Under Mount Saint Elias:
Tiie History and Culture
of the Yakutat Tlingit


Frederica de Laguna

iwl" 'I'M

PART THREE
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME 7

%i




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 Insti-
tution, 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, com-
mencing 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 pub-
lications 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 Thngit
Frederica de Laguna
PART THREE
SMITHSONIAN INSTITUTION PRESS
City of Washington
1972

A PubUcation 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.
Appendix
page
Recordings of Yakutat Songs, with Transcriptions of the Music by David P.
McAllester	    1149
Sib Potlatch Songs	    1152
Raven moiety: two songs referring to Raven's Theft of Daylight; 1952, 7-2-A
andB; 1954, 2-2-E (a and b), [Scores: 1176-1180]	    1152
Raven moiety song: Raven Cries for Daylight; 1954, 6-2-B [Score: 1180-1181].-    1155
Traditional Kwackqwan song: Lament of Gudilta'; 1954, 4-1-A; 1954, 7-2-C
[Scores: 1182-1183]	    1155
Kwackqwan potlatch song; Lament for a Dro^vned Son; 1954, 7-2-H [Score:
1184-1186]	    1156
Other traditional K'ackqwan songs	    1157
Unrecorded K'^acMiqwan mourning song	    1157
Traditional Tl'uknaxAdi song: How Raven Deceived the Sea Otters; 1952, 1-1-C
[Score: 1186-1187]	    1158
Traditional Tl'uknaxAdi song,   attributed  to Qakex'^tE;  1952,   1-2-A  [Score:
1187-1188]	    1158
Traditional Tl'uknaxAdi song: Lament of Wuckika (I); 1952, 2-2-B (a,b) [Score:
1188-1190]	    1159
Traditional Tl'uknaxAdi song: Lament of Wuckika (II); 1952, 2-2-B (c) [Score:
1190-1191]	    1160
Traditional Tl'uknaxAdi song: Lament of Wuckika (III); 1954, 6-2-C [Score:
1192-1194]	    1160
Tl'uknaxAdi or K^'ackqwan song: Lament for the Crane Canoe; 1954, 1-2-E
[Score: 1194-1195]	    1161
Traditional Tl'uknaxAdi song: Lament for the Raven Post; 1954, 3-2-H [Score:
1195-1196]	    1161
Unrecorded Tl'uknaxAdi mourning song	    1162
Tl'uknaxAdi mourning song, composed b}^ Dry Bay Chief George; 1952, 1-1-A
[Score: 1197-1198]	    1162
Tl'uknaxAdi mourning song, composed by Dry Bay Chief George; 1954, 2-1-G
[Score: 1198-1199]	    1163
Tl'uknaxAdi song for the Frog Screen; 1954, 2-2-A; 1954, 6-2-A [Scores: 1199-
1203]	    1164
Teqwedi song, attributed to the men lost when getting green paint stone; 1954,
6-1-1 [Score: 1203-1204]	     1165
Teqwedi sib song: Song of the Golden Eagle; 1954, 1-1-F [Score: 1204-1206]__    1166
Teqwedi mourning song, composed by Jim Kardeetoo; 1954, 5-1-C [Score: 1206-
1207]	    1167
Teqwedi dance song: Killerwhale Drum Song; 1954, 5-1-D; 1954, 5-1-F [Score:
1207-1209]	    1167
Unrecorded Teqwedi potlatch song	    1168
Kagwantan mourning song, attributed to KackEn; 1954, 3-1-D [Score: 1209-
1210]		    1168
Galyix-Kagwantan song: Lament of the Beaver;  1952,  7-1-B  [Score: 1210-
1211]	    1169
xlvii
xlviii	APPENDIX
Sib Potlatch Songs—Continued	page
