168 W. THALBITZER. 
with the self-irony that is so significant of the Eskimo national 
character. But no doubt it also covers the singer’s wish to appear 
at his best to the audience, and to seem unconcerned vis-à-vis the 
opponent, thereby reducing his accusations to the least possible. 
The songs were constantly renewed, as the hostility between the 
two opponents only in rare instances resulted in homicide (never 
during the drumfight itself), but only in a continuation of the fight 
at the next meeting, the following summer or winter. The old songs 
were improved or replaced by new. The favorite drumsongs passed 
into the popular tradition being repeated for amusement either in 
the open air or in winter within the hut. At the winter meetings it 
often happened that two men would stand forth on the floor and for 
amusement repeat a drumfight in a passionate rendering (iwe:lortik). 
The more insignificant songs were probably consigned to oblivion. 
The drumfight songs, however, like the kaiak-songs belong mostly 
in the open air under the summer sun. In their texts, melodies and 
refrains the Ammassalik Eskimo evince all their musical and pro- 
sodic ability. 
I have classified the drumsongs so that the first numbers are 
arranged according to contents — 1. e. first come some typical attack- 
and retort-songs sung by men, then some similar songs sung by 
women, and after them a few connected with the famous name of 
Ak“ko (Holm’s Avgo) — the later numbers being so arranged as to 
group themselves around the names of my informants. — A special 
place is occupied by two reception songs (nos. 202 and 209). It was 
sometimes the custom to receive the aggressor as he approached in 
his kaiak on the sea accompanied by a flotilla of big and small 
skinboats with singing from the shore, or to sing after him when 
they departed. Neither was it a rare occurrence that the approaching 
aggressor started singing out on the sea, and that an alternative song 
between the two enemies developed iwersisdt akernät:a''tut, while the 
friends and relations on board joined in a unison chorus. 
The last four numbers are of a somewhat different character to 
the others, as they belong to the numerous category that may be 
termed the fictitious or feigned drum contest songs which were com- 
posed for the purpose of entertaining the housemates and their guests. 
Several of the previous numbers may also belong to this kind. Drum 
contest that originally were an outcome of deep and bitter feelings 
had gradually become a sort of sport to the natives, to many of 
them a beloved pastime. They threw themselves with keen enjoyment 
into this combination of song and dance and rhythm when the hard 
work of the hunting was successfully ended, and the drumsinging of 
two parties was always something of a play to the people. Even the 
