12 Canadian Arctic Expedition, 1913-18 



Corn-position of Dance-songs 



The Copper Eskimos are constantly paying visits to other communities, 

 and every visit of importance is marked by a dance in which the leading mem- 

 bers on both sides take part. Every Eskimo, therefore, whether man or woman, 

 can not only sing and dance, but can even in some measure compose dance- 

 songs. Distinction in this field ranks almost as high as distinction in hunting, 

 for the man who can improvise an appropriate song for any special occasion, 

 or at least adapt new words to an old song, is a very valuable adjunct to the 

 community. Certain individuals naturally possess greater ability than others; 

 their songs become the most popular and spread far and wide. But there are 

 no professional song-makers, no men who make the composition of songs their 

 main business in life. 



It is probable that the majority of new songs that spring up among the 

 Copper Eskimos each year are not entirely original, but are simply new words 

 set to old and familiar melodies. A dance-song is not the exclusive possession 

 of any individual, not even of its composer. Like the caribou that roam the land, 

 it is the property of all the people, and every singer may make such changes 

 in it as he wishes. Wherever the song is well known these changes are likely to 

 be few and unimportant, for mistakes or alterations on the part of one man 

 would pass unnoticed amid the general agreement of the other singers. The 

 principal modifications take place when a new song is carried by one or two 

 individuals to another community. There is thein no check on the singer's 

 version ; he may himself have learned the song very imperfectly, or his new audi- 

 ence may not acquire it correctly. In a land where every one is an experienced 

 singer, new words and new notes are readily improvised on the spur of the moment, 

 and these take root and establish themselves. A song thus modified often 

 returns to its place of origin and so gives rise to two versions in the same com- 

 munity. 



The deliberate substitution of words in a song, or the introduction of new 

 phrases and even verses, is a very fertile source of change. It may be done by 

 any singer, but is particularly common in the case of dance-companions.' Nearly 

 every Eskimo has in each neighbouring community one or more dance-compan- 

 ions whose duty it is to act as hosts and to give a dance of welcome on the occasion 

 of his visit. The host leads off in the dancing, and frequently modifies his song 

 in order to sing the praises of his guest; the guest has the prerogative of performing 

 the next dance, and feels bound to reciprocate. Many natives express their 

 joy or appreciation in a few spoken words only, but changes in the songs are by 

 no means uncommon, and are much more effective^. 



Another cause, and also effect of the lack of fixation or standardization of 

 dance-songs is the constant blending or weaving of them together. Songs that 

 closely resemble one another in both theme and melody are pecxiliarly liable to 

 be combined even without any intention on the part of the singer; we see this 

 happening in No. 32. But the process has become so firmly established that it 

 may be deliberately applied to songs of entirely different character. When the 

 fusion is not complete an extra refrain that serves as a kind of second prelude, 

 as in No. 69, or a marked change in the character of the music, as in No. 3, 

 may indicate the transition to the new song; but often the welding has been so 

 perfect that the music contains no trace of a separate origin for any part. The 

 subject-matter of the compound song may be disconnected and almost without 

 meaning, but this is so frequently the case in simple songs even at the time of 

 their composition that in itself it affords no certain evidence of fusion. 



1 For dance-companions, or dancing-associates, as they are there called, see Vol. XII, Pt. A., pp. 86-87, 225. 



2 This custom is strongly reminiscent of the nith-songs of Greenland, where old enmities and jealousies are fought out 

 in satirical dance-songs. Ultimately both may have had the same origin. At the present time satirical songs are exceedingly 

 rare among the Copper Eskimos, and would hardly be sung in the presence of their victims; but rivalry in song is well estab- 

 lished, as is shown by the words of Nos. 51, 78 and 81. 



