SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY

VOLUME 7 [In Three Parts]

PART THREE

SERIAL PUBLICATIONS OF THE SMITHSONIAN INSTITUTION

The emphasis upon publications as a means of diffusing knowledge was expressed by the first Secretary of the Smithsonian Institution. In his formal plan for the Institution, Joseph Henry articulated a program that included the following statement: “It is proposed to publish a series of reports, giving an account of the new discoveries in science, and of the changes made from year to year in all branches of knowledge.” This keynote of basic research has been adhered to over the years in the issuance of thousands of titles in serial publications under the Smithsonian imprint, commencing with Smithsonian Contributions to Knowledge in 1848 and continuing with the following active series:

Smithsonian Annals of Flight

Smithsonian Contributions to Anthropology

Smithsonian Contributions to Astrophysics

Smithsonian Contributions to Botany

Smithsonian Contributions to the Earth Sciences

Smithsonian Contributions to Paleobiology

Smithsonian Contributions to Zoology

Smithsonian Studies in History and Technology

In these series, the Institution publishes original articles and monographs dealing with the research and collections of its several museums and offices and of professional colleagues at other institutions of learning. These papers report newly acquired facts, synoptic interpretations of data, or original theory in specialized fields. These publications are distributed by mailing lists to libraries, laboratories, and other interested institutions and specialists throughout the world. Individual copies may be obtained from the Smithsonian Institution Press as long as stocks are available.

S. DILLON RIPLEY

Secretary

Smithsonian Institution

Under Mount Saint Elias:

The History and Culture of the Yakutat Tlingit

Frederica de Laguna

PART THREE

SMITHSONIAN INSTITUTION PRESS

City of Washington

1972

A Publication of the

SMITHSONIAN INSTITUTION

National Museum of Natural History

LIBRARY OF CONGRESS CARD 77–185631

UNITED STATES GOVERNMENT PRINTING OFFICE, WASHINGTON: 1972

For sale by the Superintendent of Documents, U.S. Government Printing Office
Washington, D.C. 20402 - Price $16.50 per 3 part set.
Sold in sets only.

Plates

    1. Charley White, 1949.

    2. Mr. and Mrs. Harry K. Bremner, 1952.

    3. Mr. and Mrs. Sampson Harry and Mr. and Mrs. George Johnson, 1949.

    4. Mrs. Maggie Dick and Mrs. Chester Johnson, 1954.

    5. Mrs. Jenny Jack and Mrs. Minnie Johnson, 1954.

    6. David Henry and Daniel Henry, 1954.

    7. Jack Reed, 1949.

    8. William Milton, 1949.

    9. Mrs. William Thomas and her children, 1952.

  10. Tom John, 1954.

  11. Harvey Milton, 1952.

  12. Mrs. Annie George, 1954.

  13. Mrs. Maggie Adams Harry, 1954.

  14. Beverly Jean and Rebecca Bremner, 1952.

  15. Leonard Williams, 1952.

  16. Saint Elias Range, 1952.

  17. Mount Saint Elias, 1952.

  18. Disenchantment Bay, 1952.

  19. Disenchantment Bay, 1954.

  20. Lituya Bay, 1954.

  21. Dry Bay, 1954.

  22. Yakutat from the south shore of Monti Bay, 1952.

  23. The cannery, 1952.

  24. Yakutat ANB Hall and church, 1952.

  25. Yakutat homes, 1952.

  26. The Old Village, Yakutat, 1952.

  27. Smokehouse and drying racks, Old Village, 1954.

  28. Ocean beach, 1949.

  29. The deep woods, 1952.

  30. Grave monuments near the Old Village, 1954.

  31. Graves on the hill above the mission, 1954.

  32. ANB cemetery, Ankau Point, 1954.

  33. Grave of Jack Ellis, Ankau Point, 1954.

  34. Wreck of LaPérouse's two boats, Lituya Bay, 1786.

  35. Tlingit fish camp, Lituya Bay, 1786.

  36. Boat frame at Lituya Bay, 1786.

  37. Dugout canoe, Lituya Bay, 1786.

  38. Inhabitants of Lituya Bay, 1786.

  39. Tlingit woman of Lituya Bay, 1786.

  40. General view of Port Mulgrave, 1791.

  41. Trouble with the natives in removing the observatory instruments, July 5, 1791.

  42. A disagreement with the natives of Port Mulgrave, July 5, 1791.

  43. The chief of Port Mulgrave asks for peace, 1791.

  44. The chief of Port Mulgrave and his son, 1791.

  45. The chief of Port Mulgrave, 1791.

  46. An Indian of Port Mulgrave (the chief's son), 1791.

  47. The son of the chief of Port Mulgrave, 1791.

  48. The son of the chief of Port Mulgrave, with a dagger, 1791.

  49. A man of Port Mulgrave, 1791.

  50. Men of Port Mulgrave, 1791.

  51. An Indian of Port Mulgrave armed for war, 1791.

  52. Women of Port Mulgrave, wearing labrets, 1791.

  53. A plebian woman of Port Mulgrave, 1791.

  54. A woman of Port Mulgrave with her baby, 1791.

  55. A woman of Port Mulgrave with her baby, 1791.

  56. A girl with nose pin, Port Mulgrave, 1791.

  57. A young girl of Port Mulgrave, 1791.

  58. Crest hat of the chief of Port Mulgrave, 1791.

  59. Grave monument of the former chief of Port Mulgrave, 1791.

  60. Grave monuments of the family of the current chief of Port Mulgrave, 1791.

  61. Grave monuments of the family of the current chief of Port Mulgrave, 1791.

  62. Chief Minaman or “Yen-aht-setl,” Khantaak Island, 1886.

  63. “Sheet-ahn-do-tin” and family, Yakutat, 1886.

  64. Yakutat Chief George Yaartodaqet, 1888.

  65. The shaman, Teart-’ic, 1888?

  66. A Yakutat medicine man, 1886.

  67. “Klog-Shegees,” chief of Kayak, Wingham Island, 1886.

  68. Kayak, Wingham Island, 1886.

  69. Kantaak Island and Martin Point, 1886.

  70. Leaving Yakutat for Icy Bay in canoes, 1888.

  71. “Chief Yanatchoo's Village,” and war canoes, Yakutat, 1889.

  72. Sealing camp above Point Latouche, north end, July 1899.

  73. Sealing camp above Point Latouche, north end, July 1899.

  74. Sealing camp above Point Latouche, camp of Daknaqin, July 1899.

  75. Sealing camp above Point Latouche, with Sitka Ned, July 1899.

  76. Sealing camp above Point Latouche, south end, July 1899.

  77. Sealing camp above Point Latouche, south end, July 1899.

  78. Sealing camp above Point Latouche, bark shelter, July 1899.

  79. Sealing camp above Point Latouche, with Jenny Abraham, July 1899.

  80. Sealing camp above Point Latouche, with wife of Chief Minaman, July 1899.

  81. Bear Bit Billy in Fort House, Khantaak Island, 1889.

  82. The Old Village, Yakutat, 1915.

  83. The Old Village, Yakutat, 1915 or 1916.

  84. Houses in the Old Village, Yakutat, 1912.

  85. Beaver Screen in Wolf Bath House, Yakutat, 1949.

  86. Posts from Shark House, Yakutat, with Jim Kardeetoo, 1928.

  87. Posts from Shark House, Old Village, Yakutat.

  88. Carvings on posts in Moon House, Old Village, Yakutat, 1901.

  89. Bear Post from Shark House, Yakutat.

  90. Totem pole carved for sale (1926–30?).

  91. Thunderbird Screen from Thunderbird House, Yakutat.

  92. Painting the Golden Eagle Screen for Drum House (1905?).

  93. Golden Eagle Screen for Golden Eagle House, Old Village, Yakutat.

  94. “Skookum root,” or American white hellebore.

  95. Devilclub.

  96. “Wild rice” or Kamchatka lily, and lupin.

  97. Wild celery, yellow pond lily and buckbean.

  98. Black seaweed.

  99. Seaweed drying.

100. Yakutat foods and preserves.

101. Gathering clams and cockles.

102. William Thomas fishing with gill net, 1952.

103. Seining salmon.

104. Dried salmon.

105. Yakutat canoe paddles and canoe models.

106. Yakutat canoe models.

107. Models of Yakutat canoes.

108. Yakutat arrows, quiver, and bow.

109. Sea otter hunter's bows, harpoon arrows, and quiver.

110. Wooden clubs for killing wounded seals or sea otters.

111. Gaff hook.

112. Barbed heads for spear and sea otter harpoon arrows.

113. Halibut fishing gear.

114. Halibut hooks.

115. Halibut hooks.

116. Powder horns, bullet mold, and shot pouch.

117. Yakutat tools.

118. Horn spoons and dish.

119. Grease containers.

120. Trinket boxes.

121. Tobacco pipe and snuff mortars.

122. Wooden pipes.

123. Wooden pipes.

124. Implements for working skins.

125. Modern implements for working sealskins.

126. Halibut skin bag.

127. Inherited family possessions.

128. Yakutat baskets and bag.

129. Yakutat berry baskets.

130. Spruce root basket.

131. Yakutat baskets.

132. Yakutat baskets.

133. Spruce root basket.

134. Yakutat doll and moccasins.

135. Yakutat silver and beadwork.

136. Comb and amulets.

137. Amulets and gambling tops.

138. Gaming counters and container.

139. Gaming implements and paint brushes.

140. Joseph Abraham as song leader, 1900 (?).

141. Clarence Peterson, 1920 (?).

142. Ned Williams, 1906.

143. Teqwedi heirlooms on the porch of Shark House.

144. Teqwedi and Kwacartqwan heirlooms in Shark House.

145. Ceremonial garments of the Bear House Teqwedi.

146. Yakutat dance shirts.

147. Mount Saint Elias Shirt and beaded vest.

148. Chilkat blanket with Raven design.

149. Chilkat blanket for a child.

150. Thunderbird Blanket of the CAnkuqedi.

151. Ahrnklin River Blanket of the Drum House Teqwedi.

152. Harvey Milton, wearing the Kwacartqwan Mount Saint Elias Blanket, 1954.

153. War bonnet and Bear's Ears headdress.

154. Yakutat crest hat.

155. Yakutat crest hats.

156. Teqwedi headdress.

157. Teqwedi headdresses and dancing masks.

158. Crest helmets.

159. Wooden helmet.

160. Copper war knife.

161. Moosehide armor.

162. Chief's staffs or canes.

163. Song leader's staffs.

164. Killerwhale Drum of the Teqwedi.

165. Wooden drum with Owl crest.

166. Raven Drum of the Kwacartqwan.

167. Kwacartqwan memorial image.

168. Wooden figurines.

169. Shaman's grave guardian from Yakutat.

170. Paraphernalia of the Yakutat shaman, collected by Libbey.

171. Paraphernalia of the Yakutat shaman, collected by Libbey.

172. Ivory charms of the Yakutat shaman, collected by Libbey.

173. Ivory charms of the Yakutat shaman, collected by Libbey.

174. Masks of Libbey's unknown Yakutat shaman.

175. Headdress ornaments of the Yakutat shaman, collected by Libbey.

176. Rattles of the Yakutat shaman, collected by Libbey.

177. Rattle of the Yakutat shaman, collected by Libbey

178. Paraphernalia of unidentified shamans of Yakutat and Dry Bay.

179. Dance wands and headdress ornament of Yakutat and Dry Bay shamans.

180. Masks of an unidentified Dry Bay shaman.

181. Masks of unidentified shamans of Dry Bay and Akwe River.

182. Ivory and bone charms of unknown Yakutat shamans.

183. Ivory charms of unknown Dry Bay shamans.

184. Masks of an unidentified Yakutat shaman.

185. Masks of unidentified Yakutat shamans.

186. Masks of unidentified shamans of the Yakutat-Dry Bay area.

187. Paraphernalia belonging to SEtAn.

188. Masks belonging to SEtAn.

189. Masks belonging to SEtAn.

190. Masks belonging to artutcda.

191. Masks belonging to artutcda.

192. Masks belonging to artutcda.

193. Headdresses belonging to artutcda.

194. Copies of masks belonging to artutcda.

195. Paraphernalia of an unknown TłukwaartAdi shaman.

196. Paraphernalia of the unknown TłukwaartAdi shaman.

197. Masks of the unknown TłukwaartAdi shaman.

198. Paraphernalia belonging to Qadjusé.

199. Paraphernalia belonging to Qadjusé.

200. Mask and headdress belonging to Qadjusé.

201. Masks belonging to Qadjusé.

202. Masks belonging to Qadjusé.

203. Headdresses belonging to Qadjusé.

204. Paraphernalia of the unidentified artaartkA’ayi shaman.

205. Paraphernalia of the unidentified arta artkA’ayi shaman.

206. Headdress and mask of the unidentified arta artkA’ayi shaman.

207. Masks and maskette of the unidentified arta artkA’ayi shaman.

208. Headdress of the unidentified arta artkA’ayi shaman.

209. Frog Crest of the Tł’UknaartAdi, Sitka, 1902.

210. Yakutat natives at the Sitka potlatch, 1904.

211. Yakutat natives at the Sitka potlatch, 1904.

212. Hosts and Yakutat guests at the Sitka potlatch, 1904.

213. The Golden Eagle Screen for Drum House, Yakutat, 1905.

214. Teqwedi guests at the Tł’UknaartAdi potlatch, Yakutat, 1916.

215. The Thunderbird Screen and CAnkuqedi, Yakutat, 1918.

216. Performance in the ANB Hall, Yakutat, 1936.

217. Harry K. Bremner with Mount Saint Elias Dancers’ equipment, 1965.

218. The Mount Saint Elias Dancers, Yakutat, 1965.

Photographs of specimens in museums, reproduced by courtesy of those institutions, are designated as follows:

Alaska State Museum (formerly the Territorial Historical Library and Museum), Juneau. (Photographs by J. Malcolm Greany and Edward Keithahn for this publication.)

AMNH. American Museum of Natural History. (Where negative numbers are not given, photographs are by Dr. Richard A. Gould, and the author, for this publication.)

MAI/HF. Museum of the American Indian, Heye Foundation.

PAM. Portland Art Museum.

PU. Museum of Natural History, Princeton University. (Photographs by Dr. Donald Baird and Will Stark for this publication.)

TBM/WSM. Thomas Burke Memorial Washington State Museum, Seattle. (Photographs by William Eng for this publication.)

USNM. United States National Museum.

Photographs taken at Yakutat and vicinity are by the author, unless otherwise noted.

LMA. Lowie Museum of Anthropology, University of California, Berkeley. (Photographs not published.)

PLATE 1 Charley White (1879–1964) in 1949.

PLATE 2 Mr. and Mrs. Harry K. Bremner. Harry K Bremner (1893–    ) is attaching floats to a gill net (photograph, 1952, by Catharine McClellan). Helen Italio Bremner (1900–    ) in 1952.

PLATE 3 Mr. and Mrs. Sampson Harry and Mr. and Mrs. George Johnson. Above, Sampson Harry (1906–) and his wife, Annie Nelson Harry (1906–    ), in 1952. Below, George Johnson (1892–    ), Chief of Police, and his wife, Annie (1875–1964), in 1949.

PLATE 4 Mrs. Maggie Dick (1897–1964) and Mrs. Chester Johnson (1900–    ) in 1954.

PLATE 5 Mrs. Jenny Jack (1903–    ) and Mrs. Minnie Johnson (1884–1964) in 1954.

PLATE 6 David Henry and his brother, Daniel, in Russell Fiord, May 1954.

PLATE 7 Jack Reed (1888–1953) in 1949.

PLATE 8 William Milton (1888–1950) rendering seal oil, 1949.

PLATE 9 Mrs. William Thomas (Mary Kardeetoo) (1911–1967) and her children, 1952.

PLATE 10 Tom John (1901–1959) in 1954.

PLATE 11 Harvey Milton (1912–    ), Chief of Police, in 1952.

PLATE 12 Mrs. Annie George (1890–    ) in 1954.

PLATE 13 Mrs. Maggie Adams Harry (1892–    ) with Copper River Dance Staff, 1954

PLATE 14 Beverly Jean and Rebecca Bremner, my “joking relatives” and the daughters of Harold and Esther Bremner, 1952.

PLATE 15 Leonard Williams (1942–    ) in a Chilkat blanket, 1952. (Photograph by Catharine McClellan.)

PLATE 16 Saint Elias Range. Mount Saint Elias is on the extreme left. Photograph taken from inside Krutoi Island, Yakutat Bay, June 1952.

PLATE 17 Mount Saint Elias, between Knight Island (left) and Little Fort Island (right), Yakutat Bay, June 1952.

PLATE 18 Disenchantment Bay from Point Latouche. Hubbard Glacier is in the background on the left. Haenke Island is near the east shore just right of center. June 1952.

PLATE 19 The head of Disenchantment Bay with Hubbard Glacier on the left. Orange Glacier is on the right, behind Osier Island. May 1954.

PLATE 20 Aerial view of Lituya Bay, 1954, gg, Trimlines of the giant waves of 1936. kk, Trimlines of the giant waves of 1853–54. mm, Lateral and terminal moraines marking a recent advance of the ice to the mouth of the bay. Mount Crillon, altitude 12,726 ft., is the highest peak visible. The giant waves of July 9, 1958, destroyed the forest to a maximum height of 1,720 ft. at the head of the bay (near g), obliterated the 1853–54 trimlines (kk), and washed inland as far as Fish Lake (left below m), and carried a fishing boat out over the spit in the foreground. (After Miller, 1960, pl. 3A).

PLATE 21 Aerial view of Dry Bay, February 1954.

PLATE 22 Yakutat from the south shore of Monti Bay, 1952. Mount Saint Elias is on the extreme left; the ANB hall and the church are at center; the cannery is on the right.

PLATE 23 The cannery and houses for cannery personnel at the head of Monti Bay, Yakutat, June 1952.

PLATE 24 The path below the ANB hall and the church at Yakutat, June 1952. The cannery is in the background on the right.

PLATE 25 Yakutat homes, June 1952. The house occupied by my party is in the center foreground.

PLATE 26 The Old Village, Yakutat, from the road to the lagoon, June 1952.

PLATE 27 Smokehouse and drying racks, Old Village, Yakutat, April 1954.

PLATE 28 Ocean beach near the site of the old Russian Fort, Ocean Cape, June 1949.

PLATE 29 The deep woods; ferns, devilclub, and spruce hung with moss. Early September 1952.

PLATE 30 Grave monuments on the point beyond the Old Village, February 1954. These were moved to their present location when the road to the Lagoon was built. The first three monuments are to Kwacartqwan men and are on a single cement base. From left to right: Squared marble column with Raven in low relief on the side, “BILLEY/DIED 1902/AGED 40 YEARS” [Bear Bit Billy]; rounded marble column, “GEO. YOUNG/DIED OCT 1915/AGED 45/ROBERT FUNTON/DIED OCT 1915/AGED 24 YEARS/GEO. MARTEN/DIED OCT 1915/AGED 23 YEARS”; squared marble column with Raven in low relief on the side, “JACK SHAKOKON/DIED OCT 18 1912/AGED 28 YEARS”; squared marble column with cross on top and clasped hands in low relief on the side, “SITKA NED/MRS. SITKA NED/DROWNED/OCT. 6 1926” [Mrs. Sitka Ned was Kwacartqwan, her husband Teqwedi]; heart-shaped marble slab at extreme right, “BLIND SAMPSON/OCTOBER 1948/AGE 110” [Kwacartqwan].

PLATE 31 Graves on the hill between the mission and the Old Village, Yakutat, May 31, 1954. From left to right: Small plain stone in foreground, “BABEY/ROBERT MARTIN/OCT 24 1914/DEC 27 1916” [son of Kitty and Martin Abraham]; shaft with cross and fresh paper flowers, “MEMORY OF KITTY MARTEN/BORN 1895/DIED SEPT 1920” [Kwacartca; Daughter of Jim and Jenny Karteetoo; married to Martin Abraham]; stone with angel and fresh paper flowers, “MEMORY MARY KO-MY-YECK/AGED 135 YEARS” [Kwacartca. Married to Kayak Chief John and, later, to Jim Itinisku. The mother of Mrs. Annie Johnson, Mrs. Jenny Kardetoo, and Mary, Mrs. John Bremner II. Died about 1928.]

PLATE 32 The ANB cemetery, Ankau Point, Memorial Day 1954.

PLATE 33 Grave of Jack Ellis, Ankau Point, Memorial Day 1954. Emma Ellis and her son's children are at the grave of her husband.

PLATE 34 Wreck of LaPérouse's two boats at the mouth of Lituya Bay, July 13, 1786. “Naufrage des deux chaloupes, au Port des Français.” (After Chinard, 1937, pl. opp. p. 26.)

PLATE 35 Tlingit fish camp, Lituya Bay, visited by LaPérouse in 1786. “Vue d’un établissement des habitans du Port des Français pour la saison de la pèche.” (After Chinard, 1937, pl. opp. p. 44.)

PLATE 36 Boat frame and its skin cover, found at Lituya Bay by LaPérouse in 1786. “Pirogue, trouvée au Port des Franç ais. On voit à son coté la peau qui lui tient lieu de bordage.” (After Chinard, 1937, pl. opp. p. 34.)

PLATE 37 Dugout canoe, Lituya Bay, 1786. “Pirgue du Port des Français.” (After Chinard, 1937, pl. opp. p. 42.)

PLATE 38 Inhabitants of Lituya Bay, 1786. “Costume des habitans du Port des Français, sur la còte du nord-ouest de 1’Amérique.” (After Chinard, 1937, pl. opp. p. 46.)

PLATE 39 Tlingit woman, Lituya Bay, 1786. “Femme du Port des Français.” (After Chinard, 1937, pl. opp. p. 48.)

PLATE 40 General view of Port Mulgrave 1791. “Vista del alojamiento de los Indios, y Puerto de Mulgrave sacade desde su bajo.” (Aquatint by Suría, courtesy Museo Naval, Madrid.)

PLATE 41 Trouble with the natives in removing the observatory instruments, July 5, 1791. Mistitled: “Mulgrave desembardo.” (Aquatint by Suría, courtesy Museo Naval, Madrid.)

PLATE 42 A disagreement with the natives of Port Mulgrave, July 5, 1791. “Discordia con los Naturales del Puerto Mulgrave en 5 de Junio [sic] de 1791.” (MS. sketch by Suría, courtesy Yale Univ. Library.)

PLATE 43 The chief of Port Mulgrave asks for peace. Note that he is returning the stolen trousers. “El cacique de Mulgrave accompanade de otras canoas pide la pas a las corbetas.” (Aquatint by Suría, courtesy Museo Naval, Madrid.)

PLATE 44 The chief of Port Mulgrave and his son, 1791. “Indio de Mulgrave, Jefe del Puerto de Mulgrave.” (Aquatint by Suría, courtesy Museo Naval, Madrid.)

PLATE 45 The chief of Port Mulgrave. “Jefe del Puerto de Mulgrave nombrado Ankaiui.” (MS. sketch by Suría, courtesy Yale Univ. Library.)

PLATE 46 An Indian of Port Mulgrave (evidently the chief's son), 1791. “Indio de Mulgrave.” (MS. sketch by Suría, courtesy Yale Univ. Library.)

PLATE 47 The son of the chief of Port Mulgrave, 1791. “Indio de Mulgrave.” (Aquatint “405” by Suría, courtesy Museo Naval, Madrid.)

PLATE 48 The son of the chief of Port Mulgrave, armed with a dagger, 1791. (Aquatint by Suría, courtesy Museo Naval, Madrid.)

PLATE 49 A man of Port Mulgrave, 1791. “Pleveyo.” (MS. sketch by Suría, courtesy Yale Univ. Library.)

PLATE 50 Men of Port Mulgrave, 1791. Left, A warrior with his hair tied up, and a tasseled cloak tied up about his loins. Right, A man wearing a basketry hat and a long tasseled robe, probably a woven goathair blanket. (MS. sketch by Suría, courtesy Yale Univ. Library.)

PLATE 51 An Indian of Port Mulgrave armed for war, 1791. “Indio armado en guerra de Puerto de Mulgrave.” He wears a wooden helmet, carved like a mask, and a wooden collar to protect his throat (see detail at right). A long-sleeved shirt reaches his ankles, over which a cuirass of wooden slat armor hangs to his knees. He is armed with bow and arrow, and a dagger hangs at his left side. (MS. sketch by Suría, courtesy Yale Univ. Library.)

PLATE 52 Women of Port Mulgrave wearing labrets, 1791. (MS. sketches by Suría, courtesy Yale Univ. Library.)

PLATE 53 A plebian woman of Port Mulgrave, 1791. (MS. sketch by Suría, courtesy Yale Univ. Library.)

PLATE 54 A woman of Port Mulgrave with her baby, 1791. “India de Mulgrave con su hijo.” (Aquatint by Suría, courtesy Museo Naval, Madrid)

PLATE 55 A woman of Port Mulgrave with her baby, 1791. “India de Mulgrave con su hijo.” (Aquatint by suría, courtesy Museo Naval, Madrid.)

PLATE 56 A girl with nose pin, Port Mulgrave, 1791. (MS. sketch by Suría, courtesy Yale Univ. Library.)

PLATE 57 A young girl of Port Mulgrave, 1791. (Aquatint “403” by Suría, courtesy Museo Naval, Madrid.)

PLATE 58 Crest hat of the chief of Port Mulgrave, 1791. “Sombrero o turbante del Jefe de Mulgrave.” (Aquatint “81” by Suría: erroneously attributed to Josef Cardero. Courtesy Museo Naval, Madrid.)

PLATE 59 Grave monument of the former chief of Port Mulgrave, 1791. “Sepulcro del Ankau del Puerto Mulgrave anterior a el actual, muerto segun indicios, en una rehierta.” (Aquatint by Suría, courtesy Museo Naval, Madrid.)

PLATE 60 Grave monuments of the family of the current chief of Port Mulgrave, 1791. “Pira, y sepulcros dela famulia del actual An Kau en el Puerto Mulgrave.” (Aquatint by to Suría; erroneously ascribed to Cardero. Courtesy Museo Naval, Madrid.)

PLATE 61 Grave monuments of the family of the current chief of Port Mulgrave, 1791. “Pira, y sepulcro de la familia del actual Jefe de Mulgrave.” (Aquatint by Suría, courtesy Museo Naval, Madrid.)

PLATE 62 Chief Minaman or “Yen-aht-setl,” Khantaak Island, 1886. This photograph by William S. Libbey was first published in Frank Leslie's Illustrated Newspaper for June 21, 1890. The original print from the negative was reversed and has appeared that way in several publications since then; Chief Minaman was not left handed. (Bur. Amer. Ethnol. reg. no. 42, 119.)

PLATE 63 “Sheet-ahn-do-tin and family, Yakutat, Alaska, 1886,” as identified by George T. Emmons. This photograph by William S. Libbey was first published as “Chilkat Indians” in Frank Leslie's Illustrated Newspaper for July 19, 1890. (Courtesy American Museum Natural History.)

PLATE 64 Yakutat Chief George Yaartodaqet, photographed by George T. Emmons. “Yah-hoo-da-kate, Chief of the Qwash-qwa-kwan, Yakutat, Alaska, 1888.” (Courtesy, Amer. Mus. Nat. Hist.)

PLATE 65 The Teqwedi shaman, Teart-’ie, “Little Stone's Father” (1830?-1890?), on the steps of Bear House, Khantaak Island. He wears the Sun's Ears and holds the Russian sword cane. His long matted locks indicate his profession. This photograph, taken about 1888?, was given by his brother's daughter, Minnie Johnson. Erroneously titled “Anna-hoots, Chief of the Kak-wan-tans at Sitka, the white man's friend,” this picture was first published in the Alaska-Yukon Magazine for October 1907, p. 179.

PLATE 66 A Yakutat medicine man, 1886. (After Seton-Karr, 1887, p. 129.)

PLATE 67 “Klog-Shegees in his ‘store’ clothing.” Chief of Kayak, Wingham Island, Controller Bay, 1886. (After Seton-Karr, 1887, p. 159.)

PLATE 68 Kayak, Wingham Island, Controller Bay, 1886. Above, “Kaiak.” Below, “Indian hovels at Kaiak.” (After Seton-Karr, 1887, pp. 147, 157.)

PLATE 69 Khantaak Island and Martin Point, 1886. Above, “The village of the Yakutat Indians” (Khantaak Island). Below, “At Martin Point.” (After Seton-Karr, 1887, pp. 53, 163.)

PLATE 70 Leaving Yakutat for Icy Bay in canoes, 1888. (After Williams, 1889.)

PLATE 71 Village on Khantaak Island, Yakutat, 1889. “Chief Yanatehoo's Village. War canoes. Yakutat, Alaska. Mount St. Elias in the distance to the right.” (After Shepard, 1889, pl. opp. p. 224.)

PLATE 72 Sealing camp above Point Latouche, July 1899. Taken near the north end of the camping area, looking toward the head of Disenchantment Bay. We can see a tent, and three shelters made of bark with some canvas and blankets. The shelter on the right evidently has a plank propped up beside the smokehole for protection against the north wind. Oars and pieces of wood are thrown on the roofs of the bark huts; seal spears lean against the walls. On the beach in front of the shelters are a number of canoes, covered over with canvas and blankets against the hot dry sunshine. A detachable bow seat for one canoe lies in the foreground. Seal meat is drying on a rack in the background. At the near front corner of the nearest bark hut is a side piece for a loom on which Chilkat blankets are woven. It appears to have two holes, the lower of which is put over a projecting stick at the corner of the house so that the top of the piece projects above the edge of the roof. Although labeled “Curtis,” and “Copyrighted 1899, E. H. Harriman,” Dr. Robert H. Heizer, University of California, who loaned me plates 72–79, said that they were originally photographed by to C. H. Merriam.

PLATE 73 Sealing camp above Point Latouche, July 1899. Taken near the north end of the camping area, looking southeastward along the beach at the same three bark houses and beached canoes that are shown in plate 72. An inflated sealskin float (for harpoon?) is thrown on the roof of the nearest bark shelter. A woman in a long skirt bends over something in the doorway. Nearby stands a large wolfish dog with curly bushy tail and prick cars. The canoe in the foreground seems to be the ordinary “spruce” canoe.(Photograph by the Harriman Alaska Expedition, courtesy Robert H. Heizer.)

PLATE 74 Sealing camp above Point Latouche, July 1899. This picture was taken from a point on the beach somewhat south of that from which plate 72 was taken. The inhabitants of this area appear to be more wealthy for they have new canvas tents, many of which have stoves and stovepipes. In the left foreground is a hunting canoe hauled up on the beach, bow first. A dog sits near the stern of a “goose canoe,” of Nootka type, its bow covered with drying sealskins stretched on frames of saplings. By the bark shelter and the nearest tent are piles of 5-gallon gasoline cans; by the tent with the stovepipe are some native wooden boxes. Mrs. Minnie Johnson, to whom this picture was shown in 1954, identified the camp as that of her uncle, Daknaqin, who owned a Nootka type canoe. (Photograph by the Harriman Alaska Expedition, courtesy Robert H. Heizer.)

PLATE 75 Sealing camp above Point Latouche, July 1809. This photograph shows the beach near the tent with stovepipe seen in the middle of plate 74. Two women with black head scarves are stripping blubber from seal hides. The man behind them was tentatively identified, by several informants to whom the picture was shown in 1954, as Sitka Ned. The children with the man at the extreme left have their faces blackened for protection against the sun. (Photograph by the Harriman Alaska Expedition, courtesy Robert H. Heizer.)

PLATE 76 Sealing camp above Point Latouche, July 1899. Bark huts and tents near the southern end of the beach. (Photograph by the Harriman Alaska Expedition, courtesy Rodert H. Heizer.)

PLATE 77 Sealing camp above Point Latouche, July 1899. A closer view of the last group of bark huts and tents near the southern end of the beach shown in plate 76. Sealskins on stretching frames are thrown on the roof of the nearer dark hut. At the corner of the hut is a container of sealskin, slung from a frame of four posts, for holding blubber. Sea otter hunting canoes, with forked prows, are dragged up on the beach. (Photograph by the Harriman Alaska Expedition, courtesy Robert H. Heizer.)

PLATE 78 Sealing camp above Point Latouche, July 1899. Closeup of the more distant bark shelter shown in plate 77. Note the sealskin bag for blubber suspended from a wooden frame supported by four posts and the sealskins in drying stretchers. The bark hut is apparently a smokehouse; the tents are the dwellings. (Photograph by the Harriman Alaska Expedition, courtesy Robert H. Heizer.)

PLATE 79 Sealing camp above Point Latouche, July 1899. Closeup of the tent seen in the right background of plates 77 and 78. Seal meat is drying in the sun on the rack in the foreground. Against the rack lean the shaft of a harpoon and a long gaff. In front of the tent is a large bag of sealskin on a wooden frame for holding blubber. Under the bag are an old basket, two cooking pots with lids, and some 5-gallon gasoline cans. The girl at the door of the tent is identified as Jenny Abraham (1874–1918), later married to Ned James and to Charley White and the mother of Sheldon James, Sr. (Photograph by the Harriman Alaska Expedition, courtesy Robert H. Heizer.)

PLATE 80 Sealing camp above Point Latouche, July 1899. Gayu-tła, Tł'UknaartAdi wife of Chief Daqusetc or Minaman, stripping fat from sealskins. Gayu-tła squats behind a board sloping away from her, and cuts the blubber off with an ulo. She bends forward, her knees close under her chin. She wears a kerchief around her head, a woolen jacket or sweater, and a cotton dress. A pile of fresh sealskins lies before her to the left; behind her is a pile of seal flippers. Sealskins put into frames to stretch and dry lean against the posts of the flimsy shelter in the background, and are also piled on the beach and laid over some barrels. The latter probably hold seal oil. There is an ordinary metal bucket, and some cast iron cooking pots in the background. The shelter is set up at the very edge of the shingle beach. (Photograph by the Harriman Alaska Expedition, Bur. Amer. Ethnol. neg. No. 43547–D.)

PLATE 81 Bear Bit Billy lying injured inside Fort House on Khantaak Island. Photograph by Edward de Groff, ca. 1889. (After Bugdee, 1893, p. 189, “Photo by Taber.”)

PLATE 82 The Old Village, Yakutat, 1915. “Kah kaats ka an (Between two hills).” Photograph by George T. Emmons. (Courtesy American Museum Natural History, neg. No. 126209.)

PLATE 83 The Old Village, 1915 or 1916, seen from the north. From left to right: Storehouse of W. W. Mills Co. (flagpole); store of W. W. Mills Co., boat shed and dock; Store-keeper's house; five houses grouped between 2d and 3rd flagpoles (Wolf Bath House with flagpole, Owl House, Boulder House, Mountain [Saint Elias] House, and Moon House with flagpole); Fort House (flagpole); Raven's Bones House (flagpole); Coward House (flagpole); Golden Eagle House; Drum House (with entryway); Shark House (flagpole); Sidewise House or Mountain [Fairweather] House (flagpole); Play House. Photograph by Fhoki Kayamori, a Japanese photographer who lived at Yakutat from 1912–41. (Courtesy Mr. and Mrs. Harry K. Bremner.)

PLATE 84 Houses in the Old Village, Yakutat, 1912. From left to right: Moon House, Fort House, Raven's Bones House, Coward House (Bear House), Golden Eagle House, Drum House (with entryway), Shark House. (Photograph by Fhoki Kayamori, courtesy Mr. and Mrs. Harry K. Bremner.)

PLATE 85 Beaver Screen in Wolf Bath House, Old Village, Yakutat. (Sketch by Edward Malin, 1949.)

PLATE 86 Posts from Shark House, Yakutat, with Jim Kardeetoo, 1928. These posts were known collectively as the Shark Posts; the head at the bottom represents that of the Shark, a Teqwedi crest, the tail is at the top. They are of spruce and are reported to have been carved in the early 19th century for a house at Diyaguna'Et. From Diyaguna'Et they were taken to Shark House on Khantaak Island, and from there to Shark House in the Old Village, Yakutat. Numbers 1 and 2 (left to right) are alike; one was kept inside Shark House and the other was kept in a shedlike shelter outside the house at the left front corner. The upper figure represents a Bear holding the Shark's tail in its mouth. Number 3 was outside the house on the right front corner. The figure at the top represents an Eagle. Number 4 was kept inside the house. The figure at the top is said to represent a man catching a Shark. Jim Kardeetoo, Teqwedi (1862–1937), Chief of Shark House, wears the Sun's Ears headdress of the shaman, Teart-’ic, the latter's Sun Dagger, and a beaded button blanket. (Photograph by Fhoki Kayamori about 1928, when they were sold, reputedly to Axel Rasmussen. Courtesy Mr. and Mrs. Harry K. Bremner.)

PLATE 87 Posts from Shark House, Old Village, Yakutat. From left to right: Post 2 as shown in plate 86; posts 2 and 3 as photographed by George T. Emmons before their removal from Shark House (courtesy American Museum of Natural History, neg. No. 124319.); post 3 as shown in plate 86.

PLATE 88 Carvings on posts in Moon House, Old Village, Yakutat, 1901. These carvings seem to represent the phases of the moon. George T. Emmons, who took the photographs, reported that two figures, painted red with human hair pegged in, represent a boy who was blown up to the moon when he went out to fetch water during a storm The other figures are supposed to represent wolves. These Moon Posts were carved early in the 19th century and were destroyed about 1916 or 1917. (Courtesy Amer. Mus. Nat. Hist.; neg. Nos. 126211 and 126212.)

PLATE 89 Bear Post from Shark House, Yakutat. This post was made by YandAs-’ic, TiuknaartAdi, Minnie Johnson's mother's uncle. Originally in Bear House on Khantaak Island, it was taken first to Coward House and then to Shark House in the Old Village, Yakutat, where it was set up over the door inside the house. It was sold by William and Nick Milton to the Alaska State Museum in Juneau. The small human figure represents the Teqwedi man, Kats’, who married a she-Bear. According to another interpretation, the human figure represents their little female bear cub. (Photograph by J. Malcolm Greany for this volume,)

PLATE 90 Totem pole carved for sale (1926–30?). The men shown here, who carved the pole, are B. A. Jack (1860–1958) and Tom Cox (?-ca. 1921), only son of the shaman Teart-’ic. The boy on the left is Willy Brown (1916–deceased) and the boy on the right is Charley Brown (1916–51). All are Kwacartqwan. The carving on the pole represents, from top to bottom: Eagle or Thunderbird, Bear holding katart (who married a bear), and Beaver. These would be the crests of the CAnkuqedi, Teqwedi, and Ġałyix-Kagwantan sibs, all of the Eagle-Wolf moiety. (Photograph taken on the dock before the pole was shipped; courtesy Mr. and Mrs. Harry K. Bremner.)

PLATE 91 Thunderbird Screen from Thunderbird House, Yakutat, now in Alaska State Museum, Juneau. (See pl. 215.) (Photograph by J. Malcolm Greany for this volume.)

PLATE 92 Yeł nawu of Sitka (1905 ?) painting the Golden Eagle Screen for Drum House. (See pl. 213.) (Photographer unknown; purchased as postcard in Sitka, 1954.)

PLATE 93 Golden Eagle Screen for Golden Eagle House, Old Village, Yakutat. (Photograph by Fhoki Kayomori, courtesy John Ellis.)

PLATE 94 “Skookum root,” or American white hellebore (Veratrum eschschollzii), ferns, and horsetail. Early June 1952.

PLATE 95 Devilclub. Left Devilclub (Oplopanax horridus) in full fruit, and highbush cranberries; early September 1952. Right, Devilclub shoot in early June 1954.

PLATE 96 “Wild rice” or Kamchatka lily (Frilillaria camtchatcensis) in foreground; lupin (Lupinus nootkatensis) in background. Early June 1952.

PLATE 97 Wild celery, yellow pond lily, and buckbean. Above, Wild celery (Heraclum lanatum), June 1949. Below, Yellow pond lily (Nymphaea polysepalam) and “its child,” the buckbean (Menanthes trifoliata), mid-August 1952.

PLATE 98 Black seaweed (Porphyra lacinata) on the rocks at Ocean Cape, late June 1952.

PLATE 99 Seaweed drying, Old Village, Yakutat, early June 1949. Khantaak Island and Saint Elias Range in the background.

PLATE 100 Yakutat foods and Mrs. Minnie Johnson's preserves, September 1952.

PLATE 101 Minnie Johnson and her granddaughter gathering clams and cockles at the lagoon near the Old Village, Yakutat, in early September 1952.

PLATE 102 William Thomas (1911–    ) fishing with gill net at the mouth of Lost River, July 1952.

PLATE 103 The crew of the Mt. Fairweather seining salmon on the south shore of Knight Island, August 1952. Eleanor Island is behind the gasboat.

PLATE 104 Dried salmon opened out, as prepared by Mrs. Maggie Harry. (Photograph by Catharine McClellan, 1952.)

PLATE 105 Yakutat canoe paddles and canoe models. Top to Bottom: Canoe paddle, 68art inches long, carved to represent a wolf, collected by Governor Thomas Riggs at Yakutat in 1906 (PU 5205). Canoe paddle, 60 art inches long, painted black with two red stripes, collected by George T. Emmons at Yakutat (MAI/HF 9/7886). Model, 24.5 cm. long, of sea otter hunting canoe (tartAyac, bow to right), collected by William H. Dall at Port Mulgrave, probably in 1874 (USNM 16,272). Model, 48 cm. long, of sea otter hunting canoe (bow to right), collected at Yakutat by Colonel Ball in 1880 (MAI/HF 1/2166). Model, 44.5 cm. long, of ordinary “spruce” canoe (sit), collected by William H. Dall at Port Mulgrave, probably in 1874; one of 4 thwarts is missing (USNM 16,271). Model, 35.4 cm. long of sea otter hunting canoe (bow to left), obtained at Yakutat by the Harriman Alaska Expedition in 1899 (USNM 274,418).

PLATE 106 Yakutat canoe models. Top to Bottom: Model of a split-prow sea otter hunting canoe (tartAyac), with shelf seats in bow and stern, hollow log stool in the middle, and one paddle; made by Sampson Harry, March 1954. Model of a canoe for sealing in the ice (gudiyE), with a small paddle for use in the bow, a hollow log stool, and a regular paddle; made by Sampson Harry, March 1954. Model of a split-prow sea otter hunting canoe with two paddles and a fur robe; purchased in Juneau in 1949; made by a native who had come from Yakutat. (The bows are to the right. Scale in centimeters. Photographs by Karl Dimler, Bryn Mawr College.)

PLATE 107 Models of Yakutat canoes (gudiyE) for sealing in the ice. Top, Model, 49 cm. long, probably collected on the Harriman Alaska Expedition at Yakutat in 1899; the foreward thwart is missing (USNM 274,417). Center, Model, 39 cm. long, carved in one piece and painted to suggest thwarts, probably collected on the Harriman Alaska Expedition at Yakutat in 1899 (USNM 274,414). Bottom, Model, 24.5 cm. long, originally with two figures seated on the thwarts, obtained by William H. Dall from L. Sheerany, and undoubtedly collected at Yakutat (USNM 76,276).

PLATE 108 Yakutat arrows, quiver and bow. Left to right: Two arrows, 35 inches long, with iron points, for land animals; collected by Fred Harvey at Yakutat (MAI/HF 8/1874). Cedar wood quiver for sea otter harpoon arrows, 36 inches long, collected by Fred Harvey at Yakutat (MAI/HF 8/1874). Although the quiver contained the two arrows, it would not have been carried on land. Spruce wood bow, 53 inches long, with original string, collected by George T. Emmons at Yakutat (MAI/HF 9/7863).

PLATE 109 Sea otter hunter's bows, harpoon arrows, and quiver: Collected at Yakutat by William S. Libbey in 1886 (PU 5206). Reduced to approximately art of the natural size.

PLATE 110 Wooden clubs for killing wounded seals or sea otters. Left to Right: Club with incised design around the handle and the end, collected by George T. Emmons at Yakutat before 1909; scale in inches (TBM/WSM 1999). Club ornamented on the head with incisec triangles, collected by Emmons at Dry Bay before 1888; scale in centimeters and inches (AMNH E/440). Club carved to represents shaman's spirit, collected by Emmons at Yakutat before 1888; scale in centimeters and inches (AMNH E/435).

PLATE 111 Gaff hook carved and painted (with black, white and blue-green commercial paints) to represent a killerwhale. The human face in the blowhole probably represents its spirit (qwani). Made by Harry K. Bremner in 1954. (Scale in centimeters. Photograph by Karl Dimler, Bryn Mawr College.)

PLATE 112 Barbed heads for spear and sea otter harpoon arrows. Top to Bottom: Barbed bone spearhead for salmon or seal, collected by George T. Emmons at Yakutat before 1888; scale in inches and centimeters (AMNH E/473). Sea otter harpoon arrows, collected by Emmons at Yakutat before 1909; scale in inches; with heads of native copper (TBM/WSM 987, 1240); with head of bone (TBM/WSM 2202); with head of native copper (TBM/WSM 1241).

PLATE 113 Halibut fishing gear. Seal bladder float, spruce root line laid up as two-strand rope, and four carved hooks with iron barbs. Collected by George T. Emmons at Yakutat before 1888. Scale in centimeters and inches (AMNH E/2291).

PLATE 114 Halibut hooks. Left, Hook carved to represent a singing shaman with a crown on his head; collected by George T. Emmons at Yakutat before 1909; scale in inches (TBM/WSM 1996). Center, Hook carved to represent an animal's head, collected by James T White at Yakutat before 1904; scale in inches (TBM/WSM 657). Right, Hook carved to represent a spirit that lives in the water, collected by Emmons at Yakutat before 1888; scale in inches and centimeters (AMNH 19/1148).

PLATE 115 Halibut Hooks. Left. Hook carved to represent a crow; the bill is broken (AMNH 19/1147). Center, Hook carved to represent a spirit with a crow's head that lives in the water (AMNH E/1145). Right, Hook carved to represent an eagle on a man's head (AMNH 19/1157). All were collected by George T. Emmons at Yakutat before 1888. Scale in inches and centimeters.

PLATE 116 Powder horns, bullet mold, and shot pouch. Top, left to right: Powder horn (4 inches long) carved to represent a man's head with headdress, collected by George T. Emmons at Yakutat before 1909 (TBM/WSM 1747). Bullet mold (3art inches long) and lead bullet (PU 5181); and shot pouch made from a bird's foot (scale in centimeters and inches) (PU 5171); both collected by William S. Libbey at Yakutat in 1886. Bottom, left to right: Powder horn, collected by Emmons at Yakutat before 1888; scale in inches and centimeters (AMNH E/1903). Powder measure of mountain goat horn carved to represent the Eagle, collected by William S. Libbey from Chief Yen-at-setl at Yakutat in 1886; scale in inches and centimeters (PU 5149).

PLATE 117 Yakutat tools. Top, from left to right: Ulo with iron blade and wooden handle carved to represent a bear (PU 5182). Adz with iron blade and sealskin lashing (PU 5180). Ivory reel for twine, found in the shaman's box of paraphernalia (PU 5080; see pl. 170). Engraving tool with beaver tooth blade (PU 5184). Crooked knife with steel blade (PU 5183). All were obtained by William S. Libbey at Yakutat in 1886. Scale in inches and centimeters. Bottom: Modern adz with iron blade (handle is about 14 inches long); and harpoon for seal and salmon, with an iron head about 5 inches long, and a shaft about 12 feet long. (Matchbox for scale is 2 inches long.) Photographed at Yakutat, July 1952.

PLATE 118 Horn spoons and dish. Top, from left to right: Spoon of mountain goat horn, used to drink oil on ceremonial occasions; collected by George T. Emmons at Dry Bay before 1888; scale in inches and centimeters (ANMH E/267). Two spoons of eagle beak; collected by Emmons at Yakutat before 1909; scale in inches (TBM/WSM 2003 a, b). Two ordinary spoons of mountain sheep horn, collected by Emmons at Yakutat before 1909; slightly less than half size (TBM/WSM 2001, 2005). Bottom: Feast dish of mountain sheep horn (10art inches long) carved to represent an owl at each end; formerly the property of a Stikine chief, it was traded to Yakutat where Emmons obtained it in 1885 (AMNH 19/696).

PLATE 119 Grease containers. Top, Rectangular dish with opercula on the rim (PU 5174). Bowl of burlwood with gut suspension cord (PU 5172) Center, Dish in the shape of a seal (PU 5175). Bottom, Small oval bowl with flaring rim (PU 5173). Vessel in the shape of a teapot (PU 5169). All were collected by William S. Libbey at Yakutat in 1886. Scale in inches and centimeters.

PLATE 120 Trinket boxes. Left, Double boxes. The sides are made of a single plank that was split and bent into a figure-8, then pegged together at the ends of the center partition and to the bottom. The top is attached by a sinew cord (PU 5170 D, F, C). Right, Single boxes, with sides made of a single bent plank pegged together at the corner and to the bottom, and top attached by a sinew cord (PU 5170 A, B, C). The figures on the tops and side panels are stained red. All were collected at Yakutat by William S. Libbey in 1886. Scale in inches and centimeters.

PLATE 121 Tobacco pipe and snuff mortars. Top, Pipe carved to represent an eagle; collected by George T. Emmons at Dry Bay before 1888; scale in inches and centimeters (ANMH E/2724). Center, Mortar, 5art inches high, made of whale vertebra, from Dry Bay (PAM 48.3.–169). Bottom, Wooden snuff mortar, with base about 8 inches long, made by Sam George at Dry Bay in 1941, and photographed at Yakutat in July 1952. (Matchbox scale is 2 inches long.)

PLATE 122 Wooden pipes. Top, Wooden pipe bowl, 3 inches high, in the shape of an eagle or thunderbird; collected by George T. Emmons from a Dry Bay chief of the “Kutkowee family” (i.e., art’aartkA’ ayi sib) (MAI/HF 9427). Bottom, Pipe, 4art inches high, carved to represent a bear, with a brass cap at the mouthpiece; “collected by G. T. Emmons at Yakutat in 1869” but more probably obtained from Yakutat natives at Sitka (MAI/HF 9212).

PLATE 123 Wooden pipes. Top, Pipe, 9art inches long, carved to represent a ship's cannon; it is brass bound, has a copper cartridge at the blowhole and a brass plate for the primer; collected by George T. Emmons at Yakutat or from Yakutat natives (MAI/HF 9207). Bottom, Pipe, 10 inches long, illustrating the Spirit of Lituya Bay as a Frog, with a Bear at the other end; they are shaking up waves at the mouth of Lituya Bay which are capsizing a copper canoe and its occupants; collected by Emmons in 1888 from the DAartdentan chief of Hoonah (MAI/HF 9205; cf. Emmons, 1911, fig. 50).

PLATE 124 Implements for working skins. Top, Ulo, with wooden handle and iron blade, collected by George T. Emmons at Yakutat before 1909, life size (TBM/WSM 1047). Bottom, Bone skin scrapers, also used as knives for skinning small animals; collected by Emmons at Dry Bay and Yakutat before 1888; scale in centimeters and inches (AMNH E/377, 379, 2120 a, b).

PLATE 125 Modern implements for working sealskins. Top, from left to right: Two beaming tools made of trimmed and sharpened ulna from imported reindeer meat; an ulo with wooden handle and iron blade; and a long-handled scraper with iron blade; all made by Sampson Harry and photographed at Yakutat in 1949. Bottom, from left to right: Wooden last for shaping moccasins made for sale; an ulo with wooden handle and iron blade; a long-handled scraper with iron blade; laid on a sealskin in a drying frame; used by Mrs. Minnie Johnson during July-August 1952.

PLATE 126 Halibut skin bag, made by Mrs. Minnie Johnson at Yakutat in 1954. The use of alternating panels of back and belly skin from the halibut, sewed to a round halibut skin bottom, was like that employed in making large waterproof storage bags. Mrs. Johnson has added a top of tanned moose hide (procured from the interior) to convert this model into a lady's tote bag. The panels are decorated with beaded felt applique figures (cut from moccasin tops), illustrating two episodes of the Raven cycle. On the left, Raven climbs down a kelp stem to get a sea urchin under the water. On the right, Raven flies away with the disk of the sun. Another subject (not shown, but repeated on two panels) is a Thunderbird totem pole. (Scale in centimeters. Photograph by Karl Dimler, Bryn Mawr College.)

PLATE 127 Inherited family possessions. Top: Objects that had belonged to Lituya Bay George (1854–1926) and his relatives, inherited by his daughter Esther (Mrs. Chester Johnson); photographed at Yakutat in 1949. Left to right: Purple Hudson's Bay Company cockade that had belonged to Mrs. Lituya Bay George's younger brother. “Octopus finger” dancing bag, formerly belonged to Lituya Bay George. Wooden box, about 12 inches high, made about 1900 for Mary, Mrs. Lituya Bay George. Bottom: Objects that had belonged to Anna Daknaqin (1847–1912), inherited by her daughter, Mrs. Minnie Johnson, and photographed at Yakutat in 1949. Left to right: Berry basket (bottom view). Two spoons of mountain sheep horn. Small box for trinkets.

PLATE 128 Yakutat baskets and bag. Top, from left to right: Spruce root basketry cover and cylindrical work basket decorated with false embroidery (PU 3988). Smaller decorated cylindrical basket with cover, described as a needle case or shot pouch (PU 3990). Oblong bag of fish skins, alternating tan and brown, used to hold sewing implements (PU 5192). All collected by William S. Libbey at Yakutat in 1886. Scale in centimeters and inches. Bottom· Berry basket, 22 inches in diameter, stained with use and very faded; obtained by Fred Harvey at Yakutat (MAI/HF 8/1880).

PLATE 129 Yakutat berry baskets. Top: Basket, 14art inches in diameter, with design in alternating bands of red and blue (MAI/HF 8/1878). Bottom: Basket, 20 inches in diameter, decorated with bands of red and purple (MAI/HF 8/1881). Both were collected by Fred Harvey at Yakutat.

PLATE 130 Spruce root basket, 3 inches high, with braided handle and design representing birds; collected by J. E. Standley at Yakutat before 1900 (MAI/HF 5/3629).

PLATE 131 Yakutat baskets. Top, Basket tray for screening berries, 21.7 cm. in diameter (USNM 313,289). Center, left, Small open basket, 13.8 cm. high, with bands of false embroidery; from the Victor J. Evans estate, 1931 (USNM 360,633). Center, right, Covered basket with rattle top, 19.5 cm. high, decorated with bands of false embroidery in yellow and brown straw; from Mrs. Herma R. Smith, 1942, but obviously very old (USNM 281,961). Bottom, Basket, 10.5 cm. high, in a coarse weave with decoration of false embroidery in straw colored by commercial green, yellow, and orange dyes; from Louis C. Fletcher, 1913 (USNM 227,584). All baskets are a little less than half natural size.

PLATE 132 Yakutat baskets. Top, Basket made at Yakutat but traded to the Alaska Peninsula and collected by George T. Emmons before 1909; scale in inches (TBM/WSM 1210). Bottom, Covered basket, 4 inches high and 6art inches diameter, made by Mrs. Emma Ellis at Yakutat, with design of brown and yellow native colors (PAM 48.3.640 a, b).

PLATE 133 Spruce root basket, with false embroidery of colored grass. Collected by George T. Emmons at Yakutat before 1888. Dimensions unknown (AMNH E/2318; neg. No. 31667).

PLATE 134 Yakutat doll and moccasins. The doll in Athabaskan costume of soft tanned caribou skin (from the interior) was made by Mrs. Minnie Johnson for Catharine McClellan. The hair is black commercial yarn. The baby in the pouch has an umbilical cord amulet fastened to the right side. The moccasins and moccasin tops were made by various Yakutat women for sale. (Photographed at Yakutat in 1952.)

PLATE 135 Yakutat silver and beadwork. Top, left to right: Obverse and reverse of a silver feather worn by the “deer” in a peace ceremony; in cised to represent the Owl, and the Raven and Humpback Salmon; probably one of two feathers worn by Joseph Abraham (Teqwedi) when he was seized by the Kwacartqwan in 1904 (?); property of Helen Bremner; photographed, with scale in inches, at Yakutat in 1952. Silver feather worn by the “deer” in a peace ceremony, incised to represent the Eagle and Shark on one side and on the other (not shown) the Bear, all crests of the Teqwedi; probably one of a pair of feathers worn by Mrs. Situk Jim (Kwacartqwan) when she was seized by the Teqwedi as the opposite of Joseph Abraham; (a lump of clay obscures the tip) (Rasmussen collection, PAM 48.3.3069). Center, left to right: Bracelet of glass beads (PU 5142). Labret of silver or zinc (?) (PU 5127). Bottom, left to right: Silver bracelet with incised floral design (PU 5124). Silver bracelet with incised design representing the American eagle (PU 5126). The silver and bead bracelets and the labret were collected by William S. Libbey at Yakutat in 1886. All objects are natural size; see scale in centimeters and inches.

PLATE 136 Comb and amulets. Top, Obverse and reverse of a wooden comb, carved to represent the Bear and a spirit; formerly owned by Chief Yen-at-setl of Yakutat (PU 5056). Bottom, left to right: Obverse and reverse of a slate scratching amulet in the shape of a copper, with a ring for a suspension cord to hang from the neck, incised on one side with a human figure (PU 5103). Obverse and reverse of a slate scratching amulet, with hole for a neck cord, incised with designs representing the Eagle on one side and the Shark on the other (PU 5114). All collected by William S. Libbey at Yakutat in 1886. Scale in centimeters and inches.

PLATE 137 Amulet and spinning tops for gambling. Left, Obverse and reverse of a slate scratching amulet, with neck cord of braided sinew, and incised designs on both sides (PU 5098). Upper right, Obverse and reverse of a slate disk for a top used in gambling games, incised with the Humpback Salmon on one side and the Raven on the other (PU 5094). Lower right, Obverse and reverse of a bone disk for a top used in gambling games, with a Frog incised on one side (PU 5087). All collected by William S. Libbey at Yakutat in 1886. Scale in centimeters and inches.

PLATE 138 Gaming counters and container. Thirty-six counters for a gambling game, some inlaid with abalone shell; found in a skin bag with a long flap and a bone toggle for fastening; collected by William S. Libbey at Yakutat in 1886 (PU 5167). Scale in inches.

PLATE 139 Gaming implements and paintbrushes. Top, left to right: Counting board collected at Yakutat by George T. Emmons before 1888; scale in inches and centimeters (AMNH E/2760). Paintbrushes in a skin case, collected by Emmons at Yakutat before 1888 (AMNH E/939 A, B; neg. No. 323374). Bone disk, 2art inches in diameter, for a top used in gambling games, collected by Emmons at Yakutat before 1909 (TBM/WSM 1865). Bottom, Wooden chessmen or checkers, stained red, and evidently belonging to two or more sets; collected by William S. Libbey at Yakutat in 1886; scale in centimeters and inches (PU 5166 A, PU 5166).

PLATE 140 Joseph Abraham (1867–1917) in his song leader's costume, 1900 (?). Identified by his nephew, Sheldon James, Sr. (After Drake, 1935.)

PLATE 141 Clarence Peterson, Tł’uknaartAdi, wearing an ermine shirt decorated with (red ?) flannel and beadwork, and holding a “devilfish finger” dancing bag in his right hand and a beaded bib in his left. The coat, bag, and bib were worn by Frank Italio, CAnkuqedi, in a picture (pl. 215,a) taken in Thunderbird House, Yakutat, about 1920. (Photograph by Fhoke Kayamori sometime before Peterson's death in 1942; courtesy of Mr. and Mrs. Harry K. Bremner.)

PLATE 142 Ned Williams, “Dah-clet-jah” (1878–1948 or 1949), photographed at Sitka by W. C. Chase in 1906. The costume evidently belonged to the photographer, since Chief Anatlahash of Taku posed in the same headdress and Chilkat blanket for his portrait; see Keithahn, 1963, p. 28. (Courtesy Bancroft Library, Univ. of California, Berkeley.)

PLATE 143 Teqwedi heirlooms on the porch of Shark House at Yakutat. From left to right: Chair with spruce root hat, with painted designs suggesting “coppers,” topped by cylinders and ermine skins. The Killerwhale Drum, with its fin standing on it (see pl. 164). On the drum is a spruce root hat with painted design, evidently the Killerwhale Hat (see pl. 145) before the cylinders were added to it (taken from the hat on the chair?). Cane with carved end, suggesting a face, ornamented with a tuft of human hair. Against the window frame leans a Killerwhale Fin dance paddle with its painted blade tipped with human hair and a carved figure protruding just above the handle (see pl. 163). The little girl (Louise Peterson, born 1905) and the youth (Harry K. Bremner, born 1893) both wear Chilkat blankets. At the corner of the house, in the shelter under the projecting roof, is number 3 of the Shark Posts (see pls. 86 and 87). (Photograph by Fhoki Kayamori, about 1912. Courtesy of Mr. and Mrs. Harry K. Bremner.)

PLATE 144 Teqwedi and Kwacartqwan heirlooms in Shark House, Yakutat. Mary James (born 1926), then Mrs. Sam Henninger, wears the Kwacartqwan beaded Raven Shirt which belonged to her aunt, Mrs. Jim Kardeetoo. Draped over the chair on the extreme right is a beaded garment, also belonging to her aunt, called the Mount Saint Elias Blanket (sic, or Shirt). All of the other heirlooms belonged to the Teqwedi and were held by Jim Kardeetoo, chief of Shark House. They are, from left to right: The fin of the Killerwhale Drum (see pl. 164) held by Mary Henninger. The Killerwhale Hat with painted designs, three woven and three copper cylinders, and ermine tails (see pl. 145). The Brown Bear Chilkat Blanket (under the hat). Two canes that belonged to the shaman Teart-’ic (that on the left is the poisoned sword cane that was taken from “Stanislas,” the commander of the Russian post). The shaman's copper dagger hanging in a beaded sheath from the portrait on the wall (called the Sun Dagger; the human figure on the handle represents the Sun's Child). The shaman's headdress, called Sun's Ears, made of skin and decorated with human hair, abalone shell, and baleen (see pl. 86). On the chair under the portrait is a wooden headdress carved to represent a bird (Golden Eagle on a rock?); it is inlaid with abalone, and from it hangs a cape of ermine skins (see pl. 156). (Photograph by Fhoki Kayamori; courtesy Mr. and Mrs. Harry K. Bremner.)

PLATE 145 Ceremonial garments of the Bear House Teqwedi. The Killerwhale Hat, formerly owned by Jim Kardeetoo, is painted with a Killerwhale design in light blue, red, white, and black. Formerly, the hat was painted dark green. Attached to the top are six cylinders; three of woven spruce root and three of native copper over maple wood. These had evidently been taken from another hat. The hat is very old and is supposed to have been found on the ocean beach near the mouth of the Situk River, supposedly washed ashore from one of the canoes wrecked in Lituya Bay before the Russians came to Alaska. (PAM 48.3.597). The Brown Bear Coat formerly belonged to Situk Jim (d. 1912). The central part of the design in blue, yellow, and white is of mountain goat wool. Most of the rest, including the back and sleeves, is of commercial yarn. The coat is edged at the neck and wrists with land otter fur, and two gussets of otter fur have been let into the sides because the coat was too small for the wearer. The design as a whole represents a brown bear; the three central faces are those of the Bear, the Tlingit woman who married the Bear, and, below, their cub-child. On the back (not shown) is an inverted face which signifies that the wearer will soon invite his hosts to a potlatch. (PAM 48.3.548.)

PLATE 146 Yakutat dance shirts. Left. Shirt of tanned skin with beaded panels of scarlet flannel and a fringe at the bottom of dark green and yellow leather tabs. Purchased from Mrs. Minnie Johnson in 1950. Right, Coat or shirt of dark blue cloth trimmed with red and designs in glass beads, and with two strings of Bakelite beads across the chest. Purchased from Mrs. Jenny Jack in 1950. Both are now in the Alaska State Museum, Juneau. (Photographs by Edward Keithahn.)

PLATE 147 Mount Saint Elias Shirt and beaded vest. Left, Mount Saint Elias Shirt of the Kwacartqwan; of dark blue cloth, with red trim and decorations of glass beads and mother-of-pearl buttons; the panel in the center represents Mount Saint Elias. Purchased by Maynard M. Willer at Yakutat in 1946. Right, Ordinary vest decorated with glass beads in a floral design; probably the same as that worn by Joseph Abraham as song leader (pl. 140). Purchased from Mrs. Minnie Johnson in 1950. Both are now in the Alaska State Museum, Juneau. (Photographs by Edward Keithahn.)

PLATE 148 Chilkat blanket with Raven design. This blanket, formerly belonging to Anna Daknaqin, Tł'Uknaart Adi, has a design symbolizing the Raven, as well as a beaded Raven on the neckband (not shown). (Photographed at Yakutat in 1949.)

PLATE 149 Chilkat blanket for a child, collected at Yakutat in 1914 by Mrs. Ella Cupples (TBM/WSM 1–210).

PLATE 150 Thunderbird Blanket of the CAnkuqedi. This sib blanket is of dark navy blue broadcloth, with a red border outlined by mother-of-pearl buttons (almost as large as half-dollars). These are said to have been given to the Dry Bay shaman, artutcda, as part of his fee for curing Sitka Ned. The beaded design represents the Thunderbird in the center, above a face (symbolizing a mountain?), and flanked by two animals (probably wolves). The blanket was made for Jack Peterson (1870–1938), and was probably first worn by him about 1916. (Photograph by Catharine McCellan at Yakutat in 1952.)

PLATE 151 Ahrnklin River Blanket of the Drum House Teqwedi. The blanket is of dark navy blue broadcloth with a red broadcloth border and beaded applique figures on red broadcloth. The neckband (not shown) has a beaded floral design. The face at the top (suggestive of a bear) represents the mountains and glaciers at the head of the river, from which flow two tributaries that unite to form the main stream. The latter runs into the mouth of a figure suggesting a land otter. Above, on each side, are two heads symbolizing clouds; below are a pair of large eyes symbolizing mountains; on each side of the river are two wolves. The beads used are white, light and dark blue, black, yellow, and green, with gold metallic beads for the eyes. This blanket, owned by Olaf Abraham, is said to have been made about 1910. (Photographed at Yakutat in 1952.)

PLATE 152 Harvey Milton wearing the Mount Saint Elias Blanket of the Kwacartqwan which he inherited from his uncle, Young George (1870–1915). It is a white commercial blanket with machine stitching to symbolize Mount Saint Elias with clouds about the summit; a row of faces; the Humpback Salmon; and a two-headed monster (perhaps the rock at the mouth of the Humpback Salmon Stream). (Photographed at Yakutat in 1954.)

PLATE 153 War bonnet and Bear's Ears headdress. Top left, Hudson's Bay Company cockade of dyed chicken feathers; purchased from Mrs. Minnie Johnson in 1950. Right, War bonnet, belonging to the Tł'UknaartAdi, made of red flannel trimmed with ermine and mother-of-pearl buttons, and 35 braids of human hair. Purchased in 1950 from Mrs. Minnie Johnson who said of it: “There was a head piece with slaves’ hair on it. It came from Guarteart. It was a cap with braids on it of the hair of every slave killed. DjIniq's father—my brother's wife's father had it. Qawuarta, Dry Bay Chief George, had it, and after that it belonged to Lituya Bay George, whose name was Cíyùq. Then I had it. I sold it in Juneau.” Bottom, Bear's Ears headdress of the Teqwedi, made of skin, painted wooden disks, feathers, and hair from a cow's tail. Purchased from Mrs. Jenny Jack in 1950. All are now in the Alaska State Museum, Juneau. (Photoggraphs by Edward Keithahn.)

PLATE 154 Yakutat crest hat. Side and top views of a spruce root hat with four cylinders on top, and a Killerwhale design painted in red, black and blue. Collected by William S. Libbey at Yakutat in 1886 (PU 5179).

PLATE 155 Yakutat crest hats. Top, Recently made hat, 20art inches in diameter at the brim, formerly owned by Jim Kardeetoo (1862–1937). There are two Killerwhale designs in black, green, and orange false embroidery; the crown is lined with red wool; the tie strings are made of an old plaid Windsor necktie (PAM 48.3.598). Bottom, Top view of spruce root hat with painted design in red and black, (same scale as above), collected by William S. Libbey at Yakutat in 1886 (PU 5178).

PLATE 156 Ceremonial headdress (cAki’At) once belonging to Jim Kardeetoo, Teqwedi. The wooden carving, 7art inches tall, represents what “Mr. Henry, Yakutat,” i.e., Henry Shada (1865 ?-1944 ?, Teqwedi), called a “Gidjuk on a rock”. The head of the Golden Eagle is surrounded by an oval of abalone shell inlay (like the sun); below, the wings are folded together across the bird's body, their tips overhanging the face below. The latter suggests a Thunderbird but is probably a stylized rock. The maskette is painted vermillion, black, and green. The frame of the headdress is of whalebone, covered with canvas and red broadcloth. There are sealion whiskers and flicker feathers at the top, and an ermine skin on each side, as well as a cape of ermine skin lined with flour sacking and decorated with tufts of green, orange, purple, and yellow wool yarn (PAM 48.433).

PLATE 157 Teqwedi headdresses and dancing masks. Top left, A wooden maskette for a headdress said to have been owned by Kaart-da-artetł, Teqwedi chief of Shark House, probably Chief Minaman or Daqusetc, who died in 1890. This maskette represents a Golden Eagle grasping a creature (frog ?) between whose eyes is a large red disk. In its mouth, the creature holds three human faces said to represent the Eagle's children. The faces all are blue-green; the lips are red; and the Eagle's brows and the spaces around the creature's eyes are black. Abalone shell inlay was used for the eyes and around the upper edges of the maskette. Most of the inlay has fallen out, as have the flicker feathers and sealion whiskers that surmounted the top edge. This headdress is not the same as that worn by Chief Yenaht-setl when photographed by William S. Libbey in 1886. (Kodachrome by Edward Malin at Yakutat in 1949.) Top right, A dancing mask used by the Teqwedi and made by Tom Coxe, Kwacartqwan (d. after 1921), and son of the shaman, Teart-’ic. The mask is painted bright blue and red. (Photographed at Yakutat in 1949.) Bottom left, A Golden Eagle headdress made by a Tsimshian and purchased by a Yakutat man of the Drum House Teqwedi, artaw-łI-gau, Yaqwan, before 1886. The eyebrows are painted black; the mouth, throat and forelegs are red; and the remainder (including the small figure—perhaps the groundhog—caught by the Golden Eagle) is blue-green. The “groundhog” was said to have been added “just to fancy the mask.” The teeth and eyes of both figures, the ears of the “groundhog,” and the rim of the mask, are all inlaid with abalone shell. The headdress is surmounted by sealion whiskers and flicker feathers (fastened to a felt crown). A long cape of ermine skins backed by white canvas would fall to the shoulders of the wearer. (Photographed at Yakutat in 1949.) Bottom right, A dancing mask representing an Eagle, made by B. A. Jack, Kwacartqwan (1860–1949), for Ned Daknaqin, Teqwedi (d. before 1921), who wore it at a potlatch and paid the maker “so many dollars for his respect.” The mask is decorated with feathers at the top and has suspension cords. The eyes are not pierced. The colors of the commercial paints used were not recorded. (Photographed at Yakutat in 1949).

