E. W. HAWKES THE DANCE FESTIVALS OF THE ALASKAN ESKIMO 1 7 



from the ceiling of the kasgi by a cord while the dancer performs 

 behind them. 



The Cape Prince of Wales (Kimgumiut) 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 (Tungalik) 1 has his own set of masks, hideous 

 enough to strike terror to even the initiated. Each one of these 

 represents a familiar spirit (tiinghat) 2 which assists him in his 

 operations. 



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. 



Many of the masks are very complicated, having append- 

 ages 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. 



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. 



1 Tungralik, Yukon dialect. 



2 Tungraniyak, Yukon dialect. 