Traditional Qalyix-Kagwantan  songs,  attributed   to   Lq'ayak"';   1952,  7-1-C
(aandb) [Scores: 1212-1214]		1170
Traditional CAnkuqedi song: Lament for Gosha"^;  1952, 2-1-B  [Score: 1214-
1215]		1171
Traditional CAnkuqedi song for the Thunderbird Screen; 1952, 2-1-F [Score:
1216-1217]		1171
Ti-aditional CAnkuqedi song for the Thunderbird Blanket (I); 1954, 5-2-E		1172
CAnkuqedi song for the Thunderbird Blanket (II); 1954, 5-2-r [Score: 1217-
1218]		1173
Three (?) traditional CAnkuqedi songs in Yukon Athabaskan; 1952, 4-1-A
(a, b, c) [Scores: 1218-1219]		1173
Traditional CAnkuqedi lament for those drowned in the Yukon; 1952, 4-1-D
[Score: 1219-1221]		1174
CAnkuqedi mourning song, composed by Blind Dave Dick; 1954, 3-2-K [Score:
1222-1223]		1174
Wuckitan song: Lament for the Murrelet Cane; 1954, 7-1-B [Score: 1223-1224].__	1175
Scores of sib potlatch songs		1176
Walking, Resting, or Sitting Down, and Dancing Songs		1225
Tsimshian walking song; 1954, 6-1-G [Score: 1231-1232]		1225
Tsimshian dance song; 1954, 6-1-H [Score: 1232]		1225
Tsimshian dance (?) song: "Seltin's Marriage Song"; 1954, 3-1-B [Score: 1233]---	1226
Atna marching song; 1954, 4-1-B [Score: 1234]		1226
Atna marching song; 1954, 7-2-A [Score: 1234-1235]		1226
Atna resting song; 1954, 7-2-B [Score: 1235-1236]		1227
Atna dance song; 1954, 4-2-A [Score: 1236]		1227
Atna or Chugach Eskimo dance song: "Spear Song"; 1954, 7-2-1 [Score: 1237]		1228
Unrecorded Atna or Eyak "Steamboat Song"		1228
Southern Tutchone walking song; 1954, 3-2-B [Score: 1237-1238]		1228
Southern Tutchone dance song; 1954, 3-2-C [Score 1238-1239]		1229
Southern Tutchone dance song; 1954, 3-2-D [Score: 1239]		1229
Southern Tutchone "Ptarmigan Dance Song"; 1954, 2-1-H [Score: 1239-1240]__-	1229
Southern Tutchone sittuig down song; 1954, 3-2-E [Score: 1240]		1229
Alsek River Song: Coming under the Ice (I); 1954, 3-1-C; 1954, 3-2-F; 1954,
6-2-E [Scores: 1241-1243]		1230
Alsek River Song: Coming under the Ice (II); 1954, 6-2-D		1230
Scores of walking, resting, and dancing songs		1231
Peace Songs		1244
Potlatch peace song about Kardeetoo, by Dry Bay Chief George; 1954, 1-1-B
[Score: 1248-1249]		1244
Sitka or Dry Bay peace dance song for 'Canoe Deer' and 'River Marker Deer';
1954, 3-2-G (a) [Score: 1249-1251]	_'	1245
Sitka or Dry Bay peace dance song for 'K^el Deer'; 1954, 3-2-G (b)   [Score:
1251-1252]		1246
Peace dance song for 'Dog Deer' and 'Gateway Knob Deer'; 1954, 3-2-A [Score:
1252-1253]		1246
Peace dance song for 'Dollar Deer'; 1954, 1-2-D [Score: 1253-1254]		1247
Unrecorded peace dance song for 'Glacier Point Deer'		1247
Peace dance song for 'American Flag Deer'; 1954, 1-1-A [Score: 1254-1256]		1247
Scores of peace dance songs		1248
Funny Songs About Raven		1257
Funny peace dance song: Raven and the Herring Heads; 1954, 6-1-E (a) [Score-
1261]		1257
Funny peace dance song: Raven and Snipes; 1952, 3-1-B; 1954, 5-1-E; 1954,
6-1-E (b) [Scores: 1262-1263]	[	_'	1257
APPENDIX	xlix