PLATE 158 Crest helmets. Top, Crest helmet of yellow cedar, carved to represent the Frog on the back of some animal. The carving is old, but remains unfinished. It was taken in battle from the original owners, probably Tł'UknaartAdi, who later went to war and regained it. At one time, it was used as a mortar. Once owned by Mrs. Minnie Johnson, it was passed on by her to her first husband, Bill Gray, who gave it to Acton (a trader ?), from whom it was later acquired by Axel Rasmussen (PAM 48.3.416). Bottom, Eagle crest hat or helmet, formerly owned by Tanuart, Teqwedi of Yakutat, and purchased by Axel Rasmussen from Billy Jackson in 1945, and now in the Alaska State Museum, Juneau. (Photograph by Edward Keithahn.)

PLATE 159 Wooden helmet, originally with a plume, carved to represent a man with the face twisted either in pain from a mortal blow or in paralysis. It would have been worn with a wooden collar. Collected by George T. Emmons at Dry Bay before 1888 (AMNH E/453; neg. No. 291534). (Cf. Vaillant, 1939, pl. 83; d’Harnoncourt, 1941, pl. 168.)

PLATE 160 Copper war knife or dagger found by George T. Emmons before 1888 in the hand of a mummified shaman in a gravehouse on the bank of the Alsek River. The grip is covered with skin; the thong slips over the user's wrist (AMNHE/2536).

PLATE 161 Moosehide armor, collected by George T. Emmons at Yakutat before 1909 (TBM/WSM 1998).

PLATE 162 Chief's staffs or canes. Left to right, A carved cane, 5 feet long, purchased at Yakutat, bearing figures representing (from top to bottom) a man wearing a chief's hat, a beaver in human form holding a fish to its chest, a wolf's head, and a spiral design on the lower part suggesting a snake (PAM 48.3.453; cf. Davis, 1949, fig. 3). A carved cane, 5 feet long, purchased at Yakutat, representing as a whole the windpipe of a bear (PAM 48.3.707; cf. Davis, 1949, fig. 5). A chief's staff, 57art inches long, painted in red, green, black and brown, inlaid with abalone shell, and carved to represent (from top to bottom) an eagle, wolf's head, bear's head, and wolf; this evidently belonged to the CAnkuqedi (cf. pl. 215a), and was collected by George T. Emmons at Yakutat in 1926 (MAI/HF 15/1332).

PLATE 163 Song leaders’ staffs. Left to right, Copper River staff of the Kwacartqwan, formerly owned by George Young and Harry K. Bremner. The river is symbolized by a face with human hair and abalone eyes (near the bottom of the staff), and copper by a fish with a fringe of human hair on its tail that swims down; the figures are painted with commercial paint. (Photographed at Yakutat in 1954; see pl. 13.) Drum House Teqwedi staff carved and painted red, blue-green, and black to represent a wolf. The tail is missing. This staff was made by D. S. Benson (1869–1940 ?, Teqwedi) for Joseph Abraham (1867–1917, Teqwedi) shortly before the latter's death, and was used in the potlatch for Sidewise House at Yakutat in 1916 (see pl. 214c). (Photographed at Yakutat in 1949; cf. Malin and Feder, 1962, fig. 17. Now in the Denver Art Museum.) Teqwedi staff painted red and black and representing the Killerwhale's Fin and NatsAłAné, the man who made the first Killerwhale. This staff was formerly owned by Jim Kardeetoo, Teqwedi (see pl. 143), and is now in the Alaska State Museum at Juneau. (Photograph by Edward Keithahn.) Obvervse and reverse of a model of a TłUknaartAdi staff depicting an octopus with a naked female figure between the two pairs of tentacles. This represents the woman who married the devilfish. The original had belonged to Charley White; the model was made by B. A. Jack. (Photograph by Catharine McClellan in 1952.)

PLATE 164 Killerwhale Drum of the Teqwedi. The drum is 39art inches high and the fin 28art inches high. They were purchased from Jim Kardeetoo by Axel Rasmussen (PAM 48.3.490 a, b; cf. Davis, 1949, pl. 93). (See pl. 143.)

PLATE 165 Wooden drum, 37 inches high, with painted decoration representing an Owl with abalone eyes, evidently the Kwacartqwan crest. Purchased by G. G. Heye at Yakutat in 1938 (MAI/HF 19/9099).

PLATE 166 Raven Drum of the Kwacartqwan, held by Jerry Harry. Edna Harry wears a child's button blanket of navy blue broadcloth, trimmed with red borders and panels. (Photographed at Yakutat in 1949.)

PLATE 167 Kwacartqwan memorial image. This image, 15 inches high, represents a man who was killed about 1891 at Icy Bay by a falling tree which pinned him to the ground. His body was found because someone noticed crows pecking at something. The image of the man with the body of an Owl, perched on a Crow (or Raven?), was carved from the wood of the tree that killed him. The image was placed on the table at each of several feasts given in his memory, a new ribbon being put on it on each occasion. The figure is painted blue-green, vermillion, white, and black, with human hair. It was originally obtained by W. J. Carruthers in 1936 from Billy Jackson, Kwacartqwan (PAM 48.3.354; cf. Davis, 1949, pl. v in color).

PLATE 168 Wooden figurines from Yakutat. Left to right, Crude carving of a shaman, 24.5 cm. high, wearing a crown and holding a land otter upside down in front of his body; he stands on a squatting figure that is unusual in having a face at the back of the head as well as at the front; collected by W. H. Dall at Port Mulgrave (USNM 16,294). Human figure, 20 cm. high, of indeterminate sex, with some red paint on it: hollowed out in back suggesting a model for a housepost; collected by Dall at Port Mulgrave (USNM 19,293). Three carvings made by B. A. Jack (1860–1949) and photographed at Yakutat in 1949. These are: Unpainted model of a totem pole representing the Eagle on a rock. Model of a totem pole representing the She-bear and the Teqwedi man, Katart, whom she married. Figurine with moveable arms representing a shaman dressed in a dancing apron of tanned skin, with rattling necklace and a crown of horns. He is either wearing a mask or has facepaint to suggest the tentacles of an octopus. (Scale for the last three figures in inches.)

PLATE 169 Shaman's grave guardian from a gravehouse at Yakutat. This figure, 23art inches high, carries spirit knives in its hands and stands on a seal. It was placed at the head of the shaman's corpse. Collected at Yakutat by George T. Emmons before 1888 (AMNH 19/378; cf. Fraser, 1952, pl. 179).

PLATE 170 Paraphernalia of the unknown Yakutat shaman, collected by William S. Libbey in 1886 from a gravehouse near Port Mulgrave (see also pls. 171–177). Mounted on wall, from left to right: Maskette (PU 3920), Hoop necklace with ivory pendants (PU 5064), Wand or grave guardian (PU 5060), Mask (PU 3957), Drum and drumstick (PU 5193), Wand or pick handle (PU 5063). Center, left to right: Rattle in shape of an oyster catcher (PU 5153), Rattle in shape of a raven (head missing) (PU 5168), Maskette (PU 3916), Ivory pick, charms, and necklace (PU 5105, 5104, 5065), Wooden grocery box containing cedar bark, ivory reel for twine (PU 5080, see pl. 117), Shaman's skull and jaw (PU 12484). Bottom, left to right: Maskette (PU 3916), Rattle in shape of a chiton (PU 5152), Carved mountain goat horns for a crown (PU 5177), Tapping sticks (PU 5201).

PLATE 171 Paraphernalia of the unknown Yakutat shaman, collected by WiUiam S. Libbey in 1886 from a gravehouse near Port Mulgrave, (See also pls. 170, 172–177,) Top, from left to right: Shaman's wand or grave guardian, carved to represent a kneeling man (probably a spirit) wearing a large crest hat (PU 5060). Two ivory picks of Eskimo manufacture with incised geometric designs (PU 5105 A, B). Shaman's wand, probably the handle for a war pick, carved to represent the heads of two men (witches ? dying of strangulation .and two birds (ravens ?)(PU 5063). Bottom, Tapping sticks (PU 5201),

PLATE 172 Ivory charms of the unknown Yakutat shaman, collected by William S. Libbey in 1886 from a gravehouse near Port Mulgrave. (See also pls. 170–171, 173–177.) Top, Necklace of barrel-shaped ivory beads and claw-shaped ivory pendants (PU 5106). Additional loose beads and pendants were found in the shaman's box. Center, Two slender ivory rods on a thong (PU 5066). Bottom, Fourteen ivory and one bone pendant on a cord (PU 5107). Those incised with compass-drawn dot-and-circle design are probably of Eskimo manufacture.

PLATE 173 Ivory charms of the unknown Yakutat shaman, collected by William S. Libbey in 1886 from a gravehouse near Port Mulgrave. (See also pls. 170–172, 174–177.) Top, Ten bone and ivory charms, “probably from the shaman's grave.” These include carvings representing fish, two human figures with hands under their chins, a pin with a bear figure on the head, and a figure with an anthropomorphic face having a raven on its body and surmounted by a bird's head (PU 5104). Bottom left, Five ivory charms strung on a cord. These include three with Eskimo dot-and-circle designs, one carved to represent a land otter, and a plaque carved to represent a sea monster with a human figure in the mouth, a fish on the side, and a human face on the back (PU 5065). Bottom right, Three ivory charms on a cord, including one with Eskimo dot-and-circle designs (PU 5070).

PLATE 174 Masks of Libbey's unknown Yakutat shaman. Top, from left to right: Mask representing the spirit of a man singing (TBM/WSM 2256). Mask with face paint symbolizing the octopus (PU 3923). Mask representing the spirit of a man singing (PU 3957). Bottom, left to right: Mask representing the spirit of a shark, with copper eyebrows and lips (PU 3922). Mask representing a hawk (?) with small faces in the “ears” (PU 3911). Mask representing the spirit of a very old woman with a labret (TBM/WSM 2271). While the first and last masks were collected by George T. Emmons from an old gravehouse at Yakutat “sometime before 1909,” they are so similar in style to the others which were collected by William S. Libbey in 1886 from a gravehouse near Port Mulgrave, that they probably all came from the same grave, especially since both collectors were in Yakutat when the grave was rifled. (See also pls. 170–173, 175–177.)

PLATE 175 Headdress ornaments of the unknown Yakutat shaman, collected by William S. Libbey in 1886 from a gravehouse near Port Mulgrave. (See also pls. 170–174, 176–177.) Left: Three carved mountain goat horns for the shaman's crown, representing human heads and an octopus tentacle (PU 5177 A, B, C). Right top: Maskette, probably for a headdress, representing the spirit of a bear (?) (PU 3919). Right center, Maskette, probably for a headdress (PU 3916). Right bottom: Maskette, probably for a headdress, representing the spirit of a fish (?) (PU 3920).

PLATE 176 Rattles, probably belonging to the unknown Yakutat shaman, collected by William S. Libbey at Port Mulgrave in 1886. (See also pls. 170–175, 177.) Top left: Dance rattle with doughnut-like head; not known to be from the shaman's grave (PU 5199). Top right: Cylindrical rattle; not known to be from the shaman's grave (PU 5200). Center, Rattle in the shape of an oyster catcher, on the back of which are the figures of a shaman torturing a witch, placed between the horns of a mountain goat head; probably, but not certainly, from the shaman's gravehouse (PU 5131). Bottom left: Rattle in the shape of a raven (with broken bill), on the back of which is the figure of recumbent man, while the belly is carved to represent the head of a hawk; probably, but not certainly, from the shaman's gravehouse (PU 5198). Bottom right: Rattle in the shape of a raven (head broken off), on the back of which is the figure of a recumbent man (shaman ?) lying between the horns of a mountain goat's head and holding a frog on his belly; the bottom of the rattle is carved to represent the head of a hawk; from the shaman's gravehouse near Port Mulgrave (PU 5168).

PLATE 177 Rattle of the unknown Yakutat shaman, collected by William S. Libbey in 1886 from a gravehouse near Port Mulgrave. (See also pls. 170–176.) Rattle, 10 inches long, made of two pieces of wood, hollowed out and carved to represent (left) the spirit of a chiton, and (right) the heads of five frogs (PU 5152).

PLATE 178 Paraphernalia of unidentified shamans of Yakutat and Dry Bay, collected by George T. Emmons before 1888. Top, from left to right: Wooden comb carved to represent a bear, from a shaman's gravehouse at Dry Bay (AMNH E/462). Rattle, representing an oyster catcher, with a dead shaman on its back lying between the ears of a bear; from an old shaman's gravehouse at Yakutat (possibly that of Libbey's shaman) (AMNH 19/835). One of a pair of whale's bone amulets, carved to represent coppers, from a shaman's gravehouse at Dry Bay (AMNH E/2209). One of a pair of ivory hairpins from a shaman's gravehouse at Yakutat (AMNH E/642). Bottom, Medicine bundle made of spruce twigs, devilclub roots, and the jaws of a brown bear, enclosing the tongue of a land otter or some other creature; from a shaman's gravehouse on the Alsek River (AMNH E/2500).

PLATE 179 Dance wands and headdress ornament of unknown shamans of Dry Bay and Yakutat, collected by George T. Emmons before 1888. Left, Dance wand of wood, carved to represent a raven above a devilfish, with a land otter near the handle; from the gravehouse of an unknown artaartkA’ayi shaman at Dry Bay, but not part of a known set (AMNH E/2212, neg. No. 124488). Center, Headdress ornament, about 18 inches long, representing a land otter with octopus tentacles for the tongue; part of the set (see pl. 180) from the gravehouse of an old shaman at a village on Dry Bay (AMNH E/344, neg. No. 330977). Right, Dance wand carved and painted to represent a wolf with protruding tongue at one end and a bear's head at the other; from an old shaman's gravehouse at Yakutat (possibly that of Libbey's shaman) (AMNH 19/1250).

PLATE 180 Masks of an unidentified shaman, collected by George T. Emmons before 1888 from the gravehouse of an old shaman at a village on Dry Bay (see also pl. 179 center). Top left, Mask representing the spirit of a Land Otter Man (AMNH E/342). Top right, Mask representing the spirit of the North Wind (AMNH E/340). Bottom left, Mask representing the spirit of a chiton (AMNH E/343). Bottom right, Mask representing the spirit of an angry man (AMNH E/345).

PLATE 181 Masks of unidentified shamans of Dry Bay and Akwe River, collected by George T. Emmons. Top left, Mask representing the spirit of a crow, collected at Dry Bay before 1888 (AMNH E/1566.) Top right, Mask representing a bear's face, attached to which are four small figures with land otter heads and octopus tentacles for bodies; collected at Dry Bay before 1909 (TBM/WSM 2032). Bottom left, Mask, 8art inches high, probably representing an Athabaskan Indian with nose pin; from a gravehouse on the Akwe River (MAI/HF 9/7984). Bottom right, Mask representing a spirit that lives in the clouds, collected at Dry Bay before 1888 (AMNH E/1565).

PLATE 182 Ivory and bone charms of unknown Yakutat shamans, collected by George T. Emmons. Top, Ivory charm, 4art inches long, representing a shaman's spirit, a double-headed monster eating small human figures; on the side is the Sun spirit (?) (MAI/HF 4/1671). Bottom, A bone charm, 4 inches long, representing a fish (MAI/HF 4/1666).

PLATE 183 Ivory charms of unknown shamans, collected by George T. Emmons at Dry Bay. Left, Whale tooth, 5art inches, carved to represent a sea monster; on the side are three seated spirits; at the tail is a spirit holding a spirit canoe full of dead men; on the belly is a bear spirit; and on the back is a shaman's spirit holding a spirit canoe with a land otter inside (MAI/HF 9/7952). Right An ivory charm, 4art inches long, representing a shaman's dream: above is a frog's head (?), in the center a bear biting one man and holding another, and below a bird's head surrounded by octopus tentacles; collected before 1888 (AMNH E/2708, neg. No. 291554).

PLATE 184 Masks of an unidentified shaman, collected by George T. Emmons from an old shaman's gravehouse at Yakutat before 1888, and all probably part of one set. (See also pl. 185 top, and pl. 186 center right.) Top left, Mask representing an owl spirit (AMNH 19/876, misnumbered 19/886). Top right, Mask representing the spirit of a Tlingit man singing (AMNH 19/874, neg. No. 1662). Bottom left, Mask representing the spirit of an Athabaskan woman with a hawk's bill for a nose (AMNH 19/870). Bottom right, Mask representing an Athabaskan Indian man (AMNH 19/868).

PLATE 185 Masks of unidentified Yakutat shamans, collected by George T. Emmons. Top, Mask representing a mosquito, from na old shaman's gravehouse and probably part of the set shown on pl. 184, collected before 1888 (AMNH 19/880). Bottom, Mask, about 7art by 9 inches representing a man's face painted with red, black, and blue-copper pigment (MAI/HF 11/1755).

PLATE 186 Masks of unidentified shamans of the Yakutat-Dry Bay area, collected by George T. Emmons before 1888. Top left, Mask with carved mice on the cheeks that are supposed to discover the secrets of witchcraft and death and tell these to the shaman; from a shaman's gravehouse at Dry Bay (AMNH E/2511). Center, Mask representing the spirit of an Athabaskan man, surmounted by painted mooseskin (evidently bear's ears); from an old shaman's gravehouse at Yakutat, and probably part of the set shown on pl. 184 (AMNH 19/872). Bottom left, Mask representing the spirit of an eagle; one of three masks from a gravehouse on the Ankau-Lost River drainage, 20 miles southeast of Yakutat (AMNH E/2486).

PLATE 187 Paraphernalia belonging to SEtAn, a TłukwaartAdi shaman, collected before 1888 from an old gravehouse on Akwe River by George T. Emmons, who writes: “Some of these objects have desceded through five generations of Doctors while other pieces have been added from time to time by the successors so that they represent different ages and types. The last Doctor now dead was ‘sa-ton’.” (See pls. 188 and 189.) Left, Overall and detail views of a wooden dance wand or pick painted red and black and carved to represent (above) a shaman's spirit and (below) another spirit with a land otter coming out of its mouth (AMNH E/428, neg. nos. 291567 and 124499). Top right, Maskette representing the Spirit Above, detached from a headdress of swansdown and eagle and magpie tail feathers (AMNH E/418). Center right, Headdress of eagle and magpie tail feathers with a maskette representing an eagle (AMNH E/419). Bottom right, Rattle in the form of a raven, with its belly carved to represent a hawk; on the back is a dead shaman whose tongue formerly protruded to touch the head near the handle (identified by Emmons as that of a crane); this type of rattle is said to have been used almost exclusively by chiefs and aristocrats at potlatches (AMNH E/421, neg. no. 330978).

PLATE 188 Masks belonging to SEtAn, a TłukwaartAdi shaman of Akwe River (see pls. 187 and 189). Top left, Mask representing the spirit of a Tlingit man; formerly with tufts of human hair inserted in the holes to form a beard and moustache (AMNH E/412). Top right, Mask representing a good natured spirit who lives in the air (AMNH E/409). Center, Mask representing the spirit of a shaman; formerly ornamented with copper, and painted to symbolize the fin of a killerwhale (AMNH E/415). Bottom left, Mask representing the spirit of a dead man with protruding tongue (AMNH E/414, neg. No. 291518). Bottom right, Mask representing the anthropomorphic spirit of a sculpin (AMNH E/417).

PLATE 189 Masks belonging to SEtAn, a TłukwaartAdi shaman of Akwe River (see pls. 187 and 188). Top left, Mask representing the spirit of a raven (AMNH E/416). Center right, Mask representing the spirit of a drowned man who is turning into a Land Otter Man; with teeth of opercula and formerly with human hair set into holes (AMNH E/410, neg. No. 330970). Bottom left, Mask representing the spirit of a shaman singing (AMNH E/411, neg. No. 330968).

PLATE 190 Masks belonging to a TłukwaartAdi shaman named artutcda, collected before 1888 from a gravehouse on Dry Bay near the mouth of the Alsek River, by George T. Emmons, who writes: “Some of these objects were originally the property of a very powerful ‘Gun-ha-ho’ Shaman and have passed successively through three generations of doctors. The last possessor named ‘Koutch-tar’ died a few years since. The articles represent different ages, as some in the course of time having worn out or been broken newer pieces have replaced them, and other pieces have been added from time to time in the life and practice of the successor.” (See also pls. 191–193.) Left, Mask representing the spirit of a dog, used in treating afflictions of the head (i.e. witchcraft) (AMNH E/399, neg. No. 33097). Right, Mask representing the angry man who lives in the clouds (AMNH E/400, but fits description of E/403).

PLATE 191 Masks belonging to a TłukwaartAdi shaman named artutcda, collected by George T. Emmons from a gravehouse on Dry Bay before 1888. (See also pls. 190, 192–193). Left, Mask representing a drowned man who has turned into a Land Otter Man (AMNH E/400, neg. No. 330972), Right, Mask representing the spirit of a chief, with face paint symbolizing the Raven (AMNH E/402, neg. No. 330969).

PLATE 192 Masks belonging to a TłukwaartAdi shaman named artutcda, collected by George T. Emmons from a gravehouse on Dry Bay before 1888. (See also pls. 190–191 and 193.) Top left, Mask of uncertain meaning (AMNH “E/403” but does not fit catalog description). Top right, Mask representing the spirit of an angry man, formerly with bear fur on the face, and face paint representing the Raven's wing; worn by the shaman in preliminary treatment of illness, when the shaman carries a wand or knife to fight the invisible enemies surrounding the patient (AMNH E/397). Bottom left, Mask representing the spirit of the devilfish, with tentacles carved on the face, whiskers of bear fur, and open mouth through which eagle down could be blown; there was formerly a crown of wooden horns on the forehead (AMNH E/396). Bottom right, Mask representing the spirit of the peacemaker or the one who intercedes between two sibs; if he should be killed, his spirit has the power to cure the sick; the lower lip was formerly bewhiskered with brown bear fur (AMNH E/401).

PLATE 193 Headdresses belonging to a TłukwaartAdi shaman named artutcda, collected by George T. Emmons from a gravehouse on Dry Bay before 1888. (See also pls. 190–192.) Top, Headdress of swansdown and eagle tail feathers with three headless figurines representing guardians (AMNH E/404). Bottom left, Crown made of the pads and claws of a brown bear paw (AMNH E/407). Bottom right, Maskette representing the spirit of the air that lives above, detached from a headdress of swansdown and eagle tail feathers (AMNH E/406).

PLATE 194 Copies of masks belonging to artuteda of Dry Bay (probably the shaman known to my informants at Yakutat, but not the shaman of the same name whose gravehouse was emptied by Emmons before 1888), collected by John R. Swanton at Sitka in 1904. Top left, Mask representing a Raven spirit. Top right, Mask representing a very strong spirit called Cross Man. Bottom left, Mask representing the Spirit-Put-on-in-Time-of-War, with the tongue hanging out from fatigue and a frog (another spirit) on the forehead. Bottom right, Mask representing the Land Otter Man Spirit, with fur around the mouth, a land otter figure on the forehead, and black and red lines on the face representing starfishes (BAE neg. nos. 3089–a–1 and 3; Swanton, 1908, pl. LVIII).

PLATE 195 Paraphernalia of an unknown TłukwaartAdi shaman, collected by George T. Emmons from a gravehouse on the Akwe River before 1888. (See also pls. 196–197). Top, Bone neck ornament or amulet, 38.5 cm. long, carved to represent a raven's head at each end (AMNH E/1666). Center left, Rattle representing an oyster catcher, on the back of which is the figure of a witch with spirits in the knees, and a bear's head near the handle (AMNH E/1664). Center right, Broken maskette, representin the spirit of a dead Tlingit, detached from a headdress ornamented with braids of human hair (AMNH E/1662). Bottom, Wooden dish, 30.5 cm. long, carved to represent a land otter and an octopus (AMNH E/1653).

PLATE 196 Paraphernalia of the unknown TłukwaartAdi shaman, collected by George T. Emmons from a gravehouse on the Akwe River before 1888. (See also pls. 195 and 197.) Top left, Necklace of ivory pendants (AMNH E/1669). Top right, One of a pair of bracelets of twisted cedar bark and ermine skin (AMNH E/1663). Bottom left, Medicine bundle of twigs wrapped around a land otter's tongue (AMNH E/1668). Bottom right, Headdress of red cedar bark with two perforated wooden disks, painted red and black (to represent the sun?) (AMNH E/1664 A).

PLATE 197 Masks of the unknown TłukwaartAdi shaman, collected by George T. Emmons from a gravehouse on the Akwe River before 1888. (See also pls. 195–196.) Top left, Mask representing the spirit of an angry man, wearing bear's ears (AMNH E/1657). Top right, Mask representing the spirit of a woman with a small labret (AMNH E/1658). Bottom left, Mask representing the spirit of a young girl, painted red, green, and black (AMNH E/1660). Bottom right, Mask representing the spirit of a dead Tlingit, wearing three ivory spikes like a shaman's crown (AMNH E/1656).

PLATE 198 Paraphernalia belonging to Qadjusé, a artaartkA’ayi shaman, that had been deposited at his death in his gravehouse on the Alsek River, obtained from his heirs before 1888 by George T. Emmons. (See also pls. 199–203.) Top, Bundle of spruce twigs containing an eagle's claw and a land otter's tongue (AMNH E/1608). Center, Pair of bracelets of twisted spruce twigs ornamented with ermine skins (only the bare skins and skulls remain) (AMNH E/1613, 1614). Bottom, Neck rings of devilclub shoots, to which were formerly attached bundles of twigs containing the tongues of land otters (only the spruce root bindings remain) (AMNH E/1604, 1604). Small bundle of twigs containing a land otter tongue (AMNH E/1607).

PLATE 199 Paraphernalia belonging to Qadjusé, a artaartkA’ayi shaman of the Alsek River, collected from his heirs by George T. Emmons before 1888. (See also pls. 198 and 200–203.) Top left, Bear's ears headdress of wood and skin (AMNH E/1606). Top right, Wooden ornament for a dancing headdress, representing the fin of a killerwhale ornamented with human hair (AMNH E/1611). Center, Maskette representing a spirit from the land of dead shamans, detached from a headdress of eagle tail feathers, ermine skins, and feathered arrow shafts (AMNH E/1623). Bottom left, Wooden rattle in the form of a human hand (AMNH E/1605). Bottom center, Maskette representing a spirit that lives above, detached from a headdress made of the head and neck of a mallard, surmounted by a crown of eagle tail feathers (AMNH E/1621). Bottom right, Worn maskette, representing a good spirit, detached from a headdress of eagle down surmounted by eagle and magpie tail feathers (AMNH E/1622).

PLATE 200 Mask and headdress belonging to Qadjusé, a artaartkA’ayi shaman of the Alsek River, collected from his heirs by George T. Emmons before 1888. (See also pls. 198–199, 201–203.) Left, Mask representing the spirit of the glacier, ornamented with black bear fur (AMNH E/1600). Wooden headdress ornament representing the head and foreleg of a wolf, with shell and bone teeth (AMNH E/1598).

PLATE 201 Masks belonging to Qadjusé, a artaartkA’ayi shaman of the Alsek River, collected from his heirs by George T. Emmons before 1888. (See also pls. 198–200, 202–203). Mask representing the spirit of a puffin (AMNH E/1591, neg. no. 330971). Right, Mask representing the spirit of a man who sits in the bow of the canoe, spear in hand, when traveling with a war party (AMNH E/1569, neg. no. 330975).

PLATE 202 Masks belonging to Qadjusé, a artaartkA’ayi shaman of the Alsek River, collected from his heirs by George T. Emmons before 1888. (See also pls. 198–201, 203.) Top left, Mask representing a stickleback, formerly ornamented with copper bands across the face (AMNH E/1594). Top right, Mask representing the spirit of an angry man (AMNH E/1592). Bottom left, Mask representing the spirit of a young woman who lives in the woods, a good spirit (AMNH E/1601). Bottom right, Mask representing the Sun, formerly ornamented with copper bands in the form of a rectangle around the face (AMNH E/1593).

PLATE 203 Headdresses belonging to Qadjusé, a artaartkA’ayi shaman of the Alsek River, collected from his heirs by George T. Emmons before 1888. (See also pls. 198–202.) Top, Crown of mountain goat horns, formerly ornamented with ermine skins (AMNH E/1602). Bottom left, Headdress of cedar bark, with wooden ornament in front carved to resemble a human hand (AMNH E/1620). Bottom right, Single wooden spike of a crown, carved to represent a face with the horn of a mountain goat (AMNH E/1618).

PLATE 204 Paraphernalia of an unidentified artaartkA’ayi shaman, collected from his gravehouse on the shore of Dry Bay before 1888 by George T. Emmons, who writes: “These articles were the property of a Doctor long since dead…Many of these articles had descended to this Doctor through a long line of Doctors which accounts for their decayed and worn conditions.” (See also pls. 205–208.) Top left, Pair of wooden ornaments, representing the fins of killerwhales, worn on the shoulders of a dancing robe (AMNH E/1650). Right Wooden ornament, representing the fin of a killerwhale, worn in the middle of a skin dance blanket (AMNH E/1652). Bottom left, Pair of bundles of spruce twigs, wrapped around land otters’ tongues (AMNH E/1641).

PLATE 205 Paraphernalia of the unidentified artaartkA’ayi shaman, collected from his gravehouse on the shore of Dry Bay by George T. Emmons before 1888. (See also pls. 204, 206–208.) Top, Dance rattle made of a wooden rod and puffin bills (AMNH E/1648). Bottom left, Dance rattle of wooden rings and cross bars with deer hoofs and puffin bills (AMNH E/1649). Center, Dance wand (AMNH E/1647). Bottom right, Bone beating stick carved to represent a land otter's head (AMNH E/1651).

PLATE 206 Headdress and mask of the unidentified artaartkA’ayi shaman, collected from his gravehouse on the shore of Dry Bay by George T. Emmons before 1888. (See also pls. 204–205, 207–208.) Top, Bear's ears headdress of bear skin ornamented with a carving representing the head of a sea lion (AMNH E/1640, neg. No. 330976). Bottom, Mask representing an old woman wearing a labret; inlays of copper on the cheeks have fallen out (AMNH E/1626, neg. No. 330967). This is one of a set of eight masks representing a tribe of women spirits that live in the clouds (see also masks on pl. 207).

PLATE 207 Masks and maskette of the unidentified artaartkA’ayi shaman, collected from his gravehouse on the shore of Dry Bay by George T. Emmons before 1888. (See also pls. 204–206, 208.) Top left, Mask representing a young woman with her face painted to symbolize a killerwhale fin (AMNH E/1629). Top right, Broken mask representing a young woman (AMNH E/1630). Bottom left, Broken mask representing a young woman (AMNH E/1632). Bottom center, maskette representing a Tlingit, detached from a headdress of eagle and magpie feathers (AMNH E/1634). Bottom right, Broken mask representing an old woman with a labret (AMNH E/1628). These masks, and that on pl. 206 bottom, are from a set of eight masks representing a tribe of women spirits that live in the clouds.

PLATE 208 Headdress of the unidentified artaartkA’ayi shaman, collected from his gravehouse on the shore of Dry Bay by George T. Emmons before 1888. (See also pls. 204–207.) Shaman's headdress of red cedar bark, fastened to a circular frame and ornamented with a wooden carving of a raven's head, and perhaps formerly attached to a raven skin (AMNH E/1638, neg, No. 330979).

PLATE 209 Frog Crest of the Tł'UknaartAdi, Sitka, 1902. This is the frog carving which the KIkSAdI destroyed when the Tł'UknaartAdi, attempted to dedicate a Frog House at Sitka in 1902. The frog was carved by Daniel Benson (Daqusetc), Teqwedi of Yakutat, and Yeł nawu, “Dead Raven,” Tł'UknaartAdi, artist of Sitka, chief of the Koskedi Cow House, and painter of the Golden Eagle Screen for the Drum House of the Teqwedi. The frog was chopped up by artu-xwatc, “Tanned Skin Blanket,” a KIksAdI man. The Tł'UknaartAdi men posing with the Frog are, from left to right, Ned James or Stágwà;n; Dúksá'àt, husband of Jim Kardeetoo's sister; Dexudu’u, “Buys Two at a Time,” brother of T. Max Italio; Quarttsina, another brother; and łkettitc. (Photograph courtesy of Mr. and Mrs. Harry K. Bremner.)

PLATE 210 Yakutat natives at the Sitka Potlatch on December 9, 1904. a, Kitty, Xitł’i, sister of Dry Bay Charley (Mrs. Pete Louie), Tł'UknaartAdi, wears a hat with a black plume or a Raven on it and a beaded bib with a Whale. b, “Mrs. Situk Ned, Ka-wa-ish,” probably Tł'UknaartAdi, wears a turban with a beaded headband, a white kerchief, nosering, and holds a gun with black feathers protruding from the barrel. c, Sitka Charley, artatartuqwa (or, artaartagu), Tł'UknaartAdi of Sitka Whale House, wears a striped fur hat, a beaded bib, nose pin, ermine coat, and holds a song leader's pole (see pl. 211, n). d, “George Dick, Don-Nah-icth,” wears a striped fur hat, two feathers, nosering, beaded bib, ermine coat, and holds a Thunderbird or Raven song leader's pole (see pl. 211, l). e, T. G. Henry, Duksa’at, Tł'UknaartAdi of Sitka wears a turban and single feather, nosering, beaded bib, ermine coat, and holds a song leader's Raven pole. f, Jack Reed, Kakendaqin, Ckuyeł (1880–1953), Tł'UknaartAdi, wears a beaded headband, fringed jacket, dancing bag, and nosering. g, “Cah oot” (not further identified) wears a dark turban. h, Unidentified “Dry Bay man” wears a hat with beaded fringe, nose pin, and dancing bib. i, Billy Jack (not further identified), wears a white fur or feather cap, nosering, raven bib, and ermine coat. j, Fanny Bremner, Kuwuart, Daxton, Mrs. Teet Milton, Kwacartqwan, wears a hat with bead fringe, and nosering (see pl. 211, s). k, Jenny Abraham, Kaqułsike (1874–1918), Mrs. Ned James, later Mrs. Charley White, Teqwedi, shows only a hat with bead fringe. l, Mrs. Joseph Abraham, “Emma Suwanee,” Qaditu’a (1867–1950), Tł'UknaartAdi, wears a hat with bead fringe, a nosering, and a white kerchief around her neck (cf. pl. 211, q). m, Mrs. George Young, sister of Henry Shada, Teqwedi, wears a dark coat and a hat with bead fringe. n, Mrs. Jenny Kardeetoo, Tł’e’an (1872–1951), Kwacartqwan, wears a hat with bead fringe, fancy beaded headband, nosering, and Raven shirt, o, Kitty Milton, Mrs. Sitka Charley, Kaartiart (1875–1909). p, Mrs. Daknaqin, probably łtanat (mother of Elizabeth Ellis and Ned James), Tł'UknaartAdi, wears a nosering, hat with bead fringe, and button blanket, q, łangusek, CawAtart (later Anna Daknaqin), widow of artadaneart Johnstone (1847–1912), Tł'UknaartAdi, r, r, “Ta-ca, brother of George Dick” (not further identified), wears a hat with fur and feathers on top, beaded fringe, a beaded bib, ermine coat, and two dancing bags. s, “Cou-you-a” (not further identified). t, Sitka Jack, Katsex, łdaxin, Tł'UknaartAdi, of Sitka, wears a Raven hat with seven rings and ermine skins, a button blanket, bag decorated with Chinese coins, and holds a jointed cane. u, Ned James, Stagwan, Tł'UknaartAdi, wears a shaman's white feather headdress with forehead maskette, Chilkat blanket, and bib with Frog (see pl. 211 g). v, Charley White, Yaniki (1882–1964), Tł'UknaartAdi, (see pl. 211 h). w, Paul Henry, Qawutart (or Kawutart), Tł'UknaartAdi, wears a beaded headband and raven feathers, beaded jacket and dancing bags, and holds seagull feathers and a wooden T-shaped baton. x, John Smith, Yandus-’ic, CadasIktc (b. after 1886, d. after 1931), Tł'UknaartAdi, wears a hat with bead fringe, a nosering, bib with two birds and fish, and holds feathers, y, Unidentified little child. z, arteartiart, Chief of Sitka Whale House, Tł'UknaartAdi, wears a Raven hat with two rings, and a button blanket (see pl. 211 f). aa, Jack Ellis, Qatcakw, (1892–1952), Tł'UknaartAdi, boy with bangs (see pl. 211, a). bb, Joseph Abraham, Yaqwan, Tartune (1867–1917), Teqwedi, wears a dark cap with two patches of white fur on the sides, a nosering, beaded jacket, and Eagle bib. cc, Tom Smith, ’AnwAłartit, Teqwedi (son of Tom Coxe), wears a hat with bead fringe, a beaded coat, and bib. dd, Unidentified man wears a Raven on head, and a mask design upside down on his back. ee, Billy James, łIxxak (1854–1919) Kagwantan of Sitka, wears a cap, dancing bag and holds two seagull wings. ff, Teet Milton, Detartun, Ka’u (1878–1920), Teqwedi, wears a cap, white shirt, neckband with beaded Eagle, and a dancing bag (pl. 211, t). gg, Unidentified child. (Identifications by Mrs. Minnie Johnson.) (Photograph by W. C. Chase Neg. No. 2418; courtesy Bancroft Library, University of California at Berkeley.)

PLATE 211 Yakutat natives at the Sitka potlatch on December 9, 1904. “Seven tribes were invited to this potlatch, to put a tomsbtone on the grave of Wan-a-chook” [YanActuk, probably Chief Minaman]. a, Jack Ellis, Qatcakw (1892–1952), Tł'UknaartAdi, wearing a beaded costume and bangs, b, Sitka Jack, Katseart, łdaxin (deceased), Tł'UknaartAdi, of Sitka, wearing a turban, a bag trimmed with Chinese coins, and carrying a devilfish cane. c, Jim Blaine, Natskik (1885–1931), Tł'UknaartAdi, wears a turban and Raven bib. d, T. G. Henry, Duksa’ at (deceased), Tł'UknaartAdi of Sitka (cf. pl. 209, b, with Frog), wears a nosering and beaded frock, and holds a club or rattle and seagull wing, e, John Smith, Yandus-’ic, CadasIktc (b. after 1886, d. after 1931), Tł'UknaartAdi wears a tam, a bib with 3 birds, and nosering. f. arteartiart, Chief of Sitka Whale House (cf. Swanton, 1909, p. 416), brother to Sitka Jack, Tł'UknaartAdi of Sitka, wears an elaborate button blanket, beaded headdress, and carries a cane. g, Ned James, Stagwan (deceased), Tł'UknaartAdi, (cf. pl. 209, a, with Frog), wears a turban, dark beaded jacket, and holds seagull wings, h, Charley White, Yaniki (1882–1964), Tł'UknaartAdi, wears a beaded fur jacket and a hat with bead fringe, i, Daknaqin's youngest son, Tł'UknaartAdi, wears a turban and beaded jacket. j, Paul Henry, Qawutart (or Kawutart), Tł'UknaartAdi (of Sitka?), wears a turban, beaded jacket, and a bib with double bird upside down. k, Charlie Benson, Datlen (“Big Weasel” 1857–1933), Tł'UknaartAdi, wears a peaked fur cap. l, “Howard Da Na Ec Sak” (looks like Sitka Ned, Teqwedi), holds a song leader's Thunderbird or Raven pole, wears a hat with beaded fringe and single feather, nosering, double bird bib, and white gloves with tassel fringes. m, Unidentified man. n, Sitka Charley, artatartuqwa (or artaartgu), of Sitka Whale House, Tł'UknaartAdi, holds a song leader's pole with devilfish suckers and hair fringe, wears a hat with bead fringe, nosepin, shirt with Raven, and beaded leggings. o, Two blurred men's figures. p. Mrs. Sitka Ned, ’Atcqwe, łqawagałsu;isx (died 1926), Kwacartqwan, wears a button blanket, hat with bead fringe, nosering, and a white scarf pinned at her throat. q. Mrs. Joseph Abraham, “Emma Suwanee,” Qaditu’u (1867–1950), Tł'UknaartAdi, wears a button blanket, a hat with bead fringe, a nosering, and a Raven bib. r, “Ga-goo-eish” (artaxu-’ic, cf. Situk Harry, Teqwedi), is the host of the potlatch, and wears ordinary clothes, standing on a ladder. s, Fanny Bremner, Mrs. Teet Milton, Kuwuart, Daarttan (deceased), Kwacartqwan, wears long fringed earrings, nosering, a hat with bead fringe, a button blanket, and holds a rod (?). t, Teet Milton (only his hand is visible, holding the drum), Detartun, Ka’u (1878–1920), Teqwedi. (Identifications by Mrs. Minnie Johnson.) (Photograph by W. C. Chase, neg. No. 2417; courtesy Bancroft Library University of California at Berkeley.)

PLATE 212 Hosts and Yakutat guests at the Sitka potlatch on December 9, 1904. Identifications are only tentative. Hosts, a, unidentified man in ordinary clothes and cap; b, unidentified woman with black scarf around head; c, unidentified smiling man in ordinary clothes and hat; d, unidentified man with ordinary hat, in front of door; e, “Ga-goo-eish,” leader of the hosts (?). Song leaders, f, Sitka Charley, artatartUqwa (or artaśagu), of Sitka Whale House, Tł'UknaartAdi, holds song leader's pole and wears a banded fur cap and nose pin (see pl. 210, c); g, George Dick, “Don-Nah-icth,” holds a Raven or Thunderbird pole, and wears a striped fur hat and two feathers (see pl. 210, d); h, T. G. Henry, Duksa’at, Tł'UknaartAdi of Sitka, holds a long Raven pole and wears a nosering (see pl. 210, e). i, Sitka Jack, Katsex, łdaxin, Tł'UknaartAdi of Sitka, wears a Raven hat, button blanket, and bag decorated with Chinese coins (see pl. 210, t). j, Ned James, Stagwan, Tł'UknaartAdi, wears a shaman's white feather headdress with forehead maskette, a Chilkat blanket, and a bib with Frog (see pl. 210, u). k, Young man with nosering and hat with bead fringe (probably John Smith, Tł'UknaartAdi, see pl. 210, x). l, Charley White, Yaniki (1882–1964), Tł’UkaartAdi, wears a peaked cap with beaded band, a beaded fur jacket, and two dancing bags. m, Unidentified young man with beaded head band and nosering (“Cou-you-a,” see pl. 210, s). n, arteartiart, Chief of Sitka Whale House, Tł'UknaartAdi, wears a Raven hat, glasses, and button blanket (see pl. 210, z). o, Jack Ellis, Qatcakw (1892–1952), Tł'UknaartAdi. p, Billy Jack (unidentified), wears a fur or feather cap, nosering, Raven bib and ermine coat. q, Unidentified young person with a hat with beaded headband and fringe, a beaded jacket, and a Raven bib. r, Unidentified man in a Chilkat blanket wearing a hat with three rings. s, “Ta-ca, brother of George Dick” (not further identified) wears a hat with fur or feathers on top, beaded fringe, a beaded bib, ermine coat, and two dancing bags (see pl. 210 r). t, Jack Reed, Kakendaqin, Ckuyeł (1880–1953), Tł'UknaartAdi, wears a beaded headband, earrings, fringed jacket, and a dancing bag (see pl. 210 f). u, Unidentified young woman wearing hat with a fringed brim, a white kerchief at her neck, large nosering, a blanket, and holds a gun. v, Mrs. Jenny Kardeetoo, Tł’e’an (1872–1951), Kwacartqwan, wears a hat with beaded fringe and headband, nosering, and Raven shirt (see pl. 210, n). w, Kitty, Xitł’i, sister of Dry Bay Charley, Tł'UknaartAdi, wears a hat with black plumes or a Raven on it, a beaded bib with whale, and holds a gun. x, Fanny Bremner, Mrs. Teet Milton, KuwUartart, Daarttan, Kwacartqwan, wears a hat with beaded fringe, a nosering, button blanket, long earrings, and holds a wand with black feathers (see pl. 211s). y, Teet Milton, Detartun or Ka’u (1878–1920), Teqwedi, wears a beaded cap, neckband with two eagles, a white shirt, dancing bag, and holds a drum (see pl. 210). (Photograph by Merrill, courtesy American Museum of Natural History, neg. No. 328740.)

PLATE 213 The Golden Eagle Screen for Drum House, Yakutat, just before its installation in 1905. (See pl. 92.) a, Woman in button blanket, beaded bib, and turban, b, Woman in Golden Eagle headdress and Chilkat blanket (blanket seems to be the same as in pl. 212 j). c, Woman with shawls, d, Woman with button blanket, e, Little girl in button blanket. f, Man with turban, beaded vest, and beaded collar with two tabs, g, Man wearing the Killerwhale Hat with woven and copper rings on top, an ermine coat, and holding a cane shaped like a gun; possibly Jim Kardeetoo. h, Man with black brimmed hat and feather cockade, bib with two Killerwhales and seal (see pl. 214 j; Ned Daknaqin), and holds a rattle, i, Man with turban and cockade, and a button blanket, j, Bareheaded man wearing a button blanket and beaded bib, k, Man with derby and button blanket. l, Man with turban and button blanket. (Photograph of Merrill; courtesy American Museum of Natural History, neg. No. 328732.)

PLATE 214 Teqwedi guests at the Tł’uknaartAdi potlatch for Sidewise House, given by Tim Max Italio, artwani (1874–1940), in 1916. a, Jim Kardeetoo, Kaartidutu, artatgawet (1862–1937), wears a war bonnet headdress, nose pin, and the neckband of the Children of the Sun dagger, b, Tom Smith (deceased), ’AnWAłartit, faces left with a song leader's pole said to represent the Brown Bear, wearing a hat with bead fringe, a nosering, and beaded vest, c, Olaf Abraham, Qaartuartgu (1886–    ), faces right with the Wolf Pole (pl. 163), and wears a hat with bead fringe, a nosering, and a Chilkat blanket, d, Situk George, Yeł tłed (deceased), wearing a fur hat. e, Martin Abraham, Qełdjakw, Nuartne (deceased), wears a hat with bead fringe, beaded shirt, and Eagle bib. f, Sitka Ned, Qactan, KaartdAarteł (died 1926), wears a hat with bead fringe, a wig, nosering, beaded shirt, neckband, and dancing bags, g, B. B. Williams, Jr., Yanactukw (born 1889 ?, deceased) wears a hat with bead fringe, a beaded shirt, and Eagle bib. h, Joseph Abraham, Yaqwan, Tartune (1868–1917), wears a wig (?), a nosering, beaded neckband, the Ahrnklin Blanket, and holds a stone adz in the crook of his arm. i, Henry Shada, Carta’a (1894?–1944?) wears a turban, nosering, beaded bib, shirt, two dance bags, and holds a stone warpick. j, Ned Daknaqin, KitcidAłart (deceased), wears a cap with cockade, nosering, bib with two Killerwhales and seal, dancing bag, and beaded garters, k, Jacob or Jim Itiniscu, Tanuart (deceased), with chief's staff. l, Unidentified man. m, Nick Milton, artadaneart, WAnga-’ic (b. 1896), wears an Eagle shirt and two feathers like a peace hostage, n, Isaac Abraham, Yaqwan (deceased), wears a woman's hat. o, William Milton, Neartut (1888–1950), wears a cap and an Eagle bib. p, Peter Lawrence, Kadjati (1871–1950), a Sitka Kagwantan man, wears a nosering and fox furs. q, Billy James, łIartak, Nasarte-’ic (1854–1919), Sitka Kagwantan, wears a dancing bag as a hat, a bib with double-headed eagle, a nose pin, and an ermine coat. (Photograph by Fhoki Kayamori; courtesy of Mr. and Mrs. Harry K. Bremner.)

PLATE 215 The Thunderbird Screen shortly after its installation (1918 ?) in Thunderbird House, Yakutat. (See pl. 91.) All persons are CAnkuqedi unless otherwise stated. a, Frank Italio, KwutcEn (1870–1956), with a carved chief's staff (pl. 162 right), wearing an ermine jacket, two dancing bags, and a beaded bib. Behind him is an Athabaskan snowshoe. b, David Peterson, Qacde’udaqa, deceased son of Clarence and Esther Peterson, wearing a headdress and a bib with a double-headed eagle, c, Sam Henninger, Sr., ’AndAartłetc, deceased nephew of Frank Italio, wearing the Killerwhale Helmet later sold by Frank Italio (to Alaska State Museum ?) and the Thunderbird Blanket. d, Dick Manson, Kawudułguc, Tcukanedi man from Hoonah, husband of łitkwe, the daughter of Frank Italio (all deceased ?), wearing a headdress similar to that worn by Chief Yen-at-setł in 1886. Possibly this was the one which Minnie Johnson's marriage to Blind Dave Dick would have restored to her father's people, the Teqwedi. e, Jack Peterson, artunAkw (1870–1938), builder of Thunderbird House and son of the shaman, artutcda. f, Unidentified woman wearing the Hawk headdress, g, Esther, Yeduxwatc, Kastin (then Mrs. Clarence Peterson and mother of David, (b) now Mrs. Chester Johnson (b. 1900), or her sister, Jenny, DjenIk (born 1903), now Mrs. Charley White. She is wearing a mask for an Athabaskan dance which closely resembles the copper mask reported from Yakutat (USNM 332801). h, Mrs. Jack Peterson, Luartnaq, Tł'UKnaartAdi (deceased), sister of T. Max Italio and mother of Dick and Clarence Peterson. On the wall, left, is a portrait of T’aw-łI-gau, older brother of Jack Peterson and father of Dick and Clarence Peterson (all deceased). On the wall, right, is a portrait of Peter George, artutcarti-artearte, deceased half-brother to Frank Italio (a). (Photograph by Fhoki Kayamori; courtesy of Mr. and Mrs. Harry K. Bremner.)

PLATE 216 Performance in the ANB Hall, at Yakutat in 1936, given to raise money for the mission. Those dancers with seagull wings in their hands are ready to give an Athabaskan Ptarmigan Dance taught them by the CAnkuqedi of Dry Bay. Standing, left to right, Olaf Abraham, Teqwedi, wearing a big white feather headdress; T. Max Italio, Tł'UknaartAdi, wearing a big white feather headdress; Harry K. Bremner, Kwacartqwan, wearing the Mount Saint Elias Shirt, souwester, and three feathers; an unidentified woman (or a man wearing false braids?) wearing a nosering; a man (Jack Reed?) in Athabaskan costume (standing on chair); two unidentified women (or men wearing false braids ?). Crouching left, Peter Lawrence, Kagwantan, imitating a shaman, wearing a crown of thorns and shaking a rattle. Seated, left to right, Mary Thomas or Mary James, Kwacartqwan; Mary Thomas or Mary James; B. A. Jack, Kwacartqwan, with drum. On the wall, Kardeetoo's (Killerwhale?) Chilkat Blanket; Kardeetoo family child's Chilkat blanket; Anna Johnstone's Raven Chilkat blanket. (Photograph by Fhoki Kayamori; courtesy Mr. and Mrs. Harry K. Bremner.)

PLATE 217 Harry K. Bremner (Kwacartqwan, born 1893) standing in front of the screen depicting Mount Saint Elias, and holding a song leader's staff, both of which he made for the Mount Saint Elias Dancers. (Photograph ca. 1965; courtesy Mrs. Helen Bremner.)

PLATE 218 The Mount Saint Elias Dancers. From left to right, Ray Smith, CAnkuqedi, born 1916, with shaman's crown; Olaf Abraham, Teqwedi, born 1896, song leader with staff; Mrs. Mary James, Kwacartqwan, born 1926, with clappers; Frederic Bremner, DAartdentan, son of Mr. and Mrs. John Bremner III, born 1948. (After a travel folder, ca. 1965.)

Appendix

Recordings of Yakutat Songs

WITH TRANSCRIPTIONS OF THE MUSIC BY DAVID P. MCALLESTER

Notes and scores for the following songs are arranged to correspond as far as possible to the categories described on pp. 568–572. The words to the songs are given as dictated or as heard on the tapes, but it has often been impossible to supply an accurate translation. I have included notes on additional, songs that were heard or described, even though these were not sung for the tape recorder. An “Index of Yakutat Tape Recordings” found on pp. 1370–1373 in which the songs or stories are listed according to year, reel, side, and letter, with references to the pages there the transcriptions of the music or the translations of the texts may be found.

For the transcriptions of the scores published here and for help in fitting the words to the music I am indebted to Dr. David P. McAllester, Director of the Laboratory of Ethnomusicology at Wesleyan University, and also to the American Philosophical Society for a grant from the Penrose Fund which made this work possible. I would also like to express my appreciation for the many hours of painstaking work contributed to the project by Madame Agi Jambor, Professor of Music at Bryn Mawr College, and by Mrs. Lindy Li Mark. Their preliminary transcriptions were of great assistance to Dr. McAllester and myself. In addition to the final notations of the melodies, Dr. McAllester also indicated the meaningful and the vocable texts. With these as a guide, I could, by listening again and again to the tapes, hear the Tlingit words, correct the transcriptions, and often supply a translation.

I admit that one hears what one thinks one ought to hear, and that my imperfect knowledge of the language has colored the version given of the Tlingit texts. When the words were dictated to me separately, I have recorded these for comparison with the words as sung. In many cases, however, a dictated text was not available, and the only words were those heard on the tape. It was difficult to decide whether the words should be written with the sounds used in speech or with those heard as sung, for these sounds are not always the same. Not only are sung words lengthened by extra syllables, but vowels may be shifted in quality (A, I, E, U are apt to become a, i, e, and u when sung; small capitals were not available for printing the scores), and consonants may change (glottalized or velar sounds are most likely to be affected). A consistent and accurate solution to this problem would have required linguistic expertise which I lack.

The singer whose recordings were the most difficult for both McAllester and myself to transcribe was old Frank Italio, whose quavering voice, interrupted by remarks, throat-clearing, or coughs, was particularly hard to follow. I suspect that he sang in a rather free style, for he seemed to have no hesitation in interrupting a song to make a comment. Furthermore, he paid no attention to my efforts to synchronize the tape recorder with his singing; he would begin without warning, and thus parts of some of his songs were lost. Despite these difficulties, however, his versions of what appear to be long rambling recitatives do show a discernible structure, and his coughs or clearing of the throat tend to appear consistently in the same places when the melody is repeated.

In as many instances as possible, several versions of the same song, recorded by different singers or by the same persons on different occasions, have been trans-scribed and are given in the following pages as a means of indicating the degree of variation encountered. It has not been possible, however, to include all variations, or to analyze the differences between two or more versions of the same song. Nor is it always clear whether we actually are dealing with the “same song.” Thus, Dry Bay Chief George's Song for the Frog Screen (xixtimages imagesin daciyi) was sung both by Frank Italio (1954, 2-2-A) and by his sister, Mrs. Frank Dick (1954, 6-2-A). Yet, while the natives considered these to be recordings of the “same” song, McAllester found them “to have only the most distant relationship. The refrain was similar, in vocables and in melodic line, but the meaningful texts were quite dissimilar, and so were the melodies of the stanzas. Yet all songs, even the quavery ones, are very exact in themselves.” For these two Frog Screen songs I have not only Mrs. Frank Dick's dictated version of the words, but have tried to indicate how her sung version differs from or resembles that of her brother (see pp. 1164–1165). A wide variation may also be detected between Frank Italio's version of Wuckika's Lament (II) (1952, 2-2-B c) and her own (III) (1954, 6-2-C), yet I was given to understand that these were the “same song.” These differences are even more surprising in view of the relationship between these two singers.

On the scores, McAllester has indicated the “scale” in which the song was sung, although he comments that “tone-system” would be a better term, since “‘scale’ implies harmonic relationships between notes that may not exist in Tlingit music.”

“Melodies are strongly downward—very American Indian in this respect. Yet they do not cascade down like Plains music…. Songs very often start with a jump up of a fifth or an octave.” In many songs, he has noted the gradually rising pitch; up a halftone, a whole tone, or even more, before the end. In a few cases, fluctuations in pitch might be ascribed to fluctuations in the electric current available for the recorder (especially during the early months of 1954), but this mechanical difficulty would not explain the consistent tendency to rise, nor the fact that in some songs only one note is raised when the melody is repeated. For example, in commenting on 1952, 4-1-A (“Three” Traditional CAnkuqedi Songs in Yukon Athabaskan, or rather one song in three parts), McAllester points out that “the raising of B-natural is what often seems to happen as a song starts to rise in pitch: first the lowest note starts being higher, then others follow, and the overall pitch goes up.”

This music is not divided into even measures or bars. Rather, as McAllester remarks, “The music has a long flow. Sometimes my attempts to find the phrase structure are fairly arbitrary, and I do not begin to see it all until I recognize repetitions late in the song. I have actually worked some of them out backwards.” These phrases have been indicated by letters (A, B, etc.) above the score and at the beginning of the line of text. Phrases are marked by some break in the music, usually a breath pause, even though in some cases the break comes in the middle of a word! For most melodies there are only a few long phrases, and McAllester observes: “I have been increasingly sparing of bar lines. The continuous flow of these songs seems to be misrepresented by our convention of measures, with the implication of a ‘downbeat.’”

The usual structure is Refrain, Stanza I (sung twice), and Stanza II (sung twice); a repeat of the Refrain may occur after the repeat of Stanza I and before the first singing of Stanza II. Each of these parts is sung to the same melody composed of the same musical phrases; yet a considerable variation is permitted between Refrain and Stanza I, and between Stanza I and Stanza II. Refrains are all vocables, and the last phrase or phrases of a stanza may also consist of vocables, usually the same as those used to end the refrain. A common formula for ending is he hani haye or ‘ey ‘ani ‘aye. Another rising phrase, used for padding the text, is imagesawEs (‘thus’).

Yet, as McAllester observes, “Texts seem to influence melody. Repeats of stanzas, with the same words, are close to being identical musically, too. But the second stanza, though clearly a repeat of the first, musically, often has quite a bit of variation, apparently to accommodate new text. And then it, too, is almost identical when it is repeated with the same set of new words.”

Phrases that carry the text are always indicated by letters: A, B, C, etc.—perhaps up to H or beyond in unusual cases. Final phrases that are always composed of vocables and which seem to show a contrast with those carrying words are usually indicated by letters at the end of the alphabet: W, X, Y, Z. Sometimes the initial phrase or phrases of the refrain, if these differ from those of the stanzas, may be indicated by X, Y, etc.

Variations in phrases that are repeated are indicated as follows: B′ and B″ are variations of B. B⁺ is a lengthened form of B. ( ) indicates that an originally independent phrase has become merged or attached to another, as for example, A(B), where a B phrase has become merged with an A phrase. Superscripts or subscripts scripts indicate that the original phrase has been transposed upward or downward. Thus, A³ means a repeat of phrase A, transposed upward a third, while A₄ would indicate an A phrase transposed downward a fourth.

There is a tendency for the last phrase to become progressively shortened as the melody is repeated. The final phrase may simply be broken off, or the principal singer may interrupt himself in order to call out directions to others. (These calls are so important that they are apt to be given even by one who is singing alone.) A phrase that is broken off is indicated by a slash: for example, E/ or X/. A double slash, as X//, means even more abbreviation. Such incomplete phrases may also occur in the middle of a song. Sometimes a singer may hesitate at the beginning of a song, or some other factor may operate so that the initial refrain appears as a reduced version of the melody. A phrase that is incomplete at the beginning may be indicated as: /A or /X.

Clearings of the throat, comments, calls of the song leader, or other “interruptions” are most apt to occur within the last phrase, as if “the singer thinks that the main business of the song is now over and that this phrase is not very important.” While coughs are tolerated when the singer is as respected and venerated as Frank Italio or Mrs. Frank Dick, the latter indicated quite clearly that such noises are to be deprecated. The song is apt to be resumed after such an interruption just as if there had been no break. The song leader's calls, however, are an integral feature of the musical style and, when given, take the place of one or more syllables of the song. The latter may be carried by another singer. To some songs, special cries (Raven caws, Tsimshian whistling calls) are traditionally added at or near the end of the melody.

Most Yakutat songs are “strongly rhythmic, very syncopated, the most so in my experience of American Indian music…. In line with this flair for syncope, drumming is often on alternate beats, and when this is the case, almost every long note begins on the offbeat.” Such drumming is usually so regular that it is sufficient to indicate the beats only at the beginning of the song. A tremulo effect is occasionally employed when attempting to indicate the noise of a rattle.

Although the Yakutat Tlingit liked to acquire foreign songs, there was a strong tendency to fit these into their own style. Songs which depart markedly from the Tlingit pattern, even though they may have Tlingit words, I suspect to be of foreign origin. On the other hand, the most aberrant of all (1952, 7-2-A and 7-2-B) are traditional Raven Moiety songs referring to Raven's Theft of Daylight, and are believed to be very ancient Tlingit songs.

Agi Jambor has made the following observations on the songs:

“It is almost paradoxical to try to transcribe aboriginal Indian music in Western musical notation. It is as if we would explain a pear by means of an apple. Our notation preserves with almost a shorthand technique a musical style which is more or less systematized. Between the sources and the manifestation—that is, between our soul and the music—is our Western knowledge of that art. Minnie Johnson expressed it so beautifully on one of her tapes: ‘Nobody taught me this song; it lived in my heart.’ Our feelings have finer shadings than the 12 notes of a scale or the musical forms that we have to follow in our compositions.

“The performance of Tlingit music is an organic part of the composition, and sometimes speech and melody cannot be divorced from each other. To quote Minnie Johnson again: ‘My grandmother was crying and singing, singing and crying.’ Where did the crying end and the singing begin? And when she explained the reason for composing her childrens’ songs, she said: ‘I compose them to make my grandchildren happy. It is a laughing music.’

“How can we put this down, these infinite shadings of the human soul, with our musical notations?

“When singing these songs we should always see behind the five lines and little black dots Minnie Johnson who didn't learn her songs; they lived in her heart.”

Sib Potlatch Songs

This group—with the exception of the first 3 songs which may be sung by any Raven sib—consists of songs which are the exclusive property of particular sibs. They are sung by them when they are hosts at a potlatch, and may not be sung by others except at the request of the owners. Most of them are traditional songs, attributed to mythological figures or to composers from long-dead generations; some are of recent composition for particular potlatches. The great majority are mourning songs or laments; some are associated with particular crest heirlooms (pp. 568–569).

These sib potlatch songs are here arranged according to the sib owning or claiming them, beginning with the sibs of the Raven moiety.

Raven Moiety: Two Songs Referring to Raven's Theft of Daylight

1952, 7–2–A and B; recorded by Frank Italio on September 13.

1954, 2–2–E (a and b); recorded by Frank Italio on May 7. (Same as above.)

These are two traditional songs, ascribed to Raven himself, and may be sung by any Raven sib when it is host at a potlatch. In addition, the Tł’UknaartAdi sing how Raven deceived the Sea Otters (pp. 863–864), and there was apparently another serious potlatch song connected with Raven's drawing ashore the ark of animals (see pp. 865–867, but not recorded). We recorded from Frank Italio a snatch of the song which Raven sang in the whale when he wished it to drift ashore, and were told about (but could not record) the second song when Raven wished for an aristocrat to cut open the whale and let him out (p. 853). In addition to these serious songs, there are a group of funny songs about Raven or attributed to him (see pp. 869–873, 1257–1270).

The first two songs referring to Raven's Theft of Daylight (1952, 7–2–A and B) were included by Frank Italio as part of the Raven cycle, a story which he was fond of telling. He began the story in Tlingit on August 29, 1952 (recorded on Reel 4, side 2), and the tape ran out after 24:15 minutes. The story was resumed on September 13 (Reel 7, side 2), and ran for an additional 27:05 minutes. No English translation was recorded, although Minnie Johnson was present on both occasions. The versions told by her on September 2, 13, and 14, 1952 (see pp. 848–855) seem to be fairly close to Frank Italio's story, as far as I can judge from the Tlingit words which I am able to recognize in the recording.

On May 7, 1954, Frank Italio again told the whole story of Raven in Tlingit, though evidently a shorter and confused version (2-2-E, pp. 856–857). Then he was asked to sing the songs that referred to the Theft of Daylight, which he did, using a cigarbox as a drum. The tape ran out while he was still singing the second song. These appear to be exactly the same songs as those which he had sung in 1952; the minor differences between them are insufficient to justify publication of the scores of those sung in 1954.

Song A (about 3:30 minutes) was supposedly sung by Raven when he was sitting on the Box of Daylight. It consists of an introduction and a single stanza (sung twice, with variations).

Song B (about 3:30 minutes) tells how Raven obtained Daylight, and threatens to open the box. It is by far the most complex song in the collection, consisting of many repeated phrases. Apparently, however, these fall into two stanzas, with fragments of a third.

On September 13, 1952, Minnie Johnson gave the following free translation of the songs which Frank Italio had sung that afternoon:

Song A

Daylight, daylight, daylight,
Pretty soon will break.

Song B

Raven went up to the head of the Nass
And got daylight.
Pretty soon, pretty soon,
He's going to break that open.

On September 14, 1952, she translated or explained the words of the song(s?) as:

Now I'm going to show the people
How I can break the daylight on them.
The Raven had to go way up to the head of the Nass
And get the daylight.
I'm pretty sure I can break the daylight on them.

A third Raven moiety potlatch song, referring to Raven's Theft of Daylight, was recorded by Mrs. Frank Dick (1954, 6-2-B; pp. 1155, 1180–1181).

SONG A (1952, 7–2–A)

Frank Italio sang in such a quavery style it is hard to tell whether some of the syllables of the song are intended to be separate vocables or simply quavers. He was also in the habit of interrupting his singing, sometimes even in the middle of a word, in order to tell the story or make a comment on it, and then would resume the singing where he left off. The words to his songs are not given below in full, but are simply summarized with a hope of catching the meaning. Letters indicate each musical phrase.

Introduction

A

qe’a [daylight]

B

’aha

O

ha ’aha

P

’aha qe-

Q

’a [daylight]

R

qe’a [daylight]

S

’ihi

T

’aha ya

U

qe’a [daylight] ’aha he

V

’eye qe-

X

-’a [day-light] ’aha

Stanza 1st

Stanza (repeated)

A

qe’a [daylight]

A

qe’a [daylight]

B

’a

B

’aha ’aha

C

’idji [your hands?]

C

’idji [your hands?]

D

yisa [soon]

D

E

gi [perhaps]

E

F

we're (or ye)

F

qewu [gewu, net ?]

G

da(or daha)

G

gi [perhaps] ’ehE

H

Nas [Nass]

H

Nas [Nass]

I

caart [at head of] duwa-

I

caart[at head of] duwa-

J

-’uwu [was] qe

J

-’uwu [was] qe-

K

-’a [daylight]

K

-’a [day-light]

L

’a

L

’a-

M

’a de [to it]

M

-cdjit-de [to his hands]

N

keni-

N

ki-da

O

-gut [went up] yeł [Raven]

O

niart yeł [Raven]

P

’ehe ’ehe

P

[speaks]

Q

’aha ’aha

Q

’aha

R

qe-[speaks]-a’ [day-light]

R

qeya [daylight]

S

[speaks]

S

’ihi

T

’aha ’aha da

T

’aha [speaks]

U

qe’a [daylight]’edja

U

qe’a [daylight] ’i’eya’a

V

yI (or ye) qe’a [day-light]

V

qe’a [daylight]

X/

’aya

X/

’a hutarta! “That's all !”

The structure of the song is:

Introduction: A  B

O  P  Q  R  S  T  U  V  X

Stanza (1st): A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  X/

(2d):  A  B  C  F*  G  *         H  I  J  K  L  M  N  O  [P]  Q  R  S  T  U  V  X/

In the repetition of the stanza, Phrases F* and G* take the place of Phrases D and E–F, at least as far as the meaning is concerned. Instead of Phrase P, Frank Italio spoke. This song is very unusual in that the Introduction is not a refrain, but is like an abbreviated stanza, with some meaningful syllables. It departs from the structure of the stanza by omitting 12 phrases. McAllester comments that the song “is notable in this collection for the looseness of its construction. The phrase letterings are approximations, for the most part; the text is as much a clue to resemblance as is the melody.” However, the words are lengthened by extra syllables and are often split between two phrases.

SONG B (1952, 7–2–B)

The version of this song recorded in 1954(2-2-E b) is so similar to that sung in 1952, that it seemed unnecessary to publish the score, especially as it is incomplete.

In this song, the structure of which appears at first to be looser than that of the first, there is, nevertheless, a relationship between melody and text. “The more I worked it over, the more interesting it became. I began to see melodic repetitions, transposed, sometimes up, but usually down. X⁴, for example, means X with most of its weight up an interval of a fourth. A₄ means transposed down a fourth; B₃ means B down a third, etc. Instead of the puzzling analysis I had originally, it all falls into place as six basic phrases, much varied and transposed, but all pretty regular. It doesn't quite fit your suggested phrases in red ink [marked by me on a Xerox copy of the original score], but it comes very close to it.” Analysis of this song was difficult because Frank Italio had begun it after its companion song (1952, 7-2-A) with hardly a break, but then had interrupted it in the middle, giving the impression that he was singing another song.

The structure of this song is very complex, with many repetitions of the same or similar sequences of musical phrases. The latter are indicated by letters (with the variations explained by McAllester), and the groups of phrases are designated by Roman numerals. Only the syllables that may be meaningful, or are clearly defined, are given below.

[Read down]

The meaning would seem to be: That Raven brings daylight for you. Pretty soon he will break it out of [that box].

The structure of the song is:

Stanza I: | X | A | B | C | D | E |  |
| X⁴ | A | B | C | D | E″ |  |
| X | A₄ | B₃ | C₃ | D₄ | E₄ | X₆ | Y

Stanza II:
X
A
B
[breaks off to tell story]

Stanza II: | X |  | B | C | D | E |  |
| X³ | A | B | C | D | E′ |  |
| X₁ | A₅ | B₄ | C₄ | D₄ | E₄ | X₅ | Y

Stanza III: | X | A | B | C | D | E |
| X³ | A | B/ | C | D′ | E | [breaks off]

Raven Moiety Song: Raven Cries for Daylight

1954, 6–2–B; recorded by Mrs. Frank Dick on May 17.

The singer was Frank Italio's sister, yet this song is not the same as either of those recorded by Frank Italio, although the words are similar to those of Song A. Like her brother, Mrs. Dick attached her song to the Raven story, and gave a brief version of Raven's Theft of Daylight in the Tlingit introduction to the song (1:45 minutes, see p. 862). Frank Dick beat the drum for his wife. This song, with Refrain, Stanza I (sung twice), Refrain, and Stanza II (sung twice), lasts 3:14 minutes. Mrs. Dick had dictated the Tlingit text of the song on April 29, 1954.

