620 
Fig: 18.—D’E’ntsik . 
REPORT— 1890. 
ropes. It has two or three points on top, and is 
ornamented with mica (fig. 18). It is intended to 
represent the Gi’siutl It is set in undulating 
motions. Generally three of these figures appear. 
In the To’q’uit the No/ntlemgyila (=making fool- 
ish) is also used. It is a small, flat, human figure 
with movable head and arms. Two lines of mica 
run from the eyes to the corners of the mouth. Its 
head is set with bunches of human hair. In a 
number of these figures the head can be taken off, 
being inserted into the body by means of a plug. 
Then two carved birds are used, which fly down 
from the roof, flapping their leather wings. They 
grasp the head and carry it away, to return it after 
a while. The figure is also worked from under- 
ground. 
¢. Ha/ilikyilatl is the conjurer’s dance. 
9. No/ntlem dances the hands alternately, one 
turned up to the shoulder, the other downward and 
backward as far as possible. 
10. Regarding the Kyi'mk’’alatla see p. 617. 
11. The Tlokoa’la is the wolf’s dance. It corre- 
sponds almost exactly to the Tlokcala of the Nootka 
(see p.599). They wear the wis?’waé,a small carved 
wolf’s head, on the forehead. They crawl on the 
knuckles of the fingers, the thumbs turned back- 
ward, and on the toes around the fire. 
12. lakuiata/latl. Dance of the sea-monster or 
lake-monster Ia’kHim with the mask (fig. 19). 
13. The K’’6'malatl is initiated by the bird 
Matr’m, who is said to live on a high mountain 
inland, and conveys supernatural powers, particu- 
larly the faculty of flying, through pieces of quartz, 
which he gives the novice. The dancer’s body is 
covered with blood, and he has five pieces of quartz 
in his hair, arranged on the medial line. 
14, Hawi/nalatl. The Hawi’nalatl is initiated 
by the Wina’lagyilis, a genius of warriors. The 
Hawi'nalatl has his shoulders and thighs perforated, 
and ropes pulled through the wounds. Small and 
thin slabs of wood are sewed to his hands. A heavy 
post is leaned against the front of the dancing- 
house, and a block is fastened to its top. A rope is 
passed over the block and fastened to the ropes 
which have been pulled through the Hawi‘nalatl’s 
flesh. He is raised on the pole, hanging from these 
ropes. He carries a Si’siutl knife, with which 
he himself cuts his wounds, and wears a Si'siutl 
belt. The Ha’mats’a, Nitlmatl, and bear stand 
around him. If the ropes should give way the 
eer two kill him, while the Ha’mats’a devours 
im 
In the Lélo’tlalatl dance the dancer appears to be 