Funny Songs About Raven—Continued	page
Funny peace dance song: Raven Steals Daylight; 1954, 7-2-J [Score: 1263-1264]-	1258
Funny peace dance song: Raven Loses His Nose; 1954, 7-2-K [Score: 1265]		1258
Funny peace dance song: Raven Washes Himself in Vain; 1954, 6-1-K [Score:
1266-1267]		1259
Funny song: Raven and the Mussel People; 1954, 5-1-F [Score: 1267-1268]		1260
Funny dance song: How Raven Became Drunk on Whiskey; 1952, 1-1-B [Score:
1268-1270]		1260
Scores of funny songs about Raven		1261
Songs for Children		1271
Traditional teasing song for a Httle boy; 1954, 3-2-1 [Score: 1274]		1271
Traditional teasing song for a little girl; 1954, 3-2-J [Score: 1275]		1272
Pet song for a little girl, by Sam and Annie George; 1954, 3-2-L [Score: 1276]		1272
Pet song for a little boy, by Minnie Johnson; 1952, 5-1-A [Score: 1277]		1272
Pet songs for three little girls, by Minnie Johnson; 1952, 5-1-B (a, b, c) [Scores:
1277-1279]		1273
Scores of songs for children		1274
Shamans' Songs		1280
Teqwedi shaman's song: Spirit of Children of the Sun; 1954, 6-1-A and J [Score:
1283-1284]		1280
Teqwedi shaman's song: Spirit of LucwAq; 1954, 1-1-C [Score: 1284-1285]		1281
Kagwantan shaman's songs: Disease Spirits; 1954, 5-2-G and H [Scores: 1285-
1287]		1282
TluknaxAdi shaman's songs: Fish Spirits; 1954, 2-2-C and D [Scores: 1287-
1289]		1282
K^akqwan shaman's song: Owl Cry and Owl Spirit Song; 1954, 7-2-F (a, b)
[Scores: 1289-1290]		1283
Scores of shamans' songs		1283
Haida Mouth Songs, and Other Songs by Known Composers		1291
Olaf Abraham's 'Antlen River Song for Tcicqedi-Children; 1954, 1-2-A [Score:
1315-1316]		1291
Olaf Abraham's Wolf Call Love Song for Kagwantan-Children; 1954,  1-2-B
[Score: 1316-1317]		1292
Olaf Abraham's song for Kagwantan-Children; 1954, 1-2-C [Score: 1318-1319]. _ -	1292
Blind Dave Dick's reproach to Teqwedi-Children; 1954, 5-2-C [Score: 1319-
1321]		1293
Blind Dave Dick's song for CAnkuqedi-Children and Kagwantan-Children; 1954,
2-1-F [Score: 1321-1322]		1294
Blind Dave Dick's deathbed love song for Kagwantan-Children; 1954, 3-1-E
[Score: 1322-1323]		1295
Hilda Dick's song for Kagwantan-Children and CAnkuqedi-Children; 1954, 6-
2-F [Score: 1323-1325]		1295
Emma Ellis' mourning song; 1954, 3-1-F [Score: 1325-1327]		1296
Franklin's deathbed love song for Teqwedi-Children; 1954, 5-2-D [Score: 1327-
1329]		1297
Dry Bay George's song for  Gmexqwan-Children; 1954, 6-2-G [Score: 1330-
1331]		1298
Dry Bay Chief George's love song to a young girl; 1954, 7-1-C [Score: 1332]___	1299
Unrecorded songs by Dry Bay Chief George		1299
Lituya Bay George's song to the Bears; 1954, 2-1-E [Score: 1333-1334]		1300
Unrecorded song by Skin Canoe George		1300
Frank Italio's songs for Kagwantan-Children; 1952, 2-1-H and 2-2-A [Scores:
1334-1336]		1301
T. Max Italio's love song for Tl'uknaxAdi-Children; 1954, 5-1-G [Score: 1337] - -	1302
B. A. Jack's love song for Gmexqwan-Children; 1954, 6-1-C [Score: 1338-1339].	1302