As dictated and explained the words were:

Nas cakart quwa ’uwu qe’a ceya—At the head of Nass was daylight

’adAart du djit kAartłAkeł’—Untie the box!

du dAtcAnarttc—By his grandchild

wUartIartaart qe’a ceya—Daylight was being cried for.

As sung, the words are pieced out by many meaningless syllables.

Refrain

B

he he ya ha ha ’e,

C/

we ya ha ha ha ha,

/B

’i ya ha he he,

D

ye ya ha ham, ’a ha,

Stanza I (sung twice)

A

Nas caart duwa ’uwu—At the head of Nass was

B

qe’a ceyaha,—That daylight ’i ya ha he he

C

’e ya ha ha ha, ’i ya ha he yu hu

(’e ya ha ha ha, ’e ya ha he he)—(on repeat)

D

e’ ya ham hm, ’a ya

(’e ya ha ham [talks] ’a ha, ’a ha ha) (on repeat)

Refrain

A/

’a he ha

B

’a ha ha ha ha, ’e ya ha he he,

C

’e ya ha ha ha, ’e ya ha he yu hu,

D

he ya ha ha ha ’a ha

Stanza II (sung twice)

A⁺

—Out of his hands untie it!

du datcAnarttc wuart-[I]artaart-i—By his grandchild was cried for

B

qe’a ceyaha, ’i ya ha he he—That daylight

C

he ya ha ha ha, ’e ya ha he yu hu,

D

’e ya ha ha, ’a ha,

(ya ha hm m [falsetto] hutć!)—(on repeat)—“All!”

The structure is:

Refrain:   B/   C/   /B   D

Stanza I:   A   B   C   D   (repeated)

Refrain:   A/   B   C   D

Stanza II:   A⁺   B   C   D   (repeated, last D haphazard)

The first refrain, as McAllester points out, is made up of scraps of melody. Then the singer gets into her stride and the second refrain is nearly complete. The last musical phrase is cursory.

Traditional Kwacartqwan Song: Lament of Gudiłta’

1954, 4–1–A; recorded by Mrs. Katy Dixon Isaac on March 29.

1954, 7–2–C; recorded by Maggie Harry and Jenny Jack on May 25.

This is a traditional song attributed to the Gineartqwan man, Gudiłta’, who shot his brother by accident. The words are in Atna. It is one of the eight sib songs associated with the migration of the Gineartqwan from the Copper River to the coast, and is now used by their descendants, the Kwacartqwan, as a mourning song at potlatches.

The first recording was made when Mrs. Isaac was telling the story of the migration (pp. 238–239). The song itself lasts 1:25 minutes, ends with sobs. No text was recorded at that time.

The second recording was made by Mrs. Maggie Harry, accompanied by Mrs. Jenny Jack who beat the drum. Mrs. Harry had previously told the migration story in which the gestures used for the song are described (pp. 239–240). When sung at a potlatch, all of the sib members stand, men and women, swaying back and forth as they sing. The men are supposed to sing bass and tenor as the women sing high and low, making four voices singing at the same time. The song in the second version lasts 2:12 minutes, and is introduced in Tlingit by Maggie Harry (55 seconds).

The words of the song (1954, 4–1–A) as rendered by Katy Isaac are:

Part I (sung once)

A

cikaye ’a [speaks at length]

B

’a tayi ya-na ta qa,

B′

’a ta ’i-ya ni-ił ’e-e ya,

C

’e-dju-u ’uci-i ke ’a qe-a ye-a

Part II (sung once)

A

cikaya ’a,

B″

’a tay ya na ta qa,

B″′

na-ay yu ni ’ił ’e he ya,

C′

’adjuci-i ke-a qen [tartukanatle (spoken)]

Part III (sung once)

X

’ay-ya

A

cikayen ’a,

B″

’a ta yu na ta qa

B″′

na yu ni-łe ni ya,

C′

’adjuci-i ke na qe ’e—[sobs, exclaiming about her grandchildren]

It was very difficult to catch these syllables, for the singer was on the verge of tears throughout.

The structure of the song is:

Part I:

A

[¹]

B

B′

C

Part II:

A

B”

B″

C′

[¹]

Part III:

X

A

B”

B″

C′

[sobs]

Each part of this song might be considered as a stanza that is repeated with slight variations three times. Each can also be considered as an abbreviated version of the two-part song as rendered by Maggie Harry and Jenny Jack.

The words of the song (1954, 7–2–C) were dictated in Atna, and translated into both Tlingit and English by Maggie Harry, although I do not believe that the song is ever sung to Tlingit words. The words are supposed to mean: “I killed him. My little brother, where are you? Come back to me! Why did I do it?” Unlike Tlingit songs, there is no clear division between refrain and stanza, although the melody falls into two parts, linked by X and A′ (reduced), as McAllester observes. He also notes the “unusual chromatism in phrase B, and the unusual series of variations on C: C, C-plus, C′, and C′-plus [in Part II].” The first part is sung once, the second part sung three times. Here there is a rise in pitch, so that at the end of the first repeat, McAllester notes that the song is a half-tone higher. The percussion is off-beat on every half-note.

As sung, the words are:

Part I

A

’adjuci kine ’aya,—“My little brother”

A

’adjuci kine ’aya,

X

cikayeya,—“Where are you?”

A′/

cikaye ’aya,

Part II (sung three times)

B

mayu—“Why did I do it?”

C

matay ’a,

B

mayu

C⁺

niłe ’a,—“Come back to me”?

C′

’adju,-

C′⁺

-ci kineye,

X

cikayeya [ends: cikayeyu (on 3d repeat)]

A′/

cikayeya ’aya

The first part lasts 30 seconds; the second part lasts about 37 seconds. The structure of the song is:

Part I: A   A   X   A/

Part I: B   C   B   C⁺   C′   C′⁺   X   A′   /   (3 times)

Kwacartqwan Lament for a Drowned Son

1954, 7–2–H; recorded by Maggie Harry and Jenny Jack on May 27.

This song is said to have been composed at Chilkat on Bering River, near Katalla. Mrs. Harry's mother heard it when she was about 9 years old, at a potlatch given by Kagwasart, of the Eyak artanAarttedi, in memory of his brother who had been lost in a snowslide. The melody must date therefore at least to 1875, and is probably older. Presumably the original words were in Eyak.

The Kwacartqwan now use it as a mourning song at potlatches given for those drowned. The Tlingit words would appear to have been composed by a woman, since she mourns her son. (A father could not mourn his own son at a potlatch given by his own sib, for the son would belong to the sib of his mother, in the other moiety.) The places mentioned in the song are those “where they never find the bodies.”

The introduction (27 seconds) by Maggie Harry begins in Tlingit and ends: “It's a pretty sad song, this one. I always cry when I sing it, but I'm going to try to be brave enough to sing it.” Jenny Jack beat the drum. The entire song with Refrain, Stanza I (sung twice), Refrain again, and Stanza II (sung twice) lasts 4:45 minutes.

The words as dictated and translated by the singers are:

Stanza I

segunde sa ’aartaxa ’aart yit?—Where is my son paddling?

’Antłen yikde gwa ’anaxa—Into Arhnklin River perhaps.

Stanza II

gudesa ’aartaxa, gudesa ’ayaxa—Where is he paddling? (repeated)

hedi yu’akwce aart yit—Perhaps hither my son

Tłaartayik de ce…. —Into Yakutat Bay….

Stanza III

tartuyat qaqEnqa'Ena—Already another dawn,
’aart tuwu cAnastitc—Longing for him.
’ałite ya—“There's another night that

de arta tartu WUartI—I was wishing for him.”

As sung, however, the words are:

Refrain

A

hine he ya ha ha,—(“These are sorrowing words.”)

B

’ine he ya ha,

C

’a hine ya-ya ’a ha,

D

’ine he-ya ’a ha,

E

’a hine he-ya ’a ha,

F

ya ’a hine ya, ’ahaha,

Stanza I

A

gudesa ’aartaha—Where does he paddle?

B

gudesa ’aartaarta—Where does he paddle?

C

hedi yu ’akwce ’aart yide—Hither, perhaps, my son.

D

’Antłen arteyIkde—Into the mouth of Ahrnklin River

E

’a hine ya, ’aha—(Alas, etc.)

F

ya ’a hine ya ’a ha

Stanza I (repeated)

A

gudesa ’ayaartaha—Where does he paddle?

B

gudesa ’aartaarta—Where does he paddle?

C

hedi yu ’akwce ’aart yide—Hither, perhaps, my son.

D

TłaartayIk de [’a]kce—Into Yakutat Bay perhaps.

E

’a hine ya, ’a ha,

F

ya ’a hine ya ’a ha ha,

Refrain

(As above.)

Stanza II (sung twice)

A

tartuyat qaqEnqa'Ena—Already another dawn

B

tartuya qaqEnqa'Ena—Already another dawn

C

’aart tuwu cunastidja—My feelings (longing?)

D

’ałite ya, ’a ha—(?)

C?

de arta tartu waarte—(?) very much wish

E

’a hine he-ya,

F

ya ’a hine ya, ’a ha ha ’a ha [at end]

The structure is:

Refrain:     A   B   C   D   E   F

Stanza I:     A   B   C   D   E   F   (repeated)

Refrain:     A   B   C   D   E   F

Stanza II:     A   B   C   D   C?   E   F   (repeated)

Other Traditional Kwacartqwan Songs

Other traditional songs with Atna words are connected with the migration of the Ginexqwan from Copper River to Yakutat, but were not recorded. One is a mourning song, supposedly composed by a woman who stayed behind at Icy Bay when some of the Ginexqwan began to regret that they had left Chitina and went back again. The mountain was so steep that they had to walk in zigzags up the snow. The woman who was left behind was so sad that she was weeping and composed this song. It is not known whether the others ever reached Chitina (p. 232).

Another song is attributed to the woman who lost her son in a crevasse in the glacier, and whose seagull (adopted later as a son) was driven away (p. 238).

There are also Atna Walking, Resting and Dancing songs (pp. 1226–1227) which were composed and sung by the Gineartqwan.

Another song, mentioned but not recorded, is a sib mourning song of the Chilkat Kagwantan. It was given to the Kwacartqwan as dowry, along with a wife for Cada.

Blind Sampson composed an unrecorded sib mourning song in 1896 when John Nishka (Nicqa) was drowned sea otter hunting.

Traditional Tł’uknaxadi Song: How Raven Deceived the Sea Otters

1952, 1–1–C; recorded by Charley White (song leader), Jack Reed (drumming on banjo head), Jenny White, and Minnie Johnson on June 21.

This is a solemn song, which the Tł’uknaxAdi were reported to have sung at a potlatch about 1909 or 1910, although the circumstances were never made clear.

The song is introduced by Jack Reed who tells in Tlingit the story of how Raven obtained medicinal (all?) plants from the Sea Otters (1:40 minutes; see p. 864). The song consists of a single stanza sung twice. This, however, falls into two parts: the first at slow tempo as far as the drum is concerned (55 seconds), the last part or phrase with fast drumming (11 seconds). The whole lasts 2:25 minutes, and ends with the spoken words ‘That's all’ (hutart ’awe!). On the repeat, Charley White as song leader calls out the words of the song. He ends with a few remarks in Tlingit (42 seconds), the gist of which is that the song is about the ‘origin and destiny’ (cAgun) of the Tł’UknaartAdi, long ago (tartakw); ‘this was Raven’ (’aya sAti Yeł). The words of the song are supposed to be what the Sea Otters told Raven (the Tlingit text and a translation were not obtained at the time):

“Steer for that sand dune and that ciart—real hard red [alder] wood—grows there, and you'll have that luck.”

The words of the song seem to be:

A

cuguni djIart [cAgun ’idjIart—destiny to your hands?] naarta [?] gudi [gut—went] di yeł [the Raven] he ’eya

B

’aarta [for it] artat'-da [around the island] tcune [straight]

’uqwacukudja [’uq wacukAdja—advise]

C

hAs [they] tciyi [some?] ceartu [hardwood] gudji [?]

D

’a na ha ni hi ye ’a (’a na hi ye—on repeat).

The structure of the song is simply;

A

B

C

D

A

B

C

D

Traditional TartuknaartAdi Song, Attributed to QakeartwtE

1952, 1–2–A; recorded by Jack Reed on July 4.

This song is one supposedly composed by the Hoonah man, QakeartwtE, who killed his Sleep and then came to Dry Bay and taught the Athabaskans how to fish. The song refers to the mirages or optical illusions he saw on his journey. It was sung as part of the story, told in Tlingit by Jack Reed, the total recording lasting 8:50 minutes. This is followed by a recorded translation into English by Minnie Johnson (pp. 270–271). A more literal translation was secured later from John Ellis (pp. 271–272).

The song, lasting 2:05 minutes, has two stanzas. The first is sung twice, followed by a refrain or chorus, and then the second stanza is sung twice. It ends with the spoken words: hutc ’awa—‘That's all.’

The text could not be transcribed accurately, and even John Ellis was not sure of the words when he heard the recording. However, the words of both stanzas seem to be rather similar to the last words of the song recorded by Swanton (1909, Song 2, pp. 390 391), also attributed to Qake’xwtE. The text of the latter version is:

“When he came down to the beach, his friends were all destroyed, so that he saw no one. He saw something just inside of ŁAq!A 'sartÎ point. ‘Do not let me watch the little stones or I might get bewitched.’”

The last we would transliterate as:

łił ’iłatinarteq yu teartxsanI

’i ’IX ’unAartłiartacA

The words of the Yakutat version, as nearly as they could be determined from the recording and from John Ellis’ explanations, are:

Stanza I (sung twice)

A, B

kahłiłatinart arteq-ci (repeated)—I was watching

C

qaartayI kIkci [artáartayIk Ikce]?—(The appearance of a man, perhaps)? kIkI (on repeat)

D, E

’ixłikaci teartisanI—Were bewitching (me?), the

[art]? little stones

F, G

’iyAnaha he, ’iyAna he, ya [²]

X

’eya (on repeat)

Refrain (sung once)

A″, B′

’iyAnaha he ya, ’iyAna he ya

C′ D

’iyAnaha he ya, ’iyAna he

F′ X′

’iyAnaha he, ’eya ha

Stanza II (sung twice)

A, B′

’ułiartadji-ce (repeated)—I give up hope

E″

hAS tixi łuqUtina—Of seeing them. [I]?

F, G

’iyAnaha he, ’iyAna he

G⁺

’iyAna he ya (on repeat at end)

The structure of the melody, according to McAllester's analysis, is:

Stanza I (first):

A

B

C

D E

F

G

[²]

    (second):

A′

B

C

D E

F

G

X

Refrain:

A″

B′

C′

D  

F′

X′

Stanza II (first):

A

B′

  E″

F

G

Stanza II (second):

A

B′

  E″

F

G⁺

Traditional TartUknaartAdi Song: Lament of Wuckika (I)

1952, 2–2–B (a, b); recorded by Frank Italio on July 30.

This song, and the following (1952, 2–2–B c, and 1954, 6–2–C), were ascribed to the Tł’UknaartAdi woman, Wuckika, who composed them when mourning her brothers who drowned in Lituya Bay (pp. 273–274). This disaster is dated by some informants as occurring before the arrival of the first European ships, and by others as responsible for the abandonment of Guarteart on the Akwe River (mid-19th century).

The recording by Frank Italio was in three snatches: (a) 2:04 minutes, (b) 33 seconds, and (c) 1:51 minutes. Of these, the first two parts belong to Lament I, the third to Lament II. The interrupted recording is due to the fact that Frank Italio would break off to comment in Tlingit, confusing me into thinking that the song was over, so that I turned off the machine. Whereupon, he would begin again without giving me any warning, so that the beginning of the next snatch of song was missed. Although I do not believe that much has been omitted, it is evident that this version is incomplete. Minnie Johnson, who was present, gave me to understand that he had sung only one song, not two as was revealed by McAllester's analysis. She was too overcome with grief to translate the words, or to dictate the text. The Tlingit words have therefore been transcribed from the tape.

Refrain

X

ya hine ya hine—, ya hi ne ’eya ’aw ’aw ya hine

Y

’a hine ya hine [speaks] ’e ya hau,

Stanza I (sung twice)

A

tartu tłakw qutaartna’ adi kat—Very long ago (-?-) they (gudaart) [on repeat]       went out

B

di’ani ani yAtarti hu-a ha—The children of the village,

C

’itł’yearta ’unati–ye—Calmlike when he did not find [yEł’–yAart–a ’unat’i-ye]?—(when they did not find it calm?)

D

yisAkUdjm naartande—Because of them (it?), shoreward,

E

tarta wusixix ’UWA ’a ’a gusiart:artye—Just (they were) destroyed (-?-)

F

’ani qaartu ’aart ’iarte—For the sake of (?) of the village, (’iarte) [on repeat]        my brother,

hua ’aw ’a

Stanza II

A′

artA daart qu du djineart gułce(art)—(-?-)

B

’adawuł’ini yAtiye—Trouble was remaining (?)

C

’aart ’iarte huwa(ha)—My brother, (huwa-ha),

D

’iyEtarti-tina ’iwustiyi—With your children (?) you carried

E

yi qU arta haarti huwa haw ha—When you disappeared (?),

F

’a hine [speaks, machine turned off]

Refrain

[Machine is turned on, while MJ continues to talk.]

/X′   ya he, ’aw haw, ya ha- ye-, ya ha,

Y   ′aw hine-ya ’aw hine, yaw ’eya ’aw hm

[FI   breaks off and talks: tartu tłaarte. Machine turned off].

This song has the following structure:

Refrain:   X   Y

Stanza I:   A   B   C   D   E   F   (repeated)

Stanza II:   A′   B   C   D   E   F

Refrain:   /X′   Y

(There is a possibility that the second refrain is really an introduction to the second song.)

Traditional TartUknaartAdi Song: Lament of Wuckika (II)

1952, 2–2–B (c); recorded by Frank Italio on July 30.

As already indicated, Frank Italio's recording of this second lament lasted 1:51 minutes. It comprises a single stanza, repeated with variations. The very beginning (most of Phrase A) was missed because the tape recorder was turned on too late.

Mrs. Frank Dick recorded what she gave me to understand was the “same song” (see 1954, 6–2–C; Lament of Wuckika [III]). She and her husband listened to the recording made by Frank Italio, and seemed to think that his singing was correct, though marred by talking. I have used Mrs. Dick's dictated version to translate the words of Phrase B in her brother's song (see below).

The words, as sung by Frank Italio, are:

Stanza (1st)

/A

[Machine turned on:] -a-aart

B

’iłiłartwu-hAs djaka artaartaarti CA

[tcakaart ’aartaarti CA]?—Your grandfathers were watching the paddlers’ mountain

C

’e ya ha ha haw,

D

de ’agwAskitaart nuhu artAWA cu hede [’akwqw]?

A′

tarta nagaski yEta ’asasgi

B′

’qunIn qał’nigi [’i] kagi-hAs—While your uncles were telling

C′

daka cu ’uwe arta

E

ye kunaskititi

F

’ani qawu yAart ’a hine [speaks]—Like a chief, alas

ya ’a he ya ’aw ha,

Stanza (repeated with variations)

A

tartu tłagut ’asUga ’asgi—Very long ago (-?-) perhaps

B

’i-i daka cuart tarta ’unqw aditca—You all appeared, I just imagined

C

ya heya ’au,

D

de ’agw AskitAart nuhu artAWA cu hede

A′

tarta-nagaski yEta ’asasgi

B′

qunIn qał’nigi kagi-hAs

C′

daka cu ’uwearta

E

ye kunAskititi

F

’ani qawu yAart ’a hine, ya he yah ’aw ha [breaks off to talk]

The only differences between the first and second rendering of the stanza seems to lie in the words of the first two phrases (A and B). The stanzas are unusual in their repetitions of the first three phrases. The structure is:

A  B  C  D  A′  B′  C′  E  F (repeated)

Traditional TartUknaartAdi Song: Lament of Wuckika (III)

1954, 6–2–C; recorded by Mrs. Frank Dick on May 17.

Although this is supposed to be the “same song” as that recorded by Frank Dick (1952, 2–2–B c), the words and music are obviously very different.

Mrs. Frank Dick dictated some of the words and indicated how they should be translated:

’i łiłartw hAS ’akaart ‘axayi ca—Your grandfathers were watching the paddlers’ mountain [Fairweather].

’a qinart ’i djI qaxix—Close-by it your hands miss it [the over-turned canoe].

It should be remembered that Mount Fairweather was supposed to indicate whether or not there would be stormy weather or dangerous waves, and on this occasion failed to give a warning.

Mrs. Frank Dick recorded the Refrain (repeated), Stanza I (sung twice, with variations), the Refrain (repeated), Stanza I (with a different last line), and finally the Refrain. She indicated that she had forgotten the words to the second stanza. Her introduction in Tlingit lasts 45 seconds; the song itself 3:40 minutes.

As sung, the words are:

Refrain (sung twice)

A

’a ha ha hu-wey, ’a ha-a hu-WA ha ha,

B

’a ha ha hu-wey, ’a ha-a hu-WA hey he he, ’ey

C

’a ha ha hu-wey, ’a ha-a hu-WA hey he,

D

’a ha-a hu WA-hey, ’a ha, hu WA ha ha-ha-ha,

[Slight variations in the vocables are disregarded]

Stanza I (1st)

A

‘i łiłaartwA hAs gaarta xayi ca-ha—Your grandfathers were watching the paddlers’ mountain

B

’i łiłaartwA hAs gaarta xayi ca ha-ha-ha—(repeated)

C

’a qinarta ’i dji qaxixa—Near it your hands miss (it)

D

’aart ’iart-key hu-wey, ’a ha, ’a wa ha ha-ha-ya—My brother, hu-wey,

Stanza I (2d)

A

‘i kahagi hAs ckaarta xayi ca-ha—Your uncles were watching the paddlers’ mountain

B

’i kagahi hAs ckaarta xayi ca ’a ha ya—(repeated)

C

’a qinarta ’i dji qaxixa—Near it your hands miss (it)

D

’aart ’iart-key hu-wey, ’a ha, hu wa ha, ’a mm a—My brother, (etc.)

Refrain

[At the end, she hesitates, hums, attempts to sing the words of Stanza II (na ya qa ’i hi hi, etc.), but forgets them so repeats the Refrain. Then talks.]

Stanza I (3d)

[Words the same as the first time: A, B, C]
D ’aart kak din-ni-ni, ha ha, ’a ha ha—

Refrain

The structure of this song is:

Refrain:

A

B

C

D

(repeated)

Stanza I:

A

B

C

D

(repeated, with slightly different words)

Refrain:

A

B

C

D

A[³]

B

C

D

[talks]

Stanza I:

A

B

C

D

(repeated with slightly different words)

Refrain:

A

B

C

D

TartuknaxAdi or Kwacartqwan Song: Lament for the Crane Canoe

1954, 1–2–E; recorded by Charley White and Frank Dick on April 9.

This song is claimed by both the Tł’uknaartAdi and Kwacartqwan sibs (see p. 454). It apparently mourns those (Tł’uknaartAdi ?) who were killed in a war with the artanAarttedi of Chilkat (p. 274).

Frank Dick introduces the song in Tlingit (1:33 minutes), Charley White accompanies the song with the drum, and both sing. There is a refrain followed by a single stanza sung twice (2:50 minutes). A second stanza was not sung because the singers were uncertain of the words.

The title of the song is ‘Song about the Crane Canoe’ (duł yakw daciarti). When I attempted to secure the words to the song, what was dictated to me was more in the nature of an explanation:

kawduwaarteart duł yakw—All smashed up, the Crane Canoe,

’awa ’at ’adAart—They went away from there.

duł yakw tartA ’at-tAn—The Crane Canoe is still there.

The words as heard on the tape seem to be:

Refrain

A

ta wa ya he

B

’e ya ’e yE

A′

ya ’e ya ’e

B′

’e ya ’e yE

C

ya ’e ya he

D

’e hi yaw ’e hi

E

ye he ya he ya he

F

’e-i ya he he

X

ya hi ’a

Stanza (sung twice)

A

tca wa ca yu [tartA wasA yu]—Where (there?) is that

B

duł yakw yehe—Crane Canoe (yehe)?

A′

’ayi ka-artaarti—Below there (?) it was paddled (?)

B′

tca du wa’a tina [tartA duwa ’atin]—There it remains

C

ha da de [hadade]—Behind the mountains.

D

ckaart ’ani ctakde ye—-?-

E

ya ha ya he ya he

F

’e-i ya he he

X

ya hi—

The drum beats are rather free.

The structure of the melody is:

Refrain:

A

B

A′

B′

C

D

E

F

X

Stanza:

A

B

A′

B′

C

D

E

F

X (twice)

Traditional TartuknaartAdi Song: Lament for the Raven Post

1954, 3–2–H; recorded by Mrs. Frank Dick on May 17.

This is a very old sib potlatch song, called ‘Song about the Raven House Post’ (yeł gaart daciarti).

The singer gave an introduction in Tlingit (35 seconds), in which she mentioned her younger sisters (’aart kiartart ’ayu). The song itself, with Refrain, Stanza I (sung twice), Refrain, and Stanza II (sung twice), lasted 3:40 minutes. The words as dictated and translated by the singer are:

Stanza I

nałIhac—[The pole] drifted away.

łew wAnu—The sandbank falls down.

Stanza II

cwUdItin—At himself is looking

ceyAdi yeł—That Raven.

’ican di yeł—Pity the Raven.

The meaning is that the house post was carved like a Raven. It drifted away when the sandbank fell down. Then a Raven found it, hopped around it and walked onto it, and looked down at the Raven carved on it. Much of the meaning was conveyed by Mrs. Dick's very expressive gestures.

The words as sung are:

Refrain

A

’a ha-ha ha ha ha-ha ha

B

’a ha-ha ha,

C

’i hi, ’i ya ha-hi hi, ’i hi hi,

D

’a hi ha ha, ’a ha-ha ha,

E

’a hi-ha ha, ’i hi he-ya, ’a-he he,

F

’e he-he he ’a ha-ha wa ha-ha,

Stanza I (sung twice)

A

nałIhahahaca—Drifted away.

B

nałIhaca—Drifted away.

C/

ł’ew wAnu hwu-hu—Sand falls.

D

’a ha-ha ha, ’a ha-ha ha,

E

’a ha-ha ha, ’i hi hi ya, ’a-he he
yu ’ay [on repeat]

F

’e he-he he ’a ha-ha ha ha,

Refrain

(As before.)

Stanza II (sung twice)

A

cAwuditihi ’inaha,—Looks at himself

B

cA(wu)ditina—Looks at himself

C

ceyAdi yełe he he-he,—That Raven.

D

’a ha-ha ha, ’a ha-ha ha,

E

’ican di yeła,—Pity the Raven.

’i hi he-ya, ’a-ye he,

F

’e he-he ’a ha-ha [clears throat] ’a ha ha ha mm [on repeat]

hutart ’awE!—“That's all!” [spoken]

The structure of the melody is:

Refrain:

A

B

C

D

E

F

Stanza I:

A

B

C/

D

E

F (repeated)

Refrain:

A

B

C

D

E

F

Stanza II:

A

B

C

D

E

F (repeated)

McAllester comments on the chromatic rising pitch, the great use of syncope, and the narrow range. Because of the meter, it was one of the most difficult songs to transcribe. The musical phrasing was obscure.

Unrecorded TartUknaartAdi Mourning Song

A ‘sad song’ (tuwunikw datart ci) was composed by two old ladies, Tł’Ukna-ca, when the earth shook (1899), and their uncles’ coffins on Khantaak Island fell down. This is sung as a sib mourning song at potlatches. The only words obtained for the song are: ‘His coffin broke down’ (dakEti kawawUł).

TartUknaartAdi Mourning Song, Composed by Dry Bay Chief George

1952, 1–1–A; recorded by Jack Reed on June 30.

This song was composed by Dry Bay Chief George, Qawuarta, (1850 ?–1916), probably for his potlatch at Dry Bay in 1909.

It is introduced in broken English (1:40 minutes) by the singer, who explains that he is singing it in memory of Roy Brown (1931–51), who was drowned with a companion. Although Kwacartqwan, Roy Brown was reckoned a nephew to Jack Reed, Tł’uknaartAdi, because Roy was the grandson of Peter Lawrence (1871–1950), and the latter was the half-brother (same father but different Kagwantan mothers) of Jack Reed's own father.

The song has two stanzas, separated by a refrain, and is followed by a few remarks in Tlingit (total time: 2 minutes). A phonograph record made from the tape was played at the funeral feast for the singer (1880–1935).

A few words of the song were recorded at the time of the singing; most of the text was transcribed from the tape. A free translation by Minnie Johnson is:

Stanza I

“It was your fault that I'm just crying and sobbing to myself, O World.”

Stanza II

“I wish you would hear my voice, that you would hear me sorrowing, so you would come back alive, as in the old time days.”

The first stanza is sung twice, the second time with different words for the last line. The refrain is sung once, and the second stanza is sung twice but with only minor variations.

The Tlingit text seems to be:

Stanza I (sung twice)

A

ta qana suti i’tuwu—-?- your feelings

A′

łInigit ’ani-hi yau haya—(O) world, yau haya

B

di tsui tu u’djiyi-t arta-wi—-?-

C

ye te arta-yu-artahe hi yau ha yahaha (1st)—? I am
[art] weeping

[C′⁺

tarta tłAqwAarta-artayi hi yau heya hehe heya (2d)—Just ? I am weeping]

D

yu haya haya hani ha ya

Refrain

A

hi-hi ya nahi, yau haya-a

A′

hi-hi ya nahi, yau ha ya-

B

he hi yai-(na), hi-hi yau hai-ya

C′

he yuwi ye, hai, hiyau ha yahahai,

D

hu haya, hani ha ya

Stanza II (sung twice)

A′

tłaartw ’uwaye hutc artati wuti—Long-ago itwas by-it (I wish ?)

A′

’aart hunartU-hAs ahi ya ha ya—My older-brothers

B′

’aart SAkwudjin-a qUart ke’itA‘a’ta—My back you-will-come

C

ye yuwi hahi, hi yau hai [end of repeat]

D

hu haya hu, haya hani haya

The composer refers to a myth in which all the people of a town are killed yet are revived through some miracle. “He wish for luck—’uqwatusu. In the old days they pray a wish and their wish come true.” (See the second stanza of the next song, 1954, 2–1–G.)

The concluding remarks are translated as:

“It's just the way I feel too, sometimes—like that song composer. Sometimes I get the same feeling. And I'm just singing to let the people know that I have the same feeling for my relatives. And I thank you for listening.”

Swanton has recorded a song (1909, Song 74, p. 408), composed by Joined-Together (Wūct-wudūtsu') when all his friends were drowned in the rapids at Dry Bay (artonaxō'), the second stanza of which is very similar in theme to this song. The first stanza of Swanton's song is also similar in theme to another song composed by Dry Bay Chief George (1954, 2–1–G).

TartUknaartAdi Mourning Song, Composed by Dry Bay Chief George

1954, 2–1–G; recorded by Minnie Johnson and Annie George on May 31.

This song was composed by Dry Bay Chief George, Qawuarta, (1850?–1916) for the potlatch in 1909 at which he dedicated Frog House or Far Out House.

There is a brief introduction in Tlingit (20 seconds) by the composer's daughter-in-law, Mrs. Annie George, who also makes a few concluding remarks. The song, with Refrain, Stanza I, Refrain, Stanza II (each sung only once), lasts 2:32 minutes. Minnie Johnson beat the drum. The words were not dictated, and only a free translation was given by Minnie Johnson.

The words, as heard at the time and as checked with the tape, seem to be:

Refrain

A

’a na ’e-ya heye

B

’ax’a ’eya heya

A′

’a na ’eye he ’a

C

’eya ’e ye-ha ’a ’eya heye

Stanza I

A

ye tun qAtin ce artutca

B

tca nisnEtc artaarttce-ye

A′

’a ye yAart artawitca na-

D

-naqitciyi

A′

nitc artaart setc de yeła

C

’aya ’eye he ’a ’eye heye

“It's no wonder that the Wolf is always howling and crying on the beach. That's why the Raven is walking around on the beach, crying, too.”

Refrain

A

’a na ’eya heye

D′⁺

’aq ’a ’eya ’eye [clears throat]

A′

’a na ’eya he ’a

C

’eya ’e ye-ha ’am ’eya heye

Stanza II

A

ye artayAart ’unłIka ceye

B

’aart łiłartw-hAs ’ani caarti

A

yu artan artaseneye

D′⁺

’aart łiłwU-hAs si-arta

A′

-tca qa SA-tintci ’a

C⁺

’aart tu(wu) ’ułtictca ’eyehe ’a

’aya ’eya yahe [clears throat] he ya [speaks]

“When I look out at the mountains of my grandfathers’ land, I imagine that my grandfathers are still alive.” That is, when he opens the door in the morning and goes out, he sees a big rock standing up, just like a man walking, just as though his grandfathers had all come alive and were walking across from the other side of the bay. But it's nothing but rocks sticking up.

The structure is:

Refrain:

A

B

A′

C

Stanza I:

A

B

A

D

A′

C

Refrain:

A

D′⁺

A′

C

Stanza II:

A

B

A

D′⁺

A′

C⁺

McAllester remarks that the melody bears a faint resemblance to that of the ‘Song for the Frog Screen’ (1954, 2–2–A) by the same composer.

TartUknaartAdi Song for the Frog Screen

1954, 2–2–A;; recorded by Frank Italio on May 7.

1954, 6–2–A; recorded by Mrs. Frank Dick on May 17.

This song was composed by Dry Bay Chief George, Qawuarta, (1850 ?–1916) about the Frog Screen in the house for which he gave a potlatch at Dry Bay in 1909. The recordings were made at the request of Mrs. Annie George, who hoped to be able to take a phonograph record made from the tape to a TłuknaartAdi potlatch which was to be given in Juneau in November 1954. This would have reaffirmed TłUknaartAdi claims to the Frog (pp. 288–291). It was not possible to make the record in time, however.

The first recording by Frank Italio (1954, 2–2–A) was preceded by an introduction in Tlingit (1:30 minutes), explaining how the Frog had been found at Guarteart (pp. 272–273). The song with Refrain, Stanza I (sung twice), Refrain, and Stanza II (sung twice), lasted about 4:30 minutes. This was followed by a recorded translation of the introduction (1954, 2–2–B).

The second recording (1954, 6–2–A) was made by Frank Italio's sister, Mrs. Frank Dick. She also introduced the song with a Tlingit explanation about finding the Frog (55 seconds). This version also has Refrain, Stanza I (sung twice), Refrain, and Stanza II (sung twice). However, after singing the Refrain and starting Stanza I, Mrs. Dick interrupted herself because she had made a mistake in the melody. She exclaimed ‘No then! No!’ (tłeart ’aya! tłeart!), and laughed at herself before beginning Stanza I over again. She accompanied herself with the drum, which her brother had not done. The words to the song were dictated by Mrs. Dick, and my transcriptions were checked and translated by Mary Thomas and John Ellis. The various versions, dictated and sung, are compared below.

As dictated, the words are:

Stanza I

hin cak artenAarti ’akitcartenAart—From out of the inside of the wings of the fishtrap aart the head of the river,

ke uwa at de xixtart—The frogs begin to come out.
’akitcartede tcA—Inside the wings, indeed
duwA’aarttc—They make a noise.
’At qUgaq ’ASIkudjin—On account of the visitors
duwA’aarttc—They make a noise.

The “visitors” are the fish runs.

Stanza II

de ’aart djiarta ’asgI—Within my reach almost

yeq ’uwa ’at—To the beach they came.

hutarti ’ayi ’aart kak—My last uncle

’Adjit wUdzIgIt—By accident fell in.

de ’awłIartatc—Already I give up.

The second stanza refers to the composer's uncles (or fore-fathers) who drowned almost within reach of the beach.

Despite the addition of meaningless syllables to fit the text to the melody, or the insertion of some words forgotten in the dictation, the words as sung seem to to have the meaning of those that were dictated.

These are:

Refrain (2-2-A)

A | ’i, hi ya ha,
B | ’a ya ha ’i xi hi ye ya,
C | ’i ya ha ha,
D | ’a ya ’a hi ya ha ha,
E | ’i hi ya ha ha,
| (’ i…ya…) [on repeat]
F | ’a ya ha ’i xi hi ya ha,
X | ’i hi ya,
Y | ’a ya ha ’i hi hi ya,
Z | ’a ya ha ha ya

First (incorrect) Refrain (6-2-A)

ya ha-hi ha-ya ha ha,

ya ha-hi ha-ya ('akya! [spoken])

ya ha-hi ’a-yau hu-hu [clears throat] hu ya,

ya ha-hi ha-ya ha, ya ha-hi ’a-ya ha-ha-ha- wa ya,

Second Refrain (6-2-A)

A+ | ’a ya ’i-ya ha ha ya ha ’i-hi hi ya ha-ha,
B | ’i ya ha, ’a ya hi ya ha ha,
C | ’i ya ha-u, ’a ya ha ’i-hi hi ya ha,
D | ’i hi ya, ’a ya hay hi ’i ya, mm-ya [coughs]

Stanza I

2-2-A | hini cak artenaarti hi-itc-dji artenAarta
6-2-A | hini cak artenAyi kitc artena arta
(rep) | ya hini [etc.]
2-2-A | ke ’aguwut de xixtarta hi-ya, ya-ha
6-2-A | keyawa-at di xixtart de ’aya ha ha ya
(rep) | keya ’at di xixtart de ’aya ha-w
2-2-A | ’adji artehede artawE tcA duwa ’aarta
(rep) | ’akitart (etc)
6-2-A | ’akitart artede ’aarta wetartA duwA ’aarta
(rep) | (as above….)                 ’atca
2-2-A | ’At quartaq ’Asikudjina ’i hi hi ya ’aya [⁴] ’a ha
(rep) | (as above…)                 ’aya ha
6-2-A | ’At qugaq sikudjina-ihi ’iya ’aya ha ha [⁴]
(rep) | (as above)…)                 -i ’iya ’aya [⁴]

Stanza II

2-2-A | de ’aart daarta ’asgihe yAart ’uwa ’a-ha-ta-ha
(rep) | (as above)  ’asgEhe (as above…)
6-2-A | ’a ya de ’aart daartaci ’eyeart ’uwa ’Ada
(rep) | ’a ha ya de, ’aart daartasgE (etc…)
2-2-A | ’askuha-at nice yixiya, ’a ha, hutarti ’a he
(rep) | (as above…)       ahi-i-ya (as above…)
6-2-A | ’acquha nicehi, ya ha ya, hutarti ’aya
2-2-A | ’aart kahak ’Adjit dzigita de ’awłIartatc [⁵]
6-2-A | ’aart kełart ’Adjit djigida de ’awłIartatc
2-2-A | ’aart tuwu, ’i hi hi ya, ’a ya ha hm hm,
(rep) | (as above…)              ’a ya
6-2-A | ’aart tuwu ’i hi, ’i ya ha ya
| (as above…) ’i ya, ’a ya ha ha u mm hutć!

The melodies of these two songs are different, even though to the singers there was simply one song.

The structure of 1954, 2-2-A is:

Refrain: | A | B | C | D | E | F | X | Y | Z
Stanza I: | A | B | C | D | E | (F) | X | Y | Z
| A | B | C | D | E | (F) | X | Y | Z/
Refrain: | A | B | C | D | E | F | X | Y | Z
Stanza II: | A | (B) | C | D | E | (F) | X | (Y) | Z
| A | (B) | C | D | E | (F) | X | (Y) | Z/

The structure of 1954, 6-2-A is:

Refrain:     (confused)

Stanza I:   A   B   C   D   (repeated)

Refrain:     A   B   C   D

Stanza II:   A   B   C  D   (repeated)

The shorter musical phrases of 1954, 2-2-A, actually break up words; the longer phrases of 6-2-A correspond more accurately to the natural divisions of the sense. The correspondence between the two is:

2-2-A: A, B |  | 6-2-A: A
C, D |  | B
E, F |  | C
X, Y, Z |  | D

Teqwedi Song, Attributed to Men Lost when Getting Green Paint Stone

1954, 6-1-I; recorded by Nick Milton on May 12.

This is a traditional song, supposedly composed and sung by one of the Teqwedi men who had taken green paint stone and were now in danger of drowning (see Swanton, 1909, Tale 17, p. 46). Nick Milton told a story similar to Swanton's. The men had been sea otter hunting and landed at a place called NeartintE-'AartAk-’an, and took some green paint stone from the beach. On the way home, a storm arose, and one of the men, instead of throwing away the stone, tied it to his hair, and composed this song. Nick Milton believed that he drowned. It is to be understood that taking the precious stone was a tabooed act, which roused the storm in consequence (cf. pp. 69, 416, 806).

Only one stanza was sung, following the refrain (1:38 minutes). Nick Milton accompanied himself on the drum. He had forgotten the second stanza. The words as he dictated them were:

gunAart SA artAndwu qWAłI ’At

de yakw ’iyiartqagut

tartAartA artAart qu’A

A free translation would be: “Where am I going with the canoe? Straight out into the ocean I'm going with the canoe.”

Swanton (ibid.) writes: “Then the eldest, who was steering, began to compose a song about the course he was taking: ‘Which way shall I steer the canoe, straight out into the ocean or straight on to the shore?’”

As sung, the words are:

Refrain

A    ha ya hiya hi ’i-hi ya

B    ’i-hi ’i-ya-ha hi -m-ya,

C    ’a ha ’a-ha, ’a, ’i-ya ha

D   ' i-hi ’i-ya ha ha ya, ’a,

Stanza I (sung twice)

A     gunAart SA yandwu qwAłi ’a-de

B     yagwi-he yiart-qa-ha-gudiya,

C     tartA arta-aart gwadi (hui!) ’i-ya,
                                      gwahadi(hae!)      [on repeat]

D     ’i-hi ’i-ya-ha (tćuye!) a, ’iya, um hya,       (“again!”)

(…’a ha ’i-ya, ’a ha (hutartA!)

—(“That's all!”)

The words in italics are the cries of the song-leader.

Teqwedi Song of the Golden Eagle

1954, 1-1-F; recorded by Olaf Abraham, Charley White, and Sheldon James, Sr., on April 8.

This is the most important traditional potlatch song belonging to the Drum House lineage of the Teqwedi. It was given to them by the Golden Eagle, at the time that they acquired this bird as their crest (p. 253).

As an introduction to the song, Olaf Abraham told the story of the Golden Eagle in Tlingit (2:40 minutes). Later, a translation of this (not recorded) was obtained from John Ellis. After the song, Olaf Abraham retold the story in Tlingit, paragraph by paragraph, so this could be translated by his “nephew,” Sheldon James, Sr. This was also recorded.

The song itself, consisting of a Refrain, Stanza I (sung twice), and an almost identical Stanza II (sung twice), lasted 4:25 minutes. During the singing, Olaf Abraham, as song leader, called out a number of words, directing the singers to repeat the melody or announcing the words they were to sing. All of the words in the song were greatly drawn out with many extra syllables, so that it was impossible to obtain a good transcription at the time. Charley White beat the drum.

The only words which were recognized at the time as belonging to the song were:

haguni-kanAartdaqena ’En—’From-where-the-sun-rises-it-begins-to-dawn.'

A free translation of the song is:

“I come from the other side of the mountain.”

“Now the dawn of morning is coming from the other side of the mountain.” It is the Golden Eagle singing.

As sung the words seem to be:

Refrain

A    yaha ’anehe,

B    ’iyehehe yaha, ’anehe,

C    ’ehehe ’ yaha hanehe,

D    ’iyehehe yaha hanehe,

E    ’ahaha, ’a [hagu!] ’ahaha, [“come!”]

Stanza I

A     hadaha’, naartahaha—(hada) interior (nAart) out of

B′⁺   dagihidi qihihin yaha ’anehe,—(dak) seaward (di) ? (qin) fly

C     ’ehehe ’ yaha hanehe,

D     ’iyehehe, yaha ’anehe,

E     ’ahaha [ha tcuye!], ’ahaha,     [“again!”]

Stanza I (repeated)

A

hagu (or hada), nikaha naartahaha,—[(CW and OA sang different words.)]

B′⁺, C, and D as above

E/

he ya [tłe hede! hede!] -am nahaha—[(CW: “Then to the beginning!” OA: “To the beginning!”)]

Stanza II

A

haguhu, nikahanaartahaha—(hagunikanAart) from where the sun rises

[daqena ’En!] [“it begins to dawn!”]

B′⁺

dagihi qe’ahaha yaha, ’anehe,—(dak) seaward (qe’a) daylight

C

’ehehe ’ yaha hanehehe,

D

’iyehehe yaha, ’anehe [tcuye!]—[“again!”]

E//

’ahaha,

Stanza II (repeated)

A and B′⁺  as above, including the song leader's call

C   ’ehehe ’yaha, ’anehehe,

D   ’iyehehe yaha, ’anehe,

E//  ’ahaha [hutćawA!]—[“That's all!”]

McAllester comments that the first “B” (in the Refrain) seems to be introductory or tentative. “B′” in the stanzas seems to represent the full “B.” The Refrain itself appears to be a warmup, a somewhat reduced version of the music used in the stanzas. He also notes that the pitch gradually rises, and that the last phrase (E) gets progressively shorter in successive repetitions.

The structure of the song is:

Refrain: | A    B    C    D    E
Stanza I (1st): | A    B′⁺  C    D    E
(2d): | A    B′⁺  C    D    E/
Stanza II (1st): | A    B′⁺  C    D    E//
(2d): | A    B′+  C    D    E//

The calls of the song leader tend to occur in exactly the same places in the refrain and stanzas.

Teqwedi Mourning Song, Composed by Jim Kardeetoo

1954, 5-1-C; recorded by Nick Milton and Mary Thomas on April 25.

This song was composed by Jim Kardeetoo (1862–1937) for the potlatch which he gave in 1918 when dedicating Bear Paw House at Lost River Landing in memory of his “uncles” or ancestors who had lived at Diyaguna’Et, an abandoned village site near by.

The song was rehearsed with considerable weeping before it was recorded. There is a refrain, and two stanzas (each sung twice), the whole lasting 2:02 minutes. Nick Milton, Teqwedi, beat the drum and said a few words in Tlingit as a conclusion.

The words to the song were checked with several informants, both at the time of singing and later. The composer's daughter, Mary Thomas, remarked that one could tell that her father was not a song composer. She was probably referring to the variations between the musical phrase B in the Refrain, Stanza I, and Stanza II, and the slightly awkward fit between the words and the music. The words as sung are:

Refrain

A    ha ’a ’i-ya ’a ’e ye,

B    ’a ha ’i-ya ha, ’e ye ’a ’e, ya ’a ey-ya,

X    ’a he—yu ’a na,

Stanza I (sung twice)

A

tcu ’ade ’unartadjitca—Still there, I imagine [mistakenly]

B

Diyaguna’Et de—At Diyaguna’Et

′aart kagi hAs—My uncles,

tcu ’ade sAxsiartana—“I'm still expecting them” there.

X

ha ’ey ya hu ’a na [After second repeat, there is a period of hesitation]

Stanza II (sung twice)

A

tarta dja arti hidi yis—Nevertheless, for your house,

B

arti ’iqatuartditana—I wish you were here [to help me],

’aart kagi hAs ’eye—My uncles.

X

’a ’e ya hu ’a na

It was explained that the Teqwedi leader, Jim Kardeetoo, wanted to rebuild his sib's houses at Diyaguna’Et, but was unable to do so because so many of his sib had died off.

The structure of the song is:

Refrain:    A    B   X

Stanza I:   A    B   X  (repeated)

Stanza II:  A    B   X  (repeated)

Teqwedi Dance Song: Killerwhale Drum Song

1954, 5-1-D; recorded by Olaf Abraham, Nick Milton,

Katy Dixon Isaac, and Louise Peterson on April 25. 1954, 6-1-F; recorded by Nick Milton on May 12.

This is a traditional Teqwedi song, which would be sung by the Teqwedi men when they were hosts at a potlatch, while the Teqwedi women danced. It would be proposed by the chief at the end of the mourning songs, as a happy song, and he would put up a great deal of property when it was sung. It was customary to ask one of the guests to beat the big box drum (see pp. 632, 634).

In the first recording (5-1-D), Olaf Abraham acted as song leader and Nick Milton as drummer. The song, with Refrain, Stanza I (sung twice) and Stanza II (sung twice), lasted 2:13 minutes. Olaf Abraham spoke in Tlingit after the song (1:55 minutes), and this was translated and recorded by Helen Bremner (about 1 minute). The translation was later checked with John Ellis. It is this recording which has been transcribed.

The second recording was made by Nick Milton alone, because he said they had made a mistake in the words for the second stanza. Specifically, they repeated the words for Phrase B of Stanza I, instead of the words for that phrase for Stanza II. In Nick Milton's recording, he sang the refrain and both stanzas twice, lasting a total of 2:20 minutes, and added a few words of Tlingit. Although singing alone, he did his best to imitate the group and also the song leader, calling out such expressions as ’to the beginning’ (hedé!), to indicate that the melody should be repeated. He also made various cries: hiiii, wuuuu, or hwiiii, at the end of each stanza, which sounded like a whale spouting. When the recording was played back, Nick Milton sang with it, accompanying himself several tones higher, and said that there should be two or three different voices, as on the earlier recording.

The correct words of the song were dictated by Mrs. Frank Dick, and checked with those sung by Nick Milton. They are apparently very difficult for the present Tlingit to translate or explain:

Stanza I

wa’e’ agi tłÁkw qudziti—Were you “born long ago”? (living always)

cayAdi yeł aha—You (little) Raven?

’ahe ’inAart du tłagut tsu sidi he ’aha—“They're telling a myth about you.”

Stanza II

Nas cAki yeł ’inAart sati—Raven-at-the-head-of-Nass you want to be,

cayAdi yeł ’aha—You (little) Raven.

’ahe ’itćide artAnde quha—Your Murrelet will come ashore.

’a he ’aha (etc.)

The song is apparently sung by Petrel (artanUq), a crest of the Eagle-Wolf moiety, who was having an argument with Raven as to which was the older. Petrel won. (See Swanton, 1909, Tale 1, pp. 10–11.) The Murrelet (tćit) is another crest of the Eagle-Wolf moiety, and is mentioned here to frighten Raven.

John Ellis translated the concluding remarks by Olaf Abraham as: “The song we sing this time, it's Teqwedi's clan song (ha naart sAtiyi). They were staying out there at Diyaguna’Et. That's where they made that Killerwhale Drum, that crest (’Atu). It was square, just like a wooden box (tłAkt). It was made out of wood. That was the song about that drum. It was composed many hundreds of years ago. That story was handed down from generation to generation, just like history, up to now. We know it also. That's the one handed to us. Teqwedi, whenever they give a potlatch, they use that drum. They use that drum song just before they hand out the money.” [John Ellis denied that Olaf Abraham had mentioned killing slaves, as I thought he had said in Tlingit.]

For the history of the drum, see page 459.

McAllester comments on the thirds which appear in the group rendering of the song (1954, 5-1-D). These rarely occur in American Indian music.

Unrecorded Teqwedi Potlatch Songs

The Teqwedi house owner, Situk Jim (died 1912) composed a song for his potlatch at Bear House at Situk, about 1905. This made reference to the Killerwhale accumulating the wealth which was to be distributed to his guests. It was sung by the Teqwedi male hosts while the Teqwca danced (p. 634).

I could also mention a Haida Mouth Song, composed by the Drum House Teqwedi leader, arteyeartatqín or Skin Canoe George (1855–1900), which was sung at a potlatch given by the Teqwedi, while his nephew danced to it (see pp. 572, 633).

Kagwantan Mourning Song, Attributed to KackEn

1954, 3–1–D; recorded by Emma Ellis on April 1.

This song is said to have been composed by KackEn and a companion, survivors of the battle at ’Anda, when the CartartAtqwan of Wrangell killed the Kagwantan of Sitka. It would therefore date from before the middle of the last century (see pp. 279–284).

The song was preceded by an introduction in Tlingit, mentioning its history (45 seconds), and is followed by an explanation in English (4:25 minutes). The song has two stanzas, each sung twice, and lasts 3:25 minutes.

The text was dictated by the singer, who went over it several times. In some cases new words were added or substituted in an attempt to make clear the meaning, so the version is confused. As dictated the words are:

Stanza I

tćA hu dutuwú ’aciart tInsIti—“That's their own foolishness”

hede (or wede) artutc—“That Wolf people”

’i (da) łíł tsu ctùxidaníguqw—“They wounded themselves”

Stanza II

yi ’ide xawe djasa (or tćAsa) sukw qałartan—“They are lonesome all the time”

’aart kak-hAs—“My uncles”

dá yu yín qAdjúgU—“I want to dream”

Swanton recorded a very similar song (1909, Song 103, p. 415), the words of wartich are:

Tc!a hu | dūtuwū | ūcÎ’t | ūSÎte' | yadego’tc.
Right | his mind | to him | was | this man of Wolf [people].

łÎł | q!wAn | ctu ye’ daq!ēq.
Never | (imp.) | blame others.

“It is his own fault that this Wolf man got into that condition (i.e., died). Do not lay the blame on others.”

Emma Ellis was interested in this when the text was read to her, but felt that the words were wrong.

As sung, the words are:

Stanza I (sung twice)

A    tartA hu dutuwu—“It was

B    ’aciart tinsiti—his own fault”

C    wedi artutce, ye—That Wolf

D    da ctu ’idaniguqw,—Yourself don't (?) yahe ’ehiye,

E    yahe ’ehiye, yahe, ’ehiyeye

F    yahe ’ehiya, ’ay yaha,

Stanza II (sung twice)

A

yi’;i de artawe—For you, thus,

B

tartasa guartqałartana—Always (?) I will long,

C

’aart kagi hAsa—My uncles,

D

da yu yin qadjungu, yahe, ’ehiye,—“I want to dream [about you]”

E

yahe ’ehiye, yahe, ’ehiyeye,

F

yahe ’ehiya, ’ay yaha,

[qa hutart ’awe!]—[That's the last word!]

artałyiart-Kagwantan Mourning Song: Lament of the Beaver

1952, 7–1–B; recorded by Frank Italio on September 13.

This is a traditional sib mourning song of the artałyiart- Kagwantan, and was recorded at the request of Helen Bremner, a woman of that sib. It is preceded by an explanation in Tlingit by Frank Italio of how the Beaver composed the song, and how the artałyiart-Kagwantan acquired the Beaver as a crest (55 seconds). A translation of his remarks and of the song are given in English by Minnie Johnson (7–1–D). Finally, Helen Bremner thanks the singer for rendering the Beaver's song (7–1–E; 1:32 minutes).

The beavers had built a dam and lodge at ’AnAkwé near Controller Bay. This was destroyed, and all were drowned except for one little beaver. A artałyiart-Kagwantan hunter found the beaver, singing this lament for its lost relatives, took pity on it, and learned the song (pp. 254–256).

The song lasts about 3 minutes and has two stanzas.

Stanza I

“Who will stop building the den? But they built it just the same. That's why all my uncles died and left me alone.”

Stanza II

“Because there was no one to warn them, they are just as much to blame as the river and the people who destroyed their den.”

The melody is admitted to be the same as that sung by the Raven Decitan of Angoon, Teslin, and Carcross (field notes and recordings, 1950, de Laguna and McClellan). The Angoon Decitan call this the ’song of the Beaver Hat,’ and tell the story of the Basket Bay Beaver (Garfield, 1947, p. 440; de Laguna, 1960, pp. 136–137; cf. Swanton, 1909, Tale 68, “The Beaver of Killisnoo”.) We should note, however, that as yet no musicological comparison has been made between the Yakutat, Angoon, and Inland Tlingit versions of this song.

McAllester notes the hymnlike quality of the melody, and suggests that it shows European influence.

Omitting variations perhaps due to the singer's mumbling, the words seem to be:

Refrain

A    he-ya hine

B    ’e-ya hine ya

C    ’e-ya hine hi-

D    ne ya ’e-ya ’aw

E    ya hine he-ya ’aw; mm; ha ya

Stanza I (sung twice)

A

’asasgi ’a—Why someone (who?)

B

-du qaqatne-ye—[hAsdu artA-kA-na-ye ? (them ordered)]

C

’aart kagi-hAs-A nitc—[’aart kak-hAs (my uncles)] [nitckA (empty beach, nowhere)]

D

-kA ’an łA-yeart—a town to build

[speaks two sentences here]

X

he-ya ’aw-m ha ya

Stanza II (sung once)

A

’asaartaart [tłek’ ’eya] ha—[’asa arta ’aart] (for what my) No then!

B

du kagi-hAs-A—[hAsdu kak-hAs ? (their uncles)]

C

’aart kagi ’atc—[’aart kak] (my uncle)

D

-kwa yen-si-artiart—with it down-to-consume (?)

X

ya hine, ’e-ya wa

[Breaks off to speak.]

The structure of the melody is:

Refrain:    A    B    C    D    X

Stanza I:   A    B    C    D    X

Stanza I:   A    B    C    D    X

Stanza II:  A    B    C    D    X

One has the impression that the singer broke off abruptly. He did not repeat the second stanza, as is usual. It should be noted that the electric current weakened during the recording; when the tape is replayed, the “A” of the pitchpipe recorded at the end of the song is a half-tone high.

Traditional artałyIart-Kagwantan Songs, Attributed to Łartayaartw

1952, 7–1–C (a, b); recorded by Frank Italio on September 13.

These songs were supposed to have been composed by Łartayaartw, the youngest of eight brothers who went to Sky Land (Kiwa’a), the afterworld of those who die by violence. There he became separated from his brothers, but finally returned to earth in a skin canoe the frame of which was made of the skeleton of a shaman.

The recording was made at the request of Mrs. Helen Bremner, a artałyiart-Kagwantan woman, who ceremonially paid Frank Italio, her CAnkuqedi “uncle,” for the service. The two songs are preceded by the story told in Tlingit by Frank Italio (2 minutes), and are followed by an explanation in English by Minnie Johnson (pp. 877–878).

The singing lasts a total of 3:30 minutes, the first song (a), lasting about 2 minutes. It is composed of an introduction, and a single stanza, sung twice. The singer breaks off before the beginning of the repeat of the stanza to give an explanation evidently referring to the story: “Kiwa qawu hidi (houses of the ghosts) dekudiartiart (? he came out at).” After the repetition of the stanza, he begins with the introductory phrase of what would appear to be another stanza, but abruptly cuts this off: “That's all,” and speaks for about 10 seconds before starting the second song. He seems to treat these two compositions as if they were simply two parts of the same song, although they are musically distinct.

The second song (b) has an introduction (or false start?) of three phrases. He breaks off to exclaim: “De hutart! (That's all). De hutart ’eya! (That's the end). De daga kwAłtsaq (Push [the skin canoe?]).” Then he begins the stanza, which he interrupts just before the final phrases for additional remarks about the story (which I was unable to transcribe from the tape). The song ends after the repeat of the single stanza with the exclamation “Hutart ’AWE!” (That's all). As usual, Frank Italio seems to end his song before it is finished.

In the first song, the hero mourns his brothers in Kiwa’a; in the second he (?) calls for the skeleton canoe to be given a push. It is exceedingly difficult to follow the Tlingit text as sung, because of the singer's quavering voice, the insertion of many extra syllables, and the muffling or mumbling of others.

Eliminating what appear to be insignificant variations, the words seem to be:

SONG I(a)

Introduction

W

Kiwa’a hahahaha, Ki—[Kiwa’a = Ghost Land, Sky Land]

X

-wa’a hiyehe, Ki-

Y

-wa’a ha,

Z

’aha, ’ihi, yehe,

Stanza I

A

yahahe, kinik, wa [or xwa]—[kinik = above]

B

’aw haw, ’aw haw,

C

Kiwa qawu hidi—Houses of the ghosts

D

Kiwa qawuart-arti artaqu-tutłqada, îye,—[Kiwa- qawuartu yaqutłIqat (?) = among the ghosts he went astray]

E

Kiwa qawu-u hidi, ’ihi—Houses of the ghosts

F

’aha, yi hidi—[yi hidi = your houses]

[Breaks off: Kiwa qawu hidi dekudiartiart (?). He came out (?) at the houses of the ghosts.]

Stanza II

A      yaha, ’i-e, kini, ’aw [or xwa]

B      ’awi ’awi ’aww,

C      Kiwa qawu hidihi,

D      Kiwa qawuartu ’a [or ya]?-qututłiqada ha, ’ihe,

E      Kiwa qawu’u hidi ’ihi

F      ’aha yi hide,

End

A      ’ahahe, yi-i kine hu’a

B/      ’aw ’aw hutart!—The end!

The singer speaks for 10 seconds.

SONG II(b)

Introduction

X      yaha ’ahi hya ’a,

Y      ya ’uyi hya ha,

Z      ya ’uyi hya, ’a hm

[Breaks off: De hutart! de hutart ’eya! de daga kwAłtsaq: That's all! That's the end! Push (the skin canoe ?)!]

Stanza I

A

’aya, ’ucgi,—[’ucgi = perhaps]

B

da ha qu-łA-tsaq de-he—[qułAtsaq de = push !]

C

’ihiy ’iartarti nAna hiyinihi—[’i ’iartarti nAna hini = river of your dead shaman]

D

di wAart-tła-kwa neart ta—[di = the]—[neart = safe]

[Breaks off to speak.]

Y      ya, ’ahi ya ’aw,

Z      ya ’uhi hya ’a,

Stanza II

/A      ’ucgi,

B      da ha quŁAtsaq de-ya

C      ’ihiy ’iartti nAna hiyini

D      di wAart-tŁA-kwa nex ta

Y      ya, huwi yahaw,

Z      ya, ’uhi ya haw hut’c ’AWE!     That's all!

[Frank Italio continues to talk about the story.]

The structure of these songs is:

Song I

Introduction:    W    X    Y    Z

Stanza (1st):     A    B    C    D    E    F [speaks]

Stanza (2d):     A    B    C    D    E    F

End:                A     B/   [That's all]

Song II

Introduction:    X    Y    Z    [That's all, etc.]

Stanza (1st):    A    B    C    D[speaks]Y Z

Stanza (2d):    /A    B    C    D    Y    Z[That's all]

McAllester comments that it is “surprising how these seemingly meandering songs are really well-structured. The drum beats are not haphazard, but emphasize long notes, usually off beat—a strong Yakutat characteristic.”

Traditional CAnkuqedi Mourning Song: Lament for GosnA’w

1952, 2–1-B; recorded by Frank Italio on July 30.

This is the lament, with Southern Tutchone words, for GosnA’w, the CAnkuqedi boy who was left behind when his people were descending the Alsek River, and who was adopted by the Thunderbirds (pp. 249–250). It is now sung by the CAnkuqedi when they give a potlatch.

The song is preceded by the story, told inTlingit by the singer (2:45 minutes). The song itself lasts 1:47 minutes. It is followed by the recorded explanation in English by Minnie Johnson.

Two versions of the song were recorded. The first (B) and the most complete was sung “for practice,” and consists of three stanzas (with almost identical words), each sung once. It ends with the initial phrases of what may be a fourth stanza or a repetition of an earlier one. Minnie Johnson interrupts and speaks while Frank Italio is ending the second stanza, so that it is almost impossible to distinguish the words of phrase G. (They may have been the same as those of phrase G in Stanza III.) The last stanza is interrupted by an explanation given by Frank Italio: “di xetlE duwasakw [It was called the Thunderbird],” possibly offered as a translation of some Athabaskan word.

In the second version of the song (2-1-C), Frank Italio sang as the last line of Stanza I what seems to be the last line of Stanza III (or II) of the first version; and for the last line of Stanza II substituted the last line of Stanza I of the first version. He sang only through phrase F of Stanza III, ending abruptly with “hute! [the end].”

Possibly he was overcome by grief and therefore could not continue, for Minnie Johnson explained later in the recording session: “Frank Italio himself—it just hurt like anything, but anyhow he carried it out. It was to remind him of his old people that's died off. Well, he done pretty good by singing that because he can't understand a word of “Eyak” language [sic: yAtqwan xenAx, ‘local people's speech,’ in this case Southern Tutchone of Dry Bayl, but from generation to generation they practice to the next one is going to take the place. And that's all!”

Traditional CAnkuqedi Song for the Thunderbird Screen

1952, 2-1-F; recorded by Frank Italio, on July 30.

This song was supposedly composed by the boy who had been saved (or captured) by the Thunderbirds, when he returned to his people and built a house decorated like the cave of the Thunderbirds in the mountains. Frank Italio explained in the Tlingit introduction to the song that it was for the Thunderbird screen.

It may be sung by either the CAnkuqedi or the Kagwantan of Dry Bay when they are giving a potlatch to mourn a close relative, because it reminds them of the little boy who was given up for dead.

The song is preceded by an explanation in Tlingit by the singer (40 seconds), and is followed by an explanation and translation of the words by Minnie Johnson (pp. 250–251). The song itself has a refrain, followed by two stanzas, each of which is sung only once. The whole lasts 1:46 minutes. The text was not transcribed at the time or dictated, but has subsequently been transcribed from the tape. The spoken ejaculations are those characteristic of a song leader.

Refrain

A, B    ha ha ha ha, ha ha; ha ha ha ha ha;

C        ’a hu hu we he, he huwA;

D        ’a ha [clears throat], ’a hu aw, ’a ha ha ha;

A, B    ’a ha ha ha, ha ha ha ha, ’a;

C        ’a hu hu we he, he huwA;

D        ’aw—ha ha huwA, ha ha ha ha

Stanza I

A, B

dja artat ’uwu sa-djA (repeated)—[I always be-[artwa tuhu?] come hurt?]

C

di xetł qAdu ’aarte huwA—Whenever the Thunder sounds

D

’aw-, ha ha';

A

’aart kak ’Unarta-djitc-A—I always imagine my (lost) uncle

B

’aart kik’ ’Unarta-djitc-A—I always imagine my (lost) younger brother

C

hu hu-e, he huwA,

D⁺

’a ha, ha hu aw,

’a ke´hede! [spoken] ’a ha—“To the beginning!”

Stanza II

A, B  dja artat ’uwu sa-djA (repeated)

C       di yu kuwAti kEt ’UWA

D       ’aw-, ha ha';

A       ’aart kak t’i-nal-ni-ne

B       ’aart kak tu-nani-ye

C       hu hue, he huwA;

D       ’a ha, ha hu aw, ’a;

hutc ’awA! [spoken]—“That's the end!”

The meaning of the words, as given by Minnie Johnson, would seem to be:

I

Whenever I hear the Thunderbird, I become hurt. The noise of the Thunderbird reminds me of the uncle and brother whom I lost.

II

I am surprised when I hear the Thunder. It sounds like the relatives I lost. They have no pity for me, because they left me alone.

(See the ‘song for the Thunderbird Blanket,’ 1954 5-2-E; below.)

The structure of the song, as analyzed by McAllester, is:

Refrain:   A   B   C   D

    A   B   C   D

Stanza I:  A   B   C   D–

    A   B   C   D+

Stanza II: A   B   C   D–

    A   B   C   D′

Traditional CAnkuqedi Song for the Thunderbird Blanket (I)

1954, 5–2-E; recorded by Mrs. Chester Johnson, assisted by Jenny White, on June 10.

This song has not been transcribed because it is the same as that recorded by Frank Italio, July 30, 1952 (1952, 2–1-F). The former was entitled ‘song for the Thunderbird Screen’ (xetl xin daciyi), while this was called ‘song for the Thunder Blanket’ (xetl xu daciyi). Both were ascribed to the boy who had been taken by the Thunderbirds, whom Mrs. Chester Johnson called GóartÁq.

Only one stanza was sung, although there were said to have been three in all. The words are very similar to the version sung by Frank Italio. There was a short introduction in Tlingit by Mrs. Chester Johnson (27 seconds), a refrain, and the first stanza (sung twice), the whole song lasting 1:33 minutes. Mrs. Chester Johnson beat the drum. She later dictated the words, and these were afterward translated by Helen Bremner.

Refrain

…’aha huwa (etc.)…’ahuwe ’ehuwa (etc.)

Stanza I (sung twice)

tarta xAt ’ułiticta—It always makes me lonesome

di xetł qAdu’ Aartin—When I hear the thunder.

’aart ’ik ’Unartadjitca—My brothers I always think of [imagine]

di xetł qAdu’Aartin—When I hear the thunder.

Stanza II (omitted)

This was said to refer to a dead uncle (see 1952, 2-1-F).

Either this song to the Thunderbird Blanket, or the following (1954, 5-2-F), was sung by Mary (Mrs. Lituya Bay George), mother of the singers, when she was taken as a peace hostage in 1907 (see Case 12, p. 604).

CAnkuqedi Song for the Thunderbird Blanker(II)

1954, 5-2-F; recorded by Mrs. Chester Johnson, assisted by Jenny White, on June 10.

This song, like the preceding, was also entitled ‘Song for the Thunder Blanket’ (xetł artu daciyi). One or the other, or both, was sung at the peace ceremony of 1907 (Case 12, p. 604). The singers, who were the daughters and nieces of the two CAnkuqedi hostages of that ceremony, wished to have recordings of these two songs to play at a funeral potlatch in memory of Mrs. Martha Converse, a artałyiart-Kagwantan woman who died tragically during the winter of 1954.

The song is introduced by a few words in Tlingit, and there is also a brief conclusion, spoken by Mrs. Chester Johnson. The song itself, with refrain and two stanzas sung twice, lasts 2:17 minutes. The words were dictated by Mrs. Chester Johnson, were later translated by Helen Bremner, and have been checked with the recording.

Refrain

A

’a(aha)hu wa ha hu wa ha ’e

A′⁺

’a(aha) hu wa ha hu wa ’e, ’a ’e hu wa ha,

B

’u wa(ha) ’e yu ’a ha, ’u wa ’a,

Stanza I (sung twice)

A

haguni kade du kayek—Over there [southeast, out to sea], invisible,

A′⁺

tartA duwa ’axtca di artetłe ya,—It sounds, the ’e hu wa ha Thunder.

B

’u wa ha ’e ye hu ’a ha yu wa ’a

Stanza II (sung twice)

A

hadaha-dehe ’uqwa(ha) ’ina—Behind the mountains, you help us

A′⁺

-suwu de ’iartwaye di xetłe ya,—I beg you (?), the Thunder

-(suwu deye ’i artwayi ya) [on repeat]

B

hu wa ha, ’e ye hu ’e ye, ’u wa ’a (as above) ’a ha [on repeat]

The structure is:

Refrain:

A

A′+

B

Stanza I:

A

A′⁺

B

(repeated)

Stanza II:

A

A′⁺

B

(repeated)

Omission of the words ’the Thunder’ (di xetł) in the repetition of Stanza II is the only unusual feature.

Three (?) Traditional CAnkuqedi Songs in Yukon Athabaskan

1952, 4–1-A (a, b, c); recorded by Frank Italio on August 29.

