Language and Folklore. : 165 
of his work in the priest’s service. Nos. 105, 106 and 108 were said 
to be songs that “belonged to” the mythical inland dwellers and 
which the famous angakok would borrow occassionally and recite 
to the listening congregation. Nos. 112 and 113 are songs dealing 
with deceased people and their life after death. The four last poems 
of the collection are a sort of “devotional” epic songs of a religious 
nature recited by the 
priest, while the first 
represent the ceremonial 
responses of his spirits. 
I presume that all 
these songs were sung 
with long refrains and 
to the beating of drums, 
oftentimes so that the 
congregation joined the 
chorus in unison.—Eski- 
mo songs of this kind 
have never before been 
published. 
The merry side of 
life finds expression in 
the comical dancing- 
songs and in the mimic 
or theatrical games. The 
drum-singing solo-dancer 
is called tiwaleq (in plu- 
ral tiwalin or tiwäle:t); 
the player of the games 
is called uaajeertoq (plu- Fig. 21. Mitsuarnianma formerly an angakok, 
ral ua‘je-rtut). Instead of reciting an old merry story. 
tiwaleq some say mumer- (W.T. phot. May 1906.) 
teg (said to be a word 
replacing tiwaleq as a man of this name died).’ These words both 
indicate the song and the player or the part he takes. 
The uaajeertoq players songs are freer as to form and more 
variegated as to contents than the tiwaleq dancer’s songs, consist- 
ent with the fact that the game causes the player to change place 
continually in order to pursue the spectators or act among them, 
whereas the dancer stands in one place on the floor. There are 
1 The word is ancient (archaic) in the language, as it, or its stem, also occurs in 
South Alaska, cf. mumurtoa ‘I drum’, mumium'a ‘I dance’, mun’'oa ‘I lead a 
song.’ (Barnum, Innuit Language, p. 353.) 
