The namesakes +drop a small portion of the meat on the floor. The essence is +evidently thought to pass below to the waiting inua. Then +they finish the remainder. At the same time a large amount of +frozen meat and fish is brought in and distributed among the +guests. This is done at the end of each day.</p> + +<p>The fourth day the chorus leader mounts the top of the +kásgi and begins again the invitation song. The people scatter +to the burying ground or to the ice along the shore according to the +spot where they have lain their dead. They dance among the +grave boxes so that the shades who have returned to them, when +not in the kásgi, may see that they are doing them honor.</p> + +<p>During the dancing the children of the village gather in +the kásgi, carrying little kantags and sealskin sacks. The +women on returning bring great bags of frozen blueberries and +reindeer fat, commonly called “Eskimo Ice Cream,” with which +they fill the bowls of the children, but the young rogues +immediately slip their portions into their sacks (póksrut) +and hold out their dishes for more, crying in a deafening +chorus, “Wunga-Tū́k” (Me too). This part of the festival +<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> +is thoroughly enjoyed by the Eskimo, who idolize their +children.</p> + +<p>At the conclusion of the day’s feast many presents are given +away by the nä́skut, the husbands of the female feast givers +distributing them for the ladies, who assume a bashful air. +During the distribution the nä́skut maintain their deprecatory +attitude and pass disparaging remarks on their gifts. Sometimes +the presents are attached to a long line of óklinok (seal +thong) which the nä́skut haul down through the smokehole, +making the line appear as long as possible. At the same time +they sing in a mournful key bewailing their relative:</p> + +<p style="margin-left: 4em;"> + Ah-ka- ilyúga toakóra, tákin,<br /> + Oh! oh! dead brother, return,<br /> + Utiktutátuk, ilyúga awúnga,<br /> + Return to us, our brother,<br /> + Illearúqtutuk, ilyúga,<br /> + We miss you, dear brother,<br /> + Pikeyútum, kokítutuk,<br /> + A trifling present we bring you.</p> + + +<p class="center"><span class="smcap">The Clothing of the Namesakes</span></p> + +<p>The following day occurs the clothing of the namesakes. +This is symbolical of clothing the dead, who ascend into the +bodies of their namesakes during the ceremony and take on the +spiritual counterpart of the clothing.</p> + +<p>After a grand distribution of presents by the nä́skut, +bags of fine clothing are lowered to the feast givers and the +namesakes take the center of the floor, in front of their +relatives, the feast givers. Then each nä́skuk calls out to the +particular namesake of his dead kinsman: “Ītakín, illorahug-náka,” +<span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span> +“Come hither, my beloved,” and proceeds to remove +the clothing of the namesake and put on an entirely new suit of +mukluks, trousers, and parka, made of the finest furs. Then the +feast giver gathers up the discarded clothing, and stamps +vigorously on the floor, bidding the ghost begone to its resting +place. It goes, well satisfied, and the dancers disperse until +another great festival. Until the feast is concluded no one can +leave the village.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span></p> +<h2>THE INVITING-IN FESTIVAL</h2> + + +<p>The Inviting-In Festival (Aithúkaguk) is a great inter-tribal +feast, second in importance to the Great Feast to the Dead. +It is a celebration on invitation from one tribe to her neighbors +when sufficient provisions have been collected. It takes place +late in the season, after the other festivals are over. Neighboring +tribes act as hosts in rotation, each striving to outdo the +other in the quality and quantity of entertainment offered. +During this festival the dramatic pantomime dances for which +the Alaskan Eskimo are justly famous, are performed by +especially trained actors. For several days the dances continue, +each side paying the forfeit as they lose in the dancing +contests. In this respect the representations are somewhat +similar to the nith contests of the Greenlanders. As I have +noticed the dances at length +elsewhere,<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> +I shall only give a brief +survey here, sufficient to show their place in the Eskimo festival +dances.</p> + +<p>The main dances of the Inviting-In Festival are totemic +in character, performed by trained actors to appease the totems +of the hunters, and insure success for the coming season. These +are danced in pantomime and depict the life of arctic animals, +the walrus, raven, bear, ptarmigan, and others. Then there are +group dances which illustrate hunting scenes, like the Reindeer +and Wolf Pack dance already described, also dances of a purely +comic character, designed for the entertainment of the guests. +During the latter performances the side which laughs has to pay +a forfeit.</p> + +<p><span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span> +Elaborate masks are worn in all of the dances. The full +paraphernalia, masks, handmasks, fillets, and armlets, are worn +by the chief actors. They are supported by richly garbed +assistants. An old shaman acts as master of ceremonies. There +is an interchange of presents between the tribes during the +intervals but not between individuals, as in the Asking Festival. +At the close of the festival the masks are burned.