Minnie Johnson, who acted as interpreter, gave me to understand that these were three of the four potlatch songs given by the Aiyan chief (of Fort Selkirk on the Yukon) because the CAnkuqedi were drowned when going to his potlatch (pp. 248–249). These are now used by the CAnkuqedi as potlatch mourning songs. The singer had forgotten the fourth. The words are in Athabaskan and were not transcribed at the time, nor could they be explained.

The recording begins with Minnie Johnson urging Frank Italio to sing: ‘Begin!’ (gukde). (A) He sings the first song: ’o ya ha we-eh ya ha…(45 seconds), ending with ‘the end!’ (hutart!). (B) He speaks a few words, and sings the second song (1 minute). (C) He again speaks and sings the third (45 seconds), ending with hutart! He speaks a few words, concluding with ‘thank you’ (gunatłtcic).

A transcription of the “words” and music from the tape would indicate, however, that there are here only two different songs, or at least only two melodies. The “third song” is virtually a repetition of the first with only minor variations on the “words” and in the tune: the B's of Song A are all O's in Song C. The first and third song are sung to a very slow beat of the drum; the drumming for the second is much faster. Each song is sung only once.

The whole composition may, however, be analyzed as a single song, consisting of a Refrain (Song A), Stanza I (Song B), the Refrain (Song C) again, and the last Stanza II, forgotten. This is evidently not the singer's interpretation, since he exclaimed ’the end’ (hutart!) at the end of each “refrain.”

The “words” of these songs or parts seem to be:

Song A (Refrain)

Song C (Refrain repeated)

A

’o ya ha, we-eh ya ha,

’ahayi ya ha, we-eh ya ha, [ye-eh]

’o-ho, yaha, we-heya-a,

’o-o, ya ha, we-he, ya ha-a

A

’o ya ha, we-eh, ya ha,

’aya ya ha, we-eh, ya ha,

’o-ho, yaha, we-hey a-a,

’o-o, ya ha, we-he ya ha-a

A

’o ya ha, we-he, ya ha,

’ahay ya ha, we-eh, ya ha,

’o-u, ya ha, we-he yaha

’o-ho, ya ha wehe, heya yu

hutart!

hutart!

Song B (Stanza I)

B    nit, di ta-aart nte–, ’ei hi hi ya, ’a hu-u,

C    ’o-u, ye-e’, ye-e’, ’e-, ’aw, ye-eart, yi-, ’a-,

B    li ta-aart ni te_ _, ’ei hi, ’i ya, ’a hu ho,

C    wi-I ye-ex, wi-I ye-ex, ’e-, ’a-, ye-eart, ’i, ’a-A
      [Breaks off to speak, before singing Song C.]

The structure of the compostition or set of songs is:

Song A (Refrain):

A

A

A

Song B (Stanza I):

B

C

B

C

[speaks]

Song C (Refrain):

A

A

A

Traditional CAnkuqedi Lament for Those Drowned in the Yukon

1952, 4–1-D; recorded by Frank Italio on August 29.

This is a traditional sib mourning song, supposedly composed by a woman whose relatives were all drowned in the Yukon Rapids, when going to the Aiyan chief's potlatch. While the words are in Tlingit, they were not recorded at the time of the singing. A full and very free translation was recorded by Minnie Johnson after a few words by the singer (see pp. 248–249). The song is in three parts: a refrain, a long first stanza sung twice, and a shorter second stanza also sung twice. Frank Italio accompanied himself with a cane for a slow beat.

“The beginning of the song is made up of elements that later appear to be closing phrases in the overall structure,” McAllester informs me. Therefore, the refrain as sung may be incomplete.

Refrain

Y   ha-a hu, we hehe_ _ _

(E)   ’u wa-a, he-e-e,

F   ’e he_ _ _ya, ’e he-, ’u

G   we he, ’e- he hu wa,

F   ’a ha_ _ _ya, ’e he hu,

G   we he-e-e hu wa,

X   ’a ha ha ha hu wa,
’a ha-, a ha ya,

Stanza I

A

tartu-hu su-u (’A)imagesa

B

’a-ha wułi-i tarta-ha,

C

qwa-ha-a, tartu-u su arta-,ha

D

’uartwa wułi-, arta_ _ _,dja-ha,—(I give them up)?

E

de ’aga-, ’aha yAdi hi,—(Because of it, they have gone)?

F

’aart kagi-ahe, ahAsa, hi hin sqa,—My uncles, the water (perhaps)?

G

’a-ha di-hi hu wa,—Went (?)

X

’a [ctuyiticiyi ’eya] (spoken) na-a ’uwa, ha-a-a-a ya,

Stanza I (repeated)

A

tcu su ’Aqa,

B

arta-ha-wułi-i dja-ha,

C

qa-ha, tartu-u su, qa ha,

D

’uartwA wułi arta-ha, tarta-ha,

E

de ’a ga, ’a-ha-a diye,

F

’aart kagi, ha-A-sa, hi hin sqa,

G

’a ha ha di-hi huwa,

X

’a ha, ha huwa ha m_ _ _ma [tłe hede!] ha,

Stanza II

D'⁺

ha-gu-’ace_ _ _, ’aart ka-gi-hi, he ya,—Come (perhaps?), my uncle

E'

ne-el gu ce_ _ _, he-ye—Come in (perhaps?)

F'

’aart kiki he he, ’e he ya, ’e he hu,—My younger brother

G

we he he, ’ehe hu wa,

X

’a-ha ha hu a, ’a ha ha ha [tcuye!] ha ya,

Stanza II (repeated)

D'⁺

’a hagu- ce he-he-he-he-he ’aart ka-agi, he-e ya,

E'

ne-eł gu ce-, e-he

F

aart kagi, he ya, ’e-eha,

G

we he-he-e-he hu-wa,

X/

’a-ha-ha hu ’a, ’a [’aya hAsdu ’aliciye ’aya….]

The structure of the song seems to be:

Refrain:       Y   (E)   F   G   F   G   X

Stanza I:   A   B   C   D   E   F   G   X

A   B   C   D   E   F   G   X

Stanza II:   D'⁺   E'   F'   G   X

D'⁺   E'   F'   G   X/

The singer nearly always interrupted the last (X) phrases.

CAnkuqedi Mourning Song, Composed by Blind Dave Dick

1954, 3–2-K; recorded by Annie George on May 23.

This lament was composed by Blind Dave Dick of Dry Bay, a CAnkuqedi man, also known as DAartquwAdEn and Qałtartaqe (born before 1870, died before 1916). The occasion was when his brother imagesixutsimagese, and his sister's son, Qałaxeł’, died on the same day from drinking bad liquor (Case 12, p. 604). The singer is the widow of Sam George, a nephew of the composer. When the latter's younger brother, Peter Dick, died because his car ran off the dock, Sam George began to sing this song, weeping at the same time. If he were alive now, his widow said, he would sing this song at potlatches and would record it himself. Therefore, as she explained in the Tlingit introduction, she is singing it so that their children can have a phonograph record made from the tape by which to remember their father.

The song (Refrain, Stanza I [sung twice], Refrain, Stanza II [sung twice], and Phrase A of the Refrain) lasts 2:45 minutes.

As heard and recorded on the tape, the words are:

Refrain

A   ya ’a hine hine he ya ’ane,

B   ye ’a hine hine he ya ’a,

C   ya ’ a hine hine, heya ’ a,

Stanza I (sung twice)

A

’aart ketudutatci qa, ckayuda,—I am always thinking, (?),

B

tsu yeł ’ani tudeqan nak—Again Raven's town

nEł wugut -eye,—Inside he went.

C

ya ’a hine hine, he-ya ’a ha—(Alas, etc.)

Refrain

Stanza II (sung twice)

A

tartu-da artisiartagi—Why is it—?

tsu yi, ’Unartadjitca,—-?- I always imagine,

B

tsu yeł ’ani tudAart—Again, from out of Raven's town

’aart kAart quqaartaarteye,—He will return [to pity me]?.

C

ya ’a hine hine, he ya ’a ha

Refrain

A   ya ha ’a hine hine he ya ’a.

“Raven's town” is the Old Village of Yakutat, where a TłukwaartAdi man had served his guests bad liquor.

Wuckitan Mourning Song: Lament for the Murrelet Cane

1954, 7-1-B; recorded by Mrs. Chester Johnson and Mrs. Jenny White on June 10.

This is a very old mourning song belonging to the Wuckitan, a Wolf-Eagle sib, that of the singers’ father's father's father's father. The Murrelet Cane or Dance Pole (tartit wutsaga) was a crest object used by the song leader. It drifted away when the tide came in. The composer's brother knew how to make anything—canes, canoes, screens—but the brother was dead. So he cried about it and made a song for the cane. It is not known whether the composer was the ancestor of the singers. In the song the dead brother is addressed as the Murrelet, a totem of his sib.

In the Tlingit introduction by Mrs. Chester Johnson (20 seconds), she explains how the Wuckitan are her CAgun (see pp. 455, 813–814) on both her father's and mother's side.

The song has a refrain and two stanzas, each stanza sung twice (2:43 minutes). The text was dictated by Mrs. Chester Johnson, later corrected and translated by Helen Bremner. As can be seen, the order of verses as dictated was not quite the same as the order when sung. As dictated, the words are:

Stanza I

daqwEt tuwu dearta—Why, what is the reason, łAdAart gaartdutimagesitine—Away where we cannot see
yede ’udaqintca—Thither you flew away,
cewAdi tartit—O Murrelet?

Stanza II

qa arte quwA ’aarttc—His voice sounds (?)
ka yełi—Of the Raven.
tcus yis duartaart—For you he is crying,
cewAdi tartit—O Murrelet.

As sung the words are:

Refrain

A   ’a ’a hue ya

B   ’e ya he huwe,

C   ’a ’a huwe,

D   ’a ’a huwe-ya,

E   ’e-u ’e we ha,

F   he ’a ’a ’a,

Stanza I (sung twice)

A′   qa arte quwu ’aarttca—His voice sounds

B/   ka yełi,—Of the Raven.

C+   tcus artis dja dugaarta—For you he is crying,

D'   cewAdi tartita—O Murrelet.

E   ’e ’e ’uwe ha,

F   ’a ’a-u ’aye ’a

Stanza II (sung twice)

A′

daqwEt tuwu dearta—Why, for what reason,

B

yec dak tunditana—(?) seaward turned his mind

C

cewAdi tartita—O Murrelet?

D+

łAdAart gaartdutsitini—Away where we cannot see

E

yede(n) daqintca—Thither you flew away

F

’a ’a-u ’a-e ’a
     hutart!—That's all!

I have had to follow the translation given to me, but I suspect that a more literal rendering of the words would indicate that the song is about the Murrelet, but is not addressed to him.

The structure of the melody is:

Refrain:

A

B

C

D

E

F

Stanza II:

A′

B/

C+

D'

E

F

(repeated)

Stanza II:

A′

B

C

D+

E

F

Scores of sib potlatch songs

1952, 7–2-A Raven Moiety Song Referring to Raven's Theft of Daylight (I)

1952, 7-2-B Raven Moiety Song Referring to Raven's Theft of Daylight (II)

1954, 6-2-B Raven Moiety Song: Raven Cries for Daylight

1954, 4-1-A Traditional Kwacartqwan Mourning Song: Lament of Gudiłta′ (I)

1954, 7-2-C Traditional Kwacartqwan Mourning Song: Lament of Gudiłta′ (II)

1954, 7-2-H Kwacartqwan Lament for a Drowned Son

1952, 1-1-C Traditional TartuknaxAdi Song: How Raven Deceived the Sea Otters

1952, 1–2–A Traditional TłUknaxAdi Song Attributed to Qake’xwtE

1952, 2–2–B(a, b) Traditional TłUknaartAdi Song: Lament of Wuckika (I)

1952, 2–2–B(c) Traditional TłUknaartAdi Song: Lament of Wuckika (II)

1954, 6–2–C Traditional TimagesUknaartAdi Song: Lament of Wuckika (III)

1954, 1–2–E TartUknaartAdi or Kw acartqwan Song: Lament for the Crane Canoe

1954, 3–2–H Traditional TartUknaartAdi Song: Lament for the Raven Post

1952, 1–1–A TartUknaartAdi Mourning Song, Composed by Dry Bay Chief George

1954, 2-1-G TartuknaxAdi Mourning song, Composed by Dry Bay Chief George

1954, 2-2-A TartuknaartAdi song for the Frog Screen (I)

1954, 6-2-A TartuknaartAdi Song for the Frog Screen (II)

1954, 6-1-I Teqwedi Song, Attributed to Men Lost When Getting Green Paint Stone

1954, 1–1–F Teqwedi Song of the Golden Eagle

1954, 5–1–C Teqwedi Mourning Song, Composed by Jim Kardeetoo

1954, 5–1–D Teqwedi Dance Song: Killerwhale Drum Song

1954, 3–1–D Kagwantan Mourning Song, Attributed to KackEn

1952, 7–1–B artałyIart-Kagwantan Mourning Song: Lament of the Beaver

1952, 7–1–C(a) Traditional artałyIart-Kagwantan Song, Attributed to Łartayaartw (I)

1952, 7–1–C(b) Traditional artałyIart-Kagwantan Song, Attributed to Łartayartw (II)

1952, 2–1–B Traditional CAnkuqedi Mourning Song: Lament for GosnA’w

1952, 2–1–F Traditional CAnkuqedi Song for the Thunderbird Screen

1954, 5-2-F CAnkuqedi Song for the Thunderbird Blanket (II)

1952, 4-1-A (a, b, c) Three (?) Traditional CAnkuqedi Songs in Yukon Athabaskan

1952, 4-1-D Traditioanl CAnkuqedi Lament for those Drowned in the Yukon

1954, 3-2-K CAnkuqedi Mourning Song, Composed by Blind Dave Dick

1954, 7-1-B Wuckitan Mourning Song: Lament for the Murrelet Cane

Walking, Resting or Sitting Down, and Dancing Songs

The following songs are those sung by guests at a potlatch, and are grouped here according to the peoples from whom the songs were obtained: Tsimshian, Copper River Atna, Atna or Chugach, and Southern Tutchone on the Alsek River. These songs are not the exclusive property of any single sib at Yakutat or Dry Bay, even though particular singers might claim them for their own people (pp. 569–570).

Tsimshian Walking Song

1954, 6–1–G; recorded by Nick Milton on May 12.

This is one of the three songs with Tsimshian words which McClellan and I recorded at Angoon in 1950. It was believed to have been given to the Yakutat people by the Tsimshian at the time of the averted fight over Chief George's sea otter skin, which would have been about 1890 (see pp. 284–286). The song is now sung especially by the Teqwedi (according to the singer) when they are guests at a potlatch. All of the Teqwedi men, women, and children, dance to it as they enter and leave the house of their hosts, both before and after the potlatch.

Nick Milton accompanied himself on the drum. The song, in four parts, lasted 1:25 minutes. The falsetto cries, hi hi hi hi hi, are “just the happy cries the Tsimshian make.”

The words as heard on the tape are:

Part I

A | ’a(haha) yaartina yawina,
B | yawina, yaartina yawina,
C | yanina, hani’na, hanina’, hani’na, hani’na, ha

Part II

A′ | ’a, ’andaci yawina,
B | ’andaci na, yawina, yawina,
C′ | yatłata, ’aditłata, tełquca he hihihihihihihihi! kawina(taha)

Part III

A′ | ’a–ha, yawina, yawina,
B | ’andaci, yawina ha, yawina,
C′ | yatłata, ’aditłata hihihihihi! yełquca ’aya’ni’na ’a’ninahaha,

Part IV

A | ’a, ’a’ ni–na–ha, ’anina
B | ’atłata(ha), ’ani’na hihihihihi! ’anina,
C | ’a’ni’ na hihihihi! heyani’naha, yanina ’a–o! ’o–he! ’o hi! [cried out]

The structure of the melody is:

A | B | C
A′ | B | C′ (repeated)
A | B | C

Tsimshian Dance Song

1954, 6–1–H; recorded by Nick Milton on May 12.

This Tsimshian song, again one recorded at Angoon in 1950, was probably introduced into Yakutat about 1890. It is used by the Teqwedi when they are guests at a potlatch and dance to thank their hosts. The single part or stanza, repeated three times, lasts 50 seconds.

The words are:

A | ’ihi’ ’ehi’ ’iyaha ’aha
B | ’ihi’ ’ehi’ ’iya ha haw haw
C | haw, haw haw haw ’iyaw, haw haw haw
D | haw haw haw haw hiya haw haw haw [at end] (as above) hayaw haw ’aw he! ’aw he! [cried out]

Tsimshian Dance (?) Song: “artełtin's Marriage Song”

1954, 3–1–B; recorded by Emma Ellis on March 27.

The proper name for this song is ’artełtin's Footprints’ (artełtin artxa;úartiyedí). According to Swanton (1909, Song 47, p. 401), it was composed for and given to artonahī’n (artunahin, ’Other Water') a Kagwantan man, at the time of his marriage to artełtin of Prince of Wales Island. Her father sang this song as his daughter walked over a row of coppers to her husband. In her short introduction (26 seconds), Emma Ellis mentioned this story. The song seems to have been used by the Kagwantan of Dry Bay for dancing after a potlatch.

The words are in Tsimshian, and as recorded by Swanton are: xartłgayuwa hartyuwâ’ hay A’cgartłnaxa, hayu’ wacgartłnAXa.

As sung by Emma Ellis, they are:

A | heyuwa, hełqeyuwa,
B | ’i, ’i, ’i, ’i ’i (repeated)

This was repeated three times completely, but on the fourth repetition, Emma Ellis ended the song with a word and a laugh just after the beginning of the second B phrase. The whole lasted 48 seconds. McAllester comments that this “shows Tlingit casualness about finishing the last phrase. The fluctuating pitch has a regular pattern. Most phrases go down in the second half.”

The structure is:

A | B | B (3 times)
A | B | B/

Atna Marching Song

1954, 4–1–B; recorded by Katy Dixon Isaac on March 24.

This is one of the eight traditional songs in Atna Athabaskan, supposedly sung by the Gmeartqwan ancestors of the Kwacartqwan as they walked over the glaciers from the Copper River country to the coast (see p. 239). Although the tempo is so lively as to suggest a happy dancing song, the singer explained that it was a “song on the heavy side” (yAdAł ’heavy'), because the people were sad at leaving their relatives behind in Chitina. I believe that it is now sung by the Kwacartqwan when they are marching to a house as potlatch guests.

The simple melody is sung through four times, except for the final syllable at the end, and lasts for 1:40 minutes, although it is interrupted by a remark near the end of the second time.

The words are:

A | he djuci ye, he djuci ye,
B | ’eci ye ’eci ye ’a yaci ye
C | ’e he, da da da-u cegedi arte dadike [Fine]
X | ’e
| ’e [speaks] ya (on 2d time)

The structure is:

A | B | C | X
A | B | C | X′
A | B | C | X
A | B | C

Atna Marching Song

1954, 7–2–A; recorded by Maggie Harry and Jenny Jack on May 27.

This is said to be the first song composed and sung by the Gmeartqwan as they began their journey over the ice. The words are in Atna. It is now sung by the Kwacartqwan when walking to the house where they are to be guests at a potlatch. Their ancestors held a feather in each hand as they marched along, so the Kwack’qwan, men and women in a line, march back and forth, waving both hands with feathers from left to right (p. 240).

The song was introduced by a few words in Tlingit by Maggie Harry. Jenny Jack beat the drum and Maggie Harry waved a seagull wing in time to the music. The song appears to have a refrain and two stanzas, each sung once, and lasts 1:20 minutes.

McAllester comments that the song is unusual in that “the first phrase of Stanza II is taken (textually) from the refrain. The song has an unusually European quality. There is a simple development of the melody in European style.” Nevertheless, it is hard to see how European influence could have been effective among the Atna of the Copper River valley at the time of the migration, unless it was brought to them through contacts with the Russians at Nuchek.

The words of the song are:

Refrain

A | ’aya ’ane ’aya,
B | ’ane ’aya,
C=A⁺ | ’a ’ane ’a ’uwaneya,

Stanza I

A | cuya detxaya,
B | ’ayu detxaya
C=A-f- ’a | ’ane ’a ’uwa ’aneya,

Stanza II

A | ’a ’ane ’ayaya,
B | cuyu detxa
C=A+ ’a | ’ane ’a, ’a ’u ’ane wi yau!

The structure is simply:

Refrain: | A | B | C
Stanza I: | A | B | C
Stanza II: | A | B | C (where C is simply A+).

We should, however, note the lack of correspondence of the “words” to the music. In fact, the only “words” that could possibly have any meaning are those in A and B of Stanza I, with the phrase in A repeated in slightly abbreviated form in B of Stanza II.

Atna Resting Song

1954, 7–2–B; recorded by Maggie Harry and Jenny Jack on May 27.

This song was supposed to have been composed and sung by the Ginexqwan while they rested on a prairie during their journey across the ice (p. 240). It is now sung by the KwacKqwan when they pause at the door of the house to which they have been invited as potlatch guests. The group stands in one place, moving their bent knees from side to side, and also moving their arms at the same time. Their feet are not lifted.

Maggie Harry explained the song in a Tlingit introduction (19 seconds); Jenny Jack beat the drum for the song which lasted 2:42 minutes.

McAllester comments on the odd structure of the song. The refrain is sung twice, the second time with a rise in pitch. Then the sole stanza is sung through three times. The song is also unusual in that the same meaningless introductory phrase A is used to introduce both refrain and stanza, with “words” apparently confined only to phrase B of the stanza. “This song lacks the Tlingit zip, but has the usual accent on the offbeat. Almost every note begins on the off-beat. The song drags, but is still syncopated.”

The words are:

Refrain

| gukw! | “Begin!” [spoken]
first |  | second
A | yay ’a yai ’aya, | ya ’aye ’aya,
B | ’aniyaha ’aniye ’aya, | ’aniye ’au ’ani, ’iye ’aya,
C | ’ani yaha haniya, | ’ani yehu haniya,
D | ’e ’aya, | ’eye ’aya,
E | ya ’ahi yeyeye, | ’ya ’ani yeye,

Stanza (sung three times)

A | ya ’aye ’aya,
B | ’a cuyu de ’a cuyutxudaya,
C | ’ani yehu hani ya
D | ’eye ’aya,
E | ya ’ani yeye,
| (ya ’ani yu) [at end]

Atna Dance Song

1954, 4–2–A; recorded by Katy Dixon Isaac on March 29.

This is a Copper River dance song, the words of which are supposed to be Atna. It is sung, particularly by the Kwackqwan, when people are having fun after a potlatch. The short melody is sung three times and lasts about 2 minutes.

The words are:

’a(a) ’a(a) nikaha cAnahe,
’a(a) ’a(a) nikaha cAnahe
nika(ha) CAnahe
’a(a) nika CAnahe
’a cAne kAnahe, (he, added on 2d time)

Atna or Chugach Eskimo Dance Song: Spear Song

1954, 7–2–I; recorded by Maggie Harry and Jenny on May 27.

This is called ‘spear song’ (tartagal’ daciyi). It is sung for a dance in which a group of men dance and sing while they push around a single man with their spears or guns. Maggie Harry believes that it was captured from the Chugach Eskimo at the time when her great grandfather, Cada (Shada), fought against them at Cordova.

Possibly, however, it is the same as the Spear Dance Song, mentioned by Harry K. Bremner, which was used by the ancestors of the Kwackqwan at Chitina when they danced against their rivals who had been invited from upriver to a Chitina potlatch (pp. 898–899). The local “Ravens” walked down to the river bank with the points of their spears hidden in feathers, men in front and women behind, tilting the spears from side to side as they sang. The Atna words in the snatch sung by Harry K. Bremner were: hayu ’é hu hu ’é. This song (if different from 1954 Reel 7–2–I) was not recorded.

Maggie Harry introduced her song in Tlingit, ending: “You tell them fine-looking girls are going to sing this song.” Jenny Jack beat the drum. The song lasted 57 seconds, although it was interrupted for one musical phrase when Maggie Harry asked “You want to see how we dance this?” The “words” consist only of: ’aha ’aha ’aha ’uhu wa’e (repeated for each phrase).

The melody consists of only three notes. However, while Jenny Jack and Maggie Harry sang in unison, after the song was resumed following the interruption, Sarah Williams joined in, following in parallel fifths. As McAllester observes, the song does not sound Tlingit at all.

The structure is:

X | A | B | C
| A | [⁶] | C
| A | B | C (sung twice)
| A | B | C/

Unrecorded Atna or Eyak “Steamboat Song”

The Tcicqedi and artałyiart-Kagwantan sang a Copper River song when coming on the steamer to the Kwackqwan potlatch at Yakutat in 1905. The steamer's whistle was used as a signal to start and stop the song (p. 260). Later (1909), this song was used by Yakutat Teqwedi when they were guests at a Tl’uknaxAdi potlatch at Dry Bay.

The words of the song were:

ya ha…e´
SAni sa, SAni sa,
ya ha, yu ho,
SAni sa, SAni sa…

Southern Tutchone Walking Song

  1954, 3–2–B; recorded by Frank Italio on May 7.

The song is said to be a “Coming-in Song,” taken over from the Athabaskans of the Alsek River. It may be sung by either the CAnkuqedi or the TlukwaxAdi of Dry Bay when they are coming into the house where they are invited as guests to a potlatch.

Instead of using the drum, Frank Italio beat on a cigar box with a drum stick. The song lasts 1:28 minutes, and is said to be without words.

The structure is:

A | B | B | C
A | B | B | C
A | B | B | C/

The vocables are:

I

A | ya ’e ’a, ’e ya ’iye, ’i ya
B | ’e ya ’e ’a ’e ya, ye ’u ’u, (repeated)
C | ’i ya ’eya ’a, wi ya ’e, ’i ya,

II and III

A | ’i ya ’e ha hi ya, ’e ’e ya,
B | ’e ya ’e ’a he ya, ye he hu hu hu, (repeated)
C | ’i ya ’e ha, wi ya ’e ’i ya, (…uff [grunt] at end.)

Southern Tutchone Dance Song

  1954, 3–2–C; recorded by Frank Italio on May 7.

There is no break or pause in the recording between this song and the preceding “Coming-in Song.” Frank Italio continued to use the cigarbox as a drum. This is said to be a popular dance song (łAdjúci), with Alsek with Alsek Athabaskan words, which would be sung by guests after a potlatch. It has a lively tempo and lasts 1:17 minutes. It falls into two parts, the only difference between them being in the first two musical phrases and the very last phrase.

The words are:

Part I

A | ya ’e ’e ’e ya ’a ha ’e,
B | ’e ’a ’o ho ’i-ye,
C | ha ’o-ho-o ’i-ye ha ’o,
D | ho ’o ’i-ye ’a ’o ho-o ’i-ya
E | ’a ’a ha-wi, ha ha,
F | ’i-he ’e-hi ha,
G | ’e-he he ’a-hi hi-ya,
H | ’o ’o ho-o ’i-ye
I | ’a ha ha ’e, ha ha ha,

Part II (sung twice)

A′ | SA-dju-ci-du ce ’a,
B′ | SA-dju-cidu ce ’a ’i-ye,
C | to I (as above)
I | (at end) ’a ha ha ’e, ha artwan tartuc!

Southern Tutchone Dance Song

  1954, 3–2–D; recorded by Frank Italio on May 7.

This song is said to be similar to the preceding dance song. While singing it, the potlatch guests, CAnkuqedi or TłukwaartAdi, would hold eagle tails in their hands, raising and lowering them in time to the music.

The short song is sung through twice, with only minor variations in the vocables. As usual, Frank Italio cut it short at the end (58 seconds). The structure is:

A | B | C | D | X |
A | B | C | D′ |  | hun hutc!—’ (—?—) that's all!' |

Southern Tutchone ’Ptarmigan Dance Song'

1954, 2–1–H; recorded by Mrs. Chester Johnson on May 31.

This is an Athabaskan dance song, used by the Tł’uknaartAdi (and probably by other Dry Bay sibs), when invited as guests to a potlatch. It is called a “ptarmigan dance song” because all the guests—men, women, and children—wear white clothes, with down on their heads and arms, and hold white feathers in their hands, while they dance up and down like ptarmigan. It is a fast dance.

There is a brief introduction in Tlingit (10 seconds); the song lasts only 45 seconds. No attempt was made at the time to transcribe the words. Indeed, there are none, only vocables. When the song was played back on the tape recorder, the singer's sister, Mrs. Jenny White, who had previously remained silent, now sang a second, higher voice, and danced. She wriggled her hips a little, swayed from side to side, and moved her bent arms in time to the fast tempo.

The structure is:

A | B
A | B
A | B
A | B [!]

Southern Tutchone Sitting Down Song

1954, 3–2–E; recorded by Frank Italio on May 7.

This song, and 1954, 3–2–F, recorded with hardly a pause between them, are called “sitting down songs” because the guests who are feasting after a potlatch sing them while they are seated. These songs, perhaps also the other Southern Tutchone songs recorded by Frank Italio, had been obtained from Nuqwa or Nuqwayik (p. 89) on the Alsek River, a village from which some Dry Bay men had obtained a wife. “Well, they married this Interior woman. She was called Duhan (Duhan duwasAq cawAt). She's almost as big as a tree—tall. She's the biggest girl they ever seen, I don't know how many of them marry her; they brought her down [to Dry Bay], But she run away from them, from her husbands. And she ran back to the Interior, I think…. They got those songs from there, that's where that girl is from—Nuqwaqwan.”

This is a short song (57 seconds), sung twice through, except that the beginning and the ending phrases are abbreviated. There are only meaningless vocables. The structure is:

A'/ | A′ | B | C | D
A | A′ | B | C | D/

Alsek River Song: Coming Under the Ice (I)

1954, 3–1–C; recorded by Emma Ellis on March 27 (a).

1954, 3–2–F; recorded by Frank Italio on May 7 (b).

1954, 6–2–E; recorded by Mr. and Mrs. Frank Dick on May 17. (Not transcribed.)

According to Emma Ellis, this was supposed to be an Athabaskan (Southern Tutchone) song, although the words are Tlingit, and was originally sung by the crews of canoes that had successfully come down the Alsek River under the glacier (p. 87). She identified it as a ’sitting-down song’ sung by TłukwaartAdi or CAnkuqedi guests after a potlatch. Her version (a) consists of a single stan/a sung twice, and a refrain at the end.

The structure is:

Stanza: A   A   B   C   (repeated)

Refrain:      A   B   C

According to Frank Italio, this song is one derived from Nuqwayik on the Alsek River, when some Dry Bay men married the Athabaskan woman, Duhan. He also identified it as a ’sitting down song’ used by the CAnkuqedi and TłukwaartAdi when feasting after a potlatch. His version (b), with refrain, and a single stanza (sung twice) lasts 1:21 minutes.

The structure is:

Refrain:   A   B   C

Stanza:   A   B   C

              A   B   C   (slightly varied).

According to Frank Dick, this song was 200 or 300 years old and was associated with coming down the Alsek under the ice bridge. He reported that he had danced to it when he was a small boy, about 1910. His version lasted 2:04 minutes. This was not transcribed, since it was essentially similar to that sung by Frank Italio.

The words, as dictated by both Emma Ellis and Mrs. Maggie Dick, have no recognizable connection with the perils of descending the Alsek River. They are:

du kite ’aart djit dułikAts—His wing in my hand broke off.

du qA SAn wasa dAn qané—“I don't know what I'm going to do for his body.”

Emma Ellis’ version (a), as sung, is somewhat different, especially since it ends with the refrain (1954, 3–1–C).

Stanza (sung twice)

A | he ya kIte qu’a, ’as dji dułigutła, (du) [on repeat]
A | du kIte qu’a, ’as dji dułigutła,
B | du qa sAn qu’a, wasgi dAn qaneye,
C | ’e ye ’e ye, ’a ha ’ay, ya ha ha,

Refrain

A | ’ey ya ’ey ya, ’e ye ’ei ye,
B | ya ’a ’a ’i ya, ’e ye ’ei ya,
C | ’e ye ’e ye, ya ’a ’ay, ya ha [laughs]

What would seem to be a more “orthodox” version (b) is represented by 1954, 3–2–F; the words as sung are:

Refrain

A | ye he ya, ye he ya,
B | ye he-he ya, ye he-he ye ’a-ha he ya,
C | ye he he ya, ye he he hye, ’a-ha hoi, ye ha ha ha

Stanza (sung twice)

A | du kItc qu’a, ’aart djI dułigutsa
B | du kItc qu’a, ’aart djI dułigutsa du qasAn qu’a
C | wasA tsu qane, ye he he ye hya ha ’oi ya ha ya ’a (as above_ _ _ _ _ _ _ _ _) ha ’oi, ya a ho! [on repeat]

Alsek River Song: Coming Under the Ice (II)

1954, 6–2–D; recorded by Mr. and Mrs. Frank Dick on May 17. (Not transcribed.)

This is said to be a very ancient song, “pretty near two, three, four hundred years old,” and comes from the Athabaskans at the headwaters of the Alsek River. It is associated with the first descent of the river by canoe, when artutcda (a predecessor of the famous Dry Bay shaman) discovered a way down the Alsek under the ice bridge, after he had tested the route by letting two logs float down. Later, when canoes were coming down, they would run under the ice, one at a time, and this song would be sung for joy after everyone had passed through safely and were assembled below the glacier (pp. 87, 626).

Frank Dick evidently told this story in his Tlingit introduction (1:05 minutes), for he began: ’In the beginning’ (cukwanAx), and later said ’after they all came out underneath the ice’ (’ayacute;s wudila). He also identified this song, like the preceding song associated with the Alsek River (1954, 6–2–E), as a dance song for guests after a potlatch, not a sitting down song.

The song lasted 2:32 minutes. Frank Dick beat the drum; his wife clapped her hands, singing an octave higher.

Scores of walking, resting, and dancing songs

1954, 6–1–G Tsimshian Walking Song

1954, 6–1–H Tsimshian Dance Song

1954, 3–1–B Tsimshian Dance (?) Song: “arteltin's Marriage Song”

1954, 4–1–B Atna Marching Song

1954, 7–2–A Atna Marching Song

1954, 7-2-B Atna Resting Song

1954, 4-2-A Atna Dance Song

1954, 7-2-I Atna or Chugach Eskimo Dance Song: Spear Song

1954, 3-2-B Southern Tutchone Walking Song

1954, 3–2–C Southern Tuchone Dance Song

1954, 3–2–D Southern Tutchone Dance Song

1954, 2–1–H Southern Tutchone “Ptarmigan Dance Song”

1954, 3–2–E Southern Tutchone Sitting Down Song

1954, 3–1–C Alsek River Song: Coming Under the Ice (I) (version a)

1954, 3–2–F Alsek River Song: Coming Under the Ice (I) (version b)

Peace Songs

A peace dance song, or ’song about the deer’ (kuwakan daciyi), was composed by the captor-hosts for each person whom they had taken as a peace-hostage or ’deer.’ It was sung by the hosts during the ceremony while the ’deer’ danced, imitating in his or her movements, or symbolizing in his costume, the honorable name which his captors had given him and which is mentioned in the song. The ’deer’ is also addressed as one of the sib-children of his captors (pp. 570, 599–604).

There is also a special type of peace song (see 1954, 1-1-B)—composed by each of the two rival groups of guests invited to a potlatch—in which the singers refer in complementary or sympathetic fashion to the sib-children of their rivals. The sib-children of both guest groups are, of course, equivalent to their hosts. These potlatch peace songs are sung by the two groups of guests to each other, and serve to allay their bitter mutual antagonism.

Both types of peace songs are apparently in Haida Mouth style (pp. 571–572).

Potlatch Peace Song about Kardeetoo, by Dry Bay Chief George

1954, 1-1-B; recorded by Charley and Jenny White on March 23.

This song was composed by the Tł'UknaartAdi chief, Dry Bay Chief George, in 1910, when he and his sib from Dry Bay were invited by the Teqwedi leader, Jim Kardeetoo (1862–1937), to a potlatch at Shark House (also known as Bear House), in the old Village, Yakutat. The song is addressed to GIneartqwan-children, who would include Kardeetoo and other Teqwedi.

The Tlingit introduction (1 minute) was given by Charley White and later translated by John Ellis: “My grandfather's nephew invited people from Dry Bay, and that's the time, that's the song I'm going to sing. They were dancing to that song (when they were coming in). The words of that song were composed about him, Kardeetoo.”

The words of the song were later dictated by Mary Thomas, daughter of Jim Kardeetoo; she and her sister, Louise Peterson, explained them, There is only one stanza.

de artUnaarté ’at—To the land of the dead they went 1244

’AcartaWSIartaart—Weeping (?)

ya ’ida tuwu—Longing for you

ya ’iyełi xawe(s)—Your Raven thus

c-GIneartqwani-yAtarti—GIneartqwan-children

The song, as sung (1:25 minutes), consists of a refrain (sung once), a single stanza (sung twice), and a brief ending. Charley White beats the drum and at the end of the refrain calls out “djiya” (?), apparently urging his wife to join in. Her voice can be heard occasionally an octave above his.

As transcribed from the tape, however, the words seem to be:

Refrain

A | ’a ’anuwea, ’a-
B | -a, ’anuwe ’a
C | ‘a n ’anuwe,
D | ’ahe, ’aheya, ya-
B/ | ha ha nuwe,
C | ’aha n ’anuwe,
D | ’ahe, ahe [tciye!—song leader's cry]

Stanza (sung twice)

A

de (ya) artUnaartehayata [’at]—To the land of the dead they went

B/

’AC artan SIartaart ya—Near him (?) to weep (?)

C

’ida tuwu—Longing for you

D

’ahe, ’aheya,

B/

ya ’i yełi artawes—Your Raven, thus,

C

art-GIneartqwani-yAtarti—GIneartqwan-children,

D

’ahe, ’ahe ya

A'

(yahaha nuwe!—at end)

The structure is:

Refrain: | A  B   C    D   B/   C  D |
Stanza: | A  B/  C    D   B/   C  D  |
| A  B/  C    D   B/   C  D    A' | (at end)

Sitka Peace Dance Song for ’Canoe Deer’ and ’River Marker Deer'

1954, 3-2-G (a); recorded by Frank Italio on May 7.

This song, and the following for ’Kweł Deer’ (1954, 3-2-G, b), were composed for a Sitka Kagwantan man, Kuckéna, who was taken as a ’deer’ in a peace ceremony, and given three names. As Helen Bremner explained, “Just one person, have three titles…. In that song they keep on singing and have different words for it, and he imitates all those things and he's the greatest dancer.” In introducing the first song, Frank Italio said in Tlingit: “This is my grandfather's song (’aart łilkw daciyi ’eya). He was finally (?) called River Marker and Stone Canoe (hin kweyi qa te yakw hutću duwasaqw).” The song identifies him as one of the artaśhIttan-yAtarti, children of the Cow (Moose or Buffalo) House People. According to Swanton (1908, p. 407) they were a branch of the Raven Quskedi of Sitka. The first stanza mentions the name ’Canoe’, the second, the name ’River Marker’ or ’Buoy’ (hin kweyi). Unfortunately, the text of the song was not obtained at the time and has been transcribed from the tape. The song, with refrain, and two stanzas (sung twice), lasts 1 minute.

The words and their meanings seem to be:

Refrain

A' | ’ey(he) ye haw, ’a-ya ha ha-ya,
B | ’ey(he) ye haw, ’a-ya(ha) ’a-ha-ha,
C | ’ey(he) ye ha, ’a-ya ha ha-ya, ’e he ye he
D | ’a-ya ’e-ye ’a ho ho ho m hm,
X | ’a-ya he ha ha,

Stanza I (sung twice)

A | yeł yi yaguart—Raven(s), your canoe tćA ’awu(x)SIti—Just he is.
B | ’i tuwu arta—Your feelings ? (arta), artaśhIttan (i) -yAtarti—Cow-House-People's-children,
C | gusu di yełi—Where is the Raven? ’ayIkden qa’adi ’anaqaguartu—Into it ? he will go (?)
D | SAgu ’ani-de ’a hu hu ya hu,—Happy to the land.
X | ’a-ya ne ha ha

(The implication seems to be that the peace hostage is like the Stone [?] Canoe for the Cow-House-People.

In it the Ravens can travel safely to the land.)

Stanza II (sung twice)

A
de ’aartaarta—The paddler(s) tće ya ’akawłIku artwa—Just (?) know(s)—? [tĆA?]

B
arti hin kweyiye—Your river marker ceheyeyAdi yeła—O Raven (S)

C
SAgu kwa(ha) da ’aarta—(Be?) Happy ? ? dek qwa haarti ’at ’ade arta—? ? below (haarti) ?

D
arta ye kaart da ’aarttca—? ? is always heard (?) ho ho ya, ha

X
’a-ya-ne ha ha
(’a-ye-ne ’a wo!) [at end]

(The implication would seem to be that the peace hostage is like a buoy that can guide the Ravens happily through the deeps.)

The structure is:

Refrain: | A'   B   C   D   X |
Stanza I: | A    B   C   D   X | (repeated)
Stanza II: | A    B   C   D   X |
| A    B   C   D   X' |

According to Emma Ellis, who heard the recording, the artaśhIttan were a branch of the artat’kA’ayi, and this song had been used for her own grandfather when he was taken as a hostage (see Case 9, p. 603). Quite possibly the same melody (but with different words) was used, since both hostages were Kagwantan.

Sitka or Dry Bay Peace Dance Song for ’Kweł Deer'

1954, 3-2-G (b); recorded by Frank Italio on May 7.

This song followed without a break from the preceding and, according to the singer, was for the same Sitka man, Kackéna. Possibly the name kweł or artweł is really gweł or ’bag.’ Emma Ellis, however, said that when this song was sung for her grandfather, Qatan, his name was ’Armor Deer’ (sanket kuwakan).

This is a gay song, with refrain and two stanzas (sung twice), that lasts 2:33 minutes. Unfortunately, neither text nor translation was obtained at the time. The words on the tape seem to be:

Refrain

A | kut yaw haw haw ha ya ha,
B | ’a ya ha, ’a ha ho ye he, [laughs as he sings]
C | ’a ya ha, ’a ha ha ya ha,
D | ’a ya ha ha ha, ’a ya ha,
E | ’a ya ha, ’a ha ’o yamm,
F | ’a ya ha ha ha, ’a ya ha,

Stanza I (sung twice)

A

’AsdjIdAart tca yałIhasa—By accident (?) just (?) it [tćA?]       floated away

B

du kwełi, caheyAdi yeła—His bag (? gwełi ?), O Raven(s),

C

’adade tćA kandaartaarttca—Because of it just always weeping

D

’a-ya-ha-ha ho-o-ya-ha,

E

’a-ya-ha, ’a-ha-ho-ya,

F

’a-ya-ha, ’a ha ha ya ha (ha)

(It seems to be implied that the Ravens always are weeping because the bag, their ? bag, floated away. We are reminded of the halibut skin bags lost from the over-turned canoes at Lituya Bay; see p. 275).

Stanza II (sung twice)

A

’u [’i?] tuwu cade kaartani yearta—Your (?) feelings to the head (?) medicine like (yAart?)

B

tce [tćA?] gukwati—Just (?) will be (?) artaśhIttani-yAtarti—Cow-House-People's-children

C

tut arta-de cade tcuc dadAart du cada—Toward me (?) to the head (?) only from around his head (?)

D

’a-ya-ha-ha ho ’o ya-ha,

E

’a-ya-ha ’a ho⁷, ha-ya-ha

F

’a-ya-ha, ’a-ha-ha ya-ha-ha (’a-ya-ha, ’a ha-ya-ha wo ’aw!) [at end]

(The implication is that the peace hostage is like medicine or a magical plant [kaartani].)

Peace Dance Song for ’Dog Deer’ and ’Gateway Knob Deer'

1954, 3-2-A; recorded by Frank Italio on May 7.

This song was composed by Dry Bay Chief George, Tł’uknaartAdi, in 1902 for Frank Italio, KwutcEn, a CAnkuqedi man (1870–1956), when the latter was taken as a peace hostage by the Dry Bay TłukwaartAdi (see Case 10, pp. 604–605). Frank Italio was given two ceremonial names: ’Dog Deer’ (ketł kuwakan), which perhaps referred to an important TłukwaartAdi shaman's spirit; and ’Gateway Knob Deer’ (artitća kuwakan), a landmark on the Alsek River which they claimed. The song has two stanzas (each sung twice), one for each of the two names, and lasts 3:10 minutes. Unfortunately the text and translation could not be secured.

The complimentary song composed by Dave Dick for the TłukwaartAdi hostage (Sun Deer, Mortar Deer, and Fish Rack Deer) was not recorded.

The words to Frank Italio's song seem to be:

Stanza I (sung twice)

A
taqana ha quti

B
ketła ha ku[or qu] wucki-hi(hi)—(ketł—’dog')

C
’ini dakwu ’awdi[or -ti]

D
’aw teart nAart sAti-hi-hi

E
’a haw ha hi ya, ’a hi-hi,

F
’e-he qa-ti
(’e he, tłe hede!) [on repeat]—“To the beginning!”

Stanza II (sung twice)

A

di kitća łu kAt—The Gateway Knob Nose

B

’uc tćA ’aw haw—If not just (’aw haw) ’idusa-ha-ha—You named him

C

di yaart kuart łA-ti-ca [or -sa]—? (the canoe would turn back??)

D

’aw te(art)-nAart dutinaw—? from the rock see him [visible]?

E

’a haw ha hi ya, ’a he he

F

’e he tcuya!—“Again!” he hutć![at end]—“That's all!”

I cannot attempt to explain the meaning of this song.

The structure is:

Stanza I: | A   B   C   D   E   F
| A   B   C   D   E   F/
Stanza II: | A   B   C   D   E   F
| A   B   C   D   E   F/

Peace Song for ’Dollar Deer'

1954, 1-2-D; recorded by Minnie Johnson on April 8.

This song was composed by Blind Sampson (1866–1948) about 1904, for the Teqwedi to sing while their peace hostage, Mrs. Situk Jim, artosał-tła (Kwacart-ca, 1856–1916), danced as ’Dollar Deer’ (dana kuwaka; see pp. 601, 604). Mrs. Situk Jim was a daughter of the Teqwedi man, artadeneart Johnstone, by his first wife.

The song was recorded by Minnie Johnson, half-sister to Mrs. Situk Jim. There is an introduction in Tlingit (2 minutes), explaining how Mrs. Situk Jim was captured and danced to the song. The singer begins the song, sings the first stanza through once, but breaks down during the repetition. She repeats Stanza I from the beginning, exclaiming at the end: “Tłe hede! De cukde cuqałIartuartw” (Then the beginning. Halfway ? say the words of the song ?). The song itself lasts 1:19 minutes.

The singer dictated the words and gave a free translation.

Stanza I

tća dana-yeart tća kuartwatin—Just like a dollar, just wearing it,

Teqwedi-yAtarti—Teqwedi-children [i.e., the hostage]

dutuwu ’ayu—The thought about them [her],

Teqwedi-yAtarti—Teqwedi-children

du artutcitc seartúart kaartUartdaarti—The Wolf will wear around his neck.

Stanza II

’ackadé artA djAk sitan—Right onto her (like breakers) striking

du artutc ’aqaarti—The words of the Wolf,

cewAdi yeł—This Raven [i.e., the hostage]

’atunAart kéwudaqin—Out of it, up she flies.

As heard on the tape, however, the words are:

Stanza I (sung twice)

A | tća dana yeart tć kugw atiyi
B | Teqwedi-yAtarti tuwu ’ayuda
C | du artutcitca seartuart artuartdati ’eya
X | ’a-ne ’a-ne ’a (ya)

Stanza II (sung twice)

A | ’ackade arta djak sitana
B | du artutca qaarti ceartAdi yeła
C | ’atunAart ’aske ’udaqintca ’e ya
X | ’a-ne ’a (ya)

Unrecorded Peace Song for ’Glacier Point Deer'

Minnie Johnson was anxious to record this song, but hesitated to do so because it belonged to the Teqwedi. It was composed by Blind Sampson for the Kwacartqwan to sing for Joseph Abraham, Tśuné (1867–1917), the Teqwedi man taken as hostage and “opposite” to Mrs. Situk Jim in the peace ceremony (Case 11, p. 604).

A free translation of the song is: “The Raven side can see the sign of that Glacier Point. That about shelter for the Kwacartqwan—that's—And have a shelter behind that Glacier Point: the peace. They looking for shelter and have no trouble, just peace.”

Peace Dance Song for ’American Flag Deer'

1954, 1-1-A; recorded by Charley White and his wife, Jenny, on March 23.

This song is believed to have been composed by Blind Dave Dick, CAnkuqedi, although it was sung by the TłukwaartAdi for Mary, Mrs. Lituya Bay George, a CAnkuqedi woman, who was a peace hostage in 1907 (Case 12, p. 604). The ceremony was held because her brother, GIxutsarte, and her son, Qałaxeł’, had died from bad liquor served to them by the Raven TłukwaartAdi. Jenny White is the daughter of Mary and Lituya Bay George.

The recording is introduced in Tlingit by Jenny White (57 seconds), for which John Ellis furnished the following translation: “When I was small, my mother was kuwakan [’deer']. And I want the good people to hear.

I want to sing that song. Tonight, good people, you are going to excuse me. Big trouble between [into] she went, my mother (’atłen kuxítł artakt ’ayu ’uwugut, ’aart tła). My uncle, my brother, by whiskey were killed (naut ’uwAdjAq). About her was made that song (dúdaciyí wusItí ya ci). That's the time the song was dedicated to her. That's why I want to sing it (’Atc ’aya ’aarttuwasIgu kékwxAciyi).”

The words of the song were later dictated by Mrs. Chester Johnson, another daughter of Mary and Lituya Bay George, who explained that her mother had been named ’American Flag Deer,’ literally ’wave marker’ (tit ’ankweyi kuwakan). It was not possible to secure a completely accurate transcription of the words; that given represents the dictated version checked against the tape. The translation is largely my own, based upon explanations. The song has two stanzas, each sung twice, but lacks a refrain, and lasts 2:35 minutes. Charley White beat the drum for his wife, and acted as song leader.

Stanza I (sung twice)

A

de tit ’ankweyi yeart—Like the American Flag [yAart ?]

’atya quqwati—(?) (have become ?)

B

TłukwaartAdi-yAtarti—Tłukw Adi-children

C

tuwunik yiś de—Longing (for them ?)

D

’adat artisIyeq de—On it all ye hoist it!

E

tća yeł ’ani kade—Right on Raven's town

F

tća ’anaart du tini—Just from there to see it.

G

’aya he-yeye ye-ye ya,

H

ha he ya ’aha,

Y

’aya ne,

X

ha—a tcuye’ [at end of first singing] “Again!” hede! [at end of repeat] “To the beginning!”

The meaning seems to be that the TłukwaartAdi love their sib-children, i.e., their hostage, as they do the American Flag. So all hoist it above Raven's town (Yakutat), where it can be seen.

Stanza II (sung twice)

A

de artat qu hani yeart ’ayAnde—Like the fish souls [yAart ?] shọreward

B

se ’it artenAart de daqena ’Ena—Through the horizon dawn breaks,

C

du tuwu hede artutca—His feelings, that Wolf,

D

’ican ’Asgi hedi yeł—Pity perhaps that Raven

E

-a ’akatart tu sAgu—(Because of it ?) will be happy

F

tća ’At cułItini—Just to watch it.

G

’eya he-ye-ye ye-ya ’a

H

’aha ya,

Y

’a-ya ne,

X

ha—a

[Z

a ’a hoy yi! added at very end].

The meaning of the last stanza is obscure, except that we may infer that, as was explained, “The Raven is happy when the fish come.” Dawn breaks just the way the fish come through the hole in the horizon. I think the Wolf is to pity the feelings of the Raven, but in any case, the implication is that now all will be happy.

When artohn Ellis heard the recording he commented that it was a Dry Bay song, and that the rhythm was different (quicker and more jerky?) from that of Yakutat songs.

The structure is:

Stanza I: | A   B   C   D   E   F   G   H   X   Y(repeated)
Stanza II: | A   B   C   D   E   F   G   H   X   Y
| A   B   C   D   E   F   G   H   X   Y   Z

Scores of peace dance songs

1954, 1-1-B Potlatch Peace Song, about Kardeetoo

1954, 3-2-G(a) Sitka Peace Dance Song for ’Canoe Deer’ and ’River Marker Deer'

1954, 3–2-G(b) Sitka or Dry Bay Peace Dance Song for ’Kwelł Deer'

1954, 3–2-A Peace Dance Song for ’Dog Deer’ and ’Gateway Knob Deer'

1954, 1–2-D Peace Dance Song for ’Dollar Deer'

1954, 1–1-A Peace Dance Song for ’American Flag Deer'

Funny Songs About Raven

A series of humorous songs about Raven, or ascribed to him, were recorded. These were sung as happy songs during the peace-making ceremonies, usually by the wives of the captors, while their husbands danced (pp. 570–571, 601–602).

‘Raven and the Herring Heads,’ ‘Raven and Snipes,’ ‘Raven Steals Daylight,’ ‘Raven Loses his Nose,’ and ‘Raven Washes Himself in Vain,’ were all specifically designated as funny peace dance songs. The last was said to have been danced by the men holding mock weapons. ‘Raven and the Mussel People,’ although funny, was said to have been sung by the Kwacartqwan when guests at a potlatch. ‘How Raven Became Drunk’ is funny, but I do not know on what occasions it was sung.

Funny Peace Dance Song: Raven and the Herring Heads

1954, 6–1-E (a); recorded by Sarah Williams and Jenny Jack on May 10.

This song, and the following “Raven and Snipes” (1954, 6-1-E [b]), both belong to the story of how Raven was invited to a potlatch (by the Sea Otters, according to Sarah Williams). He refused to go, because he did not like the codfish heads they always served. Later he sent his servant, a man made of wood, to find out what was being eaten at the feast, and to ask for a place for him. No one paid attention. Raven then collected a number of Snipes, his nephews, and went to the house. They came dancing in. Raven ate herring heads from a wooden box, climbing right into it. Supposedly he composed this song about the herring heads; or, it is supposed to be derived from his caw. In any case, it is an old one. Then the Snipes danced into the house, singing “Raven and Snipes” (see below).

The singers made several mistakes in the words before they were able to sing the two songs, which they presented together. Each lasted 32 seconds. The words to the first are: (sung twice)

A

’an ’an ’a artaartit artaw caarti—′An ’an those herring heads

B

yeart tcuartartex(a)—Raven ate them up.

The structure is:

A

B

A

B′

Funny Peace Dance Song: Raven and Snipes

1952, 3–1-B; recorded by Annie Johnson and Minnie Johnson on August 13 (version a).

1954, 5–1-E; recorded by Nick Milton (drumming) Katy Dixon Isaac, Mary Thomas, and Louise Peterson on April 25 (version b).

1954, 6–1-E (b); recorded by Sarah Williams and Jenny Jack on May 10 (version c).

The recording (a) in 1952 was preceded by a good deal of talk, and by the singing of the humorous song about Raven and the Mussel People, which the singers were not willing to record. Finally they sang ‘Raven and Snipes,’ which they entitled ‘Raven's Claw’ (yeł artàku). It lasted 40 seconds (cf. score p. 1262). According to Minnie Johnson, it was composed by Raven himself, when he went to a potlatch given by the Killerwhales.

The recording by Sarah Williams and Jenny Jack followed immediately upon the song ‘Raven and the Herring Heads.’ This was, according to Sarah Williams, the second song connected with the potlatch given by the Sea Otters. The Snipes danced into the house, singing this song. It had one stanza and lasted 3 2 seconds. This version (c) is different in tune and rhythm from that recorded by the group (1954, 5-1-E).

For a different version of the song, see Swanton (1909, Song 17, p. 393).

In the group version (b) of the song, Nick Milton sings and beats the drum. The women attempt to sing different parts. FdeL can be heard calling “tcułé (again),” and the song is repeated. There are also raven caws. The recording lasts only 55 seconds (pp. 1262–1263).

The following words of the song (as sung) were dictated by Mary Thomas and checked with the tape:

A | ’ahan! ’ahan!, arta-di-da arti-djA-yi | (repeated)
B | yearti artusiti ka-yuarticu, |
C | yeart keartk’e-hAS, tsAna’ tsAna’ |

As spoken, these would be:

’ahan! ’ahan! artat-da yitcAarti—Ah, ah, [snipes] that fly around the island,

yeart artusiti kAyuarticu—Raven's footsteps are following yeart keartk’-has,—Raven's nephews.

tsAna’ tsAna’—Rotten fish! Rotten fish!

“The little island snipes, Raven's nephews, follow in Raven's tracks. Rotten fish!” (Raven's favorite food.)

Funny Peace Dance Song: Raven Steals Daylight

1954, 7–2-J; recorded by Minnie Johnson on May 31.

This is a humorous song referring to Raven's theft of Daylight, and one which would be used at peace ceremonies. The words were sung over to me many times and carefully dictated. The refrain was omitted in the recording because the singer saw that there was little tape left on the reel and wanted to be sure to get all the words onto the tape. The two stanzas (each sung twice) last 1:33 minutes. Syllables dictated, but not sung, are in brackets [ ].

Stanza I (sung twice)

A

tartAS WA ’E [’A]gi ’ikwqwAna—You aren't the only one going to die,

B

ya-di yeart-a ’a ya ’a-na—You Raven,

C

ye tcuc kAartadigaarta—Why do you beg so much [qAartarta] (as dictated) [not to be harmed]?

D

cAyAdi yeart ’a ha ’e-ya ’a-ne ’a—You [little Raven.

Stanza II (sung twice)

A

tcus gun tude ’awdit—Right in his bosom he carries

B

du qe ’aarti ya di yeart-a—His daylight, the Raven.

C

da ’icanart ya ’i gutci—Take pity on all your Wolves,

D

CAyAdi yeart ’a ha ’e-ya ’a-ne ’a—You (little) Raven [and give them the Daylight].

   ’a-ne gugu waaaa’ [at end]—All cry waaa!

The singer gave this cry at the end because she said she had made a mistake. The cry “waaa!” would be given at a real peace ceremony in order to calm the ‘deer’ and to remove any bad consequences that might result from a mistake in the singing.

Funny Peace Dance Song: Raven Loses His Nose

1954 7–2-K; recorded by Minnie Johnson on May 31.

This amusing song refers to the story of how Raven lost his nose (bill) when he was stealing bait from the fishermen and got his nose caught on a hook. In order to recover it, he disguised himself with an artificial nose, and went through all the houses of the town until he finally found it. Then he asked to have the smoke- hole opened so he could see this strange object better, and flew off with it (see pp. 871–873).

Swanton (1909, Song 1, p. 390) records almost the same song, but reports that it is a “song about Raven's travels through the world, used at all kinds of dances.” Our informants specified that it was used for dancing at a peace ceremony, not at a potlatch. Once, when Minnie Johnson was singing the song, she ended it with a loud “kaw!” although this is not part of it. For the recording, she omitted the refrain and sang the three stanzas through without repetition (58 seconds) As sung, the words are:

Stanza I

A

dAartAart tudAtartEn ceheyAdi yeart—“His mind is so unsettled,” that Raven,

B

haarti de tartA ’a(wu)gud[in]—Down below [under water] he went

C

’a-[cough]-tA du artuwu—Just then his nose

D

tartA kewudusiyeq ’a ’ani ’eyi—They pull up (’a ’ani etc.)

Swanton renders this:

Dēł

yAx

wudAtsē’n

cēyē’art.

A big fellow

like

must have been

that raven.

Hayidē′

wugudi’n.

Down underneath

he went.

Aartart′gucî

duartuwu′

ke

wududzîyA′q.

At that time

 his nose

up

they came to pull.

Stanza II

[’aartawe hitart]—[For it, all the houses] (not sung)

A₃

’atuart YAWAgudiye, qU’a—He went through it (or them)

B

’ada arta dutci duti—?—

C

’angan wudiqin ya ’ani ’i—“He flew out of the smokehole.”

D

’ya ’ani ’i ya ’ani ’ibi

Swanton's version is:

Aga′ | artntū’x | yartwagu’t | duartū’wuarta.
At that | through the | he went | for his
time | town |  | nose.
Acdjī’t | dutī′ | artn |
To him | it was | with it |
| [given] |  |
gartnt | wudîqî’n. |  |
out of | he started |  |
doors | to fly. |  |

Stanza III

A₃

’ayeart ’awsine du artutci tuwu—Like that he does with his Wolf's thoughts

B′₁

’angan wudiqin ya ’ani hi—He flew out of the smokehole.

C₁

tartA nau ’idanA ’atunaart qU’a—If you drink whiskey, then

D₁

hitart tuart yaqegut ya ’anihi ’i—Through all the houses you'll [feel good enough to] go.

Swanton again:

Ayaê’x | Ansîni′ | doartodjiartAqayî′.
Like it | he now | his (opposite)
| does to | Wolf phratry.
Ān | gartnt | wudîqî’n.
with it | outside | he flew.

Wâ’sa | yūłcî’kudaya | tc!A | nao | artadAnA′.
Why | does he not look like himself | but | whiskey | ought to drink.

Atū’nAx | nī’ tc | nA′artegut.
After that | about the you can whole beach | you can wander.

The structure of the melody is:

Stanza I: | A | B | C | D
Stanza II: | A₃ | B | C | D
Stanza III: | A₃ | B′₁ | C₁ | D₁

Funny Peace Dance Song: Raven Washes Himself in Vain

1954, 6–1–K; recorded by Mrs. Chester Johnson on May 15.

This humorous peace song was explained by Minnie Johnson, who also dictated the text. It would be danced by the captors of the peace hostage while they brandished imitation weapons shaped like wooden tassels. The song provoked gales of laughter when recorded. It lasts only 1:15 minutes, with a refrain and a single stanza (sung twice).

The words as dictated are:

wasa qUnuk yeart ’ayu—What's the matter with Raven?

gutci qayat ckawułicutc—(For the Wolf) he bathes himself

gusus cqwAartukAt yéqUnuk—?-

’ican dena qúwanuga—Alas!      -?-

“Poor Raven is acting funny, trying to make himself white by scrubbing himself.”

As sung, the words are:

Refrain

A | we-ya-ha ’a-ha we-ya,
B | awe-ya ha ’a’ we-ya he-ya,
C | we-ya ha-ha ’a’ we-ya he-ya,
C′ | we-he-ya ’a-ha ’a’ we-ya he-ya,
X | [cough] ’e-ye ye ’e-ya,

Stanza (sung twice)

A₃ | wasa qUwanugu yeart ’ayu de
B′₃ | gutci qayat ’ackawuhcudja
A′₃ | gusus cqwAartukAt yeqUnuga
B | ’icahan dena quwanugwa’
C | we-ya ’a ’a ’a-a’ we-ya ’e

(X we-ya ’ah hm)                     [hutca] (at end)

McAllester comments that the phrases are “ambiguous,” and “hard to distinguish” because they are “all related to each other.”

The structure of the melody is:

Refrain: | A | B | C | C′ | X
Stanza: | A₃ | B′₃ | A′₃ | B | C | X
| A₃ | B′₃ | A′₃ | B | C/

Funny Song: Raven and the Mussel People

1954, 5–1–F; recorded by Nick Milton (with drum), Katy Dixon Isaac, Louise Peterson, Mary Thomas, and Susie Abraham.

This funny song was described as a “popular song” sung by the Kwackqwan after a potlatch to thank their hosts. I am not sure whether it was sung at peace ceremonies.

Before the recording, the song was rehearsed by the group. When they came to sing for the tape, however, they were laughing so much that the recorded version was not as good as the rehearsal. The song starts with Louise Peterson calling “guk (begin), grandma,” to Katy Isaac. The old lady starts the song, but soon drops out. It has two stanzas (about 1:50 minutes), and ends with crow calls by Nick Milton and Susie Abraham. The text was checked with several informants (Emma Ellis, Mary Thomas, Louise Peterson, and Mrs. Frank Dick).

Stanza I

yékaartenin ’aart tuwu sAgunUtc—At low tide I'm always happy.

yiartut ’an artaartgEnin—When I'm looking around at

yak qU hani—The Mussel People.

Stanza II

dak daqadénin—When it's high tide

’aart tuwu wanikw—I feel sad

tartatarteart artikwqatini—Never again to see

yak qU hani—The Mussel People.

It is evidently Raven himself who is singing. The words are slightly different as sung:

Stanza I (sung twice)

A | ye kaartenin ’aart tuwu sAgu yak qU hani,
B | yiartut ’anqaartgEn-ni (or tci) yak qU ha-
C | -ni ya ’aha’⁸ ’a ’i ya ’eni ’a
D | ’i ya ha ’a ’a ’i ya ’a

Stanza II (sung twice)

A | dak daqadenin ’aart tuwu wanik, yak qU hani,
B | tarta tarteart artikwqatini yak qU ha-
C | -ni ’aha⁸ ’a ’iy ’a ’a ’a
D | ’i ya ’a ’a [tcuye! (first time)] ’a ’i
(D | ’i ya [song dissolves in gales of laughter on repeat]

Funny Dance Song: How Raven Became Drunk on Whiskey

1952, 1–1-B; recorded by Charley White (song leader), Jack Reed (drumming on banjo), Jenny White, and Minnie Johnson on June 21.

This song was composed by Dry Bay Chief George (1850 ?–1916), and is said to be “a dance song for parties.” It would be suitable for guests to sing after a potlatch.

The recording is introduced by Charley White who tells in Tlingit how the Russians offered whiskey to Raven. At first it did not seem to affect him. They gave him more, and finally he felt good and tapped his feet. The introduction lasts 4 minutes.

The song has two stanzas, separated by a refrain, each stanza being sung through twice, and the whole lasting 2:30 minutes. During the singing, Charley White tapped his foot to imitate Raven and also called out “hede!” (to the beginning) at the end of the refrain, and “tcuye!” (again) after the first singing of the second stanza. No text was recorded at the time, but was later transcribed from the tape. The song is followed by a few additional remarks in Tlingit by Charley White (12 seconds), and by an explanation in English by his sister, Minnie Johnson (see p. 873).

When Charley White was asked in 1954 about the words for the song, he dictated the following, for which his daughter supplied a translation. (They could not be fitted, however, to what was heard on the tape):

Yeart qáwucu—“Raven was drinking”

deqAdet qUtuyeart du ’iart—“(For) everything he don't care”

dEkAt dA artutci wunqaartÁart—“The wolf says ‘take pity’”

As heard on the tape, the words are:

Stanza I (sung twice)

A | tćAartdAkAt’ Aartartutc tuye—All it (?) the wolves (wolf) tcuye (on repeat)
| xa-xi artarta-arta-ti—_?_ cried
B | ye yeart qa-wAcu qwa-arta—The Raven was drinking hAS det-ya-ka—_?_
| ha tartAarta du artutci tartu—Our-?-his Wolf indeed
C | artAarta[art] qonya di yeartI ’aya—Cried-?-the Raven
| ’aye ya ’a ’u
D | ’ahe ’a ha ’ahe ’ahu haya
| ’ani ’a ye-e

Refrain (sung once)

A | yau ’a-e ya ’a yu ’a ye ’e yau ’a-e
B | yawa yu ha we ’e ya hawe he
| ya he yu ha ’e heya
C | ha ’e ye ya ha hu ha ya ha ya
| ha-e ’e ya-’a ’u
D | ’a he ’e ha ’a he ’a hu ha ya
| ’ani ’a he ya hede! [spoken]       “To the beginning!”

Stanza II (sung twice)

A

hutarti nawu yeart gakwi[tart]?—(The-last-of ? the liquor Raven ?)

yidat-a hande tartita—Now this-way (give!)-?-

B

ya ’ituwu ha artu-kwa—Your feelings us to-pity(?) (yi ya) [on repeat]

ha di ya-Atarti artati—Our children -?-

C

’i yi kAt qu tartita ’idat ’aya—For you not to-be- [tsu]? lonesome (?) now ’ai yi ya ha

D

’ahe ’a ha ’ahe ’ahu haya

’ani ’a ye-e tcuye! [spoken on first time] “Again!” [Ends:]

A

yau ’a-e ya-au ’au (first phrase of refrain).

The structure of the song seems to be: A B C D for each part, plus A for end.

1954, 6–1-E (a, b) Funny Peace Dance Songs about Raven (a) Raven and the Herring Heads

Scores of funny songs about Raven

1952, 3–1-B Funny Peace Dance Songs: Raven and Snipes (version a)

1954, 5–1-E Funny Peace Dance Song: Raven and Snipes (version b)

1954, 7–2-J Funny Peace Dance Song: Raven Steals Daylight

1954, 7–2-K Funny Peace Dance Song: Raven Loses His Nose

1954, 6–1-K Funny Peace Dance Song: Raven Washes Himself in Vain

1954, 5–1-F Funny Song: Raven and the Mussel People

1952, 1–1-B Funny Dance Song: How Raven Became Drunk on Whiskey

Songs for Children

This group comprises two traditional songs for children, called “teasing songs” by our informants. These were also sung as amusing songs at peace ceremonies. There are also a few “pet songs” for small children, sung by the composers.

One unrecorded “teasing song” involved an accusation of philandering with a member of one's own sib (“tribe”). The words were quoted as: “I never knew that you're going to die for your own tribe, and this is the time you're going to die [of love] for your own relation.” The informant (MJ) had heard it up at sealing camp. It was stormy weather and the people “sat in a tent and sing, sing, sing, the whole night—Jimmy Jackson and B. A. Jack”—both noted wits.

For other children's songs or lullabies that were not recorded, see pp. 571, 575, 830–831.

Traditional Teasing Song for a Little Boy

1954, 3–2-I; recorded by Minnie Johnson on May 5.

There is an introduction in Tlingit (25 seconds), translated as: “I just say this is no song, anyhow not composed by anybody. That's just a pet song and anybody that loves a child, and they used this song. But these two ladies, friends of mine [FdeL and Mary Janes Downs], request that I sing for them and I just start in.”

The song lasts 55 seconds:

qa kiyeart tłuxwA tartak (repeated)—(Like a man?) creep around

tłaarti-ca kAart hedudikAhEtc—For the sitting women,

“it's a dirty shame.”

’andat naartaskitc—Always sneaking around town.

“Sneak around the corner, around the house—not even ashamed of doing it. That's for us a man sneaked around the house. Not even ashamed of doing it, because he loved tłayi-ca—that's us [i.e., ’sitting-down women,’ or Raven women at a peace dance, see p. 601]. Sneak around the town…. Slip around, tiptoe around the village, just to get a glimpse of tłayi-ca.” (See Swanton, 1909, Songs 13 and 15, pp. 392–393.)

“That's a pet song for a baby, but they use that in a peace dance just because it's lively.”

When sung to a child, the names of one or more of his joking-relatives are inserted. If sung at a peace ceremony, the singer's sib-children are addressed: i.e., Kagwantan would sing to or about Kagwantan-yAtarti.

