312 W. THALBITZER. 
No. 154. Kaatuarpaase — I Shove Behind You. 
Aleqaajik (Phon.) 
Refrain Exclamation 
Al gand-ja’ qa”nud-ja:* Kastunrdår pars CIS RE = = < 
дапа:]а` ja à qanå'ja'jal ka:‘tuarpa:se ka:tuarpa:se 
Bt дапат а @ qa”’puaja ha ha, ha ha: Cee 
gana@jatja à Капа ner паг» lea jaar? 
The woman performer dances and drums to the refrain (A!-B?). 
When she has sung it to its conclusion she suddenly breaks off with 
the following exclamation, repeated four times: | 
ka'tuarpa’se ‘I shove behind you’, namely as one shoves behind a 
sledge or a boat in order to urge it onward. During this strophe she 
advances the drum and follows after it. This exclamation is followed 
by another, also repeated four times: 
ha ha", an exultant or jubilant ejaculation. — After this, the song and 
the dance are at once repeated, the drumming not having ceased for 
a moment. The strophes А” and В” of the refrain are sung to an 
end, and the exclamation follows without pause, just as before. Then 
come the refrains АЗ and B? with song and dance, so that refrain 
and song alternate for an unlimited period. On the phonograph, 
where, as usual, there is room for the song only to a certain point, 
the exclamation managed to get repeated four times before the wax 
roll was filled up; but in reality the repetition of the song continues 
until the singer and her audience are tired and satiated with enjoy- 
ment. 
No. 155. Amortoqisah — The Touch. 
Aleqaajik (Phon.) 
The dancing woman first holds the drum raised aloft, then lowers 
it down towards the floor, and eventually (in line 3) again holds it 
on high with the drum-skin close to her face and the handle turned 
away from this. At this point the song sounds strained. | 
The object of the song seems to be the same as that of the 
game nuliäkkaaq (no. 140), where the male player mentions his wish 
to touch the woman. In the present song it is the woman herself 
who asks to play, just as in the game which Holm describes as 
having been performed before him at Ammassalik in 1885 (see First 
Part p. 128). The drum-dancer moves towards the platform, and 
sings and dances in front of each of the partitions where the men 
sit with their wives. The song is a sort of uaajeerneq, performed by 
a woman (arnä penat, a song pertaining exclusively to women). 
