432 



REPORT OF NATIONAL MUSEUM, 1895. 



no more and no less than four times. They must not blow liot food, 

 else they would lose their teeth. 



The songs mostly consist of four verses. Each novice, viz, member 

 of a society, has his own songs. They open with a burden which 

 varies according to the society to which they belong. Tliis burden is 



Pig. 44. 

 BATON OF SINGING MASTER. 



Handle representing an eagle. 



IV A, No. I!>S1, Royal Etlmogr.arhiral Mu 



Dl- 



Collected liy A. Jacobs. 



sung in order to indicate the tune. Then follow the words, which, 

 however, are interspersed with repetitious of the burden. The words 

 are called "the walk of the song" (or, as we should say, the words go 

 this way). Each, song is accompanied by beating of time with batons, 

 and by a drum. The beating is sometimes so loud that it almost 



Fig. 45. 



BATON REPRESENTING A SEA LION. 



Side view, end vieV, and view from below. 



IV A, No. 573, Royal Ethnographical ilusCTn, Berlin. Collecte.l liy A. J.acobsen. 



drowns the song. The rhythm of the tune, as well as of the beating, 

 is exceedingly complex; but the most striking characteristic is the fact 

 that the beating is always syncopated. The arm is raised when the 

 tone is uttered and falls quickly afterwards. In all songs of the win- 

 ter ceremonial the beating begins several bars before the singing. It 



Fig. 46. 



BATON REPRESENTING A. SEA LION. 



End and side view.s. 



IV A, No. Ifl44, Royal Ethnographical Mnseum. Collecteil liy A. Jacobsen. 



is the reverse in profane songs. The beating is an intrinsic part of 

 the songs and can not be separated from it. 



The dances of the various societies differ in cliaracter, and will be 

 described in the course of this chapter. They have all this in common, 

 that the dancer on entering the door turns once to the left at a place 