As sung, the words are:

A
kiyEart łuxwAtarta qa [or tartak?]
kiyEart łuxwAtarta qa

B
Tłayi-ca kAarta
he dudikAheca
’andat naartaskitca ’e ’e

X
’e ’e na ’a hm hm

These words are repeated three times, with slight variations. The second time, Phrase B is abbreviated as:

B/ tłaarti-ca kA-arta-kat yatakutarta ha he.
On the third time, the last part of Phrase B is:
’an dat naartaskintca ha he.
The end is:
X/ ’e ’e na ’a detartA hutart ’ AWE!—“Indeed that's the end!”

Swanton's Song 13(1909, p. 392), said to be a Kagwantan cradle song, “used also at feasts,” is very similar:

K!īartī’t | łuxwacart’dīn | Axho’nxo | cAt | kAX.
Around | I always like | my brother's | wife | for.
the house | to creep |  |  |

KA’cde gux degu’t | hē dud⁮kaxēc. | Ān | dartt | nAXASgê’ tte.
I thought he | and I should | Town | around | I always
would jump up | be |  |  | tramp.
| very much |  |  |
| ashamed. |  |  |

Traditional Teasing Song for a Little Girl

1954, 3–2-J; recorded by Minnie Johnson on May 25.

This song may either be sung to a little girl, or be sung for fun at a peace ceremony. As the singer translated her Tlingit introduction: “Oh, I just explained that this is no song composed for special-like, you know, a potlatch and stuff. This is just a pet song, because I used to sing it for my grandchildren, and the reason I mention that Susie's name [Susie Abraham] in it is because they all belong to the Kagwantan-yAtarti—so's Susie. [I.e., their fathers are all Kagwantan men.] This song is made up and any body can sing it—-grandmother or mother or anybody who loves the child can sing that song. I used to sing it for mine. I mention Leslie's name [Mrs. Nick Milton] because they all belong to Kagwantan-yAtarti.”

When the words were dictated, the name of Mrs. Annie Johnson, Qełcake, was used as that of the joking-relative of the singer's granchildren, Becky and Beverly Bremner, because they are all artałyix-Kagwantan- children. Fearing that the old lady might be offended, however, the song as recorded referred to Susie Abraham and Leslie Milton.

The name of the little girl to whom the song is sung is not mentioned because this is “just a hinting song.” The inference is that she, too, is guilty of destroying the berrybushes, “so her little husband can eat the berries.” Or, perhaps we are to understand that she can take delight in hearing her joking-relatives scolded in song for this breach of taboo.

Presumably, when sung at a peace ceremony, no names would be used, but reference would simply be made to Kagwantan-children in general.

When recording the song, the singer was interrupted after singing the stanza the first time, so sang it over twice. There is apparently only a single stanza which may be repeated any number of times, each time inserting the name of another joking relative of the little girl. As sung:

A
’adusAwe ’adusAwe—Who is that? Who is that?

B
qacuwayi tcu qawłIłiarta—“Breaking the berry

bushes ahead of me?”

Susie [or Leslie, etc.]—Susie

C
xawe[s] yaquwanuga du artUartartuartes—It is. She did it

[uk] for her little husband.

D
du artUartartuartes ya ’a na—For her little husband.
’e ya ya ’a na ’i
’e ya ’a na ’i [de wa!] (at end)—“That's it!”

Pet Song for a Little Girl, by Sam and Annie George

1954, 3–2–L; recorded by Annie George on May 23.

This song was composed (about 1920?) by the singer and her late husband for their daughter, Jessie, when she was small. It lasts 1 minute.

The words, as dictated and checked with the tape, seem to be:

CAt artAtartartUart tartiartarti—“Little girl stinker.”

CAt artAtartartUart tartiart-tłena—“Stink bigger.”

The verb is probably tartéart ’dirty’ (Boas, 1917, p. 141), and a more accurate translation would be: The tiny girl is a little dirty; the tiny girl is ’big’ dirty.

The structure of the song is:

A | B | C | A⁺ | C
A⁺ | B | C | A⁺ | C
A/ |  |  |  |

Pet Song for a Little Boy, by Minnie Johnson

1952, 5–1–A; recorded by Minnie Johnson on September 9.

This song was composed by Minnie Johnson (in 1922 or 1923?) for her son, Howard Gray, whom she affectionately called ‘Stinker’ or TcAnAyu. She later sang it for his son and namesake. The song lasts 25 seconds in the recording and is preceded and followed by explanations in English.

The words are said to mean:

A man is coming, a man is coming!
A man is coming, come, a man is coming!
…It's a little fellow I love.
Is he come? Is he come?

[At this point the little boy would pretend to fall back.]

Oh, there comes a man!
Come, come, come!
He stinks, but I love him.
I just love him.
He stinks awful, but I love him just the same!

In the latter part of the song are the baby-talk words: tcAartw! tcAartw! with which the little boy used to pretend to scare his mother as he pointed to spiders and bugs. An adult would say artoart! in pointing out something dangerous that a child should not touch. Unfortunately, a dictated version of the words was not obtained, and those of the first line were hard to hear on the tape.

A

artaIart artaSIart artane artawguł’ tcanayu—?- (he comes) [tcAnAyu]    stinker

B

’iartcIartan artan artAnartayu—I love you, love, love (a bit)

B

’iłIłItcan tcan tcanayu—You stink, stink, stinker

C

’iartcIartan artan artAnartayu

D

’iłItcan tcan tcanayu

E

tcAartw tcAartw tcAartwartayu—Scare, scare scare (a bit)

E

tcAartw tcAartw tcAartwartayu

’ tcan tcan tcanayu

F

’iartcIartan artan artAnartayu

G

’iłItcan tcan tcanayu

Pet Songs for Three Little Girls, by Minnie Johnson

1952, 5–1–B (a, b, c); recorded by Minnie Johnson on September 9.

These three short snatches of song, composed by the singer about 1935, are interspersed in a long recorded account (in Tlingit and English) of how the singer and her second husband, Charley Johnson, adopted these three little girls as their grandchildren.

Of these songs, Minnie Johnson said: “So I get the song for all of them. Sometimes I get the whole bunch together. They all dance like growing up young trees. They're just shaking like a leaf, the way they dance [to the songs] I compose for them. [Now they are all grown up, big girls, and] they don't want to hear these songs anymore…” She hoped that this recording would not offend them.

Song A (23 seconds), for Esther, the oldest, uses the child's baby talk ’sAmbAda’ for ’somebody is coming in.’ The words were transcribed from the tape, and can also be heard as ’cam-pa-ta ca,’ etc. The pattern of the words is:

A | B | C | D
| B | C | D
| B | C |

The melody is: A  B  C  D  E  G  F  G  H.

Song B (17 seconds), for Rosemary, uses the expression ’dá cana,’ which the singer described as “a love word” meaning “ ’good-for-nothing'—wouldn't let me change your diapers.” (It is derived from da! ‘behave!’) As heard on the tape, the vowels of each syllable are clipped by glottal closure, as in Atna Athabaskan speech. By text and rhythm the structure is:

A | B | A | B
A | B | A | B

By melody, however, the structure is:

A | B | C | D
A' |  D |  |
A'' |   D' |  |

which McAllester terms “a tour de force of variations.”

The third song, C (21 seconds), uses the word tartiartina “my little lover,” the pet name for the smallest child, Audrey.

By text, the structure is:

A | B
A | B
A/ | [talks]
A | B
A | [talks]

By melody it is:

A | B | C |  |
| B | C/ | [talks] |
|  | C | D | E | [talks]

Scores of songs for children

1954, 3–2–I Traditional Teasing Song for a Little Boy

1954, 3–2–j Traditional Teasing Song for a Little Girl

1954, 3–2–L Pet Song for a Little Girl, by Sam and Annie George

1952, 5–1–A Pet Song for a Little Boy, by Minnie Johnson

1952, 5–1–B(a) Pet Song for Esther, by Minnie Johnson

1952, 5–1–B(b) Pet Song for Rosemary, by Minnie Johnson

1952, 5–1–B(c) Pet Song for Audrey, by Minnie Johnson

Shamans’ Songs

Shamans’ songs are supposed to be the voices of their spirits singing. The songs are usually traditional and are known to all the men of the sib, since they must sing for the shaman during his seances. New songs are also said to be acquired when the shaman is in retreat in the woods.

Teqwedi Shaman's Song: Spirit of Children of the Sun

1954, 6–1-A; recorded by Jenny Jack on May 10. (Not transcribed.)

1954, 6–1-J; recorded by Nick Milton on May 12.

This song has Tsimshian words, and was first obtained by the Yakutat shaman, artatgawet (pp. 679–680, 710–712). The last Teqwedi shaman to have these spirits was Teart-’ic, who died about 1890 without a successor. It has been sung since his death by the Teqwedi as a sib song at potlatches. Jenny Jack (Teqwedi) sang it in memory of Tek-’ic's nephew, Jim Kardeetoo, the morning after he died.

The song is in two parts: the first has a fast, irregular tempo; the second is slower and smoother, so that it sounds like two songs. Two versions of the song were obtained.

The recording by Jenny Jack (1954, 6–1-A) lasts 1:26 minutes, but omits the repetitions in the version sung by Nick Milton (1954, 6–1-J), which lasts 2:11 minutes. Both singers recorded explanations in Tlingit of the song.

The words were dictated by Jenny Jack, but these omit many of the vocables. Although the song is supposed to be sung by the shaman's spirits, the Children of the Sun, no informant was able to explain the meaning. The two versions are almost identical for Part I, but vary somewhat for Part II.

Part I (6–1-J; sung twice)

A | ya hoi’, ya-ha wa-i ya-hoi’, ’i-hi’, ’i-hi’,
B | ya-ha ha-wa ha-ya hoi’, ’i–hi, ’i-hi’,
A' | łhwan-di-hi, lhwan-di(hi) nax nu yu-wai’, lhwan-di-hi,
(B') | łhwan di-hi nax nu (huq) yu-wa, ’i-hi, ’i-hi,
B | ya-ha ha-w ya-hoi’, ’i-hi, ’i-hi,

Note how the music and words seem to fall into the following structure:

Refrain: A | B
Stanza: A' | B’ (in which the words do not quite fit the musical phrases)
Refrain: B |

The version by Jenny Jack (6–1-A) is the same except that Part I is not repeated; ye-hei’ is substituted for ’i-hi’ (end of A, B, B'); the beginning of Phrase B is ya-’ax instead of ya-ha; and the final Phrase B ends in ’u! instead of ’i-hi, ’i-hi.

Part II (6–1-J)

Refrain

A | ’a ha, ’a-wa-ha, ’a-ya-ha, ’a hi, ’a-ya-ha,
B | ya-ya, ’a-wa ’i-hi, ’a-ya-ha, ’i-hi, ’a-ya-ha,

Stanza (sung twice)

A | ’a-ha cu-wa-arti-ta, ’a-ni cu-wa, ha,
B | na-qa tła-wa yi-hi, ’a-ya-ha, ’i-hi, ’a-ya-ha

Conclusion

X | ’a-ha, ’a-hi, ’a-ya
| hutarta!—“The end!”

The structure here is:

Refrain: | A | B
Stanza: | A | B (repeated)
Conclusion: |  | X

During the course of the song, the pitch rises a whole tone. McAlmlester comments on the unusual form of the song, and notes that Part II is less Tlingit in character than pan-Indian.

Jenny Jack's version (6–1-A) varies somewhat in words and structure for Part II:

ya ’a-wa ’a-wa-ha ha
ya ’a-ni-hi ’a-wan-da
na-ka [or arta]-tarta-wa carte-hen-da
’a-ha ya-ha ho-ho ’a-wa
yo-ho ’a-wa-ha ho-ho ’a-wa

   This whole part is repeated as:

’a ’a ya ’a-wa cu-wan-da
ya ’a-ni-hi ’a-wan-da
na-arta-tarta-wa carte-hen-da
ha-ha yo-ho ho-ho ’a-wa
yo-ho ’a-wa ho-ho ’a-wa (hu)

The structure of this version is thus quite different from that of Nick Milton, even though the musical phrases are very similar.

The version by Nick Milton (1954, 6–1-J) was the only one transcribed.

Teqwedi Shaman's Song: Spirit of łucwAq

As transcribed from the tape the words seem to be:

Refrain

A | ’a ha ha ha
B | ’uwe he ’ehe
C | ’a ha ha-a, ’uwe huhe
D | ’e-ye-e he he
E | ’a ha huwe hehe
F | ’a he he, he he ya

Stanza (sung twice)

A′ | ’unA-Aart ke-he—I am going to
B | ka gu-hu da-ha—Go
C | Ls;artata-a kina ha-a—Above Yakutat Bay
D′ | ’a-a, ’a ha ha-a
E' | ’i ya ha, ’iya ha,
F′ | ’a ha- ’a ha ha,
A′ | ’una-Aart ya—I'll my face
B″ | kA-łita-a ’a-a—Put down [i.e., look]
C' | -ha ha, GudAłkexł kina ha—Above Eagle Fort
D | ’a ha ha, ’a he ha
| (’a ha, ’a ha u!) [on repeat]

McAllester notes that as heard on the tape the pitch rises, which may be an effect produced by a fluctuation in the current during the recording.

The structure of the song is:

Refrain:   A  B  C  D  E  F

Stanza:   A'  B  C  D'  E'  F'

         A'  B″  C'  D  (repeated)

It is to be noted that the melody as sung lacks two musical phrases at the end of the stanza. This makes it probable that Maggie Harry (who heard the recording) was correct when she said that “two words” had been omitted and that this was at the end. The words which she dictated were: cyAart qut XAt gAtAnitc—“I was very proud of myself.”

Swanton (1909, Song 7, p. 391) has recorded a very similar song, said to have belonged to a Kagwantan shaman, LūswA’t. The latter is certainly our Yakutat yek, however. The places mentioned in Swanton's version are Chilkat and an unidentified locality (Lxodë’t). Since the meaning of the words is even more confused than those recorded at Yakutat, I believe that the Yakutat version is closer to the original. Swanton's song is:

Two Kagwantan Shaman's songs: Disease Spirits

1954, 5–2-G and H; recorded by Mrs. Chester Johnson on June 10.

The “words” of these two songs are in Tsimshian. There were altogether four songs of the Disease Spirits that had come to the singer's father's mother's father, a shaman called QAlaxetl and Ltunex (see pp. 713–714). The singer could remember only two of the songs. The spirits were called ’Things of the World [Disease] Spirits’ (lmgit’ani qu yek), and may have been associated with the smallpox epidemic of the late 18th century, traces of which were seen by Portlock near Sitka in 1787.

TlukwaxAdi Shaman's Songs: Fish Spirits

1945, 2–2-C and D; recorded by Frank Italio on May 7.

These were two of the four or more songs of the Fish Spirits (xat qwani) that belonged to the famous shaman, Gutcda, of Dry Bay. He was the maternal grandfather of the singer. Before he died, Gutcda is said to have given these songs to his CAnkuqedi children. To sing them was supposed to kill disease spirits or avert epidemics.

The words of the songs are evidently Tsimshian. The singer refused the drumstick, but accompanied himself by rapping against the wooden rim of the drum. A plane was heard just as the recording started; it was not clear at the time that there were two songs. The first song (C) lasted only 45 seconds, and consisted of the same five phrases sung three times. These are:

A | yExa, ’ayiya
B, B | yExa, yiyaxaxa (repeated)
A' | yExa, ’ayixa
A″ | yExa, ’ayiya
X | heho-heyu! (at the end of the 3rd repeat).

The second song (D) was in two parts, and lasted 1:45 minutes. Unfortunately, the pitchpipe was blown just after the singer had started. It begins with a rather unstructured Introduction consisting of vocables that probably represent the shaman's ecstatic cries. Then follows a Refrain, sung twice with only minor variations, and two Stanzas, each sung once. This can be summarized as:

L    AnA’x        ke    qâudâyA'    Djâlqart’t    
not    through    it    up    I come        Chilkat

kart’nAX    qo’a    ke    qâgudâ’.
through,    however,    up    I    come.

Lxodë’t   kâna’nAX   ke   gagu’t   duyahëa’yë   artgart’x.
(place)   through   up   I   will   come   [his ghost⁹] [cries].

The first song is introduced in Tlingit (20 seconds) and lasts 1:13 minutes. It has the following structure:

Refrain:    A    B

Stanza:    A    B    (sung twice)

The only possible “word” occurs in Phrase A of the Stanza: law-di-yi laknu.

The second song appears to have only vocables, and has the simple structure: A B C B C'⁺ B. It lasted only 50 seconds; there were no repetitions. In the last three lines of this song, the drumbeats run ahead.

The singer ended both with the exclamation “hutc!” (the end).

Introduction

X | ye he he etc.
Y | yeheye etc.
Y | (repeated.)
Z | yi- yu etc.

Refrain

| first | second
A | heye ’e ’a etc. | we he etc.
A | yehe heheha etc. | ye he etc.
B | we ’e etc. | we ’e etc.
B | we he etc. | we he etc.

Stanza I

A | nil aw di yuwa- yuwa- ha nant
A | (as above)
B | di ’e ’e yu etc.
B | ye ’e he ’a etc.

Stanza II

A | qan qan qan lak nuart yuwas yuwa
A | qan qan qan lak nuart yuwa yuwe
B | hi ’e ’e yu etc.
B | ye he he ’a etc.
X | we hu- ’ayux

Kwacartqwan Shaman's Songs: Owl Cry, and Owl Spirit Song

1954, 7–2-F (a and b); recorded by Maggie Harry on May 25.

These are essentially two songs, separated by a Tlingit introduction to the second, but associated in the singer's mind because both belong to her sib.

The Kwacartqwan Owl Cry (a) is introduced in Tlingit, ending with: “It's not too long.” It consists of cries, “hu, hu, hu hu, hu hu.” These are said to be “our national song,” just like a bugle call before going out in front of the enemy. It must be remembered that the Owl is an important crest of the sib. The song ends with the words (in English): “That's all.” The introduction and song together last 1:57 minutes.

The Owl Spirit Song (b) is in Tsimshian, but is preceded by a short introduction in Tlingit, in which ’owl spirit’ (tsIskw qu yek) is mentioned. This and the song last 1:15 minutes. The simple melody is repeated three times. The only “words” appear in the second line: wAn-de na-hwo du ’ix cA-kA lhwAn-di ko Kwaclcqwan Shaman's Songs: The first Kwackqwan shaman to receive the Owl Spirit was said to have been Daxodzu, the sister of Chief Yaxodaqet (see pp. 712–713).

Scores of shamans’ songs

1954, 6–1-J Teqwedi Shaman's Song: Spirit of Children of the Sun

1954, 1–1–C Teqwedi Shaman's Song: Spirit of łucwAq

1954, 5–2–G Kagwantan Shaman's Song: Disease Spirits (I)

1954, 5–2–H Kagwantan Shaman's Song: Disease Spirits (II)

1954, 2–2–C TłukwaartAdi Shaman's Song: Fish Spirits (I)

1954, 2–2–D TłukwaartAdi Shaman's Song: Fish Spirits (II)

1954, 7–2–F(a) Kwacartqwan Owl Cry

1954, 7–2–F(b) Kwacartqwan Shaman's Song: Owl Spirit

Haida Mouth Songs, and Other Songs by Known Composers

This group of songs includes those specifically designated as “Haida Mouth Songs” or ones which I suspect to be in this style (p. 571–572). It also includes a few anomalous songs, or ones difficult to classify because they depart in one way or another from the traditional pattern of two (or three) stanzas, and lack dedication to sib-children in the opposite moiety.

The songs are here presented according to their composers; the latter are listed in alphabetical order under their English names. For each composer, references will also be given to songs of other types which he may have composed.

Olaf Abraham's ’Antłen River Song for Tcicqedi-Children

1954, 1–2–A; recorded by Olaf Abraham on April 8.

The composer, born in 1886, is Teqwedi, the son of a Tł’uknaartAdi man. In addition to the three songs recorded (see below), he also composed one to his former wife, a Kwackqwan woman, and daughter of Teqwedi. The words to this are: “It's for you this Wolf is crying, Teqwedi-children. It's for you this Wolf is crying.” He sang this for me, but I was unable to record it because we no longer had electric current.

The ’Antłen River song is for his present wife, Susie, also Kwacartca and daughter of Tcicqedi (or artałyiart-Kagwantan). It was composed in 1953, during the fall when he was fishing up the Ahrnklin River. It is said by the composer to be in an old style. As his wife said: “It's a sad song about ’Antłen, tła-kak-hAs ’ani—his mother's uncles’ land—his forefathers’. And the mountain never died down. It just reminds him, that mountain, when he's looking at it, what they used to do.”

The song is introduced by a few remarks in Tlingit (1:20 minutes). The two stanzas, each sung twice, and separated by an abbreviated refrain, last 2:40 minutes. The song is followed by an explanation by the composer's nephew, Sheldon James, Sr.

The words, as dictated by Olaf Abraham and Sheldon James, are as follows, while the translation is largely my own:

Stanza I

’aartúdan artał artEntc—Whenever I see
’Antłén cak caartí—The mountain (s) at the head of Ahrnklin
’adeyí ’unartadjitc—I always imagine are there
’aart kak-hAS—My [dead] uncles.

Stanza II

’i’iqa ’an artał artEntc—Whenever I see you Tcicqedi–yAtarti—Tcicqedi-children [i.e., his wife] tuwu łAtsin—Strength of mind
’aart djit ’itíc—You always give me.

It is characteristic that, in dictating the words, the extra syllables and vocables of the refrain are omitted. As sung, the words are:

Stanza I (sung twice)

A | ’aartudan xał artEntcA—[A′ on repeat]
B | ’Antłen cak caimagesi
X | ’uwa ’aha
C | ’adeyin artwa djitca
B | ’aart kahagi hASA
D | ’a ’a hu we he—[’a ha hu we he (on repeat)]
B | ’a ha ha hu we
X | ’uwa ha ha—[’uwa mm ha (on repeat)]

Refrain

A | ’a ha ha hu we
B′ | ’a ha_ _ha hu we
X | ’u wa ha ha

Stanza II (sung twice)

A′ | ’i ’i qa ’an artał artEntc
B′ | Tcicqwe-hedi yAtarti
C | tu(wu) łAtsin ’aart djit ’iyati-hi
D | ’a ha hu we he
B | ’a ha ha hu we—[’a ha ’a hu we (on repeat)]
X | hu wa ’a ha—[’u wa ’a ha (on repeat)]

The structure of this song is:

Stanza I | (1st): | A | B | X | C | B | D | B | X
| (2d): | A′ | B | X | C | B | D | B | X
Refrain |        : | A | B′ | X |  |  |  |  |
Stanza II | (1st): | A | B′ |  | C |  | D | B | X
| (2d) : | A′ | B′ |  | C |  | D | B | X

Olaf Abraham's Wolf Call Love Song for Kagwantan-Children

1954, 1-2-B; recorded by Olaf Abraham on April 8.

This song was composed for his wife, Susie, who cried for him when he went to the Arhrnklin River to trap. She is here addressed as a child of Kagwantan.

The song is introduced in Tlingit by the composer (37 seconds), and lasts 3:20 minutes. The syllables “’’a ho” or “ha ho” at the end of each stanza and in the refrain represent the howling of a wolf. The song follows the formal pattern of refrain, first stanza sung twice, refrain, and second stanza sung twice.

The words as dictated by the composer are:

Stanza I

’ican ’Asgi dehe yÁart arteartiqa—Alas, why do you weep, s-Kagwantan-yAtarti—Kagwantan-children?
djAł qUart kisaartaart kAt—Never calls back
’iartutci dadé ’iartaart—Your Wolf, for him (?) you weep.

“Poor thing, why should you weep? Your weeping never brings your Wolf back. Why should you weep for your Wolf?” (Free translation by Minnie Johnson.)

Stanza II

tcAwéś ’itutin-nukwtc—Why are your feelings always sick

s-Kagawantan-yAtarti—Kagwantan children? detća ’id´ tuwu—Just the thought of you ’Atciartit yéartAartAqa—?-

“Why do you feel badly, Kagwantan-children? It's the thought of you that makes me -?-”

As sung, the words are:

Refrain

(Variations in parentheses)

A | ’a-ho ’a-ne ’a-ya (’a-hu ’a-ni -’a-ya)
B | ’a-ho ’a-ne ha-ya
C | ’a-ho ’a-ne ha-ya
D | ’a-ho ’a-ne ha-ya (’a-ho ’a-ne ’a-ya)
E | ’a-ho ’a-ho ’a-ne ha-ya
F | ha-ho ha-ho ha-ne ’a-ya
G | ha-ho ’a_ _ _ne ha-ya (ha-ho ’a_ _ _ne hede′ ha-ya)

Stanza I (sung twice)

(Variations in parentheses)

A | ’ican ’Asgi de-he
B | ’a yeartayiqaye-ye
C | s-Kagwantani hayAtarti (s-Kagwantani-yAtarti)
B | djAł quart ki-sa-gaart KAt
E | ’i gutci dada ’iartaarta
F | ha-ho ha-ho ha ne′_ _ _a-ya
G | ha-ho ’a_ _ _ne ha-ya

Stanza II (sung twice)

(Variations in parentheses)

A | tcAwaart sa-ya de-he
B | tcA ’a ’itutini
C | s-Kagwantani hayAtarti
D | detarta ’idatuwu
E | ’Atcyit ye artayaqa
F | ha-ho ha-ho ha-nee ha-ya
G | ha-ho ’a_ _ _ne ha-ya (’a-ho ya ya ’a-ni ’a)

The structure is:

Refrain: | A  B  C D E F G
Stanza I: | A  B  C  D  E  F  G  (repeated)
Refrain: | A  B  C  D  E  F  G
StanzaH: | A  B  C  D  E  F  G  (repeated)

Olaf Abraham's Song for Kagwantan-Children

1954, 1–2-C; recorded by Olaf Abraham on April 8.

This song was composed by Olaf Abraham when his brother-in-law, George Bremner, was drowned (about 1940–46 ?). Shortly after that, his wife had to go to for an operation. The song is therefore addressed to both of them, or refers to both of them, as Kagwantan-children.

The song is introduced in Tlingit by the singer, and lasts 1:50 minutes. The words were dictated by him. Later, John Ellis checked my transcription and helped with the translation. As dictated the words are:

Stanza I

tartA kawayik—Just aimlessly [in space]
artaartnas hEtc—Crying always,
Kagwantan-yAtarti—Kagwantan-children,
detarta ’idatuwu—Just because longing for you ’adje yit—?-
yeartaartaqanuktc—(Always makes me feel badly)?

Stanza II

tuwunuktc—By sick feeling
artAt quqadjaq—I am killed.
daq yeł CAkwcE—Which Raven perhaps artute keyukwqaartaart—Will pity the Wolf?

As sung, however, the words depart markedly from the dictated version, and it is evident that the last three lines (which were dictated for Stanza I), are really the last three lines of the previous song (1954, 1–2-B). The present composition has a stanza (sung twice), a refrain, and a second stanza (sung twice). The gay melody and quick meter contrast with the sad words, a fact which the composer admitted, but indicated that this was the way the song had come to him.

McAllester writes: “The temptation to ‘control’ this exuberant syncopation by putting in bar lines should be resisted. There's not a ’down beat′ but a steady ’one, one, one, one, etc.’ The musical point of the song is the play between the steady drum-beat and the tricky rhythms of the vocal part. I am taking my cue for phrases from the singer's breathing, marked with short vertical lines above the staff. In Stanza I, ‘1st’ means that the singer breathed there on the first time through, but not the second. In Stanza II, ‘2d’ means that he breathed there the second time through, but not the first. I have indicated the drum introduction and then the drumbeats where there is something special going on. It should be understood, of course, that the drum continues throughout the song.”

The words as sung, however, seem to be:

Stanza I (sung twice)

A | kawayik qa-dja-gaart nas-hEtc ka-dja-si
B | ’i gutci Kagwantani-yAtarti
C | ’i da-ha tuwu yau ha ni
D | ’i yi ye yau hani
E | ’e he ‘e yau
F | ha ni ‘e he ‘e yau ha ni ‘e he
G | hau ha ya
H | ’a ni hay ya

Refrain

A′

ha ’a ni ’e ye ’e yau ’a ni ’e ye ye

I

yau ’a ni ’e he

J

yau ha ni ’e he ye yau

(F)

ha ni ’e he

F

yau ha ni m m’a yau ha ni ’e he
[’e he]

G

ho ha ya

H

’a ni ha ya

Stanza II (sung twice)

A

tuwu (u) ni [k]? artAt kuqwadja-yaq daq yeł cAkwcE

K

artute ’ayakqaartaart [keyukwqaartaart ?] ’a ya ha ni he he

F

yau ha ni ’e he ’e yau ha ni ’e he

G

’a he ya

H

’a ni ha ya

The structure of this song is complex:

Stanza I(sung twice): | A  B  C  D  E  F  G  H
Refrain: | A′  I   J    (F)    F  G  H
Stanza II (twice): | A       K             F  G  H

Blind Dave Dick's Reproach to Teqwedi-Children

1954, 5–2-C; recorded by Minnie Johnson and Mrs. Chester Johnson (with drum) on April 29.

David Dick, who became blind with cataracts, was a CAnkuqedi man and the son of artutcda, the TłukwaartAdi shaman of Dry Bay. He was born before 1870, and diéd before 1916. He was known as Qacdjaq and DAartquwAdEn, and was an uncle to Mrs. Chester Johnson and her sister, Mrs. Jenny White. In addition to the three songs described below, he composed a sib mourning song for his brother and nephew who died of bad liquor in 1907 (1954, 3–2-K; p. 1174), and the peace song for his sister, Mary (Mrs. Lituya Bay George), who was taken as a ‘deer’ for the ceremony to settle this trouble (1954, 1–1-A; pp. 1247–1248).

This song of admonition must have been composed after the mission was established in 1888, and may have been sung before 1900. It is addressed to a Tł’uknaartAdi woman, daughter of a Teqwedi man. She had been married first to Dave Dick's brother T’awłigau, and then to his younger brother, Jack Peterson, artunakw.

The song is introduced by a few words in Tlingit by Mrs. Chester Johnson, the composer's niece, and is followed by a recorded explanation in English by Minnie Johnson, here summarized: “This song is composed by David Dick of Dry Bay, DAartquwAdEn. But he's stone blind, so they call him Blind Dave. That's uncle to Esther, Mrs. Chester Johnson, and Jenny [Mrs. Charley White]. He got into an argument with his brother's wife, Mrs. Jack Peterson, Tłuartnaq. And she had just confessed in Church and try to be Christian, to be saved in Heaven when she died, but in just a few days she start to quarrel with him. That's why he composed this song like that.” The words were transcribed at the time of the singing and carefully checked with the tape recording. The translation is based, to a considerable extent, on the free rendering given by Minnie Johnson. The song has a refrain and two stanzas (sung twice), and lasts 2:18 minutes.

Refrain

A | ’a ’e-ya ’a-na ’a ’e-ya ’e ye
A | ’a ’e-ya ’a-na ’a ’e-ya ’e ye
A⁺ | ’a ’e-ya ’a-na ’a ’e-ya-ha ’e ye ’a he-ya ’a ’a hu wu
X | ’e-ya ha ’a ’e-ya ’a ’a-ya ha-ni ’a-ya

Stanza I (sung twice)

A | qacde ’anqitdaart—(?)
| ’i ’anqawu yA artawAs—Your God, thus,
A | kuarttiditani—Confess,
| Teqwedi-yAtarti qu’a—Teqwedi-children,
A⁺ | datart suartw, SA tsu tartA—From it soon again just kełIWAł i tuwu—Will break your mind
| ’a ’e-ya ’a ’a ’e-yau
X | ’e-ye ha ’a ’e-ya ’a
| ’a-ya ha-ni ’a-ya [tłeartde!] ’a ha ya—(on repeat)

“You confess to go up to Heaven, but how come you're backslider? You try to quarrel with me. It didn't take you long, you backslider. Right away.”

Stanza II (sung twice)

A | detartA ‘iartaartaarti—Indeed, when you pray,
| tudAk nAkaxixtc qan—“think of” [artwan ?, emphatic]
A | ya i’ artutci—Your Wolf,
| c-Teqwedi-yAtarti qU’a—Teqwedi-children,
A⁺ | ’aarta ‘i tuwu—For him your feelings
| yu ’aqwadjunk—May dream
| ’i artutci ’a (or tartA)—Your Wolf, (just).
| ’e-ya ’a ’a ’e yau
X | ’e-ye ha ’a ’e-ya ha-ni ’a-ya-ha (ha-ni ’ay) (at end)

“When you praying, pray to your God. Think of your Wolf, so that he can dream of what you feel toward him. Pray. Remember me in your prayers, so your artutc [Wolf, the singer] can dream of it.”

Blind Dave Dick's Song for CAnkuqedi-Children and Kagwantan-Children

1954, 2-1-F; recorded by Mrs. Chester Johnson (with drum), her sister, Jenny White, and the latter's daughter, Ethel White, on May 3.

This song was composed by Dave Dick (CAnkuqedi) in 1914. The first stanza is about his daughter, Jenny Dick, Qaqaxwet-tła, a Tł’UknaartAdi woman who had died in 1912. The second stanza is addressed to his sister's husband, Lituya Bay George (1845–1926), a artat’kA’aarti man and son of a Kagwantan father. Lituya Bay George was the father of Mrs. Johnson and Mrs. White.

The song is introduced in Tlingit (30 seconds) by the composer's niece, Mrs. Chester Johnson, who also says a few words in conclusion (6 seconds). The song, with refrain and two stanzas (sung twice), lasts 2:07 minutes. The words as dictated and explained by Mrs. Johnson are:

Stanza I

’aart tuwu cadaarte—My feelings are dejected.
gacÁ tłi’In artAt wuna—I wish to die (with you?)
CAnkuqedi-yAtarti—CAnkuqedi-children [his daughter] tuwunukw tcInUq—From sorrow.

Stanza II

de yac nasartaart yi artutci—Weeping for himself is your Wolf [yecnAsartaart?]

Kagwantan-yAtarti—Kagwantan-children

tCAS ‘iartaqaarti—Just your words

’acłACAt—Are holding him back [from dying].

Even allowing for the usual changes in quality of vowels or consonants and in the addition of extra syllables, it is evident that the words as sung are different from those dictated. As heard on the tape, they are:

Refrain

A | ’aw ’e yahana ’ayeyu(we) ’eye ya ’aya hana ’ayu
B | ’a wa yeu heya hana ’ayeu, hana yeu heyi haya
C | ’a yeyi ’eyeya, weyu, ’awe ’aya haya ’ani ’aya

Stanza I (sung twice)

A | tsuart tu(wu) qatwe djac wEtaartqe CAnkuqedi-yAtarti gacu tetł-dje ‘in
B | dja artat wuna tuwunik tcin-naq yu he ‘iyaha
C | ’a yeyu ’eyeya weyu ’awe ’ayu haya, ’ani ’aya

Stanza II (sung twice)

A

de yacnasartaart ya ‘igutci, Kagwantani-yAtimagesi tcAs ‘iyaqayyi,

B

tarta ’acłACAt ya ‘iartutci arta heu yaha(na)

C

’a yeyu ’eyeya ’eyu, ’awe, ’ayu haya, ’ani ’aya

McAllester remarks that the beginning of the song resembles the beginning of 1954, 5–1-A; B. A. Jack's Song for Mount Saint Elias. The initial octave jump is a stylistic feature common to many of these songs. The structure is obvious.

Blind Dave Dick's Deathbed Song for Kagwantan-Children

1954, 3–1-E; recorded by Emma Ellis on March 21.

This song was composed (“dreamed”) by Dave Dick, when he was an old man, supposedly on his deathbed. It is addressed to his young wife, who must have been the daughter of a Kagwantan man. It was recorded by Emma Ellis, Kagwantan, to console me for the fright caused when the space heater nearly set my house on fire. As the namesake of Mrs. Katy Dixon Issac, I am considered to be the child of artałyiart-Kagwantan.

The song was introduced in Tlingit: “It's Qacdjaq's song” (Qacdjaq daciyi ’aya). With Stanza I (sung twice), Refrain, and Stanza II (sung twice), the song lasts 2:15 minutes, and the recording ends with a few words in conclusion. The pitch (probably due to faulty electric current) fluctuates during the recording.

The words on the tape were checked with a dictated version and free translation:

Stanza I (sung twice)

A

hac artande ‘i djin—“Shake hands”

timagesA hutartinyis arta—Just for the last time
tartA qa-qałis tca—Just -?-

B

-di s-Kagwantani-yAtarti—Kagwantan-children [his wife]
‘inaq artat nanani—For you, when I die,
’aart tu[wu] [keg]xisinikw—My mind will be sad.

C

’a ye yu ’a ye, ’a ye yu ha ye,
’a ye yu ha ye, ’a yay ha-ni ’aya

“Shake hands. I want to hold your hand before I die. I'm going to be sorry about you when I die.”

Refrain

A | ’au ’e yu ’a ’e ’a yu ‘iyu ’a ’a ye ‘i ye han,
B | ’a yu ‘i ye ha-u ha, ’e ya ha ye ha ’a we yu ’a ye,
C | ’a ye yu ’a ye ’a ye yu ha ye, ’a ye yu ha ye, ’a yay ha-ni ’ay-ya,

Stanza II (sung twice)

A
qatiyu WA’E[tc]—(?) by you
[tłeł] ckuartde qisagaart—Will [not] be called back (?), Kagwantani-yAtarti—Kagwantan-children.

B
’Atc artayayi dat de—Because of that,
‘uartawxłixatca—I give up
tcus dade dagaart—Crying about them.

C
’a ye yu ’a ye, ’a ye yu ha ye, ’a ye yu ha ye, ’a yay ’ani ’a-ya

“Even you, you are not going to take it back. That's why I give up to cry about my people [dead brothers and uncles].”

The meaning, I believe, is that not even Kagwantan- children, or the wife, can call the dead back to life again. Therefore, the composer gives up weeping for them.

The structure is simple, consisting of three phrases (A, B, and C) repeated for each stanza and for the refrain.

Minnie Johnson remembered a different version of the words for the first stanza, but forgot those for the second. It should be noted that, in her version, the wife is addressed as a child of Teqwedi:

tartU ‘íart SA artAní, ‘inÚq artAt qugAna, Teqwedi-yAtíi. hAndÉ ‘i djín hutcín-yis nÁ qa-łA-dégu.

“Come here to me. Let me love you for the last time. I hate to leave you behind, Teqwedi-children…I'm going to die. Come here and let me love you for the last time.”

Hilda Dick's Song for Kagwantan-Children and CAnkuqedi-Children

1954, 6–2-F; recorded by Mrs. Frank Dick on May 17.

The composer was the first Mrs. Frank Dick, Hilda, a artałyix-Kagwantan woman named NeartłinAx. She was said not to be able to sing well, and could learn a song only with great difficulty. Yet she composed this song by dreaming it. In her dream, Frank Italio (CAnkuqedi) was singing the song and playing the guitar at the same time. It is not clear for whom Frank Italio was supposed to have been singing, but it would have been someone in the opposite moiety from him and from the composer. Hilda Dick had this dream when she was rather a young woman. She died in 1934.

Maggie, Frank Italio's sister and Frank Dick's wife at the time of the recording, herself suggested that she sing this song, and explained that it was a Haida Mouth Song. Frank Dick, who is Tł’uknaxAdi and son of Kagwantan, interpreted the song as addressed to himself. I do not know who was intended by the second stanza.

The song was introduced in Tlingit (45 seconds) and lasted 3 minutes. The words were dictated by the singer and explained by her husband. Later Helen Bremner checked my translation, but it is not very accurate. The song has a Refrain (sung twice), Stanza I (sung twice), Refrain, and Stanza II (sung twice). McAllester comments that it is one of the best examples of a song with steadily rising pitch (up 1 art tones by the end of the last stanza). The first and last phrases are both rather casual. It is very unusual to sing the refrain twice at the beginning.

Refrain (1st)

A/ | ’a he ya ’a ’e ni ha wa ya, ’a ’e ni ha,
B | ’e ye ha-u he ye he, ‘u ’e ni ha ya ’e ya,
C | ’e ya he ye ye ne ha ya, ’e yay ha ni ha ya,

Refrain (repeated)

A | ya ha ’e ni ha wa ya, ’a ’e ni ha wa ya, ’a ’e ni ha ya
B | ’e ye ha-u he ye he, ‘u ’e ni ha ya ’e ya,
C | ’e ya he ye ye he ha ya, ’e yay ha ni ha ya,

Stanza I (sung twice)

A
yas WA’E ‘i tuwu yex—You, your feelings, (like?) [’ayAart?]
yAkAnaceyena—“Nothing to help”
‘i gutciyi—Your Wolf,

B
’e-ni ha-u he ye ye,—’E-ni, etc.,
Kagwantani-yAarti ya—Kagwantan-children.

C
’e ya he ye ye ni ha ya,
’e yay ha ni ha ya

“It's your own fault, Kagwantan-children, that your Wolf is having a hard time.”

Refrain

As on the repeat.

Stanza II (sung twice)

A
yas wanawu qa yex—As if someone had died (?)
tartu yis ‘ida yagax—Because, for you will weep
yi gutci—Your Wolf,

B
’e ni ha-u he ye ye,—’E-ni etc.
CAnkuqedi-yAtarti ya—CAnkuqedi-children

C
’e ya he ye yen ‘i ha ya,
(me) ’a ni ha, ya

“As if it were because someone had died, your Wolf will weep for you, CAnkuqedi-children.”

The structure is:

Refrain:
A/  B  C
A   B  C

Stanza I:
A   B  C (repeated)

Refrain:
A   B  C

Stanza II:
A   B  C (repeated)

Emma Ellis’ Mourning Song

1954, 3–1-F; recorded by Emma Ellis on May 11.

Emma Ellis, born at Dry Bay in 1896, is Kagwantan and the daughter of a TłukwaxAdi man. Her first husband was Dick Peterson, Tł’uknaartAdi and son of a CAnkuqedi man. Her second husband was John Ellis, also Tł’uknaartAdi and son of a White man. She composed the first stanza in 1907 when her father, mother, and grandfather drowned, and she was only 11 years old. The second stanza was composed about 1915 after the death of her first husband, although it is addressed to Teqwedi-children. The third stanza was made up on the spot and addressed to FdeL as the namesake of Katy Dixon Isaac, and therefore daughter of a Gałyix- Kagwantan father.

The song is explained: “This song over here, I hear when I was 11 years old, after my mother drowned. That same night when we go around looking for somebody to help us, I hear it in the waves…. I hear it. I don't want to hear that song. I try to forget that song. And next day I hear it again, that song. And for three days afterwards I hear it. Still I hear it. Then I sing it right in front of my aunt. And my aunt, my father's sister, I told her, ‘What song I hear it? It's in my ear all the time.’ [She said:] ‘My goodness, that's your people sing it for you, so you can be happy about it.’

“This second one [stanza], after my husband died, you know, I sing it like that. It's just like my husband. I sing about my husband…. That's when my husband died—about one month after, I guess. When eleventh month, I always think about it, what he told me. That's the time I sing that song like that, about my husband.”

The song is introduced in English: “I'm going to sing this song. When my father and grandfather drowned I heard it through the waves. That's the one I'm going to sing it.”

It has a Refrain, Stanza I (sung twice), Stanza II (sung twice), Refrain, Stanza III (sung twice), and ends with the Refrain, as McAllester comments, exhibiting a “most elaborate refrain and stanza pattern.” It lasts 3:57 minutes. The pitch falls a half-tone.

The words were dictated and explained by the composer, and checked against the tape. None of the vocables was included in the dictation. Such syllables or variations that appear in the stanzas are rendered below in parentheses; meaningful words or syllables that were dictated but not sung are given in brackets [ ].

Refrain

A | he ye ’e hau ’e-ni ha-ya
A | ’e ye ’e hau ’e-ni ha-ya,
B | ’e yu ’e ya ’e-ye, ’a ‘u he ‘i
C | he-yay ’a na ‘u he ye-ya, yay ha-ni -’ay-ya

Stanza I (sung twice)

A
hutartin yis ’at ’awłIqEn(a)—For the last time I'm looking at

A
’aart ‘ic-hAS ’ani (qu ’aya)—My fathers’ land.

B
’adusgI artutc yekwqaartaart[e]—What Wolf will take pity [on me]?
(yeu he ‘i

C
’i-yay ’a na ‘u he ye-ya,
yay ha-ni ’a–ya,)

Stanza II (sung twice)

A
tuwunik ’aart djrt ‘yAti(ye)—Sorrow to my hands [to me] you gave,

A
Teqwedi-yAtarti (qu ’a-ya)—Teqwedi-children,

B
’aart da kAtin (yi yi) [yu] gudi—When you went away from me.
(yeu ‘i

C
’i-yay ’a na ‘u he ye-ya,
yay ha-ni ’ay-ya)

Refrain

(As above.)

Stanza III (sung twice)

A

wasAKwce tłeł yu yiartwadjunk—Why is it I don't dream about you?

(dja łu-artwadju-un)[on repeat]

A

Kagwantani-yAtarti (artawe)—Kagwantan-children [i.e., FdeL].

(qu ’a-ya)[on repeat]

B

qade dja (łiartwaye djuni ‘u he ‘i)
    (artwa dja łiyiartwa djuni-i)[on repeat]

[qade dja ł ‘iartwadjuniq]—It's all right if I don't dream of you.

C

’i-yay ’a na ‘u he ye ya, yay ha-ni ’ay-ya

Refrain

(A, A, B, as above.)

C/ ’e-yay ’a na ‘u he ye [laughs]

Franklin's Deathbed Love Song for Teqwedi-Children

1954, 5–2–D; recorded by Maggie Harry on May 27.

The composer was Maggie Harry's father, a YAnyedi man, who made this song in 1892 for his wife, Kwacartca and the daughter of a Teqwedi father. His daughter learned the song after her father's death, probably when it was sung at a potlatch in his memory. Although it was impossible to secure a translation of the words, this is obviously a love song addressed to Teqwedi-children, in which the composer says “good-by for the last time,” as he is dying. For a similar theme, see Minnie Johnson's version of Blind Dave Dick's Deathbed Love Song (1954, 3–1–E; p. 1295).

The song is introduced in Tlingit, ending with the words in English: “He was dying when he sings that song.”

The song itself, with Refrain, Stanza I (sung twice), Refrain, and Stanza II (sung twice), lasts 5:25 minutes. Maggie Harry bad sung the song on a previous occasion (April 13), but not for recording, and then the words seemed to be somewhat different and the stanzas in reversed order.

Refrain

A

’aw ’e-ye-ne ye yu yu-e ye ne ya-ya,

B

hau ’e-ye-ni-ye ya, yu ’e-ye ni yu ye yau ’e-ye-ye-ye,

C

yau ’e ne ’e–ye, yau ’e-ye-ye-ya,

D

yau ’e-ye hau ’e ni ’e-ye ’a-u ’a-ni ’e-ye-ye yau’e-ye-ye,

X

ye-ye ’a-ni ’a-ye-ya,

Stanza I (sung twice)

A

de ’aart tcide, de ’acAndayiyi,—?-

B

’aart tuwu, Teqwedi-yAtarti yu ’e-ye,—My feelings, Teqwedi-children,

C

hutartiyin yisa, good-bye—For the last time, good-bye

D

yu artwadjana saqa—While I…?

’awu ’e-ni ’e-ye-ye yau ’e-ye-ye,

X

ye-ye ’a-ni ’a-e-ye,

Refrain

(With slight variations.)

Stanza II (sung twice)

A

’aw ’e-ye ni ye

ya dja łIdati artat—-?-me

B

han de na, Teqwedi-yAtarti yu ’e—Teqwedi-children,

C

hutartiyIn yisayidjina—For the last time, your hands

D

nagałAtłegu—Shake hands.

’e-ye ’awu ’e-ni ’e-ye u ’e

X/

ye-ye [omitted on repeat]

According to the singer, the vocables of the refrain were “just the humming.”

The structure of the song is:

Refrain: | A  B  C  D  X
Stanza I: | A  B  C  D  X
| A  B  C  D  X/
Refrain: | A  B  C  D  X
Stanza II: | A  B  C  D  X/
| A  B  C  D

Dry Bay George's Song for Gineartqwan-Children

1954, 6–2-G; recorded by Mrs Frank Dick on May 17

Dry Bay George, Tł’uknaartAdi and the son of Qatan, a Kagwantan man, was known as Duartsat’at’, łingit-’ani-kina, and Qankida-’ic. He was the older brother of Dry Bay Chief George, and was therefore born before 1850. He died about 1880. drowned in Bering River, in the Controller Bay area. This song was composed for his wife, Mary or Qełke (1836–98), a artałyiart Kagwantan woman. The song is similar to the love songs of T. Max Italio (1954, 5–1-G, p. 1302), and of Kitty Martin (1954, 5–1-B; p. 1309). McAllester also notes a melodic resemblance to Mrs. Chester Johnson's Song for Teqwedi-Children, etc. (1954, 5–1–I; p. 1307).

The singer is the daughter of the composer's brother, Dry Bay Chief George. She explained that this was a Haida Mouth Song, which I interpreted to refer particularly to the structure; Refrain, Stanza I (sung twice), Refrain, and Stanza II (sung twice). The song lasts 3:03 minutes. In the Tlingit introduction (20 seconds), explained by Helen Bremner, Mrs. Frank Dick says that she is going to sing the song composed by łingit-’ani-kina (’Above the World’), her father's brother (sAni). because there was a boy drowned in the Situk River who was named after him (Conrad Edwards), and she feels sorry for him. Helen Bremner also checked the words which I had transcribed and helped me with the translation.

Refrain

A

he ye ha ’e ye, ’e ye ha ’e ye ye ha ’e ye, ’a ’e ni ya,

B

’e ye ha ’e ye, ye ha ’e ye ni ha na (or ya) ’e hi ya ’a,

C

’e ye yu ha ’e ye he ya, ’a ya ’e he ya ’a ’e hyu ’e ye

X

num ha ni, ’a ya

Stanza I (sung twice)

A

ya [¹⁰] łinigit ’ani ’anyAnagwAł’a—The world is rolling around

tartu yadaseqwa—With our breath [or life].

B

qa- [or ’a] yayide arta wucAdugaarti—Get ready, have sympathy for one another,

’ayAart sIti—That's why.

C

’e ye yu ha ’e ye ’e ya, ’a na ’e he ya ’a ’e hyu ’e ye,

X

nam [or yam] ha ni, ’a ya

“The world is rolling around with our breath [life], therefore let us pity one another.”

Refrain

(A, B, C as above.)

X yau ha-ni.

Stanza II (sung twice)

A

ya tłeart [tłAart?] wasIguwu—Very happy ’atartasadjaarta guartsayati—It would make me, GIneartqwani-yAtarti—GIneartqwan-children, [his wife],

B

[’i] ’ani qaya artat dja—In front of [your] land artAt wunawu—If I died, ’at kuqacuqw—I would smile.

C

’e ye yu ha ’e ye ’e ya, ’a na ’e he ya ’e ’e hyu ’e ye,

X

ya ha-ni,’aya ya

(yau ha-ni ha m) [on repeat at end].

“It would make me very happy if I should die in front of your land [or home], GIneartqwan-children; I would smile.”

The structure of the song is:

Refrain:

A  B  C  X  [pitch rises art tone]

Stanza I:

A  B  C  X  (repeated) [pitch up a whole tone by end of the repeat]

Refrain:

A  B  C  X

Stanza II:

A  B  C  X  (repeated) [pitch up 1frac12; tones by C on the repeat]

Dry Bay Chief George's Love Song to a Young Girl

1954, 7–1-C; recorded by Mrs. Chester Johnson on June 10.

Qawuarta or Quartn (he was known by both names) was born at Dry Bay about 1850, the son of Qatan, a Kagwantan man. He was the chief of the Tł’uknaxAdi of Dry Bay, but died and was buried at Situk in 1916. He was the younger brother of Dry Bay George, who apparently never was chief. By one wife, CxAnsi, a CAnkuqedi woman, he was father of Frank Italio (1870–1956) and Maggie, Mrs. Frank Dick (1897–1964); by her sister and co-wife, Tusdeart, he was father of Sam George (1890–1947).

Dry Bay Chief George composed two TłuknaartAdi mourning songs, both probably for his potlatch at Dry Bay in 1909 (1952, 1–1-A; 1954, 2–1-G; pp. 1162 -1164), as well as the potlatch ’song for the Frog Screen’ (1954, 2–2-A and 6–2-A; pp. 1164–1165). He also composed the guest's peace song about Kardeetoo, probably in 1910, but perhaps later (1954, 1–1-B; p. 1244).

The ‘Love Song to a Young Girl’ is unusual in that there is a refrain, and a single stanza (sung three times). There is no mention of sub-children, although the composer refers to himself as ‘your Raven’ and to the girl as a ‘Wolf.’ The text involves a play on words, since wudAcan (wu-da-ca-na, as sung) means both ‘the old man’ (Qawuarta himself), and ‘old age.’

There is a short introduction in Tlingit (19 seconds); the song itself lasts 2:08 minutes, The words were translated by Helen Bremner and, as dictated, are:

WA’Etc qu ’age yIqeartaq wudAcan—By you why is refused the old man?

łsart’iartAnde quqagut wudAcan—Soon to you will come old age.

“You can't refuse old age. Some day it will come to you.”

As sung, the words are:

Refrain

A | ’e yu he na ’a yu he na,
B | ’e yu he na ’a yu he na ’e yau ’a ya,
C | ’a yau ’e yu he ha ’e-ni ’a-ya ’e,
D | ne ’au ’e ya, ’au ’e ’e ye ’a ‘u-um,

Stanza (sung three times)

A

WA’Etc qu ’age yak- [or yI] -qIartaqa—By you why is refused

B′

wudAcana hede artutca ya—The old man? That Wolf

’i yełi ‘Atc ‘isI’ti—Your Raven by it (carries??)

C′+

’aya łiyisi artA ‘iartAnde—Then soon (artA?) to you qaguta, wudAcana—Will come old age.

D′

’e ye ye ’a ‘u ’e ye ya ’e ye

E

’a ye yu hu ya, ya ’a-ni ’a-ya,

(On the second time:

D′

’e ye ye ’a ‘u ’e ye ya ha ‘u, ’e ye,

E/

ya ’a-ni ’ay-ya,)

(On the third and last time:

D′

’u ’e hutart!—[“the end!”])

The structure is thus.:

Refrain: | A  B  C  D
Stanza (1): | A  B’  C’+  D’  E
(2): | A  B’  C’+  D’  E
(3): | A  B’  C’+  D’/

Unrecorded Songs by Dry Bay Chief George

Dry Bay Chief George is said to have composed a sad song to Teqwedi-children, one that probably contains the words: “I hate to leave you, but come let me love you a little before I die” (cf. 1954, 3–1-E; p. 1295).

Another song was sung and the text dictated by Emma Ellis, but since no electric current was available, it was not recorded.

Stanza I

tsuyat tuwuníkw—Still (already?) sad
genyA’x qatunÈnIn—Easily -?-
(niya aartawe)—?-
djasa kinAart qu’a—Just from above -?-
yÈnatitc-de—Let it be! qa tuwunikw—Sorrow

(nigu -eye) [as sung]

Stanza II

tcaya wás ’ayá—But why is it
dja artat nasnétc—Just I always
tcu yayi wúdjùn—If again now dreaming
Teqwedi-yAtarti—Teqwedi-children
ł’ex ’aart tuwu—Very much my mind
tartuł’e (’Ac ?) ‘unaxíłtc—Then is scarcely troubled.

Lituya Bay George's Song to the Bears

1954, 2–1-E; recorded by Mrs. Chester Johnson, Jenny White, and Charley White (drummer) on May 3.

Lituya Bay George, CiyÚartw (1854–1926), was a man of the Raven artat’kA’ayi sib, and the son of a Kagwantan man. He was the father of Esther, Mrs. Chester Johnson, and of Jenny, Mrs. Charley White.

This song was composed when he was out trapping and had burned his face badly when trying to light a fire in the stove with gasoline. When he was trying to come home he was chased by brown bears. In the song he addressed the bears as his ‘fathers,’ that is, as the totem animals of his father's sib, and also as artat’kA’ayichildren. He doesn't care if they kill him.

There is a Tlingit introduction by Mrs. Chester Johnson (30 seconds); the song lasts 3:05 minutes. The dictated text is not very accurate and the translation is very free:

Stanza I

da ’atc ‘ide artAt łA’US—I don't care if you kill me,
tłenAart wuneart—All alone,
’aart ‘ic-hAs cUkwa—My fathers’ ancestors.

Stanza II

tłAartánse CA ‘idawUł—Hurry up, (I'm going to die),
artat’kA’ayi-yAtarti—artat’kA’ayi-children,
tartu yuarte ‘isAarta ’aartdji—It's very good to hear your voice.

It is evident that a number of lines have been omitted from the dictated version. Unfortunately, an exact transcription from the recorded tape cannot be made. The words seem to be:

Refrain

A | ’aha heyu ’ayaha ’a, ’eyehe heyiyaha
B | ha, ’ayehe heyuha ’e ’e(i)yaha,
C | ya ’ayeheyuhe, ’a ’eheyu ’aye,
D | haye heyu’aye, hayu haya hu [or ’ani] ’aya,

Stanza I (sung twice)

A | daya ’atc ‘ide artAt łA’US
| łenAart wuneart ’aart ‘ic-hAs cUkwa
B | de ’aart yada artayadagut kadidat
C | tsuyu ’aart arti (?) dja quxwi-si-tce-ye [quxwistci?] ’a ye
D | ’aye heyu ’aye, hayu haya hani ’aya

Refrain

Stanza II (sung twice)

A | tłe(ye) artantse kan [artan] cAn (’i ?)dawuł artat’kA’aarti-yAtarti
B | de (ye) yi xute dja yaartagut kadidat
C | tartu yuarte tsu artisiarta ’atci-ye ’aye
D | ’aye heyu ’aye, hayu haya hani ’aya

The structure is:

Refrain: | A  B  C  D
Stanza I: | A  B  C  D  (repeated)
Refrain: | A  B  C  D
Stanza II: | A  B  C  D  (repeated)

Unrecorded Song by Skin Canoe George for Kagwantan-Children

Skin Canoe George, “Ki-ye-quat-kene,” or arteyeartatqin and TawAart’-’ic (1855–1900), was a Teqwedi man, the son of Yakutat Chief Yaartodaqet, the Kwacartqwan chief. He was also the chief assistant to the shaman, Teart-’ic.

This song, which unfortunately could not be recorded because no power was available, was first sung by the composer at a potlatch given by the Teqwedi. His nephew (a brother of Olaf Abraham) danced to this song in a headdress (cAki’At), and the composer paid out money. This dance was staged as a relief from crying. Now it would be sung as a mourning song, for remembrance because the composer is dead. The text was dictated by Olaf Abraham, the composer's nephew, and also by Mrs. Frank Dick. It is a Haida Mouth Song.

Refrain

e….eni….ha…

Stanza I

tcA waartA artayaqa
yu [or de] artutc ’ayude
nitc tutartIartaart-a
Teqwedi-yAtarti
artande nisartáart
yi artetx nAqagaart [or ‘iartet qaqagaart]

“Why is the Wolf crying about on the beach? Go to Teqwedi-children; they'll weep with you.”

Stanza II

tartA kawayIk—Just aimlessly
…—? [See 1954, 1–2-C; p. 1293]
Kagwantani-yAtarti—Kagwantan-children
…—-?-
hande ‘idjIn—Give me your hand
kuqwana—Before I die.

Frank Italio's Song for Kagwantan-Children

1952, 2-1-H and 2-2-A; recorded by Frank Italio and Minnie Johnson on July 30.

Frank Italio (1870–1956) was the CAnkuqedi son of the TłUkwaartAdi leader, Dry Bay Chief George. As originally composed, this song was for Kagwantan-children, in honor of his father, but the first stanza was changed (at the time of the recording?) to make it a love song for Teqwedi-children, of whom Minnie Johnson was one.

The song has a Refrain, Stanza I (sung twice), Refrain, Stanza II (sung only once, presumably because the singers broke off).

Frank Italio began to sing (2-1-H) before the tape recorder was turned on, so that the recording begins in the middle of Stanza I. The singing was interrupted after 1:35 minutes, and was resumed on the other side of the tape for another 2:35 minutes. The song was ended before the last phrase of Stanza II had been sung because Minnie Johnson interrupted with a joke. They both laughed but did not resume the singing. The music is followed by a recorded explanation in English by Minnie Johnson, although the text of the music was not dictated at the time.

The melody and the words, particularly the vocables in the refrain, vary in the several versions. The two versions of the refrain are written in parallel columns for comparison; what appears as the most probable version of the words is given, with variants in parentheses. Frank Italio tapped with his cane as if it were a drum.

Refrain

2-2-A | 2-1-H
[Frank Italio breaks in with a snatch of the refrain] |

-ay, ‘i yay ’a ’ay, [talks]

A

’ay ‘i ya ’ay da ’ay-i-i ya ya ya ya,

’ay, ‘i ya ’ay na ’ay ni hi ya, ‘i ya,

B

’ay yi ya ha na ’ay-ni- i ’a-nya-ya,

’ay ye-ya na dla ’ay-i ye-ya ’a, di ya ya,

C

’ay-i ‘i ya ’a na ’ay-i-yi, ‘i-ya, ‘i-yu ’a ’ay [clears throat] ’a ya, mm,

’a-yi ’a na ’a ye ‘i ya, ’ay na ’ay [clears throat]

D

’i ya ya ha-ni ya ya,

na ya, ha-ni yay,

Stanza I (sung twice)

A
tciya kAnaci detartu

cu-di-ya-yu

(ku)

B
dayu dItan-qan [¹¹]—About them to think

(hAs)

c-Teqweyedi-yAtarti-yi—Teqwedi-children

(ya-yAtarti-yi)

C′
’aart kAnaart dAtitc—Through me (?)

(dutitc)

qaarti da-a yu dItanqe—?-about them to think
(artaarti-a- yi dutayanqe)
’a wi-ni’ a
(’awiyi ni ’a)
(’a-yi ya han)

D
ya hani ya ya

(’a yani ya yA, ay)

“It's as if I were beginning to get drunk, when I just think about Teqwedi-children. Sometimes when I think of Teqwedi-children, I go out of my mind. I don't know why.”

Refrain

(As above.)

Stanza II (sung once each version)

A′
tcA WASA ye detartA ’a—Why is it, indeed,
artat dAsnitc-uwi—I am always finished
(ka)   (-e)

B′
tartA dju ‘itc ‘i kAdjunIn—Just when I dream (of (tcu-win) (-)   you?),

Kagwantani-yAtarti—Kagwantan-children,

(ya-yAtarti)

C′
SAS kaart nastitc-a—Because every time [gaart]?   (-sarta)

’aart tuwu qu’a ya ya—My feelings are like that.

(’a-ya ’a, ’ay [breaks off])

’u-we ye-ni ’a

D
ya [Frank Italio breaks off.]

“I'm just wondering why. Every time I dream of Kagwantan-children, it always ends with tears in my eyes. I just feel like crying.”

The structure of the song seems to be:

Refrain: | A  B  C  D¹²  E
Stanza I: | A  B/  C/  D  E  (repeated)
Refrain: | A  B  C  D  E
Stanza II: | A/  B  C/  D/  [MJ sings a few notes more]

T. Max Italio's Love Song to Tł’UknaartAdi-Children

1954, 5–1–G; recorded by Helen Bremner on April 30.

The composer, KwAni (1874–1940) was the Tł’UknaartAdi son of a Teqwedi man. The song was addressed to his wife, Jean or Jane (1871–1945), a artałyIart-Kagwantan woman and daughter of Dry Bay George, a Tł’UknaartAdi man. The song is recorded by the composer's daughter, who also dictated and translated the words. (They were again checked with the recording.) The song, consisting of two stanzas (each sung twice), lasts 2:32 minutes. Later the singer admitted that she was not familiar with the rule that the refrain introduces the stanzas. At the beginning of the repetition of the first stanza, she was joined by another woman, probably Louise Peterson, who sang along with her a third higher.

The words are:

Stanza I (sung twice)

A

tłeyeart de ‘ituwu,—Stop ! your [hard] feelings,
Tł’UknaartAdi-yAtarti,—Tł’UknaartAdi-children,

B

’aarthUnartu-hAs ‘itiart-(XAS),—In place of my [dead] older brothers,

’iyeartketuartdatan—You make me feel happy

C

-tc(A) ’eni ’e ’a,—Always,
hu ’eyeha ’eya ’a ’aya ya

Stanza II (sung twice)

A
’Akwce łgunałtcic(a),—(Can ?) I thank you,
Tł’UknaartAdi-yAtarti—Tł’UknaartAdi-children,

B
hutartinartis artawe,—Because for the last time,
‘idjmartu łAtł’ekw,—You shake hands [with me] (?)

C
’u ’eni ’eni ’ay,
ha ’e yeha ’eya, yahu ’aya

The first word of the second stanza (’Akwce) implies that a question was asked, although this was not indicated by the translation which was given by the singer.

Another informant who heard the recording said that the song was sung with different words (perhaps the same tune with words by a different composer):

Stanza I

tłeyeart de ‘ituwu—Don’t! change your mind,
Tł’UknaartAdi-yAtarti—Tł’UknaartAdi-children.
’aart hUnartu hAS ‘itiart—Instead of my older brothers,
‘iyAartketuartdAtantc.—You always make me happy.

(The composer was said to want to marry the wife of his older brother.)

Stanza II

’Akwce łgunałtcic—(Perhaps) Thank you
‘i’ituwu qu’a—For your feelings, because
Tł’UknaartAdi-yAtartAdi-yatarti—Tł’UknaartAdi-children
‘i yełtin artawe ‘ikwqunawu—With your Raven you
    will die.

“I'm very thankful that you will die with me, your Raven.”

B.A. Jack's Love Song for GIneartqwan-Children

1954, 6–1–C; recorded by Jenny Jack and Sarah Williams on May 10.

The composer, Waartix or Qadałeart (1860–1949), was a Kwacartqwan man, the son of a Teqwedi father. He had already been married to his first wife about 20 years when he composed this song, presumably dedicated to her. He made it when he was on a sea otter hunting trip to Icy Bay and was very lonesome. Before he died, he gave the song to his clanswoman, Sarah Williams. Jenny Jack who sang with her and beat the drum is also a Teqwedi woman, and the composer's second wife.

The song is supposed to have three stanzas, but the singers could not remember the words to the third and it was omitted. The text (that is, the most important words) was dictated and a free translation was given by Sarah Williams. The latter ended the song with a short Tlingit conclusion. The song itself, with Refrain, Stanza I (sung twice), Refrain, and Stanza II (sung twice), lasts 3 minutes.

The words, as dictated, were:

Stanza I

qasIdji ‘i yu kasa ‘Ingi ‘inawu
c-GIneartqwani-yAtarti
tartayaart daya ‘i ‘in katanik

“It's as if someone made whiskey and gave it to him, but he doesn't want to drink. He just wants to hear Gineartqwan's children, because he's so lonesome for them.”

Stanza II

qadjiart ’ackawudjiartIt
tcaya ‘ituwu
c-GIneartqwan-yAtarti
djA ’ackawucartidin

“It's as if someone marked it on the minds of GIneartqwan's children, and after that they just wiped off the words.”

As can be seen, the version as sung is very different from that dictated. The words are of the song are:

Refrain

A | ’a ‘ i ya ’a ya ’a ‘i ya ’ay-ya,
B | ’a ‘i ya ha ya ’a-ha ‘i ya ’a ya
C | ’ay ‘i ya ’a ya ’a ha ‘i ya ’a hi ’ay-ya (’a ya,)
X/ | ’a ’a ya (s-sit) [the last in error]

Stanza I (sung twice)

A

qahaarte detarta yuqasa ‘inge—(?) indeed (if) one carried

A

tartuyu ‘i nawu c-GIneartqwani-yAtarti—Even your wiskey, Gineartqwan-children,

B

tartaya si ‘i ‘in tarte ’e tartus kanqataniga—(?) with you (?)

C

’ay-i-ya ’a ya ’a ha ‘i ya ’ay hi ’ay-ya ’a,

X

’u ’a ya ha-ni ’ay-ya,

Refrain

A | ’ay ya ’ay ya, ’ay ‘i ya ’ay-ya,
B | ’a ‘i ya ha ya ’a ha ‘i ya ha ya
C | ’ay ‘i ya ha ya, ’a ha, hi ya ’ay hi ’a ya ’a,
X | ’u ’a ya ha-ni ’ay-ya,

Stanza II (sung twice)

A

qahadjixa; qa dja ’ackawudjiartita—(It is as if ?) one just drew on

A

tsuyu ‘ituwu c-Gineartqani-yAtarti—(?) your minds, Gineartqwan-children,

B

dja yAc KAt yA KAt—Just then tartA ‘AckAtAxitartia—He just swept it [off].

C

’ay-i yia ha ya, ’a ha, hi ya ’ay hi ’ay-ya ’a,

(’ay-ya ’a ha, hutt ’a!) [on repeat]—“That's all!

X

’u ’a ya ha-ni ’a-ya, [first time only]

McAllester comments that this is a “fine swinging song.” The tone system is basically a triad, with passing tones. The steady drumbeat is interrupted in Phrase C of the second stanza. The stanzas themselves represent expanded versions of the refrain melody, except that the final musical phrase, X, is omitted at the end of the song.

The structure is thus:

Refrain: | A |  | B | C | X/ |
Stanza I: | A | A | B | C | X(repeated) |
Refrain: | A |  | B | C | X |
Stanza II: | A | A | B | C | X |
| A | A | B | C |  |

B. A. Jack's Song for Mount Saint Elias

1954, 5-1-A; recorded by Mary Thomas on April 4.

This song was composed in 1931 at the time of the convention at Yakutat of the Alaska Native Brotherhood and Sisterhood. When people come to Yakutat, the singer explained, they always want to look at Mount Saint Elias, but it is usually covered by clouds. During the convention it was also cloudy; finally, however, the sky cleared, so everyone gathered to look at the mountain and B.A. Jack composed this song. In it he addresses a crest of his sib, the Kwacartqwan. The singer also is Kwacartca.

According to one informant there should be one stanza for the Sisterhood, and another (the first repeated?) for the Brotherhood, but the latter was not recorded.

The song was introduced in Tlingit (42 seconds); the two stanzas are each sung through twice, but there is no refrain. The song lasts (1:30 minutes). The text was dictated and translated at the time:

Stanza I (sung twice)

A

Southeast Alaski Siyistihood—Southeast Alaska Sisterhood

B

’atuwu łIarte—Made it happy

ya ’aart łIłIartw-hAs cayi—Yes, my grandfathers’ mountain

Waarte-ta-ca—’Mountain-up-Icy-Bay’

(Mount Saint Elias) [on repeat]

C

’ate artawe ’e tartu ‘ituwu sAgu—By it thus also you are to be happy.