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span></p> +<h3>KEY TO PLATE XI</h3> + +<p style="margin-left: 10em;"> + A—Outer Vestibule. (Lā´torăk.)<br /> + B—Summer Entrance. (Amēk´.)<br /> + C—Front Platform. (Ṓaklim.) Seat of Orphans and Worthless.<br /> + D—Plank Floor. (Nā´tūk.)<br /> + E—Rear Platform. (Kā´an.) Seat of Honored Guests.<br /> + F—Smoke Hole. (Ṙa´lŏk.) Entrance for Gift-lines.<br /> + G—Entrance Hole. (Pug´yărăk.)<br /> + H—Fireplace. (Kēne´thluk.) Seat of Spirit-Guests.<br /> + I—Underground Tunnel. (Ag´vēak.)<br /> + J—Side Platforms. (Kā́aklim.) Seats for Spectators.<br /> + K—Chorus of Drummers.<br /> + L—Feast Givers. (Nä´skut.)<br /> + M—Namesakes of Dead.</p> + +<hr style="width: 45%;" /> + +<p><span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span></p> + +<div class="figcenter" style="width: 429px;"> +<img src="images/img043.png" width="429" height="600" alt="Arrangement of Kasgi +during the Great Feast to the Dead" title="" /> +</div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span></p> +<h3>KEY TO PLATE XII</h3> + +<p style="margin-left: 10em;"> + A—First Movement. The Chief’s Son, Okvaíok is dancing.<br /> + B—Second Movement.</p> + +<hr style="width: 45%;" /> + +<p><span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span></p> + +<p class="center">ANTHR. PUB. UNIV. MUSEUM VOL. VI <span style="margin-left: 12em;">PLATE XII</span></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/img45a.jpg" width="600" height="404" alt="image" title="" /> +<span class="caption">A</span> +</div> + +<p> </p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/img45b.jpg" width="600" height="400" alt="image" title="" /> +<span class="caption">B</span> +</div> + +<p class="center"><strong>MEN’S DANCE</strong></p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span></p> +<h3>KEY TO PLATE XIII</h3> + +<p style="margin-left: 10em;"> + C—Third Movement.<br /> + D—Fourth Movement.</p> + +<hr style="width: 45%;" /> + +<p><span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span></p> + +<p class="center">ANTHR. PUB. UNIV. MUSEUM VOL. VI <span style="margin-left: 12em;">PLATE XIII</span></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/img49a.jpg" width="600" height="393" alt="image" title="" /> +<span class="caption">C</span> +</div> + +<p> </p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/img49b.jpg" width="600" height="404" alt="image" title="" /> +<span class="caption">D</span> +</div> + +<p class="center"><strong>MEN’S DANCE</strong></p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span></p> +<h3>KEY TO PLATE XIV</h3> + +<p style="margin-left: 10em;"> + Children’s Dance.<br /> + The Chorus. Leader in Center Beating Time With an Ermine Stick.</p> + +<hr style="width: 45%;" /> + +<p><span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span></p> + +<p class="center">ANTHR. PUB. UNIV. MUSEUM VOL. VI <span style="margin-left: 12em;">PLATE XIV</span></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/img53a.jpg" width="600" height="346" alt="image" title="" /> +<span class="caption">CHILDREN’S DANCE</span> +</div> + +<p> </p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/img53b.jpg" width="600" height="344" alt="image" title="" /> +<span class="caption">THE CHORUS</span> +</div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span></p> +<h3>KEY TO PLATE XV</h3> + +<p style="margin-left: 10em;"> + Women’s Dance.</p> + +<hr style="width: 45%;" /> + +<p><span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span></p> + +<p class="center">ANTHR. PUB. UNIV. MUSEUM VOL. VI <span style="margin-left: 12em;">PLATE XV</span></p> + +<div class="figcenter" style="width: 340px;"> +<img src="images/img57.jpg" width="340" height="600" alt="image" title="" /> +<span class="caption">WOMEN’S DANCE</span> +</div> + +</div> + +<hr style="width: 65%;" /> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> This characterization applies to the Alaskan Eskimo only; so far as is now known the other +Eskimo branches do not have totemic dances.</p></div> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> While the northern and southern tribes have the same general movements for their ordinary +dances, they give a very different presentation of the festival dance-songs. The northerners leap +and stamp about the kásgi until overcome with exhaustion; while in the south the performers +sit or kneel on the floor, adorned with an abundance of streaming furs and feathers, sweep their +hands through the air in graceful unison. It is a difference between rude vigor and dramatic +art.</p></div> + +<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> This custom appears to be widespread. Low writes of the Hudson Bay Eskimo: “During +the absence of the men on hunting expeditions, the women sometimes amuse themselves by a +sort of female “angekoking.” This amusement is accompanied by a number of very obscene +rites....” Low, The Cruise of the Neptune, p. 177.</p></div> + +<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> Literally “Heads” or directors of the feasts.