166 М’. THALBITZER. 
numbers of parts, now taken by men, now by women, now dressed 
up and now (although rarely) without any disguise. 
While the character of the part of the play is the main thing 
for the uaajeertog and the dancing of secondary importance, the re- 
verse applies to the tiwaleq, the solo-dancer; further, the former 
branch of art is practised principally by men, the latter by women. 
The tiwalin consist mainly of special women’s dances (arnd 
penat), but not exclusively. Akernilik would maintain that “the 
men sing and dance long and hard, the women little and short” 
(tiwarpun anin, liwala’rpun arnät). The whole house takes part in 
the singing; one leads, and the others gradually come in; first 
one joins, then another (ap-erqisiarpun) — thus quite different to 
the uaajeertog games. The tiwaleq is a sort of ballet performance 
consisting in the solo appearance of one person, preferably a naked 
woman, out on the floor halfways between the entrance and the 
platform. She twists the rhythmical and mimic movements of the 
dance from out her entire body in a trembling play of all muscles, 
singing, as though in ecstasy, long refrains, periodically interrupted 
by wild or jubilant exclamations; drumming, in time, the particular 
woman’s rhythms, now rising, now lowering the tambourine. 
In some instances it is difficult to draw the line between the 
two branches of art. Among the uaajertoq songs these numbers are 
somewhat similar to tiwalin: nos. 123, 129, 133, 141. A great many of 
the songs have free-and-easy, not to say cynical contents, and em- 
ploy gross means to create merriment. Others have a more discreet 
and refined mode of action, е. g. по. 120 (Toowee) which travesties 
a cowardly drum-singer, nos. 122 and 123, which display ridiculous 
and namby-pamby men, no. 137 a man vain of his own imaginary 
beauty. The comic, merry mask is called qo‘iuqga:rasit-oq, the serious 
or sour mask an-erqa‘rasit-oq. 
A song in which loud exclamations suddenly interrupt the singing 
is called a gat-e-warter ‘filled with sound; a beautiful cry’; the exclam- 
ation generally occurs after a period of refrain, sometimes in a na- 
tural speaking tone and always with an exceedingly emphatic voice, 
as if im scorn, anger or enthusiasm, e. g. aha" or ah"; ea, ea 
(moaning, as in extreme distress, no. 188); erce (triumphant, thrice 
repeated, see no. 178). cum'iäta (in ecstasy, no. 140). The designa- 
tion gate"warter is used mostly of tiwaleet, though also of the fol- 
lowing group of songs. 
The genuine juridical drumsongs belong to the domain of the 
Greenland vendettas. Two men, or sometimes two women, having 
become enemies would once a year have a settlement with each other 
in a drumfight where, in turn, they would give vent to their anger 