X

he ’ani ’ayu

Stanza II (sung twice)

A

djuwa wA’Etc wucadaart—Just as if you were the one

B

tarta cełI’at—That opened

ya łInigit ’ani—Yes, the world

Waarte-ta-ca—’Mountain-up-Icy-Bay’

(Mount Saint Elias) [on repeat]

C

’atc artawe ’e tartu ‘ituwu SAgu—By it thus also you are to be happy.

X

’e ’ani ’aya

X/

(he) [on repeat]

The structure of the song is simple:

Stanza I: | A  B  C  X  (repeated)
Stanza II: | A  B  C  X
| A  B  C  X/  (on repeat at end)

Jenny Jack's Lament for Kagwantan-Children

1954, 6–1-B; recorded by Jenny Jack on May 10.

The composer is a Teqwedi woman, born in 1903, the daughter of a Kwacartqwan man. The song was composed to mourn the death of George Bremner, Kwacartqwan, who drowned about 1940. He was the son of a artałyIart-Kagwantan father, and was the nephew of B. A. Jack, the composer's husband. This man, QaartwUxitc, is the same one who is lamented in a song by Olaf Abraham (1954, 1–2-C; p. 1292).

It was unfortunately impossible to secure either a good dictated text of the words, or a translation. The words have therefore been transcribed from the tape, and the translation has not been checked with any informant. The singer used the drum, but omitted the usual Tlingit introduction. The song, with Refrain, Stanza I (sung twice), Refrain, and Stanza II (sung twice), lasts 3:15 minutes.

As sung, the words are:

Refrain

A | ’a he-ya ’a ’ay ’a ’e-i-ya ’a-ya, ’a,
B | ’e-i-ya’ a-yay-a, ’e i-ya ‘yay ’a,
C | ’e-i-ya ’a-ya ’a ’e-i-ya ’a-ya ’a,
D | ’e-i-ya ’a, ‘u ’a-ya ha-ni ya na,

Stanza I (sung twice)

A

deya ‘iłi ‘ituwu,—(? subside?) your feelings,

Kahagantahani-yAtartiyi ’a—Kagwantan-children,

B

’iyida tuwutc kukwqadjaqa ’a—By longing for you I will be killed.

C

’e-i-ya ’a-ya ’a ’e-i-ya ’a-ya ’a ’a,

D

’e-i-ya ’a; he-ya ha-ni ya ya

     (’u ’a-ya ha-ni ’a-ya) [on repeat]

I interpret the words to mean that Kagwantan-children (that is, the dead man) are implored to reduce their anger, or change their minds, and return from the dead, because the composer is dying through longing for them.

Refrain

A

’e-i-ya ’a ha-yay ’a, ’e-i-ya ’a-ya-ha ’e ‘i-ya ’a, yay ’a,

B

’e-i-ya ’a yay ’a, ’e-i-ya ha yay ’a,

C

’e-i-ya ’a ya ’a ’e-i-ya ’a yay-ya ’a-ha-ha

D ’e i-ya un; ya ha-ni ya ya,

Stanza II (sung twice)

A

’aart ’anqahawu yAart,—Like my God

’ihihi ya qawes arteyeart -qwAdagaartarta—-?-

B

Kagwantahani-yAtartiyi ha—Kagwantan-children,

C

’e-i-ya ’a ya ’a ’e-i-ya ’ay-yay-yay ’a

D

’e ‘i-ya ’a, n ’e yay ha-ni yay-ya

(’e ‘i-ya ’a tartAWE!) [on repeat at end] [Ends with a laugh.]

(I believe that the meaning of this stanza is that the composer is praying to God for Kagwantan-children.)

As is not unusual, the song rises a half-tone during the first refrain, again on the repetition of Stanza I, and still again on the second refrain.

The structure of the melody is:

Refrain: | A  B  C  D
Stanza I: | A  B  C  D  (repeated)
Refrain: | A  B  C  D
Stanza II: | A  B  C  D
| A  B  C  D/

Jimmy Jackson's Unhappy Love Song for Kagwantan-Children

1954, 7–2-G; recorded by Jenny Jack on May 27.

The composer was a Kwacartqwan man (1861–1948), whom we have met as “Gums” (p. 194) or “Yeet-shwoo-doo-kook,” but who was more properly named TayiartgAłE and KusAxwkw-’ic. His father was Kagwantan.

This song was composed for a Teqwedi woman, Sophie, or Kanidi and SAnaart-tla, who was married to a Kwacartqwan man, Yakutat Charley (1862–1920), WAtartdał or artisdjakw-’ic, the younger brother of Yakutat Chief George. She was having an affair with her husband's nephew, KUarttitc, and her husband beat her. Jimmy Jackson was a cousin of the nephew, and Sophie confided in him. Jenny Jack who sings the song is the woman's cousin. It is impossible to date this composition, but it may have originated about 1900.

There is an introduction in Tlingit (28 seconds). The song with Refrain, Stanza I (sung twice), Refrain, Stanza II (sung twice), and a snatch of the Refrain for a conclusion, lasts 3:02 minutes.

Some words were dictated, but no accurate translation could be obtained:

Stanza I

yidAt ’akwce—(Right now, perhaps)
łAkAtart qa yełi qunAqana—(With all the Ravens -?-)
qeyagaw qunqana—-?-

“I wish I died right now with all the Ravens.”

Stanza II

’aarto ’axASIgu—Among them, he makes me happy (?) c-Kagwantani-y A tarti—Kagwantan-children,
’aarto ’aarto ’aartasIartaarte—Among them (because of him ?), I weep.

“Some of Kagwantan-children make you happy [the lover], and some make you sad [the husband].” As sung, the words are:

Refrain

A | ’a-ya, ’a hi ya ’ai-ya ’a-ya, ’a-ya ’a-ya,
B | ’a-au ’e-ya ha ’ai-ya ’ai-hi ya ’a ’ay,
C | ya hu ’e-ye, ha-ni ’a-na

Stanza I (sung twice)

A

(’aartU)[¹³] yidAt ’akwce gI łAkAt qa yełiyi tartA qunwunawu

B

tartA ya da artawes tartA tł’e qunqanawu ya ’ay ’ey,

C

ya hu ’e ye, ha-ni ’a-na

Refrain

A | ’a-ha ’e-ya ’a-ya ha ‘i-ya hai-ya ha ya, ’a-ya ’a-ya,
B | ’a ya ha ya ha ’ai-ya ’ay hi ya ’a ’ay,
C | ya hu ’e ye, ha-ni ’a-ya,

Stanza II (sung twice)

A

’aartu ’aartaWE tartA ’aartASIguyuwi da ya c-Kag-wantani-yAtarti

B

’aartu ’aartawes tartA ’a artasIartaarteya ’au, ’a-i

C

ya hu ’e-ye, ha-ni ’a-na

Refrain

A/
’a-ha ’e-ya ’a-ya ha ‘i-yu
[breaks off]

For part of the song, Maggie Harry joined in softly, singing an octave higher.

The structure is:

Refrain: | A  B  C
Stanza I: | A  B  C  (repeated)
Refrain: | A  B  C
Stanza II: | A  B  C  (repeated)
Refrain: | A/

McAllester comments that this reminds one of B. A. Jack's Song for Mount Saint Elias (1954, 5–1-A).

Jimmy Jackson's Sawmill Love Song

1954, 7–2-D; recorded by Maggie Harry (with drum), and Jenny Jack on May 27.

This song was composed in 1904 when Jimmy Jackson, Maggie Harry's uncle, was married to Susie, a Teqwedi woman named artix, who was a cousin of Jenny Jack. They were separated and he met his sister-in-law who told him: “Don't be sorry, don't feel bad, I'm going to be your girl friend.” The song was composed when he was working in the sawmill, cutting wood to make boxes for the cannery. It is said by the singers to be a pretty song, with a lively dance tune. It is supposed to sound like the saw, and is therefore called ‘Little Saw Mouth Song’ (artaca artAtartKw arta ciyi). Unlike most love songs, it does not mention sib-children, and so became popular simply because it could be sung by anyone. It is a Haida Mouth song, with a refrain and two stanzas.

Maggie Harry introduced the song in Tlingit (22 seconds). A mistake was made when they began singing, so they started over, Maggie Harry taking the drum. The melody without words is sung first, then the first stanza twice, then the melody without words, and the second stanza twice. After the second repetition of the first stanza, Maggie Harry called out “tartuya!” to indicate that the refrain was to be sung. The song lasts 2:10 minutes.

The words as dictated are:

Stanza I

artearta ’aartu ’atc—-?-
tuwu KAtin yanałgw Ał’—With kindness let someone roll [the world]

’aga qatuwu kegUartsAgu—Because of it one will be happy.

“Let someone roll it [the world] with kindness—or, Let it roll around with kindness. It makes one happy.”

Stanza II

keł ’ade yequwEn artaartaartiyE
Goodby ’a ‘Ita gau
cAne sAti

“Don't say goodby, dear, waiting for the next time.” It was suggested that the last stanza was supposed to be spoken by the sister-in-law who was going to take her sister's place.

It is obvious that this transcription has a number of errors, even though we cannot rely on the accuracy of what could be transcribed from the tape:

Refrain (sung twice)

A | ’ai yai ’ana ’ai ya ’a na ’ai ya ’a,
B | ’a ya ’ai ’a ’ai ya ’a ’a ya
C | ’a ye ‘u ’e ’e ye-u ’e ya,
D | ’u ’a yai ’ani ’aya

Stanza I (sung twice)

A

dearta ’aartu ’atc tuwu ketin yanałgw Ałi

B

’aarta qatuwu ckegUartsAguwu

C+

’a ye ‘u ’e ’e ye ‘u ’e ye

D

’i ’a yai ’ani ’aya

Refrain (repeated)

Stanza II (sung twice)

A | tłeł [or łił?] ’ade arteyeqawun artqaartiyE goodby yina
B | ’a ‘ida gau arta [or ta?] cAne sAtiyi
C | ’a ye ‘u ’e ’e ye ‘u ’e ya,
D | ’u ’a yai ’ani ’aya

The structure is:

Refrain: | A  B  C D (repeated)
Stanza I: | A  B  C+  D (repeated)
Refrain: | A  B  C  D
Stanza II: | A  B  C  D (repeated)

McAllester writes: “Note the delightfully tricky rhythm in the C phrases. There is a good example in the song of the ‘ ’ani ’aya’ ending formula (both musical and textual) in the D phrase.”

Unrecorded Love (?) Song by Billy James

Billy James, łIxak ’smells Good,’ (1854–1919) was a Kagwantan man from Sitka, the son of Sitka Jack, Tł’UKnaartAdi. This song was composed when he was “stuck” (storm bound?) on Kayak Island, and very lonely. Since it is addressed to Teqwedi-children, he was probably thinking of his wife, Jenny Abraham, KaartuartEt (died 1919), Tł’ uknaca and the child of a Teqwedi man.

The words were dictated by Minnie Johnson.

Stanza I

tca dja Kayak SA—(I'm) right here on Kayak
tuwunikw de—Where sorrow struck(?).
daq yeł sAkwce—What Raven
artute yAkwqAartaimages—Will pity the Wolf?
‘ican ’asgi—Alas,
’aart tuwu qu—I feel so sad.

Stanza II

qatqa sAkwce gEs ’at—(There it is?)
‘AnartałartEntc—I look around (at it)
‘i ‘ic-hAs ’ani—Your fathers’ land,
c-Teqwedi-yAtarti—Teqwedi-children.
yAkwqeqa’enin tcadja—Just towards dawn
’aarta[?] artarta ’axKA—(Because of it?)
wahucartEntc—I look around.
’aart tuwu qu—I feel so sad.

The music for this song was not recorded.

Mrs. Chester Johnson's Lament for Her Husband

1954, 5–1–H; recorded by Mrs. Chester Johnson on April 29.

The composer, Esther, the daughter of Lituya Bay George and his wife Mary, CAnkuqedi, was born in 1900. She was formerly married to Clarence Peterson (1890–1942), Skmya, a Tł’UknaartAdi man, and son of a CAnkuqedi father. She is now married to Chester Johnson, Norwegian.

The song was composed when Clarence Peterson died (see Stanza I). I do not know the identity of the Teqwedi-child to whom reference is made in the second stanza. The introduction, in Tlingit, and the song (refrain, and two stanzas sung twice) last 2:26 minutes. The words were dictated by the composer; my transcription and translation were checked with John Ellis, and again with the tape. However, the words as sung (in parentheses), do not agree with those dictated. As usual, the vocables of the refrain and in the stanzas were omitted.

The words as sung are:

Refrain

A | ha ’e ’a- ‘uweyeha ’e ’a(u)we,
B | ha ’eya ’eyu he-ha ’eya, ‘uweyeha ’e,
C | ’aweya ’eyeha ’e ’a(u)we (ya) ’aya hani ’aweya,

Stanza I (sung twice)

A

detartA tuwu łAtsin—Indeed with a brave feeling

(’akat ya artakatuxłAtin-a)—I am looking at

B₈

CAnkuqedi-yAtarti—CAnkuqedi-children [the dead busband]

(’ida yututan artAWES ’aartka)—Thinking about you, thus, I

C₈

(ya ‘uc artEntc-a, ’a he ’a-(u)he ya,)—Feel upset.

(’aya hani ’aya)

For the last line the composer dictated what was obviously a line from the third stanza of another of her own songs (1954, 5–1–I):

’i artutci artis ‘itułItsin—You refused (“were mean to”) your Wolf.

Stanza II (sung twice)

A | tsu ‘iartsAartAni—Still loving you tĆA artat kuqwana (arta)—I will die.
B₈ | Teqwe(ye)di-yAtarti—Teqwedi-children, s-hAnde (’e) ‘idjIn—Give me your hand (artawEs) good-by—Thus good-by.
C₈ | (’a ‘u ’eya, ’ahe ’auheya,)
| (’a ya hani ’aya)

The structure of the song is:

Refrain: | A   B   C
Stanza I: | A   B₈   C₈ (repeated)
Stanza II: | A   B₈   C₈

Mrs. Chester Johnson's Lament for Teqwedi-Children, etc.

1954, 5-1-I; recorded by Mrs. Chester Johnson on April 29.

This song is unusual in having three stanzas (each sung twice) as well as an initial refrain. The whole song lasts 3:16 minutes. The words were dictated by the composer (omitting the vocables); my transcription was corrected and translated by John Ellis.

In the first stanza the composer sings to Teqwedi- children (Minnie Johnson), whom she leaves behind in Yakutat, when going to Juneau for an operation. In the second stanza, she refers to her friend, Maggie Harry, Kwacartca and daughter of a YAnyedi man, whom she found in the hospital. Knowing that her friend was also to have an operation on the same day as herself, she was not afraid. The third stanza refers to her dead husband, Clarence Peterson (1890–1942) who is reproached for having died.

Refrain

A | ’eye ‘uweye ’eyu ’eyuha, ’eyehu ’eyeya,
B | ’u ’eyu ’eyeyu ’eyehu ’eya, ’eyehu ’eyeya,
C | ’eyehu ’eyeya, ya ’ehani ’ayeya

Stanza I (sung twice)

A | tłeart [tłAart?] wułItici,—Very lonesome it is ye ’ey-ya-pleyn arta—This airplane ‘inAart ‘AWE,—From you now
B | artan yakdaqin artawEs—With me flying, thus Teqwedi-yAtarti ’eyehu ’eyaya—Teqwedi-children,
C | ’eyehu ’eyeya, ya ’ehani ’ayeya

Stanza II (sung twice)

A

dAq yaqwałcuqw artawEs—Back [in the graveyard] I'll be smiling, thus,

YAnyedi-yAtarti-tin,—With Yanyedi-children [Maggie Harry],

artat kuqwanawu,—If I die

B

’aart tuwu artawEs—My feelings, thus kegUartsAgu (-wu, or artawEs)—Will be happy. ’eyehu ’eyeya

C

(as above)

Stanza III (sung twice)

A

’itułItsin artawEs—You were strong-minded [i.e., mean, hard-hearted]

CAnkuqedi-yAtarti—CAnkuqedi-children [her husband],

’iartutci-yis-a—For [to] your Wolf,

B

’itułItsin ’a ’eyehu—You were hard-hearted [by dying].

’eya, ’eyehu ’eyeya

(hutart! on repeat)—That's all!

C

(as above)

The structure is:

Refrain: | A   B   C
Stanza I: | A   B   C (repeated)
Stanza II: | A   B   C (repeated)
Stanza III: | A   B   C
| A   B

Mrs. Chester Johnson's Song for Teqwedi-Children and Norwegian-Children

1954, 2-1-I; recorded by Mrs. Chester Johnson on June 10.

There had been some rivalry between Mrs. Frank Dick and her friend, Mrs. Chester Johnson, over the singing and recording. The former was said to have been piqued because the latter had recorded so many songs to Teqwedi-children, so she, Mrs. Frank Dick, was going to compose one to Norwegian-children. However, Mrs. Chester Johnson made hers first. It was composed shortly before it was recorded.

The Norwegian-children are presumably those of Louise (Kwacartca) and Ben Peterson; the Teqwedi-children are probably those of Louise's younger sister, Mary, and William Thomas. Although the composer's husband is Norwegian, she could not sing to his children, for they would be CAnkuqedi like their mother.

The song lasts 1:44 minutes, and lacks a spoken introduction. There is a refrain and two stanzas (each sung twice). The text was dictated by the composer; the translation made by Helen Bremner. It will be seen that the singer made a mistake in singing the words for the second stanza, substituting in the phrase C’ the words from the first stanza (correcting this on the repetition).

The words (as corrected) are:

Refrain

A | ’ehi yaha ’e ’eya ’aha ’eya
B | ’eyayaha heya ’aya ’eya, (repeated)
C | ’eya ’a heya ’a ’a,
D | ’a ’a ’eya ’a,

Stanza I (sung twice)

A

yanAart-a keya ’at ’eya,—From here or there they are coming,

B Teqwedi-yAtarti heya ’a ’aya,—Teqwedi-children,

B

Norwegian-yAtarti heya ’a ’aya,—Norwegian-children,

C′

hutcartu-yaart da’at-di heya ’a ’a,—Mixed together they come.

D

’a ’a ’eya ’a,

Stanza II (sung twice)

A

tunAart-qaya- duti-yin arta,—A mirror [inside-through one's-face to-see].

B′

’iyuwusiti heya ’a ’aya,—I wish you were,

B′

Norwegian-yAtarti heya ’aya,—Norwegian-children.

C/

yayu[kA] guartduti ’eya ’a ’a,—Before my face I will hold it up [And see myself!]

D

’a ’a ’eya ’a hutart!—…that's all!

The structure is:

Refrain: | A   B   B   C   D
Stanza I: | A   B   B   C’  D (repeated)
Stanza II: | A   B’   B’  C’  D
| A   B’   B’  C/  D

Mrs. Chester Johnson's Song for Tcicqedi-Children

1954, 5–2–I; recorded by Mrs. Chester Johnson on June 10.

The tune is an old one, but the words had just recently been composed by the singer for FdeL, who is considered to be Kwacartca and the daughter of a Tcicqedi man, like her namesake, Kuartanguwutan, Mrs. Katy Dixon Isaac. The composer is CAnkuqedi.

There is a refrain and a single stanza (sung twice), the song lasting only 55 seconds. The text was dictated by the composer, and the translation made by Helen Bremner. As is usual with such dictations, the refrain and some extra syllables in the stanza were omitted, but are here given in parentheses.

Refrain

A | ’aweya ’aweya,
A/ | ’aweya,
B | ’aweya ’aweya, ’ani nA ’a,

Stanza (sung twice)

A

tE–gun yeart (tcA) kuqwati,—Like a gold–rock [yAart?] you will be

A

Tci(yi)cqedi–yAtarti (artawes),—Tcicqedi–children (thus)

B′⁺

deyi -kAart (-a),—For it [du?]

artIł’ kUqwateart—I will strike the clif. (’a ’eya, ’ani ’a)

(Possibly the verb in the first line should be artaquti, not kUqwati.)

artadaneart Johnstone's Love Song for Teqwedi-Children

1954, 1–1–E; recorded by Charley White (with drum) and Minnie Johnson on April 8.

The composer was a Teqwedi man (1843–88), the father of the two singers. This song was composed before 1885 for his two Tł’UknaartAdi wives, CawAtart and Qatcqaqet, aunt and mother of the singers. The women were the daughters of a Teqwedi man, łusartoart (see pp. 320–321).

Charley White introduced the song in Tlingit (36 seconds). As translated by John Ellis: “He used to like it—drinking (’At dAna), my father, artadaneart. Just the way he like it so much (tarta ’adé dutuwasIgu wítc), that's why about it he was singing (djeyu ’adatart cUkłAcixín). He sings about Teqwedi-cbildren. Also very much he like it (tartu qUnAart dutuwasIgu). That's the one I'm going to sing (’aya ’ayu kékAqwaci).”

The words, as dictated by John Ellis were:

Stanza I

’A kAt kAsAxA de—Pour it on it [in the glass], Teqwedi–yAtarti—Teqwedi-children,

datuwu qu-’aya—The longing for, so that

tcAłdAkAt hAsdu artutc—All of these Wolves

djitc artAnAna—May drink it!

tcAłdAkAt artutc—All of the Wolves,

kAn artAcuwu—Let them be drunk!

Pour out the love for Teqwedi-children, so that all of these Wolves may drink. Let all the Wolves become drunk.

Stanza II

’A kAt cuwuxixi—On it all gone

nau yuartiyati [yeart ‘iyati ?]—The liquor, it is like.

[Teqwedí-yAtarti—omitted]—Teqwedi-children,

’aart tartA kanAart cuwuxixi—I'm not satisfied when it is all gone.

’aart tuwasIgu—I want

’i’in artAt wunawu—To die with you.

It is as if the liquor were all gone, all gone before I was satisfied. I want to die with you.

As sung, the composition has two stanzas, each sung twice, but lacks a refrain, and the whole lasts 2:45 minutes. At the end of the repetition of the first stanza, Charley White (as song leader) calls out “hede! hede!” presumably to indicate the beginning of the second stanza. At the end he calls “hutcA!” (that's all). The words as sung are:

Stanza I (sung twice)

A | ’Ak-At kA-saA-xA de
B | Teqwedi-yAtarti
C | da tuwu qu ’aya
D | tcAłdAkAt du artutc djitc artAdAnayi ya
E | ’aya tcAłkAt artutc kAn artAcuwu yeu ’eyu ’aha,
F | yeu ’ey ya ’ana ye te
| he (on repeat)
X | ye hani ’aya (This phrase omitted on repeat; hede! hede! is substituted.)

Stanza II (sung twice)

A | ’Ak-At cuwAxixi
B | nau yeart ‘iyati
C | Teqwedi-yAtarti
D | ’aart tartA ’aart cuwuxi-xi ’aart tuwasIgu-wu
E | ’i ‘i-yin artAt wunawu yeu heye-u ’ana
F | yeu he ‘iya ’ana yeu he ye
X | ye ’ani ya ha (on repeat: ye ’a hutcA! ni)

Minnie Johnson sang an octave above her brother, except for one part near the end of the second stanza (² on score) where his voice rose an octave and they sang in unison.

McAllester comments: “The haunting resemblance of the start of this song to ‘O Beautiful For Spacious Skies…’ quickly vanishes, but the development in [phrase] B, and the meter, and the dragging tempo, all suggest strong European influence.”

The structure is:

Stanza I: | A   B   C   D   E   F   X (repeated)
Stanza II: | A   B   C   D   E   F   X (repeated)

Kitty Martin's Love Song for Tł’UknaxAdi-Children

1954, 5-1-B; recorded by Helen Bremner, Louise Peterson, and Mary Thomas on April 25.

Kitty Martin (1895–1920) was the daughter of Jim and Jenny Kardeetoo, and was therefore Kwacartca and child of Teqwedi. She married Martin Abraham, Teqwedi, but was in love with the latter's nephew, Sheldon James, Sr. (1896–1955), the Teqwedi son of a Tł’UknaartAdi father. The latter was, however, already married, and she went to Juneau. We gather that the song was composed there. I do not know the Kwacartqwanchild to whom the third verse was dedicated. Kitty Martin is said to have sung this song when she was dying. Helen Bremner led the singing, and was assisted by the two sisters of the composer.

The song consists of Stanza I (sung twice), Stanza II (sung once), and Stanza III (sung twice), but was sung without a refrain. The song lasted 2:03 minutes; there is a Tlingit conclusion (35 seconds) by Helen Bremner. The text was later dictated and explained by Emma Ellis, but differs somewhat from the version on the tape. As sung, the words are:

Stanza I (sung twice)

A

wanaqatiyitsA ya-ha ‘i yełi—What will become of your Raven

kawayiart—In space [nowhere]

B

detart ’a tcuartinAq—Indeed, let go [djI-yA-nAq]

’uc Tł’UknaartAdi-yAtarti—If, Tł’UknaartAdi-children?

C

tłeart ‘i ‘iti łitici—Very much she is longing for you.

ye-u ’a ’e-ye ‘i-ya ’am

X

wu ’a-ya ’a-ni ’a-yA,

The meaning seems to be: “What will become of your Raven, if you abandon her in space, Tł’UknaartAdi-children. She longs very much for you.”

Stanza II (sung once)

A

tartu cuartsAti ye artawes—I am still waiting, thus, ‘iyuartatangi artwa ’aarta—To hear you talking,

B

c-Tł’UknaartAdi-yAtarti—Tł’UknaartAdi-children, keł ‘ułimagesi kAt de—It's not hard

C

wireless tunAart yuartatange—Through the wireless to talk.

yu ’a ’e-ye ‘i-ya ’an

X

wu ’a-ya ’a-ni ’a-yA

Stanza III (sung twice)

A | ’i ‘iyide ye artawes—For you, thus,
| ’aart tuwu wanik,—I feel sad,
| c-GIneartqwani-yAtarti—Gineartqwan-children.
B | tłeart dakwet yAart sAkce—Never-?-
| ke ’ade cItsiyiarte—Do you want [cItsiartAn ?]
C | ’i yełi tin wAna—To die with your Raven. yu-ha ’e-ye ‘i-ya ’an
| (-a) [at end]
X | yu ’a-ya ’a-ni ’a-ya, [Omitted on repeat]

The structure of the song is:

Stanza I: | A   B   C   X (sung twice)
Stanza II: | A   B   C   X
Stanza III: | A   B   C   X
| A   B   C

Natsartiart's Suicide Song

1952, 6-1-A; recorded by Minnie Johnson on September 9.

This song was composed before 1884 by the singer's mother's mother's younger brother, Natsartiart, the Tł’UknaartAdi man who built Boulder House on Johnson Slough, and was the father of Situk Jim (pp. 317, 321). When he was putting on his sealskin boots to go out to chop wood, he got into an argument with his Teqwedi brother-in-law, łkUtke’UxwItc (’Never gets Lost’). He composed this song, wishing for his death, and left the house. This was the end of his life, for he chopped a tree down on himself.

The singer learned the song as a little girl, when her grandmother used to take her on her lap while she sang and wept for her dead brother. The song is now used by the Tł’UknaartAdi as a mourning song at potlatches.

There is an introduction, mostly in Tlingit (3:24 minutes), and a conclusion, partly in English (5:04 minutes). The song itself has two stanzas and lasts 2:23 minutes. It was not possible to secure a transcription of the text. A free translation would be:

Stanza I

How I wish I were up among the ghosts among the Northern Lights. Because then I won't have to face that Wolf any more.

Stanza II

Your words, Wolf, are hurting me so badly. The words of the Wolf are enough to kill anyone.

It was impossible to fit the words as heard on the tape to this free translation, or to transcribe them accurately. Each stanza is sung twice; there is no refrain.

Stanza I (sung twice)

A | WASA(’A)sgi ’at quqwasni—How if I were (?)
B | kina- he cehewedi artutca—Up above, those wolves
C | ’ada arta łe-naartdustintc-ayi—I not always-to-see
X | ’a he- ’an
| tł’e hede!—“to the beginning” (at end of repeat).

Stanza II (sung twice)

A

wani qa ’ey-wana qa-(yi)—?- [qwa]?

B

de artutce arta-hat quqwadjaq-a—The wolves me will kill

C

wani qa tłe quqwadjaq-ayi yi-(a)—-?- [artan ‘iqa]?

X

’a he ’a

The structure of the song is:

Stanza I: | A   B   C   X (repeated)
Stanza II: | A   B   C   X (repeated)

John Nishka's Love Song for Tł’UknaartAdi-Children

1952, 3-1-A; recorded by Annie Johnson on August 13.

The song was composed by the singer's mother's brother, a Kwacartqwan man named Nicga or TanAartAci. The song was composed when he was leaving Yakutat to go sea otter hunting off Icy Bay. It has since been sung at a potlatch by the Kwacartqwan, perhaps as a mourning song in his memory, because Minnie Johnson explained before the recording that “They spend a lot of money on the song when they sing it.”

The song is preceded by a short introduction in Tlingit by the singer (55 seconds), and is followed by an explanation in English by Minnie Johnson. The song has two stanzas (1:15 minutes). No text was transcribed but the words mean:

Stanza I

Raise the flag of the feeling for Tł’UknaartAdi-children, so that all the Ravens will see it.

Stanza II

I hate to leave Yakutat and the Tł’UknaartAdi-children behind, I hate to see the mountains disappear behind me. That makes me feel sad.

When the tape is heard it becomes evident that Minnie Johnson reversed the order of the two stanzas in her explanations. The words of the song appear to be:

Refrain

A | ha ’e-ya ha-na,
B | ’a yi ‘i ‘i-yaw ’a ye hu ’a ye-ye,
C | ’e ye dji-ya ’an-a ’e-yi ye ya ’a
D | yay yu ’a ’e-ye ’e ya ’a ’e hu,
E | ’a he ye ya, ’a ye [clears throat] he-ya ha-ya,

Stanza I (sung once)

A | tcu ’aarttu sAniku—Just my feelings are sick [I just feel sad]
B | ’in de-i kUdi ’ayi—-?-
| ’i ’ani cayi—Your land's mountains,
C | Tł’UknaartAdi-yAtarti—Tł’UknaartAdi-children,
| ’ade artaarta [yuhude! yuhude!] (spoken)—About it, I (weep ?) [seems to be correcting a mistake]
D | dade artaartaart nuktc ’ahi—About it I always weep.
E | ’ehe ya ha he, yu ’a he
| [tartuye! tartuye!] (spoken)—[“Again! Again!”]
F | ’u haye-he ’ani ’aha ya

Stanza II (sung once)

A | dadi sAartiartIimages de—(About it? [dade ?]) hoist ye!
B | Kocimagesixkani-yAtarti—KUcimagesi-qwani (?)-children's
| tuhu ’ayu de—Feelings, so that
C | tcAłdAkAt du yełi—All their Ravens
| tartA naqati—May see it.
X | hu ! hu ! hai ya he—Whoo ! Whoo ! hai etc.
| [yuw.l! laughs]—[“That's it!”]

The old lady attempted to be a whole chorus, beating the drum for herself and calling out the words of the song leader. She misspoke herself in the first stanza, exclaiming what I interpret to be a correction of her mistake.

The structure of the song is:

Refrain: | A   B   C        D   E[¹⁴]
Stanza I: | A   B   C[¹⁵]   D   E[¹⁶]F
Stanza II: | A   B   C                           X

Clarence Peterson's Love Song for Tł’UknaartAdi-Children

1954, 1–2-F; recorded by Charley White (drumming) and Frank Dick on April 9.

The composer, Clarence Peterson (1890–1942), a Tł’UknaartAdi man named Skinarta (or SkEnarta), was the son of a CAnkuqedi father. He was once married to Violet James, the Teqwedi daughter of Ned James, a Tł’UknaartAdi man. She died some years ago, and Clarence Peterson then married Esther, a CAnkuqedi woman who is now Mrs. Chester Johnson. This song was composed for his former wife, Violet.

Charley White introduced the song in Tlingit (30 seconds); the song itself lasts 3:05 minutes. The words to the two stanzas were dictated by the singers. My transcription was corrected and the translation supplied by John Ellis.

Stanza I

tłaart yé ’ałAdzíyin—This is very hard,

Tł’UknaartAdi-yAtarti—Tł’UknaartAdi-children,

ł’ew arta djúngE—If I never dream.

’aart tuwu yuarte—I feel good

’At artúdAnaarti—I When I drink something.

’aart tuwu kekuartsAgu—I will feel happy

’At artúdAnaarti—When I drink something.

Stanza II

tłart ci kAt—In one song

wucdaarta—About each other

yúartetułA’at—We will be talking,

Tł’UknaartAdi-yAtarti—Tł’UknaartAdi-children,

’aarta ’awE—And then,

yah´kaartacéni—When we feel high,

kéguartsAgu ‘Akwce—It will be fun, won't it?

The words as sung and heard on the tape were, however, somewhat different. There was a refrain, Stanza I sung twice, the refrain sung again (and repeated by mistake), and then Stanza II was sung twice, the second time ending abruptly before the final phrases.

Refrain

A | ’e ye ‘u ’e ye ’a ye-i ya ’a ’a ye ‘u ’e,
| (hu)
B | ’a ye-i ya ’aw ’e ye ‘u ’e ye ye ‘i ya ’aw ’a ha (hu)
X | ’i yu ’aw ya ha ya,
Y | ’i ya ’aw ’a ye ‘i ‘i ya
Z | ya ha ni ’a ya

Stanza I (sung twice)

A | ’a ye ‘u ’e ye tłaart ye ’ałAticinde [’ałAdziyinte]?
B | ’e ye ‘i ’e yi Tł’UknaartAdi-yAtarti tea łew arta djungu
| artwaartaxcuna-xictca ’a-
X | -na kadjuni ’e [’anaart kadjuni]?
Y | ’ ‘i ‘i ey ’a ye ‘u ’a ‘u ’a ye yE

Refrain (sung once, then again by mistake)

Stanza II (sung twice)

A
tłeart ci kAt artwande [te?] wucda ’aarta

 (B)

tea yuartatuła[’a]di Tł’UknaartAdi-yAtarti-yi ’aarta artawe yahakaartaceni ke-

 (X)
-guartsAgu-tcit [kwci?]¹⁷’i

Y
’i ‘i ’en ’a ye ‘u ’a ye yE

Z
ya ha ni ’a ya

The structure of this song is, therefore;

Refrain: | A   B   X   Y   Z
Stanza I: | A   B   X   Y’   Z (sung twice)
Refrain: | A   B   X   Y   Z (once, and again by mistake)
Stanza II: | A  (B)  (X) Y  Z
| A  (B) (X)¹⁷. [Ends here]

Blind Sampson's and CkInan's Song about the Tsimshian Word

1952, 3–1-C; recorded by Minnie Johnson and Annie Johnson on August 13.

The melody for this song was probably composed by Blind Sampson (1866–1948), a Kwacartqwan man, named YÁndułtsín, considered as an uncle of Annie Johnson, Kwacartca (1875–1964). The words were set to it by CkInan, a Tł’UknaartAdi man, son of artałyIart- Kagwantan, who died in the early 1900's, and who was an uncle to Minnie Johnson, Tł’Uknaca (1884–1964). The song refers to how the use of the Tsimshian word, artín´u or Gínó (sung as artinayu) meaning ’enough,’ averted a fight between the Tsimshian and Yakutat sea otter hunters near Icy Bay (pp. 284–286).

The song is preceded by the story narrated in Tlingit by Annie Johnson, with a few interruptions from Minnie Johnson (6:35 minutes). The song is sung by both, Annie Johnson taking the bass, and Minnie Johnson an octave higher (2:15 minutes). During the last 10 seconds both women are sobbing. After recorded thanks by FdeL, Minnie Johnson tells the story in English (10:50 minutes). The text to the song was not transcribed, but the general meaning of the words is:

“Grab hold of that ‘artínáu,’ so everybody can use it.”

Annie Johnson led the singing and beat the drum. Minnie Johnson joined in a little later, and often carried the tune when the former was overcome by grief. She used the drum at first for occasional emphasis in the early part of the song; later on it fell on every other beat. The song begins with an introductory phrase (sung twice) which seems to take the place of the first two phrases of the stanza. There is only one stanza, sung twice (with minor variations in the words), but it is broken off when the women begin to wail. The words as heard on the tape are:

Refrain

A | ’u ’e ye ni ’a ’a ya ‘u ’e ya,
B | ’u ’e ye ni ’a ’a ya ‘u ’e ya,
C | ’u-u ’e ye-e ni ’a ’a [¹⁸] ya u ’e-ya
D | ’u-u ’e ye-e ni ’a ’a ya ‘u ’e ya,
E | ’u ’e ye ye ’a mi yay ya,

Stanza I

A′ | tarta da du wa qai du arteqAarticat,—Just ? his word take!
B′ | da qaik qa (ye) dji dja yin qa ti arta,
C′ | arti na yu wa ‘Iq ’a[¹⁹] yu we ya,—“artinau”
| [’ax ‘ik’, ’ax ‘ik’!]—[“My brother!”]¹⁹
D | ’u ’e ye (ye) ni ’a ’a yu ’e ye,
E | ’u ’e ye he yu ’a hu, ’a ya,
| [kAt kudi hede] (spoken by AJ)—[“Don't repeat(?)”]

Stanza (II)

A′ | tartA da du waqaarti du arteqAarti cAt de,
B′ | cta kAt qa dji dja yin qadiartI,
C′ | artina-yu-wi qa [sob], ’awe ya ‘u ’e
D/ | [ye ’awe sobs ou- ou-]

The structure of the song is unusual in that different musical phrases are sung for the refrain than for the words. Perhaps there would have been a second stanza if the singers had not been overcome by sobs.

As sung, the structure is:

Refrain: | A   B   C   D   E
Stanza (1st): | A’   B’  C’  D   E
(2d): | A’   B’   C’ D/      [breaks off with sobs]

Blind Sampson's Situk Train Love Song for Teqwedi-Children

1954, 2-1-D; recorded by Charley White (drumming), Jenny White, and Mrs. Chester Johnson on May 3.

This song was composed by Old Blind Sampson (1866–1948) for Jim Kardeetoo (1867–1937), Teqwedi. The latter sings about his sweetheart who is supposed to come out to his fish camp on the Situk train. This became a very popular song; all the fisherman used to sing it. Mrs. Chester Johnson said she had first heard it in 1911. The first version recorded (2–1-C) omitted the first stanza, so it was recorded again (D).

There is an introduction in Tlingit by Mrs. Chester Johnson (27 seconds); the song, with a refrain and two stanzas (sung twice), lasts 2:03 minutes.

The text was dictated on another occasion by Mrs. Frank Dick, but she was unable to furnish a translation. The dictated version is:

Stanza I

’iyaqayi tca artan—(If) your words already me

kawudunigi daart haya—Told me truly, (from - ?)

tcu tłak sA ‘ AartsIt’an

[tcu tłak sA’AartsIt’an ?]—Already long ago maybe I (would have) heated it (?)

tartu ya arttin-ka—Again that steel car

tartu djA sAtłAk sAartsIt’an—Just then ? (I would have heated it)?

(The meaning seems to be that she had promised to come out to Situk on the train, but did not do so.)

Stanza II

t’e [tłe ?] yu-da can-tin—Then with (or to) that poor thing

tarta ’aqwałanik ‘iartaqaarti—Your words still tell (me).

Teqwedi-yAtarti—Teqwedi-children,

artAt arteartitani—If you speak to me

’aart tuwu ’at cuqwiye—My feelings (will) smile.

As sung, the words seem to be:

Refrain

A | ’iyaha, ‘uwe ‘iya ’a ‘iyaha ’a
B | ’uwe ‘iyaha ‘iya, ‘u ’e ‘iyaha ‘iyaha ’eya
C | ’u ’e ’aya hani, ’aya

Stanza I (sung twice)

A | ’iartaqaarti tca artan kadunigi daartawe,
B | tcu tłak sAart-sI-t’an tartu ya stin ka tart djA tłak sAart- sI-t’an ’e ye,
C | ’u ’e ’aya hani ’aya

Stanza II (sung twice)

A | hu [or tłe yu-] da can-tin, tarta ’aqwałanik ‘iartaqaarti,
B | Teqwedi-yAtarti artat arteartitani ’aart tuwu ’at cuqwiye,
C | ’u ’e ’aya hani ’aya
[X | at end] ’eye ‘u wI !

The structure is:

Refrain: | A   B   C
Stanza I: | A   B   C (repeated)
Stanza II: | A   B   C (repeated) X

Blind Sampson also composed the Peace Song for ‘Dollar Deer,’ although she was his own sib-sister (1954, 1–2-D), and also that for her opposite (p. 601). He composed a mourning song when John Nishka, Kwacartqwan, was drowned sea otter hunting in 1896.

B. B. Williams’ Song for Tł’UknaartAdi-Children

1954, 3–1-G; recorded by Louise Peterson on May 16.

This song may have been composed at Sitka, although most informants ascribed it to Bear Bit Billy, Qanartiart-’ic (1862–1902), a Kwacartqwan man, It was later sung at a potlatch in Fort House (about 1916), when his daughter-in-law, Fanny Martin Williams (“Fanny Billie,” 1897–1920), was dying of tuberculosis. She was CawAtartitart, the Kwqwan daughter of Martin Abraham, Teqwedi; her husband was B. B. Williams, Jr., artadaneart, a Teqwedi man. The recording was made by Fanny Williams’ cousin, also Kwacartca, so that a record might be made from it to be played at some future potlatch.

There is an introduction in Tlingit (32 seconds); the song lasts 1:45 minutes. The refrain was sung at an uncomfortably high pitch; the two stanzas (each sung twice) were pitched lower. The words were dictated and a free translation was made by the singer and by Mrs. Frank Dick. In the transcription the refrain has been omitted.

As sung, the words are:

Stanza I (sung twice)

A

tartAłdAkAt qaartisartayisa—For all the new [young] people

’anagwAł—Is rolling around

[yanagwAł’]?

łInigit ’ani—The world.

B

’atc łił qudAart—Therefore let us not ctusarteniq—Love ourselves [too much].

[artaniq]?

’ehe ’a ’e ‘i ya hay-ne

C

’a he ya ya ha-ni hay-ya,

“The world is rolling around for all the young people, so let's not love our life too much, hold ourselves back from dying.”

Stanza II (sung twice)

A

artidAt ‘uc Tł’UknaartAdi-yAtarti—Now if Tł’UknaartAdi-children

’uc łqustin ’aart tutina—If they were not alive,

[nuarttc]? I (always?) think,

B

’a kAtya ’aart tuartdatantc kAt—That's why I do

not die.

yeu he ’a ‘i, ’e ya hay-nay

C

’e he ye, ya ha-ni hay-ya,

(’a he) [on repeat at end]

“If it wasn't for Tł’UknaartAdi-children, if they're not alive—that's what I'm thinking of. That's why I never die.”

The structure of the song is:

Refrain: |
Stanza I: | A   B   C (repeated)
Stanza II: | A   B   C
| A   B   C/ (last phrase is not completed).

Sarah William's Song for a Dead Soldier

1954, 6–1-D (a); recorded by Sarah Willliams on May 10.

The composer, a Kwartqwan woman (born 1910), is the widow of B. B. Williams, Jr., Teqwedi. The song was composed during World War II when a soldier whom she had known at Yakutat was transferred to the Aleutians. She did not hear from him again, and supposed he was dead. This song is quite unlike other Tlingit songs in style, and lacks a refrain. The single stanza is sung through only once. It is of interest in its full tonal range, and in exhibiting the typical swing of rhythm. McAllester comments that it is “perhaps the only example of an informal little Tlingit song.”

The words were dictated by the composer and checked with the recording:

A | tart;A was ’aya djA tuart kwAtuartanukw yaartidAt,
B | detartA ’ax soldji [soldier] tuwu cAk deya,
C | ’ayAX gwAstcAart yAXd; yeł
| hutart ‘ AWE! (“That's all!”) laughs.

“Just like somebody saw him—and just my soldier—and maybe it's not him. Maybe just like my relations, Raven.”

Scores of Haida mouth and other songs

1954, 1-2-A Olaf Abraham's ’antłen River Song for Tcicqedi-Children

1954, 1-2-B Olaf Abraham's Wolf Call Love Song for Kagwantan-Children

1954, 1-2-C Olaf Abraham's Song for Kagwantan-Children

1954, 5-2-C Blind Dave Dick's Reproach to Teqwedi-Children

1954, 2–1-F Blind Dave Dick's Song for CAnkuqedi-Children and Kagwantan-Children

1954, 3–1-E Blind Dave Dick's Deathbed Song for Kagwantan-Children

1954, 6–2-F Hilda Dick's Song for Kagwantan-Children and CAnkuqedi-Children

1954, 3–1-F Emma Ellis’ Mourning Song

1954, 5-2-D Franklin's Deathbed Love Song for Teqwedi-Children

1954, 6-2-G Dry Bay George's Song for GIneartqwan-Children

1954, 7-1-C Dry Bay Chief George's Love Song to a Young Girl

1954, 2-1-E Lituya Bay George's Song to the Bears

1952, 2-2-A Frank Italio's Song for Kagwantan-Children (a)

1952, 2–1-H Frank Italio's Song for Kagwantan-Children (b)

1954, 5–1-G T. Max Italio's Love Song for Tł’uknaartAdi-Children

1954, 6–1-C B. A.Jack's Love Song for GIneartqwan-Children

1954, 5–1-A B. A.Jack's Song for Mount Saint Elias

1954, 6–1-B Jenny Jack's Lament for Kagwantan-Children

1954, 7–2-G Jimmy Jackson's Unhappy Love Song for Kagwantan-Children

1954, 7–2-D Jimmy Jackson's Sawmill Love Song

1954, 5–1-H Mrs. Chester Johnson's Lament for Her Husband

1954, 5–1–I Mrs. Chester Johnson's Lament for Teqwedi-Children, etc.

1954, 2–1–I Mrs. Chester Johnson's Song for Teqwedi-Children and Norwegian-Children

1954, 5–2–I Mrs. Chester Johnson's Song for Tcicqedi-Children

1954, 1–1–E artadaneart Johnstone's Love Song for Teqwedi-Children

1954, 5–1–B Kitty Martin's Love Song for Tł’uknaartAdi-Children

1952, 6–1–A Natsartiart's Suicide Song

1952, 3–1–A John Nishka's Love Song for Tł’uknaartAdi-Children

1954, 1–2–F Clarence Peterson's Love Song for Tł’uknaimagesAdi-Children

1952, 3-1-C Blind Sampson's and CkInan's Song about the Tsimshian Word

1954, 2–1-D Blind Sampson's Situk Train Love Song for Teqwedi-Children

1954, 3-1-G B. B. Williams’ Song for Tł’UknaxAdi-Children

1954, 6-l-D(a) Sarah Williams’ Song for a Dead Soldier

Foreign and Miscellaneous Songs

This last group of songs contains some melodies that are difficult to place in any known category. There is the lament of the slave, a Haida love song, and three songs described as “drinking songs.” The latter may have been suitable for singing by the guests as they feasted after a potlatch distribution.

In addition, mention was made of a drinking song composed by Old Fox of Teslin, Yukon Territory, the last of the YAnyedi song composers. His Tł’UknaxAdi father at Sitka gave a potlatch in 1900, and this song was sung there by the YAnyedi guests from Taku, which strengthens the suggestion that all “drinking songs” were sung on such occasions.

There was also mentioned a love song, the words of which were: “I never believed the earth goes round. I thought it was still. Now because of that girl, the whole town is turning upside down.” The phrase, “Haines Alaski” appears in the refrain.

Lament of the Slave

1954, 5–2-B; recorded by Minnie Johnson on April 7.

According to the singer, this song was composed by a male slave named Gucdutin (’Visible Dorsal Fin [of the Killerwhale]'), who belonged to her mother's father, a Teqwedi house chief named Łusartoart. The latter died about 1900, perhaps earlier. The slave came from Victoria, but was purchased by his master in southeastern Alaska. He and two or three other slaves escaped in a canoe. Before he left Yakutat, he painted his face with a round red spot on each cheek because this was the mark of the Children of the Sun, the spirit that belonged to Teart-’ic, who was a member of his master's lineage. This face painting design now belongs to the Teqwedi, because Gucdutin was never ransomed.

The same song was recorded by Swanton (1909, Song 68, p. 406), although the two stanzas are transposed in the latter's version. When the words were read to Minnie Johnson, she was very much surprised that Swanton had heard the song in 1904, but accepted this as proof that the slave really did escape from Yakutat and was not drowned on the way south. (Swanton credits the song to a man of the Nanya’ayi, a Wolf Eagle sib of Wrangell, who almost drowned on a journey to Victoria.)

There is first an explanation in Tlingit (50 seconds); the song itself lasts 1:20 minutes; then follows a conclusion in Tlingit (45 seconds) and by one in English (3:20 minutes). There had been a mistake in the firs recording (5–2-A), so the second was made (5–2-B).

As is usual with Minnie Johnson's recordings, there is no refrain. Each stanza was sung twice. The words are as follows together with her translations:

Stanza I (sung twice)

A | ’icanarti yada Gucdutin-a ya, ’ana—Pity (that?) Gucdutin,
B | Mektori qinart qwasguqwana—Near [before reaching] Victoria he will die.
| ’iya ’ana, yeu he ye,
X | ye ’ani ya ’eya,
(X/ | ye ’ani ya hedE! [“To the beginning!” spoken] on repeat)

Stanza II (sung twice)

A | yeł ’ani ’aartyAda,—Not Raven's town [Yakutat] ’adadE artagaarta—That I weep for,
B | ’aart łiłAartw-hAS ’ani—My grandfathers’ town dadE tartA artagaarta—Just for it I weep.
| yeu he ye,
X | ye ’ani ya ya
(X/ | ya [speaks] on repeat at end).

“Poor Gucdutin. He will die before he reaches Victoria. It's not Raven's town that I weep for, but my grandfathers’ town I weep for.”

Haida Love Song

1954, 7–2-E; recorded by Maggie Harry and Jenny Jack (drumming), on May 27.

This song was learned and purchased from the Haida in 1900 by B. A. Jack, Jenny's husband, and by TcAna’ic, a former husband of Maggie Harry, who was a man from southeastern Alaska. The song was acquired when the two men were fishing at Kasaan. The words are said to be in Haida, and Maggie Harry comments in the introduction, “It's pretty fast.” The song would appear to have a refrain and a single stanza sung three times, and lasts for 2:10 minutes. The recording was made in answer to my questions about the style of Haida Mouth Songs. Lindi Li Mark has commented that this song, though known to be of foreign origin, is not distinguishable in musical style from Tlingit songs.

The words, as transcribed from the tape are:

Reartrain

A | ha nau ’a-ya yau ha-nau ’a-yau ’e-ye,
B | ’a nau ’a-ya hau ’a-na ’a-yau ’e-ye,
C | ’a nau ’a-ya ’a-ya ’a-ya ’i
D | ’a na ’a-ya ya ’au ’a-na ’a-ya-au ’a-ye,
E | ’a na ’a-ya ’u ’a yay ’a-ni ’ay-ya,

Stanza (sung three times)

A | ’ade ckutadi dana kuwa tłu-ye,
B | tingwan(ł)cAn kina cuda kuwaya ’e-ye,
C | ’a det kuwa dena ’a cał guda ka ca
D | kina kuway ya ’au ’a-na’a-ya yau ’e-ye
E | ’a nau ’a-ya ’u ’a ya ’a-ni ’ay-ya

Tlingit Drinking Song

1952, 1–2-C; recorded by Minnie Johnson on July 4.

The composer of this song was not identified, but there is a hint that it might have been Frank Italio. It was introduced by a few words in Tlingit (20 seconds) by the singer, and was followed by a joke or raillery in Tlingit addressed to Jack Reed. (Since the singer and Jack Reed were both Tł’UknaxAdi, Minnie Johnson must have considered him a joking relative; yet, he seemed embarrassed.) The song has two stanzas, each sung twice, but no refrain, and lasts 1:08 minutes. The singer accompanied herself by using the head of Jack Reed's banjo as a drum, unfortunately without muffling the strings. The Tlingit text was not written at the time, but has been transcribed from the tape. A free translation was recorded after the song.

As sung, the words are:

Stanza I (sung twice)

A | guartw kawa-cuwu-yeart artAnatitc—Like a slave who is drunk I always am
B | nau qa danegan kAtac—Liquor-?- roll (?)   [arta]     [kwAłdjuart]?
C | tcu kAt wuc-gunAkw-tcau—Just not together- -?-’ani ye ya,
D | ’ani ye, ’u ’a ya ’ani ’a ya

“A fellow composed this song: ’Just like a slave is drunk. Nobody pays any attention to him. He just rolls around on the street. Nobody cares.’ ”

Stanza II (sung twice)

A | hat kawa-cucis artat ’unadjitc—(Me?) to-be- [artat]?     drunk me she-always thinks
B' | ’aart gaartAtartgu daqada—My little one -?-
C | tarta kana hunde artat kAnacuye—Just -?-give me [hande]     to-get-drunk
D | ’a ye ’u ’a ya ’ani ’a
| (’a ye ’e ye ’ani ’au) [on repeat at end]

“The second words are: ’My little sister thinks I'm real drunk and knocked out, but I ain't. If you want to see me get drunk give me a quarter, and I'll get drunk some more.’ ”

The structure of the melody is:

Stanza I (1st):  A  B  C  D

(2d): A  B  C  D

Stanza II (1st): A  B'  C  D

(2d): A  B'  C  D

Athabaskan Drinking Song with Tlingit Words

1954, 2–1-J; recorded by Mrs. Chester Johnson on June 10.

The words are in Tlingit because the song came from Klukshu on the upper Alsek River, where the Southern Tutchone can speak Tlingit. The singer first heard it as a girl in Dry Bay in 1914. It was given to the CAnkuqedi by their Athabaskan trade partners (artUnana yAqawu).

There is no spoken introduction. The song, with refrain and two stanzas (sung twice), lasts 1:45 minutes. The text was later corrected and translated by Helen Bremner, although (as usual) the extra vocables and the refrain were not dictated. The words as sung are (extra syllables are in parentheses):

Refrain

A | ’e ya ’e ya-e ’e ye
B | ya-e ya ’e ya-e ’i ye
C | ya ’e ’a ’e ya ’a ’i ye ’a ’e ’i ye,
D | ’a ha ’i ye ya,
E | ’e ’e ’a ’e ’a ’e ’a, ’a

Stanza I (sung twice)

X | ’a tartA gudesa—Where
S | -we yanigude,—Are you going?
T | di artutci yiwi ye ’a,—You Wolf
U | tarta hagu we hakanqa ’a—Come back ! Let's get
V | -cu ha ’e ’i ye ’a ’e ’i ye—Drunk.
D | ya ha ’e ’e ya ’e ya,

Stanza II (repeated)

X | ’a
A' | tartA waarta artayaqa ’a—What is he talking about
B' | di yeła ’e ya ’e ’i ya—The Raven?
C | tsa nau dade ’iartaart—Just for whiskey you cry, di yeła—You Raven
D' | ’i ye ya ’a ’a ’i ye ya,
E | ’e ya ’on ’on ’e ya, ’a ’e, ’a
| hutart!—That's all!

McAllester comments on the fact that this melody is “heavily syncopated, with double syncope as in the X phrase of Stanza I.” It is also “surprising for the departure in Stanza I from the melodic pattern set up in the Refrain—all the more so since that pattern is strong in Stanza II. Hence my use of bizarre letters in Stanza I. Note that phrase E is missing in Stanza I. It is altogether a funny stanza. Note rise in pitch [of a half-tone on repeat]. The song seems to show great freedom in manipulation of the melody to accommodate the words.”

I would suggest that the peculiar character of this song is due to the fact that the melody is Athabaskan, and that Tlingit words, in the typical pattern of Refrain, Stanza I (repeated), Stanza II (repeated), have been forced into this alien mold.

Southern Tutchone Drinking Song

1954, 2–1-K; recorded by Mrs. Chester Johnson on June 10.

Like the preceding song, this had been given to the CAnkuqedi of Dry Bay by their Athabaskan trade partners at Klukshu. Since the words were said to be in Southern Tutchone, no attempt was made at the time to secure the text. The singer said, however, that they refer to “John łAgAna—’hungry-for-whiskey John’ “ and that ’liquor’ in Athabaskan is artA.n. It should be noted, however, that the Tlingit word (nau) is used in the song. I am not able to suggest a translation for the text, even though I suspect that it is in Tlingit.

There is no spoken introduction. The song consists of a refrain and a single stanza (sung twice), and lasts 50 seconds. The tune is lively. As transcribed from the tape, the words are:

Refrain

A | ’a na ’i ’a na ’i ya na ya ti ya ’i
B | ’i ya ’i ya ’e na ti ya he, ’a ’e ya ha

Stanza (sung twice)

A | ’a-ka-sa-ti nau łAkAnadi John ’utartn ’a yi
B | ’i ya ’e ya ’e na ti ya hi, ’a ’e ya ha, [at end]:     ’e, ’a(n) qa!

To the People of Yakutat: Song for Gineartqwan-Children and Tł'UknaartAdi-Children

1954, 4–2-B; composed and recorded by Frederica de Laguna, May, 1954.

Yací káxwłIci yicí ’aya. łdakAt Kwacartqwan-yAtarti qa Tł'Uknaart Adi-y Atarti qa TłUkwaartAdi-yAtarti dadaart ’aya, kaxwłIci ’aya. KUartanguwutan artá ciyi.

This song is for all Kwacartqwan-children and Tł'UknaartAdi-children and TłukwaartAdi-children. It is Kuartan- guwutan's song.

Whereas Yakutat birds are supposed to have learned their songs from those of human beings, I have based my melody upon the song of the golden-crowned sparrow. I wish to acknowledge my indebtedness to John Ellis for his assistance with the words.

Refrain

A | ha ya ha ya ya ya ha-ni ha-ya,
B | ha ya ha ha ya ha ya,
C | ye ya he, ha ya ha,
D | he ya ha ya ha ya,
E | ha ya ha ya ha ha ya ha,
F | ha ya ha, he ya hay, ha ya,
G | he ’a-ni ’a-ya, ye ’ani ’a-ye

Stanza I (sung twice)

A | ha ya ha ya ye, ye ha-ni ’a-ya,
B | kawayIkde qukwatine—When I go away into space [nowhere],
C | ’idade tuwunik—Longing for you,
D | c-GIneartqwani-yAtart—O Gineartqwan-children,
E | ’ida tuwutc art’at kuqwadjaq—Love for you will kill me.
F | TłaartayIkde tartuart qukwatin—To Yakutat again I will come.
G | ’e ’a-ni ’a-ya, ’e ’a-ni ’a-ye

Stanza II (sung twice)

A | ha ya he ya he, ye ’a-ni ’aya,
B | ’aart artutci naqadjunI—If I dream of my Wolf
C | ’aart tuwu ’ałiarte—I will be happy.
D | c-Tł'UknaartAdi-yAtarti—O Tł'UknaartAdi-children,
E | ’uwa arta artAgan kugAnI—It is as if the sun were shining,
F | ’i y ełi tuwu yisIgu—You make your Raven happy.
G | ’e ’a-ni ’a-ye, ’e ’a-ni ’a-ye

End

A
ha ya ha ya ye, ye ’a-ni ’a-ya

Scores of Foreign and Miscellaneous Songs

1954, 5–2-B Lament of the Slave

1954, 7-2-E Haida Love Song

Stanza (sung three times; by C on 3rd repeat, pitch is one half step higher)

1952, 1-2-C Tlingit Drinking Song

1954, 2-1-J Athabaskan Drinking Song with Tlingit Words

1954, 2-1-K Southern Tutchone Drinking Song

1954, 4-2-B Frederica de Laguna's Song for Gineartqwan-Children and TłUknaartAdi-Children

Index of Yakutat Tape Recordings

Page numbers of scores in italics

1952

1-1-A

Tł'UknaartAdi Mourning Song, composed by Dry Bay Chief George: 1162, 1197–1198.

1-1-B

Funny Dance Song: How Raven Became Drunk, composed by Dry Bay Chief George: 873, 1260, 1268–1269.

1-1-C

Traditional Tł'UknaartAdi Song: How Raven Deceived the Sea Otters: 864, 1158, 1186–1187.

1-2-A

The Story of QakeartwtE, and the traditional Tł'UknaartAdi song attributed to him: 1158, 1187–1188.

1-2-B

English explanation of 1-2-A: 270–272.

1-2-C

Tlingit Drinking Song: 1361, 1365.

2-1-A

(Practice.)

2-1-B

Traditional CAnkuqedi Mourning Song: Lament for GosnA'w: 1171, 1214–1215.

2-1-C

Story of the CAnkuqedi Boy who was taken by Thunderbirds: Lament for GòsnA'w (similar to B, not transcribed).

English explanation of 2-1-C: 249–250.

2-1-F

Continuation of the story; Traditional CAnkuqedi Song for the Thunderbird Screen, attributed to GòsnA'w: 1171, 1216–1217.

2-1-G

English explanation of 2-1-F: 250–251.

Frank Italio's Song for Kagwantan-Children: 1301, 1334–1336.

2-2-B(a, b)

Traditional Tł'UknaartAdi Songs: Lament of Wuckika (I), (c) Lament of Wuckika (II, incomplete): 273–274, 1159, 1188–1191.

3-1-A

John Nishka's Love Song for Tł'UknaartAdi-Children: 1310, 1352–1353.

3-1-B

Funny Peace Dance Song; Raven and Snipes: 869–871, 1257, 1262.

3-1-C

Story of the Averted War with the Tsimshian; Blind Sampson's and CkInan's Song about the Tsimshian Word, and English explanation: 284–286, 1312, 1355–1356.

4-1-A

Three (?) Traditional CAnkuqedi Songs in Yukon Athabaskan: 1173, 1218–1219.

(Irrelevant.)

4-1-D

Traditional CAnkuqedi Lament for those Drowned in the Yukon; English explanation of 4-1-A, 4-1-D: 248–249, 1174, 1219–1221.

4-1-E

Beginning of the Raven Cycle in Tlingit, by Frank Italio: 848–851.

5-1-A

Pet Song for a Little Boy, by 1272, 1277.

5-1-B

Pet Songs for Three Little Girls, with story in Tlingit and English about her adopted granddaughters, by Minnie Johnson: 1273, 1277–1279.

5-1-C

(Hymn “I will Make You Fishers of Men” in English, in Tlingit, and in Tlingit baby-talk, with story in English by Minnie Johnson of how she learned the hymn; not published.)

6-1-A

Natsartiart's Suicide Song: 1310, 1351–1352.

7-1-A

(Irrelevant.)

7-1-B

Story and Traditional artałyIart-Kagwantan Mourning Song: Lament of the Beaver: 1169, 1210–1211.

7-1-C

Story of łqayakw; Traditional artałyIart-Kagwantan Songs (a, b) attributed to him (I, II): 1170, 1212–1214.

7-1-D

English explanation of 7-1-B and 7-1-C: 254–255, 877–878.

(Further remarks about the songs.)

7-2-A

Continuation of the Raven Cycle in Tlingit by Frank Italio, with two Raven

7-2-B

Moiety Songs, Referring to Raven's Theft of Daylight (A,B): 851–855, 1152, 1176–1180.

1954

1-1-A

Peace Dance Song for ’American Flag Deer,’ probably by Blind Dave Dick: 604, 1247, 1254–1256.

1-1-B

Potlatch Peace Song about Kardeetoo, by Dry Bay Chief George: 1244, 1248–1249.

1-1-C

Teqwedi Shaman's Song; Spirit of łucwAq: 267, 1281, 1284–1285.

1-1-D

(Hymn with Tlingit words “By the Cross,” not transcribed.)

1-1-E

artadaneart Johnstone's Love Song for Teqwedi-Children: 1308, 1349–1350.

1-1-F

Story and Teqwedi Song of the Golden Eagle, with translation of the story: 253, 1166, 1204–1206.

1-2-A

Olaf Abraham's ’Antłen River Song for Tcicqedi-Children: 1291, 1315–1316.

1-2-B

Olaf Abraham's Wolf Call Love Song for Kagwantan-Children: 1292, 1316–1317.

1-2-C

Olaf Abraham's Song for Kagwantan-Children: 1292, 1318–1319.

1-2-D

Peace Dance Song for ‘Dollar Deer’: 601, 1247, 1253–1254.

1-2-E

Tł;UknaartAdi or Kwacartqwan Song; Lament for the Crane Canoe: 1161, 1194–1195.

1-2-F

Clarence Peterson's Love Song for Tł'UknaartAdi-Children: 1311, 1354–1355.

2-1-A

Story, in Tlingit, of Daartodzu and the Russians, by John Ellis: 713.

2-1-B

Story in Tlingit of łkettitc, by John Ellis: 244.

2-1-C

(Incomplete song, not transcribed.)

2-1-D

Blind Sampson's Situk Train Song for Teqwedi-Children: 1313, 1356–1357.

2-1-E

Lituya Bay George's Song to the Bears: 1300, 1333–1334.

2-1-F

Blind Dave Dick's Song for CAnkuqedi-Children and Kagwantan-Children: 1294, 1321–1322.

2-1-G

Tł'UknaartAdi Mourning Song, composed by Dry Bay Chief George: 1163, 1198–1199.

2-1-H

Southern Tutchone “Ptarmigan Dance Song”: 1229, 1239–1240.

2-1-I

Mrs. Chester Johnson's Song for Teqwedi-Children and Norwegian-Children: 1307, 1347–1348.

2-1-J

Athabaskan Drinking Song with Tlingit Words: 1361, 1366–1367.

2-1-K

Southern Tutchone Drinking Song: 1362, 1367.

2-2-A

Story, and Tł'UknaartAdi Song for the Frog Screen, composed by Dry Bay Chief George (see 1954, 6-2-A): 1164, 1199–1200.

2-2-B

Translation of 2-2-A: pp. 272–273, “The Story of Guartex.”

2-2-C

TłukwaartAdi Shaman's Song (I); Fish Spirits: 1282, 1287.

2-2-D

TłukwaartAdi Shaman's Song (II); Fish Spirits: 1282, 1287–1289.

2-2-E

The Raven Cycle in Tlingit, by Frank Italio (pp. 855–857), with the two songs referring to Raven's Theft of Daylight (not transcribed; same as 1952, 7-2-A and B): 1152.

3-1-A

(Incorrect version of 3-1-D, not transcribed.)

3-1-B

Tsimshian Dance(?) Song; “artełtin's Marriage Song”: 1226, 1233.

3-1-C

Alsek River Song; Coming Under the Ice (I) (same as 1954 3-2-F and 6-2-E): 87, 1230, 1241.

3-1-D

Kagwantan Mourning Song, attributed to KackEn: 280–281, 1168, 1209–1210.

3-1-E

Blind Dave Dick's Deathbed Love Song for Kagwantan-Children: 1295, 1322–1323.

3-1-F

Emma Ellis’ Mourning Song: 1296, 1325–1327.

3-1-G

B.B. Williams’ Song for Tł'UknaartAdi-Children (refrain not transcribed):1313, 1358.

3-2-A

Peace Dance Song for ’Dog Deer’ and ’Gateway Knob Deer’ by Dry Bay Chief George: 603–604, 1246, 1252–1253.

3-2-B

Southern Tutchone Walking Song: 1228, 1237–1238.

3-2-C

Southern Tutchone Dance Song: 1229, 1238–1239.

3-2-D

Southern Tutchone Dance Song: 1229, 1239.

3-2-E

Southern Tutchone Sitting Down Song: 1229, 1240.

3-2-F

Alsek River Song: Coming Under the Ice (I) (same as 1954, 3-1-C and 6-2-E): 87, 1230, 1241.

3-2-G(a)

Sitka Peace Dance Song for ‘Canoe Deer’ and ‘River Marker Deer’: 603, 1245, 1249–1251.

(b)

Sitka Peace Dance Song for ‘Kweł Deer’: 603, 1246, 1251–1252.

3-2-H

Traditional Tł’UknaxAdi Song; Lament for the Raven Post: 1161, 1195–1196.

3-2-I

Traditional Teasing Song for a Little Boy: 1271, 1274.

3-2-J

Traditional Teasing Song for a Little Girl: 1272, 1275.

3-2-K

CAnkuqedi Mourning Song, composed by Blind Dave Dick: 604, 1174, 1222–1223.

3-2-L

Pet Song for a Little Girl, by Sam and Annie George: 1272, 1276.

4-1

History of the Kwacartqwan, by Mrs. Katy Dixon Isaac, with English translation: 238–239, 245.

4-1-A

Traditional Kwacartqwan Mourning Song; Lament of Gudiłta’: See 1954, 7-2-C.

4-1-B

Atna Marching Song: 1226, 1234.

4-2-A

Atna Dance Song: 1227, 1236.

4-2-B

Frederica de Laguna's Song for GIneartqwan-Children and Tł'UknaartAdi-Children: 1362, 1368–1369.

5-1-A

B. A. Jack's Song for Mount Saint Elias: 1303, 1339–1340.

5-1-B

Kitty Martin's Song for Tł'UknaartAdi-Children: 1309, 1350–1351.

5-1-C

Teqwedi Mourning Song, composed by Jim Kardeetoo: 1167, 1206–1207.

5-1-D

Teqwedi Dance Song; Killerwhale Drum Song: 1167, 1207–1209.

5-1-E

Funny Peace Dance Song; Raven and Snipes (same as 1952 3-1-B, and 1954, 6-1-E b): 870–871, 1257, 1262–1263.

5-1-F

Funny Dance Song; Raven and the Mussel People: 1260, 1267–1268.

5-1-G

T. Max Italio's Love Song for Tł'UknaartAdi-Children: 1302, 1337.

5-1-H

Mrs. Chester Johnson's Lament for her Husband: 1306, 1344–1345.

5-1-I

Mrs. Chester Johnson's Lament for Teqwedi-Children, etc.: 1307, 1346–1347.

5-2-A

(Incorrect version of 5-2-B, not transcribed.)

5-2-B

Lament of the Slave: 1360, 1363.

5-2-C

Blind Dave Dick's Reproach to Teqwedi-Children: 1293, 1319–1321.

5-2-D

Franklin's Deathbed Love Song for Teqwedi-Children: 1297, 1327–1329.

5-2-E

CAnkuqedi Song for the Thunderbird Blanket (I) (not transcribed; see 1952, 2-1-F): 1172.

5-2-F

CAnkuqedi Song for the Thunderbird Blanket (II): 1173, 1217–1218.

5-2-G

Kagwantan Shaman's Song: Disease Spirits (I): 713–714, 1282, 1285–1286.

5-2-H

Kagwantan Shaman's Song: Disease Spirits (II): 713–714, 1282, 1286–1287.

5-2-I

Mrs. Chester Johnson's Song for Tcicqedi-Children: 1308, 1348–1249.

6-1-A

Teqwedi Shaman's Song; Spirit of Children of the Sun (not transcribed; same as 1954, 6-1-J; see pp. 710–711): 1280.