</p></div> + +<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> The order of the seating on the inǵlak of invited guests is a matter of great concern to the +Eskimo, as it is an indication of worth. +</p><p> +Children purchase their right to a seat in the kásgi by making presents, through their parents, +to all the inmates, kásgimiut. +</p><p> +Until they do so they have no right to enter. For the same reason strangers on entering the +kásgi offer a small present to the headman, who divides it among the people.</p></div> + +<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> Tcáuyak, Yukon dialect.</p></div> + +<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Lóftak, Yukon dialect.</p></div> + +<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> Múmra, Yukon dialect.</p></div> + +<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Tungrálik, Yukon dialect.</p></div> + +<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Tungrániyak, Yukon dialect.</p></div> + +<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> These are the northern names. In the southern or Yukon dialect black is Túnguli; white +Katughúli; red, Kauigúli; green, Tcunungúli. +</p><p> +The endings and pronunciation of similar Eskimo words are somewhat different in Arctic +Alaska and on the Yukon River; sufficiently so as to produce two distinct dialects. For this +reason I have given the forms from both sections.</p></div> + +<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> Red is obtained from red ochre; white from white clay; black from soot or ashes; green +from oxide of copper.</p></div> + +<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> The Asking Stick is also used in the Inviting-In Feast (Aithúkaguk).</p></div> + +<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> This is a liquor distilled from flour and molasses. In the operation an old cask and a gun +barrel are used. The liquid is fermented with sour dough and allowed to distill through the +barrel. The Eskimo had no liquor prior to the advent of the whalers, who supplied them with the +materials and probably taught them the art of distilling. The U. S. Revenue Cutter “Bear” +has been active in breaking up the practice. In 1909, six illicit stills were seized on the Diomede +Islands.</p></div> + +<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> The first night of the feast the men and older boys meet in the kásgi, and two boys named +the Raven (Tulukaúguk) and the Hawk (Teibúriak) mix the paint and assist the men in +ornamenting themselves.</p></div> + +<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> See Hans Egede, Det Gamle Grönlands Nye Perlustration, p. 78.</p></div> + +<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> The mothers also preserve with greatest care the bladders of the mice, ground squirrels, +and other small animals killed by the children. These are purified at the same time.</p></div> + +<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> The number four appears to have a sacred significance among the Alaskan Eskimo. The +Raven Father (Tulukaúguk) waves his wings four times over the objects of his creation; the +heroes of ancient legends take four steps and are transported great distances; and important +events occur on the fourth night. I understand that the four men who gather the wild parsnips +represent the four clans of the tribe.</p></div> + +<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> The shapes of animals are thought by the Alaskan Eskimo to be like those of men, and in +ancient times animals possessed the power of changing their forms at will. This was effected +by pulling the muzzle up over the head to become people or of pulling it down again to regain +their original form.</p></div> + +<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> The first child born in the village after his death becomes the deceased’s namesake. However, +if born in camp, its mother gives it the name of the first natural object to catch her eye.</p></div> + +<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> Childless people provide for this contingency by adoption.</p></div> + +<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> One who has made himself odious to his fellow villagers is purposely neglected in the feasts +to the dead.</p></div> + +<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> During the inter-tribal festivals, guests are given seats of honor next to the headman of +the village according to the distance from which they have come. The back of the room (káan), +the place of honor, is reserved for this purpose.</p></div> + +<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> The same arrangement characterizes the finger masks of the Inviting-In Dance. (Kiggilúnok), +meaning wand, in southern dialect.</p></div> + +<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> Southern dialect. Akkizhzhígik, Ptarmigan. Teibúviak, hawk; Tulukaúguk, meaning +raven.</p></div> + +<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> Canadian Geological Survey. Memoir 45. The “Inviting-In” Feast of the Alaskan +Eskimo.</p></div> + +</div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Dance Festivals of the Alaskan +Eskimo, by Ernest William Hawkes + +*** END OF THIS PROJECT GUTENBERG EBOOK DANCE FESTIVALS--ALASKAN ESKIMO *** + +***** This file should be named 26544-h.htm or 26544-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/6/5/4/26544/ + +Produced by Anne Storer and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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