6-1-B

Jenny Jack's Lament for Kagwantan Children: 1304, 1340–1341.

6-1-C

B. A. Jack's Love Song for GIneartqwan-Children: 1302, 1338–1339.

6-1-D

Three short songs: (a) Sarah Williams Song for a Dead Solder, (b and c, Songs in English by Sitka school children, not transcribed): 1314, 1359.

6-1-E

Funny Peace Dance Songs: (A) Raven and the Herring Heads, and (B) Raven and Snipes (same as 1952, 3-1-B and 1954, 5-1-E): 871, 1257, 1261.

6-1-F

Teqwedi Dance Song: Killerwhale Drum Song (with correct words, music not transcribed): See 1954, 5-1-D, 1167–1168.

6-1-G

Tsimshian Walking Song: 1225, 1231–1232.

6-1-H

Tsimshian Dance Song: 1225, 1232.

6-1-I

Teqwedi Song, attributed to Men Lost Getting Green Paint Stone: 1165, 1203–1204.

6-1-J

Teqwedi Shaman's Song: Spirit of Children of the Sun (same as 1954, 6-1-A): 1280, 1283–1284.

6-1-K

Funny Peace Dance Song: Raven Washes Himself in Vain: 1259, 1266–1267.

6-2-A

Tł'UknaartAdi Song for the Frog Screen, composed by Dry Bay Chief George: See 1954, 2-2-A: 1164, 1201–1203.

6-2-B

Raven Moiety Song: Raven Cries for Daylight: 862, 1155, 1180–1181.

6-2-C

Traditional Tł'UknaartAdi Song: Lament of Wuckika: 1160, 1192–1194.

6-2-D

Alsek River Song: Coming Under the Ice (II) (not transcribed): 1230.

6-2-E

Alsek River Song: Coming Under the Ice (I) (not transcribed; same as 1954, 3-1-C and 3-2-F): 1230.

6-2-F

Hilda Dick's Song for Kagwantan-Children and CAnkuqedi-Children: 1295, 1323–1325.

6-2-G

Dry Bay George's Song for GIneartqwan-Children: 1298, 1330–1331.

7-1-A

(Recordings of bird songs at Yakutat, May 23, 24, and 27; not transcribed.)

7-1-B

Wuckitan Mourning Song; Lament for the Murrelet Cane: 1175, 1223–1224.

7-1-C

Dry Bay Chief George's Love Song to a Young Girl: 1299, 1332.

7-2-A

Atna Marching Song: 1226, 1234–1235.

7-2-B

Atna Resting Song: 1227, 1235–1236.

7-2-C

Traditional Kwacartqwan Song; Lament of Gudiłta’ (See pp. 239–240; same as 1954, 4-1-A): 1155, 1183.

7-2-D

Jimmy Jackson's Sawmill Love Song: 1305, 1343–1344.

7-2-E

Haida Love Song: 1361, 1364–1365.

7-2-F

Kwacartqwan Owl Songs: (A) Owl Cry and (B) Kwacartqwan Shaman's Song, Owl Spirit: 1283, 1289–1290.

7-2-G

Jimmy Jackson's Unhappy Love Song for Kagwantan-Children: 1304, 1342–1343.

7-2-H

Kwacartqwan Lament for a Drowned Son: 1156, 1184–1186.

7-2-I

Atna or Chugach Eskimo Dance Song: Spear Song: 1228, 1237.

7-2-J

Funny Peace Dance Song: Raven Steals Daylight: 1258, 1263–1264.

7-2-K

Funny Peace Dance Song: Raven Loses His Nose (abbreviated version): 871–872, 1258, 1265.

Index

Abalone shell, 56; for decoration, 418, 445, 694

Abercrombie, Lt. W. R., reconnaissance trip, 1884, 183, 184 ff.

Copper River to Yakutat report on: Eyak, 184; population, 184–185 (table); settlements, 184–185 (table).

Yakutat account of: 184 ff.; canoes, 340, 343; cooking, 394; physical characteristics, 185; religion and morals, 186; trade, 186, 187

Abruzzi, Prince Luigi Amadeo, Duke of Mount Saint Elias expedition of, 60, 205–207

“Admiralty Bay,” 17

Adultery, due to witchcraft, 736

Adz, 24, 126, 342, 413 f., Pl. 117; in mythology, 883 f.

Afterlife, 835; spirit and, 765 ff. see also Land of the Dead, Kiwa’a

Agriculture, missionary, 199; Russian experiments, 169

Ahrnklin River, 80

Ahrnklin River Crest, Teqwedi, Drum House line, 456, 834

Crest object: Blanket, 80, 441–442, 818, Pl. 151

Airfield, Yakutat, 18, 25

Akwe River, 18, 82, 83; settlements, 82, 204; sibs, 21; trading center, 347

Alaska, American occupation, 180–181; southeastern, 15

Alaska Commercial Company, 185, 186, 348, 349

Yakutat, 188

Alaska Historical Museum (Juneau), 319, 325, 327

Alaska Native Brotherhood (ANB), 349, 460, 479–480; cemetery, 61, Pl. 31; convention, 662; hall, 62; opposition to native customs, 326, 327, 460–461

Alaska Purchase, 180 ff.

Alaskan-Canadian Boundary, 207

Albatross, shaman's spirit, 678, 694

Alder, 32; in mythology, 869, 877, 895; uses of:

306, 388, 401, 411, 714; by shaman, 679, 680

Aleut place names, 61, 62, 65, 66, 67, 101; Yakutat, 256–257

Aleuts, 64, 66, 75, 112, 152, 223

at Yakutat: camp sites, 66; first residents, 61, 220, 236, 237, 257; raids of, 256, 257–258

boats of, 331

hatred of, 256, 257–258, 450

identified, 61, 213 (see also Chugach Eskimo, Goarteart)

Russian sea-otter hunters, 112, 161, 169 passim, 213

wars with: artalIx-Kagwantan, 254, Yakutat, 256 ff.

Alsek River, 16, 18, 58, 82; in Raven Cycle, 87, 89, 90, 846; personification of, 817–818; settlements, 89; travel route: 85 ff.; Glave and Dalton, 203–204

Americans, 217; influence of, 99, 180, 181.

See also Boston Men

Amulet(s), 434, 660, 664 ff., 815, Pls. 136, 137; box, 665–666; curative, 654; ’firewood eggs,’ 665; for children, 507; from animals and birds, 664–665; hunting, 363, 365, 377, 378, 662, 665; land otter hair, 667; plant, 664–665; rubbing, 431, 432, 654, 689; scratching, 373, 445, 666–667; shamans’: 664, 689, 708, curative, 709; ’sun's excrement,’ 665–666: ’wishstone,’ 664

Anatomy, concept of, 760 f.

Animal and human world, 823 ff.

Animal crests, (listed) 833

Animal tongue-cutting, in shaman quest, 675, 676, 677, 678 ff., 695

Animals, correct behavior toward, 824 ff.; crest, shaman and, 679; cruelty to, 824–825; forms of addressing, 827 ff.; ritual killing of, 361, 824 ff. (see also Hunting rituals, specific animals); souls of, and transformation, 84, 823; totemic, 678, 825 ff.; wanton killing of, 814, 824–825, 832

Ankau Creek, cemetery, 61, 132, 148, 320; settlements, 61, 311, 312; war at, 61

Ankau Juné, 61, 144, 145–146, 150, 151, 153, 167

Ankau Lagoon system, 22, 71, 73 ff.; canoe trip, 344; fish camps, 383; travel routes, 71, 73, 74; Schwatka, 74, 75, 76, 77, 187, 194

Apron, shaman's, 688, 714

Architecture, 295 ff.

Aristocracy, 461 ff.; behavior appropriate to, 466, 467; labret worn by, 434; tatooing of, 446 f.

Armor, moosehide, Pl. 161; wooden, 668, Pl. 51

Arrow(s), Pls. 108, 109, 112; in mythology, 881 f.; lucky, 363; magic, 712, 713; ornament, 693; shaman's dance wand, 696; supernatural, 680

quiver for, 369, 381, Pls. 108, 109, 112; in mythology, 886, 888

Arrowheads, 368 f.; antler, 369, 888; copper, 349, 380; poisonous, 55

Arsenic poisoning, 193–194

Artifacts, ethnographic, trade in, 183

Arts and crafts, Tlingit, 184

’AsdjiwAn, reincarnation of, 774

’Askadut, visit to Land of Dead, 767 ff.

Athabaskan language, 82

Athabaskan place names, 83

Athabaskans (artUnana), 19, 213 ff., 220, 221, 223, 225, 245; CAnkuqedi and, 248, 249; coastal Indian trade partners, 177, 214, 215; canoes, 341; clothing, 441; hunting rights, 215; sibs, 19; snowshoes, 345; territory, 86; Tlingit intermarriage with, 18, 214, 227, 248; Yakutat relations with, 177, 213–215

Dry Bay, 18, 81, 82, 83; Qakex'wtE and, 270; trade with southeastern Alaska, 227, 228.

See also Southern tutchone, TłukwaartAdi

interior tribes of, 15, 18, 214

Atna Athabaskans, 18, 100, 101, 108, 109; copper discovered by, 412; songs, 1226–1228, 1234–1237; spirit “bosses,” 816; Yakutat and, 349

Copper River, 213, 214; moieties, 214n.; Yakutat relations with, 214

Automobiles, 73; uses of, 404, 408

Avalanche, caused by land otters, 745

Avoidance rules, 476; brother and sister, 483–484; modern breakdown of, 483–484; son-in-law, mother-in-law and father-in-law, 492–493

Ayart’yi, mythical cannibal, 330

Ax, land otter protection, 746, 755; trade in, 144; uses of, 343

Axelson, Rev., 261, 321; owner of: shamanistic memorabilia, 671; Shark Posts, 325

Baby carrier, 503–504, 506

Baby Drum House, Teqwedi, Drum House line, 327

Bags, ’devilfish finger,’ 441, Pls. 141, 214; skin, 308, 424 ff., 441, 447; swansfoot, 425 f.

Baidarkas, 165, 330 f., 334 f. See also Kayaks

Baidars (skin), 112, 113 f., 300 f. See also Boats, Canoes

Baker, Marcus, 181, 182. See also Dall, William H.

Bamboo, 793, 850, 898, uses of, 413, 446, 850

Baranov, Alexandr Andreievich, 89, 154, 157, 176, 256 activities of, 158 ff.: at Kodiak, 166; at Sitka, 167, 173; at Yakutat: 167, 168, 169, 173

Chugach surrender to, 168

expeditions of: 1792, 158–159, 163, 164, 166–167; 1795, 166–167; 1796, 167; 1797, 168; 1799, 169–170; 1804, 173; 1806, 176

Baskets, 427 ff. Pls. 128–133

materials for: eagle foot, 430, 826; grasses, 33–34; spruce root, 145

types of, 342, 387, 393, 408, 429, 503–504, 506, 826

watertight, 394, 417

Yakutat, trade in 184, 191, 200, 202, 326, 353

Basket-making, origin of, 427 f.; Yakutat, 430 f.

Bass, 382, 402

Bat, 39, weather portent, 804

Bathing, 448, 885; curative, 655, 659; for men and boys, 448, 714 (see also Boy's, physical training); for purification, 815; for women, 448; prior to hunting, 365

Bathhouse, 305, 306, 659

“Beach boss,” 383

Beach food, 403 ff.; taboos, 677, 683, 720, 806, 832

Bead(s), bone, 697; coal, 24, 415, 664; glass, 347, 352, 689; early trade in, 113, 126, 127, 134, 157, 445; ornaments, 440, 445; shaman's, 689

Bead work, 436, 438, 441, 442, 445 f.; for tourist trade, 353

Bear(s), 36–37, 67, 68, 94, 95, 826 f.

carcass, uses of: bladder, 376; humerus, 423; intestines, 424 f., 436; meat preparation, 394; tooth, 429

escapes from, 827

human marriage to, 835 (See also Katart)

hunting, 364 f.; dead bear ritual, 365–366, 824; deadfalls and snares, 370, 371, 372; grounds, 59, 67, 68, 78, 84, 85, 98; magic, 361, 362, 363, 365, 826, 827; weapons, 364, 367–369

in mythology, 876, 879, 880, 886

in Raven Cycle, 95, 100, 844 ff., 862, 868 f.

magic uses of: jaws, 664, tongue, 678, tooth, 664, 689

pet, 826

skins in trade, 200

spirit as, 682

Bear Bit Billy (1862–1902), 194, 200, 324, 716 f., 778, 826, Pls. 30, 81; song, 1313–1314

Bear Crest, Teqwedi, Bear House line, 77, 455, 833

crest objects: blanket, Pl. 144; coat, Pl. 145; headgear, 444, Pl. 153; masks, 444, 691; personal names, 789

crest representations: 74, 261, 411, 418, 438, 439, 440, 694, 695, 698, 699; on gravehouse, 678; on totem pole, 77

Bear Crest, Tlaxayik-Teqwedi, 452; petroglyph, 74

Bear houses, Teqwedi, Bear House line:

Bear Den House, 78, 316, 321

Bear House, 246, 295, 301, 316–317, 319, 321, 326, 346; posts, 319–320, 324, 325, 326, Pl. 89

Bear Paw House, 77, 279, 299, 316, 317, 319, 321, 1167; posts, 317, 321

Bear species, black, 37; brown or grizzly, 36–37, 826 (see also Brown bear)

Beaver, 38, 101; hunting, 366 f.; pelts, trade in, 38, 349, 350; teeth, 415, 429

Beaver Crest, Decitan, 254, 255

Beaver Crest, artalyIx-Kagwantan, 219, 254–256, 833; origin of, 104, 254 ff.

crest objects: Beaver Lament, 104, 254–255, 1169; Screen, 455, Pl. 85

Beaver houses, artalyIx-Kagwantan:

Beaver Dam House, 315

Beaver House, 101, 102, 103, 104, 219, 254, 255, 298, 299, 300, 315, 322

“Beering's Bay,” 17, 110–111, 153, 154. See also Dry Bay, Yakutat Bay

Belcher, Capt. Sir Edward, 101, 176; Gulf Coast of Alaska survey of, 178; observations on Port Mulgrave natives, 178–180

Benson, D. S. (Tlingit artist), 290, 318–319, 322, 323, Pl. 209

Berdache, 676; in mythology, 874, 875

Beresford, William, (1797), 113

at Nootka Sound, 129

at Yakutat, description of: canoes, 333; food preparation, 393–394; halibut fishing, 390–391; houses, 311; natives, 125, 126, 128, 129; tobacco, 410. See also Dixon, Capt. George

Bering, Capt. Com. Vitus, expedition of, 1741, 102, 108; effects on natives, 108

“Bering's Bay,” 17. See also “Beering's Bay”

Berries, as curatives, 656, 657; edible species, 32, 33, 408; gathering and preserving, 407–408; in mythology, 880, 882; in trade, 351; in witchcraft, 735. See also specific berries

Berry-picking territories, 407

Bible, and Raven Cycle, 842, 855, 858, 860, 863; in mythology, 879

Bidarkas, Bidars. See Baidarkas, Baidars

Big Dipper Crest, Ł’enédi, 452, 456, 834

Big House, Kwackgwan, 316. See also Raven's Bones House

Big Rabbit, TłukwaartAdi shaman, 318, 672, 685; and his wife, 276; reincarnation of, 778, 783

Big Raven, 274, 275

Big Weasel, reincarnation of, 779

Bird(s), 42–50; edible, 395; eggs, 395; foot, basket of, 826; in mythology, 42, 874; in Raven Cycle, 43, 847, 867; omens, 48, 49, 50; skin, uses of, 425, 435, 699; symbols, 763, 831; tails, 347

Birth, season of, 799

Black Skin, 829; story of, 40, 144–150, 890

Blankets, 191, 306, 441

dyes for, 429

in mythology, 862, 885

kinds of: bark, 431; birdskin, 425; eagle's breast-feather, 200; sealskin, 862; swansdown, 439; wool, 431

shaman's, 688, 708

types of: button, 441, 442, Pls. 211–213; Chilkat, 431 f., 762, 762, Pls. 15, 143, 144, 148, 149, 210, 213, 214, 216; crest, 80, 441–442, (listed) 452, 688

Blind Man, story of, 888 f.

Blueberries, 32, 62, 344, 408; dye, 429, 431

Bluebird, design, 439; in mythology, 877

Bluejay, in hunting ritual, 363; in Raven Cycle, 868, 871

Boats, modern, 344 f.; skin, 330–333. See also Baidars, Canoes Bodega y Cuadra, 2nd Lt. Juan Francisco de la, voyage of, 110, 111, 113

Body, parts of, as design elements, 761

Bog orchid, white, magical uses, 33, 660, 663

Bone(s), animal: arrowheads, 368, 369, 831; ornaments, 436; prophetic, 697; tools, 413, 422; uses of, 377, 385, 386, 388, 411, 412, 413, 414, 415, 423, 444, 445

human: concept of, 761; eight-fold symbolism of, 761; witch's use of, 734

Boots, 437 f., 689

Boston Men, 112, 157, 217

Boulder House, TŁ'UknaartAdi, 78, 79, 84, 272, 317, 321, 322, 323, 325, 463

Bow and arrow, 364, 366, 367, 368 f., 378, 381, Pls. 108, 109, 112; in mythology, 887; in Raven Cycle, 848. See also Arrows

Bow Man mask, 691, Pl. 201

Box House, Kagwantan, 85, 284, 300, 306, 307, 318

Boxes, 350, 352, 397, 416, 419 f., 665

Boys, training of, magical exercises in, 506–507; physical, 30, 200, 309, 362, 448, 479, 515 ff., 655

Bragging, in mythology, 894

Brass, 347, 411

Breasts, female, in mythology, 897

Bride price, 458, 459, 464

Bride-service, 493

Brothers-in-law, gift giving, 495; sib, roles of, 494, 495; and sisters-in-law, terms of address, 494

Brown bear, 36, 439, 440; hair, 415; in mythology, 874; shaman's spirit, 678

Brown Bear House, Teqwedi, Bear House line, 319, 322

Bryant, H. G., Mount Saint Elias expedition of, 205

Bucareli expeditions, 109–112

Bucareli y Ursua, Don Antonio Maria, 109

Buckbean, Pl. 97, as curative, 33, 653

Buoy, fishing, 390; spirit in, 822

Bureau of American Ethnology, 183

Burial, crest objects in, 450, 464; grave box for, 360; of chief, 464; of shaman, 673, 718

Burns, treatment of, 654, 655

Burroughs, John, 207

Bustamente y Guerra, José, 139, 150–151

Buttons, in trade, 352; ornamental, 440, 441, 442, 688

Caches, 306

Cada (Shada), Chief, Kwackqwan, 203, 236, 242, 243, 262, 277, 320, 326, 786, 1226; family of, 316, 325; Moon House Raven Screen, 323–324

name, inheritors of, 203

Cagun, 455. See also Totem

Cà-kuwakan (Jack Shaw-coo-kawn, 1831–1899), Teqwedi shaman, 201; as peace hostage, 599, 603; family of, 323, 326; house of, 319, 324; “nephews” of, 325; use of witchcraft, 739, 740

Cakwe, artaŁyIart-Kagwantan female shaman, 102, 316, 672, 677; powers of, 102, 709, 714

Calendar, day-counting, 801–802; device, 801; lunar, 799 ff.

“Called-by-the-village medicine,” 663

Camp life, LaPérouse on, 122

Camps, 304 f., 311, 314. See also Fishcamps, Hunting camps, Sealing camps

Canes, ceremonial, 696, Pls. 143, 162; chiefs’, Pl. 162; shamans’, 696

CAnkuqedi (see also Eagle-Wolf moiety), 94, 218, 224–225, 251–252, 817

bear relationship of, 827

Dry Bay, 90; Athabaskan trade partners, 214 fate of, 830

artUnana and, 248–249

houses, 82, 224, 225, 319, 326–327

migrations, 81, 248–249, 350

names, 789

origin, 874

story of, 248–251

territories of, 81

TŁukwaartAdi and, 249

Cankuqedi potlatch songs, 248, 249, 250–251, 1150, 1171–1175

Cannibalism, 733; in mythology, 886 f.; spiritual, 707

Canoe(s), 330 ff.

bark, 341

construction: 342, 343; coverings, 344; seaworthiness, 346

dugouts, 133, 18th century, 332 ff.; modern, 335 ff.; 19th century, 337, 338, 340, 343

Haida, trade in, 177, 189, 216, 330, 333, 340, 341, 343; “war,” 341

hunting, 337 ff., Pls. 74, 77, 105, 106, 107; forked-prow (tartÀyác), 337 f., 379, Pl. 106; ’goose,’ 217, Pl. 74; sealing (gudiyÉ), 338, 339–340, Pl. 107

named, 340

skin, 133, 242, 330–332, Pl. 36; at Lituya Bay, 123

sib (listed), 452; crest decoration, 333, 340; ’named,’ 340; “war,” 340–341, Pl. 71

spruce, 330, 337

village, 330, 335

trade in, 348. See also Baidarkas, Baidars, Boats, Kayaks Canoe paddles, 335, 341 f., 351, Pls. 105, 106

Canoe Pass, rocks at, 820; village, 64

Canoe Prow House, TŁukwaartAdi, 84, 85, 224, 318, 319, 327; in Raven Cycle, 866

Canoe racing, 330, 335

’Canoe roads,’ 344; Raven's, 100

Canoe sails, 341, 344, 351

Canoe travel, 15 f., 23; Schwatka account (1886), 343

Cape Fairweather, 18, 91–93, 110; sibs, 20

Cape Martin, 18; sibs, 20

Cape Saint Elias, 16, 108, 114; in Raven Cycle, 847; origin of, 794

Cape Spencer, 16, 18; danger of, 351; sibs, 20

Cape Suckling, 110; in Raven Cycle, 101

Cape Yakataga, 17, 18, 99; in Raven Cycle, 100, 865; origin of, 795; people of, 205; sibs, 20

Caribou skin, scraper, 422; shirt, 439; trade in, 348, 436

Cat, in witchcraft, 833; witch as, 734

CAart, YeŁ-tŁen and, 274

Cedar, uses of, 317, 368, 705

Cedar bark, 16; bracelet, 689; dye, 431; headdress, 693; importation of, 427; in blanket, 431; mats of, 427, 697; yellow, roofing of, 232

Cemeteries, Cape Martin, 105; Lituya Bay, 121, 123, LaPérouse at, 121; Wingham Island, 103; Yakutat, 61, 62, 63, 132, 148, 320, Pl. 31

Cemetery, in witchcraft, 729, 731, 732, 733, 734, 742, 743; location of, 769. See also Village of the Dead

Cenotaph Island, 115, 117, 118, 119; monster of, 820

Census. See Population

Céq, 672, 678

Character, Tlingit, descriptions of: 18th century, 121–122, 127–128, 146; 19th century, 181, 186, 187–188, 192–193, 195, 196–197, 199, 200, 202–203, 204; individual, 499 f.; Raven and, 841–844; sib, 461, 485. See also Honesty, Humor, Theft

Charms, 689; Pls. 172, 173, 182, 183; to control weather, 378

Chastity, “medicine” potency and, 660, 661, 662

Chatham. See Puget, Lt. Peter

Chert, uses of, 413, 414

Chiefs:

house, 294; boats of, 340; responsibilities of, 451

second, 189, 190, 198

sib, 186; burial of, crest objects in, 464; control: hunting, 374; hunting territories, 379 f.; crest objects held by, 458; female, 463; headgear of, 443; hospitality of, 193, 194; oratory of, 462, 467; powers of, 361; responsibilities of, 451, 464; selection of, 466

Chief George of Dry Bay. See Dry Bay Chief George

Chief George, Yakutat. See Yaartodaget, Yakutat Chief George

Childbirth, 501 ff.

Children, discipline of, 508 ff.; hunt duties of, 365; hunting equipment of, 369; land otters danger to, 509, 746; motive for living, 760; pastimes of, 421; songs for, 1271–1273; Yakutat, Russian treatment of, 234, 236. See also Boys, training of; Girls, adolescent

Children of the Sun, 695, 710; doll, 697, 705–706; myth, 873; song, 705, 1280–1281

Chinook Jargon, 187, 206

Chirikov, Capt. Alexei, voyage of, 108

Chitons, as food, 404; for burns, 655; shaman spirit, 679; taboo, 683

Christ, Raven and, 843, 863

Christian behavior, analogies to, 365, 811, 815

Christianity, conversion to, 177–178, 723, 724, 725; protection against: Land Otter Men, 754; witchcraft, 729, 732

Chugach Eskimo, 16, 18, 42; at Controller Bay, 18, 102, 103; boats of, 331; fur trade, 120; social organization, 450; song, 1228

Eyak conflict with, 108, 159, 213

Russians and, 158, 159, 161, 163, 168, 177; surrender to Baranov, 168, Zaikov on, 112

Spanish contact with, 111

Yakutat relations with, 21, 61, 213; enmity toward, 159, 169, 187; raids on, 159, 163, 164, 256, 258; slaughter by, 175; trade with, 343. See also Aleuts

Chugach Eskimo place names, 61, 103, 105

Church of God, 327

Clam(s), 55, as food, 392 f., 404, 405; giant, 55; talking to, 832; taboo, 683, 832

Clam shells, uses of, 55, 307, 416, 420

Clay, 24; pottery, 421; white, taboo on, 69

Claystone, uses of, 413, 415, 416, 666

Cleanliness, 308, 448. See also Bathing

Climate, 15, 29 ff.; adaptations to, 30

Clothing, 432 ff.; children's 508; crest decoration on, 438–444; European, 148, 155, 348; men's 435–436; seasonal, 30; skin, 434; spirits of, 822; trade in, 134, 143, 148, 350, 352; women's, 440, Pl. 134

magic uses of: by witches, 730, 734; hunting medicine, 364, 374; in divination, 808; in epidemics, 723; protection against spirits, 760; with amulets, 663, 664, 665

Clouds, concept of, 795, 817; weather portents, 803

Club, in fishing, 386, 390; in hunting, 376, 378, 379; in mythology, 886; shaman's, 677, 696

Coal, 24, 413; amulet, 664; beads of, 415, 446; discovery of, 59–60; fields, 65, 69, Yakutat, 197

Coast Salish, 15, 216

Coats, ceremonial, Pl. 145; gutskin, 437; men's, 436, 441

Cockades, 442; trade in, 353

Cockles, as food, 404; taboo, 683

Cod, eaten by Land Otter Men, 749; fishing, 382, 391; in Raven Cycle, 851, 866, 871; preparation of, 402

Coho salmon, 50–51, 381 f.; as medicine, 402

Coho Salmon Crest, Tl'UknaartAdi, 51, 833

Colnett, Capt. James, 113, 116

1786–1788 expedition of, 128, 129 ff.; at Yakutat Bay, 129 ff., observations on Indians, 130 ff.

1789 Nootka expedition of, 128, 129

journal, 129

Comb, wooden, 434, 446; of Chief Yen-aht-setl, 446; shaman's, 690

Commoners, 461 ff.

Compass, points of, and Tlingit directional terms, 797–798; variations, Gulf of Alaska, 109

Composers. See Appendix

Comptroller Bay. See Controller Bay

Constellations, concept of, 797

Controller Bay, 16, 18, 101 ff.; Eyak-Chugach contest for, 108; fishcamps, 104; hunting camps, 104; in Raven Cycle, 102; population, 19th century, 102, 185; settlements, 103–104; sibs, 20

Cook, Capt. James, 112, 113, 125; Indian contacts of, 110; third voyage of, Gulf of Alaska, 110–111

Cooking, 393, 394

Copper, 112; discovery of, 230; headgear, 443; in mythology, 885, 889, 899 f.; mines, 104, commercial, 349; ornaments, 349, 445, 448, 689; tools and weapons, 116, 368, 369, 377, 388, 419, 422, 664; trade in, 90, 112, 115, 177; trading stations, 100, 109; trading value of, 348, 351, 353 f.; transport of, 350; uses of, 412, 414; working of, 233

“Copper Diggers,” 106. See also Atna Athabaskans Copper oxide, 413

Copper River, 111, 112; Chitina immigrants, 231–233, 235–242 (See also Kwacartqwan); in mythology, 898; trade, 109, 112–113; trading centers, 231, 349. See also Atna

Copper River and Northwestern Railroad, 18, 104–105, 214, 349

Copper River dance staff, Pls. 13, 163

Copper River delta, 16, 17; people of, 19, 230; sibs, 20

Coppers (tinnà), 137; in Yakutat purchase, 237, 241, 242; value of, 233, 237, 241, 252, 353

Cordova, 105; trading station, 348

Cottonwood, 16; canoes, 330, 336, 343; shampoo, 448

Counting board, 801

Covenant Mission, Yakutat, 198–99, 201

Cow, 40; crest, 833

Coward, 717; in mythology, 874. See also Berdache, Transvestite

Coward House, Teqwedi, Bear House line, 18, 77, 301–302, 316, 317, 320, 321, 324

Cow parsnip, 331; food, 407; medicine, 655, 656. See also Wild celery

Coxe, Tom, 671, 717, 786, Pl. 90; art of, 324, Pl. 157; family of, 320

Coxe, William, 132 passim

Coyotes, 37, 367

Crabs, as food, 404; in mythology, 897; land otters’ use of, 55, 745

Cramps, menstrual, treatment of, 658, 654; shaman caused, 701

Crane, 44; shaman spirit, 678; witch as, 732

Crane Crest, Kwack’qwan and TŁ'UknaartAdi, 44, 451, 452, 833

Crest objects: Crane Canoe, 340; song for, 274, 1161; war over, 454

Creator, the, 815 f. See also God, Raven, Spirit Above

Cremation, 121, 123, 768, 807

Crests: animals as, 452–455 (listed) 833 f.; shaman relation to, 679; moiety, 450. See also Raven moiety, Eagle-Wolf moiety

natural entities as, 452–455, (listed) 833 f.

objects, aliention of, 458 ff.; as bride price, 458; defined, 455; in war, 458; inheritance of, 460; social symbolism of, 451; Yakutat, (listed) 452

origin stories, 210–211

sib or lineage, 451; alienation of, 458 ff.; importance of, 451 ff.; loan of, 454; ownership of, 452, 453 ff.; totems and, 455; types of, 456 f.; war over, 454, 459; Yakutat, (listed) 452

representations, media for, 453

Crow, as crest, 46, 833; Raven and, 453. See also Raven

Crow(s), 46; as omens, 829; imitation of, in fishing and hunting, 366, 390

Curios, tourist trade in, 183, 184, 191, 192, 347

CartAtqwan, Sitka Kagwantan and, war between, 279 ff.; 1881 peace treaty, 280

Dagger, copper, 116, 687, 695; hunting, 367; iron, 116; “Sun,” 694

Daknaqin, Ned, Chief, Teqwedi, 253, 279, 885, Pl. 214; family of, 341, 362; mask owned by, 444

Dall, William H., 181, 279; accounts of: Lituya Bay natives, 181; Yakutat natives, 181–182, 183

Marcus Baker and, coast survey of, 181

Dalton, John, 187, 193, 197; E. J. Glave and, Alsek to Yakutat trip of, 203–204

Dance (s), costumes, 436; in mythology, 898; masks, 444, 691; shirts, Pls. 146, 147; staff, Pl. 13; wand, shaman's 696; trade in, 348

Dance songs, 240, 1167–1168, 1225–1226, 1227–1228, 1229, 1260–1261. See also Peace dance songs

Dancing, “against each other,” 217; in healing ceremony, 714; in seance, 702; in trading ceremonies, 347; to prevent illness, 723

DAq’dentan, Hoonah, 20, 226, 227, 229; crests, 91, 454; crest objects: Whale Hat, 454, pipe, 94; sea-otter hunting grounds, 94, 95; territories, 91, 95

DAqEstina. See Cankuqedi

DAqŁ’awedi, 218, 221, 225, 228

Daqusetc, Chief, Teqwedi, 77, 198, 199, 200–201, 222, 251, 262, 290, 319, Pls. 62, 211; death of, 671, 720, 723; family of, 319, 323; names of, 319, 450; pipe of, 411; potlatch for, 201; war started by, 352. See also Yen-at-set’l, Chief

Davidson, George, 89, 99, 113, 168

Daartodzu, female shaman, 248, 671, 1282; clairvoyance of, 713; invincibility powers of, 672; magic arrow of, 680, 712–713; Russians and, 713

DaartquwAdartn, and Wrangell peace party massacre, 279, 280, 282–284

Day(s), divisions of, 802; methods of counting, 801–802

Daylight, seasonal variations in, 30

Daylight, Owner of, 815; theft of, Raven's, 84, 476, 853, 856, 860–862; songs, 1151, 1152–1155, 1258

Dead, house memorial to, 294; respect for, 288

Deadfalls, hunting, 370; in mythology, 895 f.

Death, breath of life and, 761; by drowning, 766; by violence, 770 f.; by witchcraft, 730, 731; concept of, 765 ff.; dreams prophecy of, 759, 760; forms of, 766; owl foretells, 830; sleep and, 759

Deer, 94; importation of, 36, 40, 367; skin, 436

’Deer’ (peace-hostage), 117, 147, 150, 201; ceremonial names for, 1245–1247; killing of, 281, 284; medicine, 663; ornaments, Pl. 135; peace dance, 280; songs for, 1244, 1245–1248

Deformity, human, 464

Dekina. See Haida

Dentalia, as ornaments, 435, 445, 446; buttons of, 464; dish inlay, 418; shirt decoration, 440; trade in, 348, 349, 352

Design motifs, 455, 689. See also specific animal and plant names

Devilclub, 32, Pl. 95; as curative, 656, 658, 659, 708; as magical plant, 660; epidemic preventive, 659; in shaman quest, 659, 676, 677; in witch trial, 737; medicine, 658–659, 695, Pl. 198; spirit in, 823

Devilfish, 55, 832; giant, 55, 820; in Raven Cycle, 851, 861. See also Squid

crest representations, 389, 439, 687, 691, Pl. 195

Devilfish Crest, TŁ'UknaartAdi, 452, 833

crest objects: Devilfish Cane, 454, 866–867

DeartwUdu’u, Chief, TŁ'UknaartAdi, 203

Diapers, moss used for, 31

Dick, Blind Dave, 319, 674, 684; family of, 326; songs of, 1174–1175, 1247–1248, 1293–1295

Disease Boat, 713, 769

Disease Spirits, 682, 712, 714, 770, 817, 836; fear of devilclub, 823; song, 1282

Disenchantment Bay, 21, 22, 23, Pls. 18, 19; description of, 67; falling glaciers in, 287; Malaspina survey of, 148, 149; sealing camps in, 65, 397; taboo, 806

Dishes, 308, 393, 418; trade in, 352

Divination, 807, 808

Dixon, Capt. George, 61, 113, 116, 143, 147, 333

Colnett and, at Nootka Sound, 129; explorations of (1787):

Gulf of Alaska, route, 125, 128; Yakutat Bay, 123 ff., 126

Diyaguna’Et, 77, 78, 181, 222, 225, 226, 246, 247, 264; abandonment of, 279; battle at, 77; smallpox at, 278–279

Documents, use of, 201

Dog(s), 40, 308, 832 f.; as medicine, 239; dead, witch use of, 730, 734, 740; hunting, magic for, 363; in mythology, 875, 879; killing taboo, 832–833; land otter protection, 755; representations, 691, 693; sled, 346

Dog Heaven, 766, 770, 771, 814, 824, 825, 833

Dog salmon, 51, 381 f.; as crest, 51, 833

Dog spirit, shaman's, 678; to detect witches, 696, 702, 732, 736, 832

Doll, shaman's, 697, 705–706; witch's, 730

Domestic objects, 146, Pls. 118–136

“Dope.” See Medicine, esp. 654

Douglas, Capt. William, 1788 voyage of, 138–139

Dowry, 458, 464

Dreams, 759; importance of, 835. See also Prophecies

Drinking songs, 1361–1362

Drowning, death by, 61, 766 (see also Land Otter People); omen, 87; song to prevent, 87

Drum(s), 705, Pls. 164–166; in curing ceremony, 721, 722; in seances, 702; room, 685; shaman's, 697

Drum House, Teqwedi, Drum House line, 80, 243, 252, 319, 320, 324–325, 327

Drunkeness, in Raven Cycle, 843 f., 873. See also Liquor

Dry Bay, 16, 17, 81–85, 111, 820, Pl. 21; flood, 276; Glave at, 203–204; in mythology, 82, 84; trading station, 347

people of, 17, 18, 349; fate of, 276; Malaspina observations on 153; settlements of, 83 ff.; sibs, 20, 81, 226–227, 228; territory of, 212; trade routes of, 90; Yakutat and, 262

Dry Bay Chief George (d. 1916), TŁ'UknaartAdi, 78, 81, 291, 318, 319, 673; cap of, 442; family of, 321, 326, 327, 361; reincarnation of, 773; songs of, 873, 1150, 1162–1165, 1246

Dry Bay George, song of, 1298–1299

Duck, 395, 437; hunting of, 373; in mythology, 888; in Raven Cycle, 845, 848, 858

Dugouts. See Canoes, dugout

Duart, Chief, Kwacartqwan, 242, 245, 246, 247

Duart's sister, story of, 242, 245–246, 254

Dwarfs, in mythology, 877

’Dwellers by the door,’ 297

Dyes, 416; bark, 429; berry, 429, 431

Eagle, 47; beak, 418; down, 275, 432, 693, 721–722, 822; feathers, 361, 368, 381, 898 f.; foot, 430, 661; hunting, 373, 829; quill, 664, 710; skin, 435, 439

Eagel crest(s), 47, 452, 833; American, 450. See also Golden Eagle

crest representations, 389, 411, 439, 441, 445

Eagle Crest, Teqwedi, Bear House line, 452

crest objects, headdress, 443; mask, 444, 692

Eagle Fort, TŁaartayIk-Teqwedi, 79, 89, 222; building of, 234, 260, 262–263, 264; fight at, 263, 265–266, 269–270; TŁ'UknaartAdi raid on, 79, 227

Eagle House, artaŁyIx-Kagwantan, 104, 315, 322

Eagle House, TcIcqédi, 104, 219, 315, 327

Eagle House Posts, 315

Eagle-Wolf moiety, 6, 15, 214; crests, 452, 833 f.; sibs, 20, 218, 452; territories, 20–21

Ear, infection, 655; piercing, 448, 464

Earth, creation of, 863 ff. (see also Raven, creator of earth); concept of, 792 ff.

Earthquake(s), causes of, concept of, 793, 859; effects, 22, 24, 28, 68, 69; Yakutat, 1899, 63, 66, 79, 94, 204; account of, 288; effects, 287–288

Echo, in Raven Cycle, 817, 849

Eclipse, concept of, 796

Eddy Fort, TŁukwaartAdi, 83, 89, 224, 262

Education, 197, 465, 512 ff.; moral, 510, 511, 512 ff., 892–893; and social position, 513; practical, 512

Emetics, 659, 721; before seances, 706

Emmons, Lt. George T., 219 passim, 259; on Old Village, 322; shaman equipment collections of, 686 passim

Envy, witchcraft and, 380

Epidemics, 392, 654, 710; devilclub prophylaxis in, 659; spirits source of, 659, 710, 836 (see also Disease Boat). See also Influenza, Measles, Smallpox, Typhoid

Ermine skin, uses of, 437, 441, 442, 443, 686, 689, 693, 699

Ethnographic studies, Tlingit, early, 183

Ethnological collections, Tlingit, 192

Eskimo, Pacific, 213. See also Aleuts, Chugach, Koniag

Etiquette, trade, 347 f., 467; visiting, 309

Eulachon, 52; fishing grounds, 71, 78; food, 402; in mythology, 892; in Raven Cycle, 860; oil, 402

Evangelical Mission Covenant Church of America, 198. See also Covenant Mission

Excrement, dog, 659; human, magic use of, 745, 747, 751, 752

Eyak, 105–106; Chugach enemies of, 213; houses, construction of, 213, Pl. 68; migration, 239; settlements, 19, 75, 76, 108, 109, 348; snowshoes, 345; Tlingitized, 19, 102; Yakutat trade with, 348–349. See also Ugalentz

Eyak, Copper River, 18 f., 101, 105, 184, 205; boats of 330, 338; population, 1880–1884, 185; trade middlemen, 214, 349; Yakutat and, 174, 177, 214, 215; raids on Chugach, 158–159, 163, 164

Eyak language, ix, 5, 19, 105; loan words and names from, 337, 339, 789–790; Yakutat dialect of, 19, 236–237

Eyak place names, 61, 63–64, 65, 67, 70, 76, 77, 78, 79, 80, 95, 101, 104, 105, 106

Eyak-speaking people, 18, 22, 98, 102, 174

Eye, diseases, treatment of, 654, 655, 656, 657; in mythology, 877, 886 f.

Eye motif, 342

Face paint, 447; for glare, 30, 91, 416, 435, 446, 800, 819; right to wear, 458 n.; trade in, 352; war, 448

Face stamps, 447

Fairweather House. See Mountain House

Fairweather Range, in Raven cycle, 93

Fairweather's Daughter, 883

Far Out House, TŁ'UknaartAdi, 83, 84, 272, 317, 318, 327, 462; TŁUkwaxAdi, 224, 318, 319

Fasting, 835; as magic aid, 660, 665, 667; before shaman burial, 719; before hunting, 365; by shaman, 670, 676, 677; during pregnancy, 777

Fate, 813

Feathers, in mythology, 884, 889, 898 f.; trade in, 348, 350, 443; uses of, 435, 761. See also specific birds

Ferns, 32; uses of, 406, 408

Fiction, 210

Fingernails, magic uses of, 326, 415; by witches, 730

Fire, in mythology, 899 f.; in Raven Cycle, 865; Raven obtains, 792; rules about, 361, 365; spirit in, 822; to control weather, 806

Firearms. See Guns

Fire-making, 307; drill, 246

Fireplace, 297, 306

Fireweed, 34, 407

“Firewood eggs,” 665

Fish, 50–55; as snare bait, 370; eggs; in mythology, 889, uses of, 402, 403, 448; food preparation: 400 ff., cooking, 394, drying, 303, 312, smoking, 300; heads 402; in mythology, 123, 881; origin of, 794; skin, uses of, 416, 425 f. See also specific fish

Fish canneries, 73, 103, 105, 205; Dry Bay, 84, 85; Yakutat, 18, 78, 207, 271, 322, 326, 353, 382

Fish dams, 75, 377

Fish People, 682, 766, 889

Fish racks, 341

Fish salteries, 61, 73; Yakutat, 207, 322, 382

Fish spirits, 682, 832; reincarnation of, 766; songs, 1282

Fishcamps, 62, 65, 66, 71, 73, 75, 78, 80, 83, 93, 94, 95, 103, 295, 321, 383, Pl. 33

Fishing, 381 ff.

gear: floats, 376, 388, 390; nets, 344, 383; hooks, 388–389, 391; traps, 387; weirs, 75, 382

rituals, 361–362, 824

Fishing, commercial, 462; sites, 71, 73, 78, 80, 85

Flagellation, of witch, 737

Flathead Indians, 341; slaves, 352; trade in, 177, 216–217

Flicker, 48; as sib crest, 833; feathers, 442, trade in, 348, 352, 443; in mythology, 48; in Raven Cycle, 857, 858

Flint, 24, 89, 413; knife, 899

Flood, the, 91, 101, 210, 235; concept of, 794; Controller of, 815, 845; human dispersal after, 210, 219, 221, 224, 228, 229, 453; Raven Cycle and, 842, 844, 848, 856, 858

Flood(s), Alsek River, 87, 89; Dry Bay, 87, 89; Lituya Bay, 94. See also Waves, giant

Flowers, motifs, 440, 445

Fog, 30; causes of, 69, 416, 828

“Foggy Harbour,” 17, 125, 129, 130, 131. See also Yakutat Bay

Foggy House, Kwacartqwan, 324, 463

Food(s), 30; 18th century, 393; modern, 410; poisoning, 169; roots, 406; securing and preparing, 391 ff.; shaman's, 683; taboos, 835, 843

Foreign guests, ceremonial reception of, 146–147. See also Potlatch guests

Foreigners, in Yakutat history, 213–217

Forests, 30 ff.; glacial recession, 26, 72, 97, 98

Fort House, Kwacartqwan, 65, 76, 203, 223, 246, 278, 316, 320, 323, 463. See also Raven's Bones House

Forts, 294. See also Eagle Fort; Eddy Fort; Grouse Fort; Russian Fort, Yakutat

Fortunetelling, 813; bone, 380

Fox, 37, 94, 98; deadfall, 370; farming, 18; hunting, 366 f.; in mythology, 892, 897; in Raven Cycle, 862; skin clothing, 435, 439; skinning of, 423; snares, 371

Frames, meat drying, 397; stretching, 423

Frog(s), 42; fear of, 42, 831; giant, 820; in mythology, 900; in witchcraft, 730; medicine, 663; woman abducted by, 289–290

Frog crest, 318, 452, 833

claims to: 228; artanAarttedi, 290; KIksAdi, 289–291, 318, 452; TŁ'UknaartAdi, 289–291, 1164

history of, 288 ff.

TŁ'UknaartAdi-KIksAdi quarrel over, 229, 231

crest representations, 411, 415, 417, 441, 699

Frog Crest, KIksAdi, Sitka, 229, 231, 288–291, 318, 452

Frog Crest, TŁ'UknaartAdi, 227, 228, 229, 231, 289–291, 1164

crest objects: carving, Pl. 209; headdress, 443, 444, 694, 695; mask, 691, 692; personal names 289; screen, Guarteart, 273, 289, 291, 318–319; song, 1150, 1164–1165

Frog House, history of, 288 ff.

Frog House, TŁ'UknaartAdi, 83, 317, 318, 327, 462; Dry Bay, 291; Guarteart, 227, 272, 273, 289, 290; Sitka, 228, 273, 289, 290–291; Yakutat 291. See also Far Out House

Frog House Posts, 289, 318

Funeral, 120, 312; feast, 768. See also Burials

Fur(s), 15; clothing, 436; peace symbol, 347. See also specific animals

Fur trade, explorers and, 111–112, 124, 125, 126; intertribal, 126; results of, 343, 462; Russian, at Yakutat, 134

Gaff hooks, 386

artałyIart-Kagwantan, 20, 59, 97, 101, 102, 104, 205, 218, 219–220, 221, 222, 223, 225, 242; and first ship, 233, 256; at Wingham Island, 103; history of, 231, 233, 254–256; in mythology, 878; Kwackqwan and, 232; migration, 230, 232, 236, 239; settlements, 101, 219; territories, 98, 101, 103, 219, 232; war with Aleuts, 101, 254; White contacts of, 99; Yakutat, 220. See also TłaartayIk-Teqwedi

crests, 219, 254–256, (listed) 452

houses, 219, 298, 315, 322

personal names, 789

artałyIart-Kagwantan potlatch songs, 104, 254, 1169–1171, 1228

Gambling, 122, 310, 352; in mythology, 894

Games, Pls. 137–139; children's, 515; in afterlife, 770; stick, 217

artAnAWAS, 257, 262, 275. See also Knight Island

artanAarttédi, 20, 105, 218, 219, 223, 224, 225, 231, 248, 254

artanAarttédi—Continued

Chilkat, 135, 218; “Mother Basket” of, 874; war with Tł'UknaartAdi, 227, 273 ff.

Controller Bay, 104

Copper River, 101, 105

Eyak, 218, 219

naming of, 245, 246

Gateway Knob, in Raven Cycle, 87

Gateway Knob Crest, Tłukwaartadi, 452, 456

GAartf-tłen. See Big Rabbit

Generosity, and social position, 464

Geography, of explorers, 109; Tlingit concepts of, 797 ff.

George, Chief, of Dry Bay. See Dry Bay Chief George

George, Chief, Yakutat. See Yaartodaqet, Yakutat Chief George

George, “second chief,” 189, 190, 198. See also Yaartodaqet, Yakutat Chief George

“George Second Chief,” 198

Ghosts, 704, 765 ff., 768; night traveling, 835; occurrence of, 835

Giants, in mythology, 898

Gift exchange, between relatives, 191

Gift-giving etiquette, 179, 352. See also Potlatch

Gill nets, 383

GIneartqwan, 65, 95–97, 214, 220, 222, 231, 236. See also Kwacartqwan

GIno song, 285

Girl turned to owl, 893 f.

Girls, adolescent, 518 ff.; first menstruation rites for, 518 ff;. magical exercises for, 506–507, 521; sexual knowledge of, 523; taboos for, 521–522. See also Menstruant, Menstruation

Glaciers, Alaska, 21 passim, 28 f., 95, 202, 819

changes due to movements of: Alsek River, 86–89, 94; Icy Bay, 97–98, 286–287

discovery of, 183

expansions and recessions of, 16–17, 25 ff., 69, 207

“through,” travel routes, 16, 70, 85, 86, 87

Yakutat Bay, 203; recession of, 239, 286

Glacier beliefs, in mythology, 894; medicine, 239; retribution by, 814, 818, 819; spirit, 818; mask of, 691

Glare, face paint for, 30, 67, 91, 416, 435, 446, 800

Glass, Commander Henry, and Sitka peace treaty, 280

Glave, E. J., 85, 86, 89; John Dalton and, 270, Alsek to Yakutat trip of, 203–204

“Glory of Russia.” See “Slavorossiya”

Gloves, 437; cotton, 424; dancing, 442, shaman's, 677, 695

God, 808, 812, 815 f.; Yakutat concept of, 813 ff. See also Creator, the; Spirit Above

Gold, 413; discovery of, mythological, 900; prospecting, Yakutat, 63, 67, 182, 197, 205

Gold prospectors, 18; Copper River massacre of, 215

Gold Rush, 351, 900

Golden Eagle Crest, Teqwedi, Drum House line, 226, 230, 253, 452, 825, 833

crest objects: headdress, 443, Pl. 157; screen, 324, 325, 455, Pls. 92, 93, 213; song, 80, 253, 1166–1167

Golden Eagle House, 80, 317, 322, 324

Goose, 43, 395; as crest, 833; hunting, 373, witch as, 733

Gopher, in mythology, 880 f.; fur clothing, 436, 439

Gosna'w, Lament for, 1171

Gossip, preventing, 444, 666

Got’eart See Aleuts

Grandparent-grandchild relationship, 7, 476 ff.; kin terms in, 475, 476, ceremonial usage of, 476–477

Grasses, 32, 33–34; uses of, 417, 427 f.

Grave (s), 84; White robbing of, 192

boxes, 419, 540–542, Pls. 59–61

Grave(s)—Continued

goods, disturbing, 700; shaman's, 673, 678, 685, 686, 687 guardian, 687, 764

houses, 62, 201, 294, 768; construction, 718, shaman's, 671, 672, 673, 674, 685, 718

monuments, 61, 63, 66, Pls. 30, 31, 59–61

offerings, 700; for shaman, 678. See also Burials, Cemeteries “Grease trails,” 15, 350

Green paint stone, song, 1165–1166; taboo and uses, 416, 417, 806. See also Greenstone

Greenstone, 24, 455; in Raven Cycle, 847, 848, 867; uses of, 24, 413, 414; taboo, 417

Grinnell, George B., 68, 207; 1899 account of: boxes, 419, seal flenzing, 397

Groundhog, 39, in mythology, 895 f.; snares, 371; song to, 367; weather portent, 804

Ground squirrel, 38, 828; clothing, 350, 436, 441; snares, 371

Grouse Fort, 228

Gudiłta’, Chief, Kwacartqwan, horn dish of, 237, 238, 240; Lament of, 239, 1155–1156

GudiyÉ, 97, Pls. 106, 107; origin of, 241, 242

Guests, ceremonial reception of, 146–147

Gulf Coast of Alaska, beauty of, 17; climate, 29 ff.; description, 16 ff.; Icy Bay to Cape Yakataga, 99

Gulf Coast of Alaska tribes, 17 ff.; origin of, 152

“Gums.” See Jackson, Jimmy

artUnakw, witching of, 743

artUnana, 213, 214. See also Athabaskans

artUnanIstE, 671, 672, 678, 683; curative powers of, 710

artUnaqAdEt, wealth-bringer, 666, 687, 820–821

“Gunena doctor,” 204. See also Shaman

Gun(s), 378, 827; in mythology, 882; introduction of, 156–157, 181, 186–187; trade in, 164–165, 170, 181, 353; types of, 186–187, 285, 367

Gun equipment, Pl. 116; ammunition, trade in, 352, 353, 367

Gunshot wounds, treatment of, 655

Guartex, 83, 91, 181, 220, 224

abandonment of, 227, 229, 258, 259, 270, 273, 275, 276

canoe disaster, Lituya Bay, 270, 273, 274; song for, 274, 1155–1156

emigration from, 83

founding of, 227

story of, 270, 272–273, 274

artutcda, Alsek River shaman, 1244

artutcda, TłukwaartAdi shaman, Dry Bay, 229, 318, 350, 671, 672, 673, 674, 678, 683, 684

appearance of, 685, 688

cures of: Land Otter Men captives, 751, 752; witchcraft, 736, 739, 740, 741, 742, 743

paraphernalia of: blanket, 441, 442, Pl. 150; headdresses, 693, 694, Pl. 193; knife, 695; masks, 690, 692, Pls. 190–192, 194

powers of, 706, 707, 710, 807

spirits of, 704, 832, 889

wives of, 672, 674, 684; and family, 318, 319, 326

Gynecology, native knowledge of, 654

Haenke Island, 23, 28; Kwacartqwan, 69, 237, 242

Haida, 15, 16, 216

canoes, trade in, 177, 216, 330, 333, 340, 341, 343; war, 341 slaves, trade in, 216, 217

songs, 216, 352, 1361; Mouth Style, 1168, 1244, 1291 ff.

trade items of, 352; Yakutat and, 216, 660

Hair, animal, uses of, 415, 662, 665

human, cutting: in mourning, 277, shaman's, 277, 284–285; in witchcraft, 730; on headgear, 442, 693, 694; ornamentation of, 432, 433, 434, 851; with “medicine,” 664

Hair–Continued

switches, in trade, 200; shaman's, 684, 722

Hairstyles, 440, 446

“Half-Moldy Salmon Boy,” 682

Halibut, 52; food preparation, 401; in mythology, 876, 878; in Raven Cycle, 858, 866, 868, 869; skin: bags, 259, 275, Pl. 126, uses of, 425 f.

Halibut Crest, Kagwanton (Box House), 452, 833; Halibut Canoe, 340

Halibut fishing, 382, 388 ff.; early accounts of, 390 ff.; grounds, 95, 100; gear, Pls. 111–115, ritual, 366

Halibut hook, 388–389; in mythology, 897 f.; uses of, 378

Hallucinations, 411

Harpoon(s), 376, 384; heads, 349, iron, 377, 384, 385; spirit, 822

Harriman Alaska Expedition (1899), 67, 68, 337, 339, 375 f.; at Yakutat, 207

Harrington, John P., 11, 213 passim, 230, 256–259, 261, 268, 286; on religion, 816, 818, 819; on totems, 829

Hats, basketry, 432, 436 f.; crest, 443 f., (listed) 452, 694 ff., Pls. 146, 154, 155; chief's, Pl. 58

Hawk. See Golden Eagle

Headdresses, 433, 686, 693 ff., Pls. 65, 153, 156, 157; ceremonial, Pls. 144, 156; shaman's, 427; trade in, 348, 352; women's, 440

Headgear, 436, 437, 442. See also Hats

Heaven. See ’Land Above'

Heavy Wings, 80, 243, 253; story of, 242

Hellebore, American white, medicinal uses of, 33, 653, 658, 660, 746

Helmets, crest, 443 f., 590–591, Pls. 146, 158, 159; war, Pl. 51

Hemlock, 31; epidemic preventive, 710; in Raven Cycle, 860; uses of, 31, 342, 387, 403, 411, 413, 415

Hemlock bark, curative, 657; dye, 429; food, 305, 406; in house building, 305; medicine, 662; to remove, 393

Hemlock pitch, as curative, 657

Hemlock Child, 885

Hendrickson, Rev. Karl J., 198, 199, 202, 207; as teller of myths, 894; attempt to rescue witch, 741, 742, 743; glacier story of, 819; medical treatment by, 655; sawmill of, 205, 321

Herring, 52, 402; as bait, 373, 389; as crest, 833; fishing for, 382; in mythology, 889, 893; in Raven Cycle, 871; trap for, 387

Herring spawn, 52, 403

Hinyedi, 20, 218, 220, 221, 240; sale of Yakutat lands, 232–233

Historical narratives, 230 ff.; character of, 210; narrators of, 210

History, myth and, 210–211; native, 212

Homeland. See Tlingit, world of

Homosexuals. See Berdache, Coward, Transvestite

Honesty, Indian, 192–193, 203, 206; admonitions, 769

“Hooch,” 181

Hoochenoo, 181, 186, 191, 199

Hoonah, 16; boats of, 337; hostage exchange, 157; hunting and fishing grounds, 18, 94; territory of, 212

Horn, uses of 413, 418

Hostage exchange, in trading, 116–117; Malaspina, 141, 144; Puget, 157; Russians, 116, 117, 157, 167, at Yakutat, 163–165; Yakutat-Chugach, 163

Hostages, Russian policy, 157, 158, 159, 173, 176

Hostage-ambassador exchange in peace-making ceremonies, 117. See also “Deer”

House, lineage, 30, 294 ff., (listed) 452; construction of, 30, 295 ff., 297, 298, 310 ff., Pl. 81; furnishings of, 306 ff.; name, 294; owner succession, 322–326; painting, 327; remodeling of, 321, 325; renaming of 325; social meaning for individual, 294–295

House, summer, 126, 310

House, winter. See House, lineage

House chief. See Chief, house

House group. See Lineage

House owner. See Chief, house

House posts, 323. See also specific lineage houses

Household duties, men's, 307, 308, 309; women's, 308, 309, 391 ff., 400, 407, 425

Hudson's Bay Company, merchandise of, 352

Humor, Tlingit, 206; Raven and, 840, 843–844

Humpback salmon, 50, 51, 381 f.; run of, 70–71

Humpback Salmon Crest, Kwacartqwan, 51, 452; acquisition of, 233, 237, 453, 456; Humpback Salmon Stream, 65; purchase of, 119, 233, 237, 456

crest representation, 442

Hunting, 360 ff.; medicine, 233, 362 f., 660–662; rituals: 361, 824–825; head-burial in, 362, 366, 824; snowshoes, 345; taboos, 362, 374, 375, 832. See also specific animals

camps, 71, 79, 304

grounds, 78, 80, 205

Husband-wife relationship, 488–492; kin terms in, 475, 488–489, compounding, 489

Icebergs, 23, 24, 28; fending off, 339

Icefields, 16, 21, 22

Icy Bay, 18, 26, 28; geological changes in, 28, 286; glacier movements in, 97–98, 286–287; oil prospecting at, 98; people of, 17; settlement: glacier destruction of, 286–287, interglacial, 26–27, 97

Illness, dream prophecy of, 759, 760; due to: shaman, 674, spirit intrusion, 700, witchcraft, 654, 729, 730, 736, 741 ff.; prevention of, 674

Incest, due to witchcraft, 736

Indian Service, Public Health facilities, 654

Infant(s), care of, 504; carrier for, 503–504, 506; diapers, 31, 504; magic for, 506–507; newborn, 502–503; weaning, 506, 658

Infections, spirit-caused, 659, 709; treatment of, 654, 659

Informants, list of, v-vii; Pls. 1–13

Insanity, causes of, 745, 752; shaman's, 676, 733

Insults, 326, 459, 832

Intestines, animal, uses of, 424, 426

Iris, Arctic, as curative, 331, 658

Iron, 348; as land otter protection, 746; drift, 113, 116, 233, 256, 275; taboos, 370, 679; trade in, 113, 115–116, 134, 143, 347, 353; uses of, 113, 116, 412, 414, 434, 689

tools, 126, 415, 421, 422; trade in, 126

weapons, 116, 368, 369, 377, 384, 385; in trade, 126. See also Guns

Islands, in Raven Cycle, 856 f., 864

Ismailov and Bocharov, expedition of (1788), 102, 113, 132 ff., 164, 270; at Lituya Bay, 136–137; at Yakutat, 133 ff., 311, 788; official report of, 137

Italio River, 18, 81; sibs, 20

Itinisku, Jim. See Tanuart

Ivory, house post, 323; shaman paraphernalia of, 664, 687, 689, 696; trade in, 349; walrus, 349, 689

Jack, B. A. (1860–1958), Kwacartqwan, 64, 284, 285, 323, 879, Pl. 90; carvings, Pls. 157, 168; songs, 1302–1303

Jacket, birdskin, 435; animal intestines, 424 f.

Jackson, Jimmy, Kwacartqwan, 194, 195, 196; builder, 326, 327; songs of, 1304–1306

Jackson, Rev. Sheldon, 183, 198, 203

Jacobsen, Capt. Johan A., voyage of, 184

James, Ned, 325, 724, Pls. 209, 210, 211, 212

James, Sheldon, Jr., 230, 238

James, Sheldon, Sr., 230, 247, 251–252, 253, 423, 882

Johnson, Rev. Albin, 198–199, 200–201, 205, 207, 655; accounts of: boats, 338, 340, 343; shaman, 722, witch episode, 741, 742, 743; Dry Bay census of, 318

Johnstone, artadaneart, Teqwedi, 191, 302, 320, 321, 671; family of, 320, 321, 665; hunting prowess of, 365, 380; reincarnation of, 778; song of, 1308–1309; witching of, 739, 740

Johnstone Passage, 22, monster of, 221

Joking, 464

relationship, 243; father-in-law and daughter-in-law, 493–494

relatives, 483, 485–488, 495–496, 730

Kagwantan, 20, 218, 229; bear and, 827; history, 228; migrations, 227, 286; Tł'UknaartAdi and, 227; TłukwaartAdi and, 228, 279

Kagwantan, Box House, 212, 228, 279, 300, 301

crests (listed), 452

houses, 228, 300, 318

Kagwantan potlatch songs, 281, 1168–1169, 1171–1172, 1226

Kagwantan shamans, 672; songs of, 714, 1282

Kagwantan, Sitka, and Wrangell CartAtqwan, war between: 228, 279 ff., 477, 489–490; peace party massacre, 279, 280–281, 282, 283–284; peace treaty, 280

Kaigani. See Haida

Kaliakh, 17, 101; territory of, 212

Kaliakh River, 17, 18; trading station, 349

Kamchatka lily, 33, 80, 406, Pl. 96; in Raven Cycle, 870

Kardeetoo, Jenny, 242, 245–246, Pls. 210, 212; as chief, 463

Kardeetoo, Jim, Chief, Teqwedi, 201, 230, 251, 261, 321, 325, 671, 718, Pls. 86, 144, 214

curing powers of, 700

names of, 243, 251

paraphernalia of, 685; blanket, 441, headdress, 443, 694, nosering, 445; songs, 1167, 1244–1245

Katalla, 104–105, 219; in Raven Cycle, 864; people of, 20; trading station, 349

Katishan, Chief, philosophy of, 815 f.

Katlian, Chief, KIksAdi, 665; amulets of, 665, 666

Katart, Teqwedi, 319, 455, 827; story of, 455, 879–880

Kaartaartét, Chief. See Daqusetc

Kayak Island, 101–103; Chugach on, 102; early explorers at, 110–112; in Raven Cycle, 102, 856 f., 864; origin of, 794; sea otter hunting camp, 102, 103; trading post, 205

Kayaks, 242, 331

Kayani, 233, 363, 663. See also Hunting medicine; Plants, magical-medical; Medicine, powerful

Kelp, in Raven Cycle, 849, 852, 867; uses of, 388, 427, 659, 805

Kennecott copper mines, 349

Kerchiefs, 437; trade in, 352

Kersunk (Qasanart), 187, 189, 194

Khantaak Island, 22, 28, 62; emigration from, 321; graveyard, 288; Teqwedi on, 226; village, 311, 312, 313, Pls. 69, 71

Khliebnikov, Kyril Timofeëvich, 166, 167–168, 169, 170–171, 171–173, 177

KIksAdi, Sitka, 218, 229; and Tł'UknaartAdi, rival claims to: Devilfish Cane, 866, Frog, 288 ff., results of, 291; Russian defeat by, 172

Killerwhale(s), 41, 373, 829; in mythology, 878; in Raven Cycle, 848, 858, 870, 873; shaman spirit, 678

Killerwhale crests (listed), 452

crest representations, 386, 411, 437, 438, 439, 441, 443, 444, 447, 455, 678, 693

Killerwhale Crest, Cankuqedi, 452

crest object, helmet, Pl. 215

Killerwhale Crest, Kagwantan (Box House), 452

Killerwhale Crest, Teqwedi, Bear House line, 41, 225, 226

crest objects: drum, 705, Pls. 143, 164, history of, 459, 1168; fin dance paddle, Pl. 143; fin emblem, 226; hat, 247, 457, 695, 711, Pls. 143, 145, 213

King George's Sound Company, 125, 128, 129, 138

King salmon, 50, 51, 381; in Raven Cycle, 323, 455, 847–848; luck portent, 760

Kingfisher, 830; mask, 692; shaman's spirit, 678

Kinship system, 475 ff.

terms (listed), 475–476; use of, 476 ff.

Kiwa’a, afterlife in, 770 ff.; chief of, 812; for dead by violence, 766, 770 ff.; 795, 824; levels of, 870

Kiyegi, “upper spirits,” 835

Knight Island, 21, 22, 23, 28, 829; campsite, 65–66; in mythology 899; Old Town, 66, 223, 247–248

Kwacartqwan purchase of, 119, 154, 237, 239, 241, 242, 246, move from, 247

Teqwedi on, 226, 245

artatgawet and, 66, 242–243, 245, 246, 247

Knives, 414; copper, 349, 706; flint, 899; in mythology, 885; iron, shaman's, 677, 695; trade in, 126; mussel shell, 404, 448, 679; types of, 342, 343, 422, 423, 710

Kodiak Island, Russian post on, 114, 166, 348

Koliuski. See Kolosh

Kolosh, 112, 133, 137, 166; defined, 108–109

Koniag Eskimo, 112; boats of, 331; Chugach allies, 113; in Yakutat history, 213; Russian service, 158, 161, 163, 170

Kosartedi, 20, 218, 220–221, 227, 242; Raven song of, 855; Raven Cycle and, 842; voyages, 351

Krauss, Michael E., 11

Kulikalov, Demid, 161, 164. See also Purtov, Egor

Kuskov, Ivan Alexandrovich, at Sitka, 173; at Yakutat, 172, 173; on Tlingit conspiracy, 171, 172, 216; Tlingit attack on 170, 172–173

Kwacartqwan, 214, 218, 220, 221, 222–223

ancestors, 349

Gały-IX-Kagwantan and, 232

land claims, 230

migration, 26, 76, 100–101, 221; stories of, 230, 231 ff., 235 ff.

Raven Cycle and, 842, 867

settlements, 75, 76, 101, 223, 231, 232

smallpox epidemic, 277–278

territories: Ankau lagoon system, 71, 72; Icy Bay, 95; Yakutat Bay, 58, 65–66, 69, 223, 232–233, 237, 239 ff., 246–247, 253, 465

wars, 223, with Aleuts, 257, 258

Kwacartqwan crests, 95 (listed), 452

crest objects, Pl. 144 (listed), 452; personal names, 237, 789

Kwacartqwan houses, 65, 201, 221, 223, 236 ff., 240, 316, 319, 320, 322, 323, 327, 463

Kwacartqwan potlatch songs, 237, 238, 239–240, 241, 1155–1157, 1161, 1226–1227

Kwacartqwan shamans, 672, 678

Kwakiutl, 15

Labrets, 123, 128, 182, 185, 219, 223, 432, 433, 435, 444, 448; to escape bear, 827; worn by: aristocracy, 434; Chugach men, 130, 450, women, 130, 178, 179, Pl. 52

Lacerations, treatment, 654

’Lake of Dying,’ 769

Lamps, 310; kerosine, 322; stone, 306, 398, 417

Land, concept of, 119. See also Territories and territorial rights

’Land Above.’ See Kiwa’a

Land claims, Russian, 132; Sitka, 167; Tlingit, 180; Yakutat, 135–136, 137, 230

Land of the Dead, 765 ff., 824; visits to, 767 ff., 772 ff.

Land otter(s), 38; fear of, 66, 207, 744 ff.; fur, 440, 744; hair amulet, 667; hunting, 367, medicine, 662; hunting grounds, 78, 80; in mythology, 897 f.; modern beliefs about, 748–749; protection against, 258, 259, 658, 660, 746, 747, 832; use of crabs by, 55

Land Otter Men, 38, 120, 744 ff.; canoe of, 53; capture by, 66, 745 ff., 766; danger of, 258, 259; fear of, 207, 744–745; stories about, 749 ff.

Land Otter People, 766

Land otter representations, 389, 687, 689

Land otter spirits, acquisition of, 712, by shaman, 675, 677, 678

LaPérouse, Commodore Jean François de Galaup, Comte de, 111, 113, 114, 163

at Lituya Bay, 258, 270; boat loss, 115, 120; descriptions of: basketry, 428; boats, 332; clothing, 432 f.; dogs, 364; fish trapping, 387; food, 393; halibut fishing, 390; labret, 433; religion, 809; villages, 310; weapons, 367; exploration of, 115, 118, 181; land purchase, 119; observations on natives 20, 115 ff.; Tlingit meeting with, 94, 115, 259

at Yakutat Bay, 114–115

Gulf Coast explorations of, 114 ff., 118, 181

scientific voyage (1786), 114 ff.; questionnaires and instructions, 114

Latrines, 295, 311

Lebedev Company, 138

Lebedev-Lastochkin Company, 158, 161, 166

Levirate, 484, 490–491

Lewis and Clark Expedition, instructions for, 114

Libbey, Dr. William S., at Yakutat, 190, 193, accounts of: poisoning, 721, shaman, 673; ethnological collection of, 192, 686 passim; photographs, 187

Lichens, 31; curatives, 656

Limestone, 24; uses of, 306, 411, 413, 417

Lineages, 212; rights and prerogatives, 451. See also Sibs

Lineage chief. See Chief, house

Lip-ornaments. See Labrets

Liquor, 409, 411; bootlegging, 411; deaths due to, 604, 1174; distilling, 181, 411; sale to Indians, 181, 411. See also “Hooch”

Little Fort Island, 66, 257

Lituya Bay, 16, 160; campsites, 93, 94, 95; dangers: 93–94, legendary cause, 94, 120; early houses, 93, 94, 116, 310, 311; first ship at, 258–259; geological changes, 94; giant waves in, 93–94, 275–276, Pl. 20; LaPérouse at (see LaPérouse); people, 17, 18, 94, 115 ff., 181, 212, Pls. 38, 39; Russians at, 113; sibs, 20, 229; Tł'UknaartAdi canoe disaster, 94, 258, 259, 270, 273, 274, 275–276; trading station, 93, 122, 347

Lituya Bay George, 78, 229, 277, 442, 688, 754; family of, 318, 682; song of, 1300

Lituya Bay Spirit, 94, 120

Log cabin, 305

Longitude, measurement of, 109

Loon, 42; magic, 42; representation, 389

Lost River, 76–78; crest, 456; emigration from, 76, 77, 320, 321, 344

Love magic, 660, 663, 736, 744

Luck, 813 ff.; bird omens, 48, 49, 50, 829; dream predictions, 759, 760; good, 824

Lupine, intoxicant, 411; food root, 406

Lutheran Evangelical Mission, 18, 62. See also Covenant Mission

Lying, 814; in mythology, 894, 895

Lynx, 37; deadfall, 370; hunting, 366 f.; robe, 439

ŁA’a’, name of, 789; story of, 237, 238

Łdaxin, land otter captive, 753–754; name of, 789

Łkettitc, Pl. 209; amulet of, 664; story of, 243–245

Łartakaartw, 455; story of, 875; songs of, 1170–1171

ŁtAkdax, Chief, Kwacartqwan, horn dish of, 231, 235, 241. See also Guidlta’, Chief

Łtuneartd;. See QAłaartetł

ŁucwAq, Teqwedi, burial of, 267; death of, 264, 267, 268, 269; Eagle Fort builder, 260, 262; in war with TŁ'UknaartAdi, 260, 262 passim: at Eagle Fort, 262–264, 265–266, at WuganiyE, 264, 266–267, 268, 269; spirit of, 267, 682, 1281, song of, 1281–1282

Łúgúwú, Kwacartqwan shaman, 672, 678

Łusartoart, Teqwedi, house builder, 302, 320; family of, 302, 320, 321; rattle and amulets, 665, 698; trader, 351

Ł’uartd;edi, 20, 79, 218, 220, 221–222, 225, 238, 240, 261; defeat of: Russians, 222, Teqwedi, 222; extinction of, 269; houses, 316; territories, 225; TŁ'UknaartAdi defeat of, 225–226. See also TŁaartayIk-Teqwedi

Łartaguśa, 319, 671; healing powers of, 717. See also Teart-ic

Łxakunik, 758; visit to Land of the Dead, 775

Magic, plants for, 32, 33, 34; uses, 658 ff.

Magpie, 830; in Raven Cycle, 871

Malaspina, Alejandro, 61, 226 at “Icy Bay,” 152

at Yakutat Bay, 141ff.; chief (“Ankau”) encounter, 144, 145–146; collection native manufactures, 143–144; native encounters, 141, 143, 147–148, 149–151; observations on: clothing, 434, cooking, 394, fishing equipment, 384, labret, 435, native customs, 143–144, 146–147, 151, religion, 809, trading practices, 143–144, 147, 151; observatory, 146, 151

expedition, 1791, 139 ff.; records of, 139; scientific plans for, 139. See also Suría

explorations, route of, 139–141, 152, 153; Yakutat Bay, 142, 144, 148–149

Malaspina-Bering Glacier system, 16, 95

Malaspina Glacier, 16, 21, 25, 26, 27, 28, 59, 97

Mammals, land, 36–40; local, 35 ff.; sea, 40–41

Marble, 24, 89, 413; in trade, 350

Marine invertebrates, 55–56

Marriage, 489 ff., 835; arrangements: 479, 490 ff., maternal uncle in, 479; choice of mate, 834 f.; “correct,” 491; crest items in, 459; cross-cousin ideal, 480, 490; in mythology, 880, 883; lineage ties and, 463; to bear, 827

Marriages, intertribal, 450, 463; maternal uncle's widow and nephew, 480–481, 491–492; polyandrous, 489–490; polygynous, 489

Marten, 38, 94, 103

fur(s), clothing, 436; with amulet, 665; worn by aristocracy, 464; trade value, 353

hunting, 366 f.

Maskettes, 442, 693

Masks, anthropomorphic, 692; dance, 444; in trade, 352; paint for, 416; shamans’, 679, 686, 690 ff., Pls. 174, 180, 181, 184–185, 194, 197, 200–202, 206, 207

Maternal uncle, authority and prestige of, 479; sister's children relationship: 479 ff., kin terms in, 475, 479, 481; sister's son relationship, 479–481; wife of, nephew's relation to, 480–481, 491–492

Mats, cedar bark, 306, 348, 697; grass, 306; woven, 427

McCarthy Indians, 214–215, 231, 898. See also Atna

Measles, epidemics, 175, 178, 277; in Russian America, 175, 277; treatment of, 659

Measurements, distance, 798; length, 342, 353–354, 798, 850; nautical problems of, 109; of coppers, 353

Medicine, ’body,’ 664 (see also Amulets); entertainment, 662, 663; external, 655–656; fishhead, 402; ’happy,’ 662, 663; incorrect use of, 662, 664; internal, 657–658; ’looking at the sun,’ 663; ’no strength,’ 34, 365, 660–661; seal oil, 398, 654, 656, 658; to kill someone, 662, 664. See also Plants, magical and medicinal; specific topics, as Hunting, etc.

Medicine man. See Shaman

Menstruation, blood, potency of, 760; conduct during, 384; cramps, treatment of, 654, 658; first, 518 ff.; of female shaman, 676

Menstruant, powers of, 820; taboos for, 255, 405, 814

Merriam, Capt. Billy, 201, 450. See Daqusetc

Milk, breast, as curative, 657

Milky Way, concept of, 795; in mythology, 875, 878 f.; on screen, 455; weather portent, 803

Minaman, Chief. See Daqusetc

Mink, 38; hunting: 366 f., grounds, 78, 80; in Raven Cycle, 873; skinning, 423

Mink fur, aversion to wearing, 745; for commoners, 464; robe, 439; shirt, 435 f.

Mission converts, as cultural intermediaries, 183

Mission schools, 183, 198

Missionaries, American, 183; Russian, 177–178; Swedish, 198; influence of, 410, 411, 414, 460

Missions, first, 18; Sitka, 183; Wrangell, 183, 184; Yakutat, 183, 198–199, 201

Mittens, 437

Moccasins, 437 f., Pl. 134; gift exchange, 352; skin preparation, 424; tourist trade, 353

Moiety(ies), 450 ff., 475; duties of members, 294, 448; reciprocity, 450, 457; territories, 20; Yakutat, 450 ff. See also Raven Moiety, Eagle-Wolf Moiety

Money, coin, 353; blanket ornament, 442; bracelets 445; paper, 353; in mythology, 901

Monster Rat, 145, 146; war helmet, 275

Monsters, 820, 821; in mythology, 891; on blanket, 442

Months, concept of, 799; names for, 799–801

Monti Bay, 22, 61–62, 322; monster, 821

Moon, concept of, 796, 799; in Raven Cycle, 844 ff., 860, 861, 862; personification, 817; spirit abode, 812; sun and, 836; weather portent, 803

Moon Crest, Kwacartqwan, 456, 834

crest objects, screen, 322

Moon House, 221, 223, 240, 316, 319, 320, 323, 327, 463; Raven Cycle and, 842, 867

Moon House Posts, 316, 320, 324, Pl. 86

Moonlight, in mythology, 895 f.

Moons. See Months

Moose, 40, 367; horn, 418; in mythology, 886, 888, 900; meat preparation, 395;

Moose Crest, 833

Moose House, Kosartedi, 227

Moosehide, boats, 331; imported, 436, 438; tanned, uses of, 426, 439; trade in, 348, 349, 350

Mortar, 417; in mythology, 876; paint, 415

Moser, Jefferson F., 74, 75, 76, 80 passim, 207; Yakutat-Dry Bay travel route, 71–72

Mosquito (es), 832; mask, 692; shaman symbol, 679; spoon, 418

Moss, 31; canoe covering, 344; curative, 344, dye, 431; in childbirth, 769; in Raven Cycle, 860; uses of, 31, 437

Mother-in-law, in mythology, 893

and father-in-law, husband's relation to, 492–493; wife's relation to, 493–494

Motifs, artistic, 761 ff.

Mount Fairweather, 16, 21, 110, 180; weather portent, 91, 93, 273, 274, 275, 803, 819, 1160

Mount Fairweather Crest, 91, 456; DAartdentan, 91; TŁ'UknaartAdi, 91, 452, 819

Mount Fairweather House, TŁ'UknaartAdi, 83, 272, 273, 317, 322, 325, 326

Mount Saint Elias, 16, 18, 21, 81, 110, 178, 180, Pl. 17; in migration stories, 232, 235; survey of, 181, 182, 207; weather portent, 803, 819

Mount Saint Elias Crest, K″acartqwan, 95, 236, 237, 238, 323, 452, 456, 819

crest objects, blanket, 442, Pls. 144, 152; shirt, 440, Pl. 216; song, 1303

Mount Saint Elias Dancers, Pl. 218

Mount Saint Elias expeditions, 59–60; 1886, 187 ff.; 1890, 201–202; 1893, 98; 1897, 205–207

Mount Saint Elias House, 76, 223, 316, 320, 323, 463

Mountain(s), effect on climate, 29; sib crest, 834; spirits of, 819 Mountain goat(s), 39, 351, 699, 828; bone, as amulet, 665, for wind, 805; horn, 366, 394, 418; meat preparation, 394; sinew, 425; skin, canoes, 330, in trade, 200; tallow, 39, 394, 410, curative, 656, facepaint, 446, hairdressing, 434, in mythology, 892, lamp fuel, 307, uses of, 437, wool, 39

Mountain goat hunting, 21, 363, 366; grounds, 67, 70, 78, 80, 85, 94, 95, 98

Mountain goat representations, 439, 689, 693

Mountain goat spirits, 366, 819; shaman's, 679

Mountain House. See Moon House; Mount Fairweather House;

Mount Saint Elias House

Mountain Man, 819, 828, 892

Mountain sheep, 40, 351; horn spoons, 418; in mythology, 899; wool blankets, 431

Mourning, 446

Mouse, 39; giant 820, habits of, 406; mask, 691, 738; in shamanism and witchcraft, 678, 679, 828; to detect witch, 738, 739

Mouth, amulets (See Amulets); pin, 444. See also Labrets Mucous in killing fish, 391; in mythology, 894

Mud Bay, 21, 23, 25, 28, 97, 98. See also Nunatak Fiord

Mukluks, 438

Murder, in mythology, 876, 896; intralineage, 320; of Whites, Yakutat, 181, 182, 186, 190, 198; shaman by shaman, 707

Murrelet, 45; in Raven Cycle, 45–46

Murrelet Crest, Teqwedi, Bear House line, 45, 452, 833; Cane, song for, 1175–1176

Musket(s), crest name for, 458; hunting, 367; trade in, 347

Muskrat, hunting, 366 f.; skins, trade in, 353

Mussels, as food, 55, 392 f., 404; communication with, 832; shell scraper, 55, 422

Myths, 210–211; history and, 210–211

Nails, copper, 419

Names, personal, 788 ff.; appropriation as retaliation, 459n; “foreign,” 450, 789–790; importance of, 701 ff.; inheritance of, 212, 462; sib, 451, 789; teknonymy in, 488–489; potlatch validation of, 464

Namesake, 783. See also Reincarnation

Narrow Valley fort, Teqwedi massacre at, 263–264, 266–267.

See also WuganiyE

National Geographic Society, 201

Navigation, Gulf Coast, 16, 109; Yakutat Bay, 23, 24, 109

Navy, adoption of, 450; officers of, 188

Necklace, in mythology, 889; shaman's, 689; trade value, 353

Nesartudat, Lost River, Kwacartqwan, 77, 278, 316, 320, 445; abandonment of, 278, 279; smallpox at, 278–279

New Russia (1796), 73, 74. See also Russian post

“New York Times” Expedition (1886), 187–194; at Yakutat, 187 ff.

Néartinteart, rescue from land otters, 752–753

’Nocarpoo.’ See Daqusetc

Nootka, canoes of, 333, 341

Nootka Controversy, 128, 129, settlement of, 153

North, magnetic, variations, 109; wind, 804–805

North Wind, in mythology, 878; in Raven Cycle, 852; mask, 691

Northern Lights, 770, 771, 773; concept of, 795; frequency of, 30; in mythology, 877; upper spirits as, 812, 835

Northern Tutchone, 15, 214

Northwest Passage, 139, 141, 153

Northwestern Trading Company, 194

Nose, dogs’, cutting of, 363

human, piercing of, 448, 464; ornaments, 435, 445, pin, 691, Pl. 56, ring, 445, Pls. 210–212, 214, 216

Raven's, 871

Novo-Arkhangelsk (Sitka), 173, 174, 175, 177; Tlingit plot

against, 175–176

’Novo Rossiyk,’ 166 ff.

“Nua Qua” (Nuqwaqw´n), 89, 204, 222, traders, 214

Nuchek, Russian post, 158, 347; trading station, 349

Numbers, cardinal and ordinal, 800; ritual (see Symbolism, 4- and 8-fold)

Nunatak Fiord, 21, 23, 69, 70

Nunatak [“Third”] Glacier, 21, 27, 69–70, 86, 818, 819

Nuqwa, 248

Oak, drift, bow and arrow, 848

Obscenity, in Yakutat myths, 844

Ocean, TŁ'UknaartAdi connection with, 461

Ocean Crest, TŁ'UknaartAdi, 452, 817, 834

Ochre. See Red ochre

Octopus, 405, 820; mask, 691

Oelachon, 52, food, 402; hunting bait, 373; oil: preservation, 403, storage, 419

Oelachon fishing, 382; rake, 388

Oil, 18

boom, Controller Bay, 18

lands, Yakutat claims to, 104, 456

production, Katalla, 99, 105

prospecting, Gulf Coast, 76, 98, 99, 104. See also Oelachon oil, Seal oil

Old Jacob. See Tanuart

“Old Lady Who Watches the Tide,” 793, 794

Old Town, Knight Island, 66, 223

Old Village, Yakutat, 26, 27, 62, 205, 226, 320, 321 ff., 344, Pls. 82–84

Orientals, 217

Otter. See Land otter, Sea otter

Ougalakhmutes, Russian accord with, 167. See also Eyak “Outside Indians,” 217

Owl(s), 47, 829 f.; foot, for basket, 430; in mythology, 47, 893; witch as, 732

Owl Crest, Kwackqwan, 47, 452, 830, 833, Pl. 165

crest possessions, Owl Cry, 1283; Spirit Song, 1283

crest representations, 446, 692

Owl House, 322, 323, 463

Oyster-catcher, 699; shaman spirit, 678

Pack trips, 351 See also Porters

Paintbrushes, 326, 415

Paints, colors and sources of, 24, 415–416; skin bag for, 447; uses of, decorative, 337, 342, 420, 433; shaman's curative, 690, 708

Pamplona Shoal, 138, 155, 163, 165. Also “Bank,” 111, Searidge 99–100

Parent-child relationship, and father's brother, mother's sister, 478–479; kin terms in, 475, 478–479

Paternal aunt-brother's children relationship, 481–482; kin terms in, 475

Peace, customs of, 279 ff.

Peace dance, 280, 282 ff.

Peace dance songs, 1245–1248, 1257–1260

Peace-hostage. See ’Deer'

Peace-making ceremonies, 281, 320; crest objects in, 460; hostage-exchange in, 117, 115, of “equals,” 462; opposite moieties in, 450; potlatch and, 148; songs, 141, 151, 1244, 1279

Peace party, CartAtqwan, Kagwantan massacre of, 270, 276, 279, 280–281, 282 ff.

Peace treaty, CartAtqwan-Kagwantan, Sitka, 1881, 280

Pérez Hernández, Juan Joseph, 109, Indian contacts of, 110

Personality, sib, 461. See also Character

Pestles, 394, 417; in mythology, 875

Petrel, stormy, 46; as crest, 833; in creation myths, 46

Petrograph, of legend, 898

Pets, see Dogs, Raven, etc.

Phil, Governor-General Ivan A., official reports of, 137–138

Physical characteristics, Gulf Coast Indians, observations on: 152–153; Lituya Bay, 122–123; Yakutat, 128, 133, 144, 185

Pick, war, 558–559, 696, 899

Pig, in witchcraft, 833

Pigments, 413, 415. See also Paint

Place names. See Athabaskan, Eyak, Tlingit

Plants, 30 ff.

food, 32, 33, 34

magical, 32, 33, 34; uses of, 658–660; magical-medicinal, powerful, 658–659

medicinal, 32, 33; Raven obtains, 863–864, 1158; uses of, 654 ff.

spirits in, 822

Play House, Kwacartqwan, 322, 326, 327, 463

Plomoshnoi, Ivan Grigoryevich, 166, 167–168, 169

Pneumonia, treatment, 654, 658, 659

Point Latouche, 21, 67, 658; taboo, 806

Poisoning, food, 392 f.; liquor, 411

Polutov, Dimitri, 112; Chugach and, 112, 113

Polyandry, 489–490

Polygyny, 489

Population, Gulf Coast Indians, before 1880, 178; surveys, 1880–1884, 183 ff.; U.S. Census: 1880, 184–185, 1890, 202, 205; Yakutat: before 1800, 19, 126, 130; 1901, 1911, 322

Porcupine quills, hair ornaments, 446; shirt decoration, 438; trade in, 38, 348

Porpoise, Pacific harbor, 41, 373; meat preparation, 398; sinews, uses of, 332, 368, 381, 425, 437; witch as, 732

Porpoise Crest, 41, 833

Porpoise hunting, 373, 377 f.; harpoon for, 376

Port Mulgrave, 22, 124, 125, 311, 313, Pl. 40; grave monuments, Pls. 59–61; Malaspina survey, 142; people of, Pls. 43–57; villages, 63, 202

Porters, expedition, 189–190; bargaining, 188, 189–190; loads, 196; wages, 195; Yakutat, 206

Portlock, Nathaniel, 117, 123; expedition, 123 ff., fur-trading, 126; smallpox observations, 277

Possession, spirit, 723

Posts, house, carved, 297; painted, 312. See also specific lineage houses

Potlatch, building for, 312; children playing, 326; education display, 466; garments, 439 ff.; in mythology, 880, 898 f.; in Raven Cycle, 869 ff.; Land Otter Men, 747; opposition to, 460, ANB, 326; peace ceremony and, 148; Raven's rule violations, 843 f.; slave-freeing at, 323

crests, loaned, validation of, 457; crest objects: displayed, Pls. 210–212, 214; names given, 788, validation of, 464

guests, ceremonial reception, 147; medicine for, 663; Sitka (1904), Pls. 210–212; Yakutat (1916), Pl. 214

occasions for: funeral, 294; house dedication, 322, rebuilt, 323; payment for services, 450; to maintain social position, 321, 464

songs, sib, 237, 238, 239–240, 1152–1175, 1225–1231, 1313, 1314

Pottery, 420 f.

Poultices, 654

Prayer, Tlingit, 810, 813, 815

Pregnancy, fasting during, 777; ritual to induce, 777

Premonitions, shaman, 675, 720

Prince William Sound, 16, 18, 108, 109; trade center, 126

Princess Thorn (Mrs. Tom), 191–192, 831

Property-Woman, 242, 683, 821; amulet, 666

Prophecy, animal, 829, 830, 833; body parts, 764; bone, 697. See also Dreams

Prophet, weather, 378, 803, 807

Prospectors, at Yakutat, 197–198; murder of, 198; travel routes, 86, 100

Prosperity and hard times, 18

Ptarmigan, 36, 49, 67, 68, 69, 94, 95; dance, Pl. 216; food, 395; weather symbol, 806; snares, 371, 373

Puberty, adornment for 446, 448; divination during, 808

Puffin, beaks in rattle, 699; crest, 833; shaman spirit, 678

Puget, Lt. Peter, 99, 138, 153, 161, 163

at Yakutat: observations Russian-native relations, 155–157; Purtov meeting, 153, 154, 155 ff., 163

explorations, 1794, 153, 154; Yakutat Bay, 153, 154, 155

Pumice, 420

Purgatives, 659

Purging, by shaman, 670; medicine aid, 660

Purification, medicine, 659; physical, 815

Purtov, Egor, 99, 138, 158, 159, 161 ff., 166; expedition, 1793, route of, 159–161

Purtov, Egor, and Demid Kulikalov, expedition, 1794 161 ff.

at Yakutat Bay: native contacts, 155–157, 163–166; Puget meeting, 153, 154–157, 173

Eyak contacts, 161–163

report to Baranov, 153, 161 passim

route of, 154, 161, 165

QadjÀartdaqinà, Teqwedi shaman, 78, 320, 671, 685

Qadjusè, artaartkA’ayi shaman, 686, 690, 693, 694, 695, 699; paraphernalia of, Pls. 198–203

Qàkart;, story of, 744, 749–750

QakEnAartkugE, story of, 277, 279

QakeartwtE, at Dry Bay, 81, 82, 83, 85, teaches people to fish, 270, 271, 272; Guartex and, 270, 271, 272; Hoonah-Dry Bay journey, 90–91, 225, 228, 820; kills his sleep, 270–271, 272; master fisherman, 388; songs of, 271–272, 1158; story of, 135, 227, 270–272, 274

Qatan, Kaqwantan Box House, and family of, 301

QaŁAartetŁ, Kagwantan shaman, 672, 688; Disease Spirits of, 277; story of, 713–714, 1282

Qa-ŁI-tu’a. See Lituya Bay Spirit

Qawuarta. See Dry Bay Chief George

artestin. See Lituya Bay George

arteartIart, Chief, TŁ'UknaartAdi, 273, Pls. 210, 211, 212; in battle at Eagle Fort, 263, 266

Rabbit(s) 38, 367; in Raven Cycle, 862; skin, imported, 38, 438

Race(s), canoe, 330, 458; fox and crab, 897

Rafts, 341, 350

Rags, in mythology, 886; uses of, 307, 417, 422

Rain, beliefs about, 447, 768, 804

Rainwear, 436

Rattle, curing, 708, 709; dance, 687; seance, 702; shaman's, 698 ff., trade item, 352

Raven(s), 46; communication with, 829; imitation of, 366, 390; omens, 829; pets, 826

Raven as Creator-Transformer, 46, 792, 816, 843

as Trickster, 46, 840

birth of, 480–481, 844

creates earth, 210, 792 ff., 816, 840, 843, 856–857, 863 ff.; and geographical features, 84 passim, 101–103, 840, 841

dictates to: land otters, 745; monsters, 820

funny songs about, 869–873, 1257–1261

law-giver, 865

re-epiphany of, 259

skin boats inventer, 330

steals daylight (see Daylight, theft of)

Superman and, 842

teacher of witchcraft, 733

Tlingit character and, 843–844

Raven Crest, crest representations, 377, 389, 426, 434, 439, 440, 441, 443, 445, 446, 689, 692, 699

Raven Crest, artanAarttedi, 104, 274; Hat, 274

Raven Crest, Kwacartqwan, 452

crest objects, 452; drum, Pl. 166; shirt, Pls. 144, 210, 212

Raven Crest, TŁ'UknaartAdi, 452

crest objects, 452; hat, war over, 145–146, 254, 274–275; personal names, 274; songs, 842, 855, 867, 1158

Raven Crest, TŁukwaartAdi, 452; personal names, 789

Raven Cycle, 839 ff.; Biblical equivalences in, 210, 842, 843, 858, 861, 863–864, 866; episodes in, (listed) 839–840; narrations of, 845 ff.

Raven House, artanAarttedi, 104

Raven House, Tł'UknaartAdi, 298

Raven men, medicine for, 663

Raven moiety, 6, 15, 20, 214, 450

potlatch songs, 1151, 1152–1155

Raven Screen, Moon House, 323, 324, 455

Raven sibs, 20, 82, 218, 452

crests of, 40, 46, (listed) 452, 455, 833

Dry Bay, 82; Yakutat and, 245

territories of, 20–21, 81

Raven's Bones House, Kwacartqwan, 76, 201, 223, 246, 251, 278, 316, 320, 323, 324, 463. See also Fort House

Raven's Nest House, Kwacartqwan, 323

Red cedar, 35; boats, 340, 341; in mythology, 895; in Raven Cycle, 848; uses, 368, 376, 381, 387, 388, 413, 441, 446

Red ochre, 312, 413, 416; uses, 447

Red-paint People. See Tcicyu

Reincarnation, 761, 765 ff., 769; accounts of, 773 ff.; animal, 824; birthmark, sign of, 715, 780; fish, 824

Religion, Tlingit, 808 ff.; observations on: 1786, 809; 1788, 809; 1791, 809–810; 1884, 186

Rezanov, Nikolai, 19, 158; reports to Baranov on Tlingit revolt, 174, 175–176

Rheumatism, cause, 730; treatment, 654, 656, 658

Rifle, 364, 367, 374; in mythology, 894

Ring(s), bamboo, 446; cedar bark headgear, 442; copper, 349; rawhide, 446. See also Noserings

Roads, 62, 73, 76, 83

Robes, 439; birdskin, 306, 425; fur, 306, 350; shaman's, 688

Robin, 48; in Raven Cycle, 868

Rock Crest, 834

Rock House. See Boulder House

Rocks, falling, in Raven Cycle, 87, 102, 103; spirits in, 819, 820; uses of, 24

Roofing, 298

Rope, kelp, 388; red cedar, 895; sea lion hide, 427; shoulder, 441, 688; spruce root, 388

Russell, Israel Cook, 16, 26, 98, 176, 197

Mount Saint Elias expeditions, 1890, 201 ff.; 1891, 203

Yakutat observations, 202–203; on canoeing, 344; on sea otter hunting, 380

Russell Fiord, 21, 23, 28, 69, 70, 422; glacier, 25, 27, retreat of, 287; ice barrier, 70, 71

Russian(s), 76, 89, 217

at Controller Bay, 102

at Lituya Bay, 258, 276, 426, 713; land claims of, 136–137

at Yakutat Bay, 17; land claims of, 135–136, 137, 164; mementos of, 261; native account of, 230, 233–235, 236; provocations of, 234, 259–260; revolt against, 172 ff.; treatment of: children, 234, 236, 260, 466; women, 234, 260

expansion, 1783–1788, 112

expeditions, 1783–1788, 108, 112–114; 1788, 132 ff.; 1794, 161 ff.

explorations, 108, 111, 153, 154–155, 158, 159–162, 165; Yakutat, Bay, 158, 159, 161, 176–177

fortified agricultural colony (see Russian fort, Yakutat)

hostage policy, 116, 117, 157

influence of, 17, 99, 303, 410, 411, 412, 790

land claims, 132, 135–136, 137–138

native mistreatment by, 112, 132, 166 (see also Russians, at Yakutat)

sea otter hunters (see Aleuts, Chugach)

sea otter hunting (see Sea otter hunting, Russian)

sovereignty, claims to 114, 137–138

Tanuart and, 233–235, 236 (see also Tanuart)

Tlingit attack on, Hinchinbrook Island, 158–159, 163, 164

Tlingit name for, 217, 794

Tlingit revolt against, 170 ff.; Anglo-American role in 170, 171; plan of, 170–172; reports to Baranov on, 171, 172, 174

Trade (see Trade, Traders)

Russian-American Company, 99, 113, 138, 158, 180; posts, 174

Russian fort, Yakutat, 158, 166 ff., 205, 261; epidemic at, 277; establishment of, 166–167; loot from, TŁaartayIk-Teqwedi-TŁ'UknaartAdi war over, 262, 264, 267; massacre, 89, 222, 223, 234, 236, 259 ff.; rescue of survivors, 176; site of, 168–169; T’awaŁ Creek gate, 74, 75, 234, 260, 261; Tlingit destruction of, 73, 74, 174, 175, 176; Tlingit plot against, 172 ff.; troubles at, 167–168, 169

Russian Lake, 74; canoe trip, 344

Russian posts, 154, 166, 176

Kodiak, 166

Nuchek, 166, 186

Sitka, 158, 166, 169–170; American seizure of, 180; Tlingit destruction of, 158, 170–173, 289; rebuilding of, 173 (see also Novo-Arkhangelsk); second plot against, 175–176

Yakutat (see Russian fort, Yakutat)

SAdÉn, in Eagle Fort battle, 263, 266; at WuganiyE, 264, 266 f.

Salmon, 50–52; cooking, 394, 399; drying, 51, 87, Pl. 104; in mythology, 897; in Raven Cycle, 84, 847–848, 865, 867; skin, 416. See also Coho salmon, Dog salmon, Humpback salmon, King salmon

Salmon Boy, 832; story of, 373, 889–890

Salmon crests. See Coho Salmon Crest, Humpback Salmon Crest

Salmon eggs, in mythology, 890; uses of, 402, 409, 415, 416, 448

Salmon fishcamps, 84, 85, 87, 382, 383

Salmon fishing, 87, 381 ff.

gear: beach seines, 382, 383, Pl. 103; gill nets, 383, Pl. 102; harpoons and spears, 233, 377, 384, Pl. 112

grounds, 18, 59, 78, 80

ritual for, 361–362, 384, 400

runs, 70–71, 381 f.

Salmon fishing, commercial, 18, 51, 183, 382–383. See also Fish canneries; Fish salteries

Salmon People, 682

Salmon souls, 832. See also Salmon People

Salt water, cleansing properties of, 448; curative, 655

Sampson, Blind, Kwacartqwan, 1157; gravestone, Pl. 30; songs of, 1247, 1312–1313

Sandstone, 24; uses, 413, 415, 444

Saw, land otter protection, 746, 755

Sawbill, hunting, 373

Sawmill, mission, 62, 205, 321, 326, 414

Scalps, of great men, 462, 673, 761; war trophies, 284, 761

Scarification, 432

Schwatka, Lt. Frederick, 183, 257, 286

at Yakutat, 1886, 187 ff.; accounts of: canoes, 337, 338,

340 f.; canoeing, 343; seal hunt, 375

travel route: Ankau lagoon system, 74, 75, 76, 77, 187, 194. See also “New York Times” expedition

Scrapers, 422 f.; mussel shell, 404

Screens, Frog, 318; Golden Eagle, 324, 325; in Raven Cycle, 867; Raven, Moon House, 323, 324, 455; Thunder House, 326; Thunderbird, 327; Wolf Bath House, 322, 323. See also specific sib crests

Sculpin, 54; as sib crest, 54, 833; mask, 691; shaman's spirit, 691

Sea lion(s), 40, 373; hide ropes, 427; in mythology, 890, 891; in Raven Cycle, 866; meat preparation, 398; oil, 659; shaman's spirit, 678; stomach stones, 829, as amulets, 664, 829

Sea lion(s), chief of, 820, 829

Sea Lion Crest TŁ'UknaartAdi, 452, 833; headdress, 694

Sea Lion House, TŁ'UknaartAdi, 83, 272

Sea lion hunting, 373, 377 f.; harpoon for, 376

Sea otter, 40, 94, 101, 373; adoption of, 237, 238, 242; in divination, 807, 808; in Raven Cycle, 93, 863, 871; meat preparation, 398; skinning, Koniag method, 156; skins for boats, 334

Sea otter fur, for aristocracy, 431, 464

Sea otter fur trade, 115, 117, 125, 126, 143, 144, 165, 177, 202 347, 348, 353

Sea otter herds, Cook's reports of, 111; overland crossing, 63

Sea otter hunting, 21, 177, 180, 330, 332, 337, 352, 376, 378 ff.; 1886 account of, 380

bow and arrow for, 381

canoes, 330, 332, 337 f., 341, 343

grounds, 18, 97, 99, 155, 284

magical rules for, 156, 378–379, 662

Russian, 166, 167, 168, 172, 177; native resentment of, 166, 168

Sea urchin, food, 405; in Raven Cycle, 858

Seagull, 43, 395, 699; adopted, 237, 238, 1157; cruelty to, 814; Dry Bay flood and, 276; eggs, 43, 68, 69; hunting, 373; in mythology, 889, 890; luck portent, 829

Seagull Crest, Kwacartqwan, 452, 833; canoe, 340

Seagull Women, 453

Seal, bounty on, 373, 396

breeding grounds, 24, 28, 41, 67, 95

flenzing, 395 ff., 422; 1899 account, 397

fur, 40, 373, 378

meat preparation, 395 ff.

migrations of, 374

Seal—Continued

trade items, 348

uses of: bladder, 376, 389; blood, 416; brains, 420; fat, 448; flipper, 426; hair, 730, 731; humerus, 807–808; stomach, 388

Seal hunting, 59, 80, 98, 373 ff., 437; 1886 account, 375

gear, Pls. 108–110; harpoon, 376

Seal oil, 373; rendering of, 397, 398, Pl.8; trade item, 352; uses of 307, 343, 375, 397, 398, 409, 448, curative, 654, 656, 658

Seal, Pacific harbor, 24, 41, 373

Seal representations: bib, 441; dish, 418; screen, 455

Sealing camps, 58, 60, 65, 66, 67, 304, 375, 397, Pls. 72–80 Disenchantment Bay, 67–68, 69; fortified (see WugàniyE)

Sealing canoes, 339 f., 379; for ice (see GudiyÉ)

Sealskin, 68, 373

drying, 314, frames for, Pls. 77, 78, 80

in Raven Cycle, 862

trade item, 350, 352

untanned, uses of, 427

uses of, 414, for: blubber bag, Pls. 77–79; boots; 437; canoe covering, 330, 344; garments, 435 f.; gloves, 437; snowshoe webbing, 345

working of, 423 f.; implements for, Pls. 124, 125

Seances. See Shaman seances

Seasonal activities, 360

Seaweed, 56, 348, 352, 405, 683; black, Pls. 98, 99

Seine, beach, 383

Seizures, 719, 781; shaman, 675

SEtAn, TŁukwaartAdi shaman, 270, 671, 672, 678, 683, 699; curative powers of, 710; paraphernalia of: Pls. 187–189; dance wands, 696, headdresses, 693, masks, 690; spirits of, 682

Seton-Karr, Haywood W., 90, 103, 105, 187, 197, 205, 231

at Yakutat, 1886, 188, 190 ff.; accounts of: poisoning, 722; sea otter hunt, 380; seal hunt, 375; shaman, 673; shaman's grave, 686; village, 313. See also “New York Times” expedition

Sexual continence, before shaman burial, 719; in hunting ritual, 362, 364, 365, 378; in shaman quest, 670, 676

Sewing, 425, 426

Shada, 236, 240, 242. See also Cada

Shada, Henry, 279; house builder, 327, Pl. 214

Shadow House, Kagwantan, 27, 91

Shakes, Chief, moral of, 894

Shaman, amulets (See Amulets)

appearance of, 684 ff., Pl. 66 assistants of, 670, 674, 675, 676, 679

burial of, 673, 718; body preservation in, 699

Christian conversion of, 723

confidence in, 207; loss of, 177

consultation before hunt, 379

costume of, 437, 670, 685, 687 ff.

death of, 673, 677

devilclub medicine of, 658–659, 695, Pl. 198

fees of, 379, 670–671, 703, 721

female, 102, 677 (see also Cakwe, Daartodzu)

fingernails, 764

food taboos, 832

graves, White robbing of, 192

hair, 277, 670, 673, 674, 684, 701, 718, 764; hairpiece, 684, 722; hairpin for, 690

illness of, 677

in mythology, 889

insanity of, 676, 733

land otter captives rescued by, 750 ff.

paraphernalia of, 683 ff., 685, Pls. 170–208

powers of, 670–671, 706; healing, 706, 708 ff.; transfer of, 673, 674

Shaman—Continued

professional services of, 670

relatives of, duties of, 683

rivalry, 671, 706 ff.

refusal to become, 670, 676, 719

shaman murders, 707

spirits of, acquiring, 670 (see also Shaman quest); animal, 678, 679, 745, 832; anthropomorphic, 679; inheritance of, 670, 678; land otter, 677, 745

suicide of, 685

Shaman quest, 676 ff.

animal tongue-cutting in, 675, 676, 677, 678 ff., 681, 695

family duties in, 677

taboos, 677

Shaman representations, 389, 418, 431, 439

Shaman seances, 194, 681, 698, 701 ff.; to detect witch, 728, 735, 736, 737, 741

Shaman songs, 675, 1280 ff.

Shamanism, 670 ff. legacy of, 723 f.; White views of, 720 ff.

Shark, mud, 53–54; catching of, 391; in mythology, 884; teeth of, 445

Shark, Mud, Crest, Teqwedi, Bear House line, 53–54, 452, 833

crest representations, 445, 691

Shark House, Teqwedi, Bear House line, 77, 189, 201, 251, 316, 319, 322, 325, 452

Shark House Posts, 317, 325, Pl. 143; Yakutat, Pls. 86, 87, 89

Shark Poles, 119

Shata, Dry Bay shaman, 203–204. See also Cada

Shawnista. See Stanislas

Shelikhov, Gregorii I., 112

account of 1788 Russian explorations, 132 passim

description, 1787, of: clothing, 433; harpoons, 377

on Tlingit religion, 809

plans of, 158, 166

report of 1786 travels, 114

Shelikhov Company, 17

Shelikhov-Golikov Company, 112, 158

expeditions of 1793, Yakutat, 138

explorations of, official reports, 137–138

Shell, knife, 404; scraper, 404

Shellfish, carving, 415; fishing bait, 389; shaman taboo, 683

Shepard, Mrs. Isabel S., 1789 Yakutat 198, 199–200, 201, 313

Shipbuilding, Blying Sound, 154, 157, 159, 166

Shipwreck, supernatural causes of, 120

Shirt, men's, 435, 439, 440 f.

“Shouters,” 723 ff.

Sib(s), 19, 212, 217–229, 450 ff., 475

character traits, 451, 461, 485

fundamental units of history, 211, 212

individuality, 211, 451

local ties of, 212

loyalty, 212

member solidarity, 485

moiety and, 450–451

origin stories, 210–211, 212, 453

property of, alienable, 458 ff.

rights and prerogatives, 451

rivalry, 485

social primacy of, 450

social ranking of, 463

subdivisions (see Lineages)

tribe and, 211–213

Sib chief. See Chief, sib

Sib crests, Yakutat, (listed) 452 (see also Crests)

Sibs, Gulf Coast, area divisions of, 18 ff., (listed) 20, 211–212; territories, 19 ff., 230; Yakutat and neighboring, (listed) 218, histories of, 217 ff.

Sib-children, relations to, 485 ff.; songs to, 485, 572–574, 1299, 1300–1303, 1304–1305, 1306–1310, 1313–1314

Sibling, equivalence, 484–485; reciprocity, 485; sharing, 485

Siberian springbeauty, 33, 407, 660, 663

Sidewise House, TŁ'UknaartAdi, 77, 298, 326

Silver, 413; inlay, 319; jewelry, 444, 445; land otter protection, 746

Silver fox furs, trading value, 353

Sinew, uses of, 426, 427. See also Porpoise, etc.

Singing, at death scene, 718; in seance, 702; to heal, 708, 714; to save Land Otter Men captives, 752

Sister, rebirth to, 774, 775

Sisters-in-law, behavior between, 494–495

Sitka, 158, 166, 169 ff., 175, 180 f., 184, 289

Sitka Jack (artatsex), 181, 203, 241, Pls. 210, 211, 212; land otter warnings of, 747, 750; potlatch of, 181

Sitka Jake (Q'AtASartin), 181, 191, 241, 243, 257

Sitka Ned, Teqwedi, 201, 321, 325, Pls. 30, 75, 150, 211, 214; carvings by, 447; Coward House builder, 324; family of, 320; wealth of, 353; witching of, 671, 740 ff.

Sitka Tlingit, 16; boats of, 338; houses, 212, 272, 284; Yakutat trade with, 347

Situk George. See YeŁ-tŁen

Situk Jim, Teqwedi, 78, 319, 321; crest shirt of, 440; regalia buried with, 460; song of, 1168

Situk Harry, 78, 79, 321, 325, 671, 672; family of, 326

Situk River, 78–79; crest, 456; houses, 78, 320 ff.

Skate, in mythology, 53

Skeleton, human, in mythology, 877 f., 892

Skin Canoe George, 253, 324, 331, 671, 681, 717, 1168; curing of land otter captive, 754; drum of, 697; house of, 320; song of, 1300

Skookum Jim discovers gold, 900–901

Skookum root, Pl. 94. See also Hellebore

Skunk cabbage, 33; canoe covering, 344; fishing bait, 389; in Raven Cycle, 868; medicine, 33, 258, 259, 655, 656, 657, 659; preservative, 402; uses of, 408, 409

Sky, concept of, 795

Slate, uses of, 368, 413, 414, 667

Slave(s), 296, 297, 307, 309

adoption of, 463

death of, 312, 317, 414

“dried fish,” 245, 279

exchange value of, 352–353, 459 (see also Coppers)

freeing of, occasion for, 222, 323, 448, 463, 464

in mythology, 883 f., 899

in trade, 177, 216–217, 347, 348, 349, 352, 353, 413, 443, 448

killing of, 442; to honor shaman, 681

owner and, relationship of, 137

Russian purchase of, 134, 158

social position of, 462

treatment of, 283; women, 121

Yakutat, 148, 184, 216–217, 352

“Slavorossiya,” 158, 166, 167

Sled poles, 345, 346

Sleds, 345–346

Sleep, 759 f.; killing of, 90–91, 763. See also QakeartwtE

Sleep Bird, 43, 90–91, 763, 884

Sleep Bird Crest, TŁ'UknaartAdi, 452; acquisition of, 48–49, 91, 227, 270, 271, 457, 458, 834

Sleep House, TŁ'UknaartAdi, 83, 270, 271, 272; right to, 763

Sleep Pole, 291

Smallpox, 80, 223, 253

epidemics, 18, 19, 75, 76, 77, 177–178; among: Kwacartqwan, 277–278; Teqwedi, 279; Tlingit, 277, Yakutat, 166–167, 230, 277, 278–279

prevention, by dancing 723, by shaman, 674

Spanish spread of, 123

treatment of, 654, 657, 659

Smelt, 373, 388, 402

Smoke hole, 297; Eyak, 300; spirit in, 822

Smokehouses, 302 ff., 321, 383, 384

Smoking, of fish, 400–402

Snares, 367, 370 ff.

Snipe, in Raven Cycle, 870, 871

Snowshoes, 345, 351

Snuff, 410, 411; coagulant, 656; mortar for, 417

Soapberries, 409; trade item, 348, 350

Social classes, 461 ff.

Social order, “opposites” in, 834–835

Social position, behavior appropriate to, 466, 467; in house, 296, 301, 302

Sockeye salmon, 50, 51, 381 f., 383

Songs, as gifts, 352; drinking, 1361–1362; foreign, 1315 ff.; in hunting rituals, 362, 366, 367, 824; myths and, 839, 869–873; trade in, 348, 352, 458

Song leader, 323, 442; medicine or, 660

Sororate, 484, 490–491

Sorrell. See Wild rhubarb

Soul, animal, 823; human: immortality of, 7; Tlingit concept of, 763, 765 ff., 811

Southern Tutchone, 15, 18, 82, 90; boats of, 331; coastal trade partners, 214; Dry Bay people and, 349; songs of, 1228–1231, 1362

Spanish, expeditions, 109–110, 111; explorations, 109–110, 111, 139 ff.; Lituya Bay, 119; land claims, Yakutat Bay, 149

Sparrow, communication with, 830, 831; in Raven Cycle, 868; weather portent, 804

Spatial orientation, directional terms in, 797–798

Spear, hunting, 364 f., 367 f.; in mythology, 888, 889, 898 f.; salmon, 384; war, 589

Spearheads, 265, 368; omen, 263, 265

Spider, 763, 814; news-bringer, 831

Spirit(s), abodes of, 816–823; concepts of, 812, 816; disease, 682; intrusions, 699 ff.; invocation of, 675; possession, and Christianity, 723; shaman relation to, 670; warnings, 703; world of, 835

Spirit Above, 812, 813, 814, 824; prayers to, 362, 810; wind and, 805

Spirit House, Kayak Island, 102, 103

Spirit representations, masks, 690–692; tapping sticks, 698

Spruce, 31; arrows of, 368; canoes, 337, 343; epidemic preventive, 710; in Raven Cycle, 872; shaman use of, 677, 680; uses of, 31, 381, 386, 401, 413, magical, 831

Spruce bark, medicine, 657; uses of, 314, 396, 408

Spruce gum, face paint, 446; trade item, 348, 349

Spruce pitch, curative, 659

Spruce root, baskets, 342, 427, 428, 699; bracelet, 689; cord, 388, 389, 426; hat, 436, 695; in mythology, 887; uses of, 387, 388, 389, 436

Spruce Root Child, 885–886

Squid, as bait, 55, 389, 391, 405

Squirrel, 38, 39; in mythology, 886; in Raven Cycle, 862

Staffs, chiefs’, 162; shamans’, 696; song leaders’, 163

Stágwàn, 290, 291, 320. See also James, Ned

Stanislas, mementoes of, 261; murder of, 234, 235, 236

Star(s), as sib crest, 834; personification of, 817; time measurement by, 802; Tlingit concept of, 794, 796; weather portents, 803

Starflower, 32; as medicine, 660, 663

StaartAdi, 20, 80, 218, 220, 221, 233, 238. See also HInyedi

Stick Indians, 214–215. See also Athabaskans

Stockings, moss, 437

Stone (s), amulets, 664; arrowheads, 368; drills, 415; scraper, 422; uses of, 413 ff.

Stone, transformation into, 64, 65, 84, protection against, 259

Stone lamp test, story of, 278–279. See also Lamps

Stories, historical character of, 210; importance of learning, 465; true and false, 210

Storytelling, 310; function of, 838

Strawberries, 408; areas for, 59, 98; bears and, 827; in mythology, 882; in Raven Cycle, 869; Yakutat trade item, 348, 351

Strength, Master of, 763

Stretchers, skin, 423

Suicide, 526; in mythology, 879; shaman's, 685

Sun, abode of spirits, 812; crest, 834; in mythology, 874; in Raven Cycle, 861, 862, 865; moon and, 836; personification of, 817; Tlingit concept of, 796; weather portent, 803

Sun Dagger, 694, Pls. 86, 144

Sun spirit mask, 691

Sun's Children, 439; artatgawet and, 247

Sun's Ears headdress, 694, Pls. 65, 86, 144

“Sun's excrement,” 665

Superman, Raven and, 842, 857

Supernatural, Tlingit concept of, 811

Surgery, by shaman, 709, 710, 716–717; native, 654

Suría, Don Tomás de, 139

at Yakutat, 1791, 141 passim; accounts of: boats, 332; boxes, 419; canoes, 334; clothing, 434, 435; food, 394; infants, 503–504; Tlingit religion, 810; village, 312

journal of, 139, 152

sketches (aquatints), 139, 152, Pls. 40–61

Swan, 43; crest, 826, 833; down, 306, 439, 693, 721; food, 395; foot, 425 f.; hunting, 373; skin, 425 f., 435

Swanton, John R., 241–242, 269–270; myths collected by, 841; on Tlingit religion, 810–812, 815, 816

Sweat baths, 30, 299

Swedish Free Missionary Society, 199

Symbolism, 4- and 8-fold, in:

death rites, 531 ff., 536 ff., 677, 777 f.

house-building potlatch, 761

human anatomy, 761

magical exercises and abstinences, 379, 761, 821

menstruant seclusion, 518, 519 ff.

sea lion stomach stones, 829

shaman consultation before hunt, 379

shaman quest, 678 ff., 681, 761

witch torture, 736–737

Syphilis, treatment of, 654, 655, 656, 657

Taboo, 811, 813 ff.; animal, 825, 832; food, 405, 835; glacier, 818; hunting, 362, 378 (see also specific animals); Raven breaks 843 ff.; weather, 805

Tabooed Lake, 97, 814

Tailless Raven, Chief, artanAarttedi, 274, 275

Tallow, uses of, 410. See also Mountain goat tallow

Tanuart (Jim Itinisku), Teqwedi, 324, Pl. 214

house of, 324

Witchcraft of, 739, 741, 742, 743

Tanuart, TŁaartayIk-Teqwedi, 176

in war on Russians: 234–235, 260, 262, 264; prisoner, 262, 266; trial, 234–235

Tanuart—Continued

Russians and, 233 ff., 236, 260, 261

Tapping sticks, 697; in curing, 708, 709, 721, 722

Tarr, Ralph S., 287, 288; Bert S. Butler and, 22 passim, 86

Tatooing, 433, 434, 435, 446 f., 464

Tawuk-’ic. See Skin Canoe George

Taartguart, killer of Sleep Bird, 763; wealth-bringer, 821–822

TcIcqédi, 20, 205, 218, 219, 220, 254

houses, 104, 219, 315, 327

origin of, 219, 239

settlements, 102, 103, 104, 105, 219, 220

territories, 98, 101, 103, 104. See also Tcicyu, TŁaartayIk-Teqwedi

TcIcqédi potlatch songs, 1228

Tcicyu, 214, 219

TcukAnedi, 20, 94, 218, 228

Tebenkov, M., 28, 83, 84, 99, 109, 180; maps, 160, 162, 168, 179

Teci-’ic, Sitka Kagwantan shaman, 672, 684; powers of, 684, 707

Teeth, bear, 366, 689; beaver, 415; shark, 445

Teart-’ic, Teqwedi shaman, 78, 186, 187, 247, 253, 671, 672, 678, 679, Pl. 65

appearance of, 685, 688, 689

death of, 685, 699, 718 ff.

family of, 301, 320, 324

grave house of, 317

house of, 301, 319

in mythology, 875

paraphernalia of: canes, Pl. 144; hat, 695; knife, 695; staff, 696; Sun Dagger, Pl. 86; Sun's Ears headdress, Pl. 86

powers of, 704, 705, 706, 708, 709; curing, 655, 690, of Land Otter Men captive, 753, 754

seances of, 701

song of, 1280, 1281

spirit of, 439; ŁucwAq and, 267

spirit quests of, 676, 677, 678, 681, 683

spirit warnings to, 703

stories about, 715 ff.

Temperature, seasonal, 30

Temporal orientation, 798 ff.

Tent, canvas, 305; bark, 305

Teqwedi, 20, 218, 222, 225–226

history of, 225–226

migration, 77, 230, 233, 236, 242

names, 789

origin of, 875

story of, 251–253

TłaartayIk-Teqwedi and, 251

Tł'UknaartAdi and, 252

war with Aleuts, 257–258

Teqwedi, Bear House line, 65, 81, 225, 230, 233, 251, 301

bear relationships of, 825, 826–827

chiefs, 201

crests, (listed) 452

crest objects, Pls. 143–145

houses of, 77, 301–302, 316–317, 319, 320, 321, 324, 326

Ł’uartedi war, defeat in, 222, 261

settlements, 70, 77, 225, 226; Diyaguna’Et, 77, 251

territories of, 71, 76, 79, 225–226, 230, 252–253

TŁaartayIk-Teqwedi fight with, 77

Teqwedi, Drum House line, 81, 220, 222, 225, 251

crests, (listed) 452

history of, 230, 233

houses of, 228, 319, 320, 324–325, 327

migration, 350

Teqwedi—Continued

settlements of, 226; Ahrnklin River, 70, 80, 226, fate of, 279, 320

story of, 252–253

territories of, 71, 80, 226; Ahrnklin River, 70, 80, 252–253

Teqwedi shamans, 678; graves of, 78; songs, 1280–1282

Teqwedi songs, 1165–1168, 1280–1282

Territories and territorial rights, 104, 119, 179; control of, 361 f.; native land claims and, 180; purchase of, 119; sib, 19–21

Theft, Indian, 156, 814, 815; in myths, 843 ff., 892; motives for, 119; reports of: Colnett, 130, LaPérouse, 117, 119 passim; Malaspina, 147, 149–150, 151. See also Education, moral

White, from graves, 192

’Things in the world,’ 659, 710

Thread, sewing, 425; surgical, 655

Thunder, Woman Under the Earth and, 836

Thunderbird(s), 82; boy captured by, 249 ff., 1171; wealth-bringer, 804; weather portent, 804

Thunderbird Crest, CAnkuqedi, 224, 452; story of, 89, 249 ff.

crest objects, 452; blanket, 251, 688, Pls. 150, 215; screen, 249 ff., 326, 327, 804, Pls. 91, 215; songs, 225, 250–251, 1171–1173

Thunderbird Crest, Teqwedi, Drum House line, 452

Thunderbird House, CAnkuqedi, 84, 222, 224, 225, 250, 319, 326–327

Thunderbird House, Teqwedi, Drum House line, 80, 252, 253, 317, 325, 326

Thunderbird representations, 327, 426, 441

Thunderstorms, 30

Tides, Controller of, 845, 850, 858–859

Tides, 30; in Raven Cycle, 845, 850, 856, 858; Yakutat concept of, 793

Tikhmenev, Petr A., 158 passim, 166, 167, 169, 171, 173–174, 175, 176, 177, 178, 180, 280; sea otter hunting account of, 378 f.

Time, distortion in spirit world, 835; ’historical’ and ’mythical,’ 798

Time measurement, 797, 798, 799 ff., 802

Tin, scraper of, 422; taboo, 370

TInnà. See Coppers.

TŁaxartyIk-Teqwedi, 20, 218, 222, 224, 232, 672

at Yakutat, 59

crests (listed), 452

Eagle Fort of (see Eagle Fort)

artaŁyIx-Kagwantan and, 232

massacre at, WuganiyE, 79, 222, 227, 263–264, 266 ff.

Russian post destroyed by, 74 (see also Russian fort, Yakutat)

TŁ'UknaartAdi and, marriage between, 261, 262; war between (see TŁ'UknaartAdi, war with TŁaartayIk-Teqwedi). See also Ł’uartedi

TŁayInedi, 450. See also Raven moiety

Tlingit, expansion of, 108; world of, 58; Yakutat relations to, 215–216 (see also Yakutat Bay people)

Tlingit groups, Gulf Coast, 15, 16, 18, 181

Tlingit language, 19, 20, 82, 105, 762 f.; regional differences, 16, 20

TŁ'UknaartAdi, 20, 94, 119, 218, 220, 221, 224

Alsek River and, 817

crests (listed), 452, 454; rival claims to: KIksAdi, 228, 288 ff., 291, Kwacartqwan, 227, 274, 454

artanAarttedi war with, 144, 150, 270, 273–275, 347

history of, 226–228

houses of, 83, 298, 317, 318, 321, 322, 323, 325, 326, 327

Kagwantan and, 227

Lituya Bay canoe disaster, 94, 227, 231, 274

names, 789

QakeartwtE and, 270, 271, 272

Raven Cycle and, 842, 866, 873

Tł'UknaartAdi—Continued

territories of, 71, 91, 846

TłukwaartAdi and, 71, 227

traders, of slaves, 351; voyages of, 227, 351

war with TŁaartayIk-Teqwedi: cause of, 227, 262, 264, 267; Eagle Fort defeat in, 227, 263, 265–266, 267; stories of, 261 ff.; TŁaartayIk-Teqwedi massacre, 67, 222, 227, 230, 231, 245, 263–264, 266 ff.

Yakutat, 227

Tł'UknaartAdi songs, 274, 1158–1165

TłukwaartAdi, 20, 81, 218, 223, 224, 227

Alsek River and, 817

CAnkuqedi and, 249

crests (listed), 452

flood disaster, Dry Bay, 276–277

houses of, 224, 318, 319, 327

in Raven Cycle, 842, 866

names, 789

settlements of, 82, 83, 84, 89, 105, 213, 223–224, 252, 271, 272, 279

Teqwedi and, 262

territory of, 846

TłukwaartAdi shamans, 678; songs of, 1282

Tobacco, 35, 77, 149, 410 f.; at Yakutat, 132; offering in shaman quest, 678; land otter protection, 746; smoking, 411, 420 f. pipes, Pls. 121–123

Tongue-cutting ritual, in shaman quest, 675, 676, 677, 678 ff., 681, 695

Tools, 414 ff., Pls. 117, 124, 125; household, 393, 421 ff., steel, 342, 348; stone, 23, 413–414, 417; wooden, 415

Topham, Harold W., 86, 197, 286; 1888 expedition of, 194–197, at Yakutat, 195–197

Totem poles, 313, 317, 452, 453, 705, Pl. 90; in Land of the Dead, 772; spite, 459

Totemism, Northwest Coast, 826

Toys, 515

Trade, 346 ff.

fur. See Fur trade; Sea otter fur trade

intertribal, 16, 346 ff.; moiety affiliations and, 450; Russians and, 155; Yakutat, 133–134, 187, 190–192, 202, 213, 214, 227

tourist, Yakutat, 183, 200, 202, 347

Trade goods, 347 ff.

European, 113, 115–116, 126–127, 130, 134, 143, 177; intertribal movements of, 113, 126

intertribal, 348 passim, 459

tourist, Yakutat, 183, 184, 191, 192, 200, 347, 353

Trade partners, 119–120, 225, 485

Trade routes, 15, 16, 90, 100, 214, 350 ff. See also Travel routes

Traders, Tlingit women, 139, 191–192

White, at Yakutat, 181, 182–183, 188, 322; first, 17, 18, 155, 158; influence of, 181, 352, 410, 419

Trading centers, 93, 100, 126, 182–184, 231, 347, 349

Trading customs:

ceremonies, 116–117, 127, 137, 147, 347, 349, 467

tactics, 119–120, 190–191, 347; explorers’ accounts of, 115–116, 125–127, 143, 145, 148, 151; hostage exchange in, 116–117

Trading posts, Yakutat, 103, 200, 201. See also Russian posts

Transformation, human-animal, 84, 453–454, 823

Transformer. See Creator, Raven

Transvestite, stories about, 895–896. See aslo Berdache

Traps, 361; fish, 386 ff; hunting, 367, 370 ff.

Travel routes, 350

Alsek River, 85 ff.

Ankau Lagoon System, 71, 73, 74

glacier, 16, 70, 85, 86, 87

inland, 82–83, 90

Yakutat to Lituya Bay, 71–72, 90. See also Roads; Trade routes

Tree of Life, 764 f.

Trees. See Spruce, Red cedar, etc.

Trefzger, Hardy, on Yakutat, 1911, 322, 323, 353

Tribe(s), defined, 212; Gulf Coast, 18–21, 211–213; identifications of, by explorers, 109; sib and, 211–213

Trolling, 382, 388, 391

Trout, steelhead, 51–52, 382, 391, 402

Tsimshian, 15, 97

traders, 352; of crest objects, 459; of slaves, 216

witchcraft originators, 733

Yakutat fight with, Icy Bay, 284–285

Tsimshian culture, influence of, 16, 216

Tsimshian songs, 216, 352, 1225–1226

Tuberculosis, in mythology, 900; treatment of, 654, 657, 658

Tumor, cause of, 674, 699, 700; treatment of, 654

Typhoid epidemics, 277

Ugalentz (also Ugalakmutes, Ougalentz, etc.), 19, 108–109, 132, 133, 184, 187, 205. See also Eyak-speakers

Ulo, 396, 407, 421 f.; in mythology, 887, 897

U.S. Census. See Population

U.S. Coast and Geodetic Survey, 201, 898

U.S. Fish and Wildlife Service, 78, 382, 890

U.S. Public Health Service, 62, 654

U.S.S. Rush, 197 passim

United States ship-owners expeditions, 139

Universe, native views of, 6

Urine, 307; in mythology, 891; uses of: cleaning, 429, 448, 655, medicinal and prophylactic, 661, 655, 665, 747

Ustay River, 82; settlements, 83

Utensils, household, 307 f., 393, 417 f.

Valley House, Teqwedi, Bear House line, 77, 79, 316, 317, 319, 321

Vancouver, Capt. George, 16, 99, 102

expedition, 1791–1795, 129, 296

explorations, Gulf of Alaska, 1794, 61, 153 ff.

Vegetation, Gulf Coast, 31 ff.; Raven creator of, 863

Veniaminov, I., 19, 177, 178, 183

Village of the dead, 295. See also Cemeteries

Villages, 212, 295, 310, 311; social structure of, 295. See · also proper names and sib settlements

Virginity, protection of, 296

Walrus, 41; ivory of, 349, 381, 689

War, 66, crests and crest objects in, 454, 458, 459; Tlingit customs of, 279 ff.

War bonnet, 591, Pls. 153, 214

“War” canoes, 340 f., 344, 346, uses of, 351, 352

War dance, in mythology, 898 f.

War paint, 448

Water, in Raven Cycle, 847, 865

Water beetle, powers of, 56

Water spirit, 699, 817, 818

Waterfall House, Kosartedi, 91, 136

Waves, giant, Lituya Bay, 93–94, 275–276; Yakutat, 287

Wealth, beings bringing, 64, 820–822; bird omens of, 48; crests and, 458; medicine, 663; social position and, 462; Thunderbird and, 804

Weaning, infant, 506, 658

Weapons, description of, 1786, 367; iron, 116, 368, 369, 377, 384, 385, in trade, 126 (see also Guns, Spears)

Weasel, hunting, 366 f.; hunting grounds, 78; skinning, 423

Weather, bird omens of, 49, 50, 804; controlling, 659, 806–807; land otters and, 745; portents, 30, 84, 242, 256, 803–804; prediction of, 30, 764, 803

Week, adoption of, 802

Weirs, 382, 384

Wells, E. H., expedition of, 203. See also Glave, E. J.

West Coast Indians, canoes made by, 341; Yakutat and, 216–217

Westfall Logging Company, 230

Whale, 41, 373; hunting, 373; in mythology, 885; in Raven Cycle, 41, 84, 102–103, 845 ff., 851, 859; meat, 398 f.; sinew, 368, 388, 425; stone lamp and, 278, 279

Whale Crest, TŁ'UknaartAdi, 452, crest objects, hat, 454

Whale House, artanAarttedi, 274, 772, 773

in Raven Cycle, 867

TŁ'UknaartAdi, 83, 226, 241, 272, 273, 462

Whale Island, 820; in Raven Cycle, 864; taboo, 806

Whaling, Alaskan, 91–93, 180

Whetstone, 24, 415, 422

Whip sling, 369

Whiskey, 460, 718; Raven and, 873. See also Liquor

White, Charley, TŁ'UknaartAdi, 245, 274, 288, 323, Pls. 1, 210, 211, 212

White Raven Crest, 457

White woman, story of, 233, 236

Whites, arrival of, 231, 257, 258–259; murder of, Yakutat, 181, 182, 186, 190, 198, names for, 217

Wild celery, 1 Pl. 97; uses of, 425, 655. See also Cow parsnip

Wild heliotrope, as curative, 34, 658, 660

Wild rhubarb, 33; dye, 429, 431; food, 33, 407, medicine, 656 “Wild rice.” See Kamchatka lily

Williams, B. B. See Bear Bit Billy

Williams, B. B., Jr., 324, Pl. 214

Willow, 32; in mythology, 874

Windows, 306, 424 f.

Winds, addressing, 828; concept of, 797; control of, 805, 817; local variation of, 29; names for, 804; personification of, 817; prevailing, 29

Wingham Island, 101, 103; Census 1890, 205; in Raven Cycle, 102, 857; origin of, 794; trading station, 349; village, 313

Wishing, by shaman, 680; with amulet, 664; with medicine, 662, 660

Witch, 728 ff.; accomplices of, 728 ff.; death of, 737; detection of, 728 ff., 832; dreams about, 759; family of, 735; fear of, 207; paraphernalia of, 833; presents to dead of, 121; trial, 728, 729, 735, 736, 738, 741; torture, 737

Witchcraft, 728 ff.; cause of illness, 654; envy and, 380; origin of, 676, 733 ff.; owls and, 830

Witchhunts, 728

Wolf Cave, Teqwedi, Drum House line, 80

Wolf Bath House, artaŁyIart-Kagwantan, 101, 319, 322, 323

Wolf crests, 452, 833

crest representations, 418, 441, 442, 447, 693

Wolf Den House, Kagwantan (Box House), 81, 319, 322, 875

Wolf-Eagle moiety. See Eagle-Wolf moiety

Wolf House, artaŁyIart-Kagwantan, 104

Wolf House, Kagwantan (Box House), 212, 228

Wolf House Post, 228

Wolf Pole, Pl. 214

Wolf staff, song leader's, 163

Wolf-Weasel, See artutcda

Wolverine, 37; deadfall for, 370; hunting, 366 f.; in mythology, 886, 888

Wolverine Man, 892

Wolves, 37, 94, 98, 827 f.; escape from, 828; hunting, 366 f.; hunting grounds, 80; snares for, 371

Woman Under the Earth, Thunder and, 836

Women:

bear-hunting skill of, 364

description of, LaPérouse, 121

garments of, 440 ff.

hairstyles of, 440, 446

hunt role of, 365, 378

prostitution of, 144, 146, 150

slaves, 121, 144

trade role of (see Traders, Tlingit, women)

Yakutat, Russiàn treatment of, 234. See also Chiefs, female; Shaman, female

Wood, uses of, 413, 417, 418 f., 443, 690

Woodpecker, 48; omen, 830

World, animal and human, 823 ff.; concept of, 58, 816; cultural, 5–6

World War II, effects of, 18

Wounds, treatment of, 655

Wuckika, songs of, 274, 275, 1105, 1159–1161

Wuckitan, 218, 221; song, 1175–1176

WuganiyE fort, TŁaartayik-Teqwedi, 67–68, 227, 261, 262; glacier catastrophe at, 287; massacre at, 266–267, 268, 269. See also Narrow Valley

WuŁixac-Kagwantan, 220

artadaneart Johnstone. See Johnstone, artadaneart

artatgawet, Teqwedi shaman, 66, 76, 101, 128, 218 passim, 230, 231, 236, 240, 251, 254, 670, 679, 685, 1280

headgear of, 247, 443, 695

Killerwhale Hat of, 247, 457, 695, 711, Pls. 143, 145, 213

Knight Island and, 242 ff., 257

names of, 242–243, 251, 294

powers of, 704, 705

spirits of, 247, 836

stories about, 710 ff.

story of, 225, 242–247

Yakutat sib organizer, 242, 245, 246. See also Kardeetoo, Jim; Milton, William

artaartkA’ayi, 20, 82, 83, 94, 95, 218, 228–229; shamans, 678

Xenk, Teqwedi, accused of witchcraft, 741, 742, 743

arteyegatqin, George, See Skin Canoe George

artone, 144, in Raven Cycle, 144–145. See also Ankau Juné

Yakataga, origin of, 795; village, 101

Yakutat, 62, 205, 207, 322, 323, 326, 353, Pls. 22, 29

cemetery, 126, 146

history of, 17 f., 231 ff., 235–236

houses, Pl. 25; descriptions of: 18th century, 311, 312; 19th century, 181, 185, 190, 202, 313, 319; summer, 126. See also named houses

name, 58–59

Yakutat and Southern Railway, 78, 326; effects on Yakutat, 321, 349, 353

Yakutat Bay, 16, 17, 109, 110, 112, 160, 162, 168

beauty of, 141

explorations of, 1787, 123–125, 126; 1791, 141–142; 1794, 154–156

geography of, 15, 16, 21 ff., 28, 59 ff.

geology of, 21, 24 ff., 286 ff., 820

Yakutat Bay—Continued

names for, 110–111; place names in, 58–59, 60, 61 ff.

navigation in, 23, 25

population (see Population, Gulf Coast Indians)

settlements, 18th century, 124, 125, 126, 143, 153; 19th century, 181, 182, 184–185, 202

surveys of, 1807, 1823, 176–177 (see also Tebenkov, M., maps) topographical changes in, 24 ff.; native traditions of, 26, 286–288

Yakutat Bay area, immigrants to, 218, 220, 221, 222 ff.; original inhabitants of, 218, 220 ff., 242.

Yakutat Bay Glacier, 25, 27, 71, 86; retreat of, 286

Yakutat Bay people, 18 f.

sibs, 20, 227, 228; artatgawet and, 245

territory of, 212

Yakutat Chief George. See Yaartodaqet, Yakutat Chief George

Yakutat Chief Juné See Ankau Juné

Yakutat culture, 5, 21; transformation of, 1880–1900, 182–183

Yakutat language, 19, 130, 152, 182

Yakutat, New Village (see Yakutat); Old Village (see Old Village)

Yanatcho. See Daqusetc

YAndus-’ic, TŁ'UknaartAdi carver, 319, 324, 698

Yarrow, as curative, 656, 659

Yaartodaqet, name of, inheritors of, 786

Yaartodaquet (I), Chief, Kwackqwan, 76, 167, 259, 316, 680, 786; hunting territory control by, 379–380; invincible hunter, 672; justice of, 374–375; magic arrow of, 712–713; weather prophet, 378, 803

Yaartodaquet (II), Chief, 64, 277, 278, 279, 316, 320, 463, 786, 801

Yaartodaquet, Yakutat Chief George, 196, 197, 198, 201, 284, 320, 353, 786, Pl. 64; canoe of, 339; family of, 324; potlatch in honor of, 619–620; Russian mementoes owned by, 261, 353, 680; spear of, 368; Tsimshian hunting party and, 284–285

Year. See Calendar, lunar

Yellow cedar, 16; arrows, 368; boats, 336, 337, 340; in Raven

Cycle, 869; uses of, 31, 381, 388, 413

Yellow cedar bark, shelters of, 305

Yellow pond lily, 33, Pl. 97; medicine, 33, 653

Yeł-tłen, Tł'UknaartAdi shaman, 135, 707, 708, 743

CAart and, 274

in Tł'UknaartAdi-artanAarttedi war, 274–275

Yełartak, Chief, artanAarttedi, 137, 144, 145, 201, 270, 274–275; Russian meeting with, 135–136, 137

Yen-at-set’l, Chief, Teqwedi, 189–190, 200, 201; hospitality of, 193, 194; Schwatka and, 189; Topham and, 194–195, 196.

See also Daqusete

YEnyedi, 20, 218, 220, 221, 225; Ahrnklin lands of, story of, 252, 253

Young, Rev. S. Hall, 183, 184

Zaikov, Potap, 112, 166; expedition, 1783, 102, 112; journal, 112, 113

¹ The pitch rises at these points during the song.

² While this syllable (ya) corresponds to the musical phrase X (’eya) with which the repetition of Stanza I is ended, it cannot be considered musically as a short but independent phrase because it is musically a part of Phrase A’ on the repetition of Stanza I.

² See footnote on p. 1158.

³ Hesitation here.

⁴ Clears throat or coughs.

⁵ Frank Italio's version refers to ‘my uncle’ (’aart kak), while his sister's version refers to ‘my nephew’ (’aart kełk) who drowns.

⁶ Spoken interruption.

⁷ Laughs here.

⁸ Falsetto raven cries on the repeat at this point.

⁹ Swanton renders this as “and,” but it means ’his ghost.’ I suspect the last two words mean: ’his ghost cries,’ which would indicate that the whole song is supposedly sung by the ghost.

¹⁰ Here the singer began the second stanza by mistake.

¹¹. Reel 2-1-H begins here.

¹² Clears throat.

¹³ Began Stanza II by mistake.

¹⁴ Interrupted by throat clearing.

¹⁵ Correction of mistake.

¹⁶ Song leader's cry.

¹⁷ Ends here on repeat.

¹⁸ Here, MJ sings an octave higher.

¹⁹ MJ sings an octave higher; AJ wails “my brother!”.