265-517—72—vol. VII, pt. 3	2
APPENDIX
Haida Mouth Songs—Continued	pa&e
B. A. Jack's song for Mount Saint Elias; 1954, 5-1-A [Score: 1339-1340]		1303
Jenny Jack's lament for Kagwantan-Children; 1954, 6-1-B [Score: 1340-1341]..	1304
Jimmy Jackson's unhappy love song for Kagwantan-Children;  1954,  7-2-G
[Score: 1342-1343]		1304
Jimmy Jackson's Sawmill Love Song; 1954, 7-2-D [Score: 1343-1344]		1305
Unrecorded love song by Billy James		1306
Mrs. Chester Johnson's lament for her husband; 1954, 5-1-H [Score: 1344-1345].	1306
Mrs. Chester Johnson's lament for Teqwedi-Children, etc.; 1954, 5-1-1 [Score:
1346-1347]		1307
Mrs. Chester Johnson's song for Teqwedi-Children and Norwegian-Children;
1954, 2-1-1 [Score: 1347-1348]		1307
Mrs. Chester Johnson's song for Tcicqedi-Children; 1954, 5-2-1 [Score: 1348-
1349]		1308
]^adenek Johnstone's love   song for TeqAvedi-Children;   1954,   1-1-E  [Score:
1349-1350]		1308
Kitty Martin's love song for Tl'uknaxAdi-Children; 1954, 5-1-B [Score: 1350-
1351]		1309
Nastit's suicide song; 1952, 6-1-A [Score: 1351-1352]		1310
John Nishka's love song for Tl'uknaxAdi-Children; 1952, 3-1-A [Score: 1352-
1353]		1310
Clarence Peterson's love song for Tl'uknaxAdi-Children; 1954, 1-2-F [Score:
1354-1355]		1311
Blind Sampson's song about the Tsimshian word; 1952, 3-1-C [Score: 1355-
1356]		1312
Blind Sampson's Situk Train Love Song for Teqwedi-Children;  1954, 2-1-D
[Score: 1356-1357]		1313
B. B. Wilhams' song for Tl'uknaxAdi-Children; 1954, 3-1-G [Score: 1358]		1313
Sarah Williams' song for a dead soldier; 1954, 6-1-D (a) [Score: 1359]		1314
Scores of Haida mouth and other songs		1315
Foreign and Miscellaneous Songs		1360
Lament of the slave; 1954, 5-2-B [Score: 1363]		1360
Haida love song; 1954, 7-2-E [Score: 1364-1365]		1361
Tlingit drinking song, 1952, 1-2-C [Score: 1365]		1361
Athabaskan drinking song with Tlingit words; 1954, 2-1-J [Score: 1366-1367]-.	1361
Southern Tutchone drinking song; 1954, 2-1-K [Score: 1367]		1362
To the People of Yakutat: Song for   Gmexqwan-Children  and  Tl'uknaxAdi-
Children; 1954, 4-2-B [Score: 1368-1369]	'		1362
Scores of Foreign and Miscellaneous Songs		1363
Index of Yakutat Tape Recordings		1370
Index		1375
Plates
5.
6.
7.
8.
9.
10.
11.
12.
13,
14.
15,
16,
17,
18.
19,
20,
21.
22.
23.
24.
25.
26.
27.
28.
29,
30,
31,
32,
33,
34,
35.
36.
37.
38.
39.
40.
41.
42.
Charley White, 1949.
Mr. and Mrs. Harry K. Bremner, 1952.
Mr. and Mrs. Sampson Harry and Mr. and Mrs.
George Johnson, 1949.
Mrs. Maggie Dick and Mrs. Chester Johnson,
1954.
Mrs. Jenny Jack and Mrs. Minnie Johnson, 1954.
David Henry and Daniel Henrj^, 1954.
Jack Reed, 1949.
William Milton, 1949.
Mrs.  William Thomas  and her children,   1952.
Tom John, 1954.
Harvey Milton, 1952.
Mrs. Annie George, 1954.
Airs. Maggie Adams Harry, 1954.
Beverly Jean and Rebecca Bremner, 1952.
Leonard Williams, 1952.
Saint Elias Range, 1952.
Mount Saint EUas, 1952.
Disenchantment Bay, 1952.
Disenchantment Bay, 1954.
Lituya Bay, 1954.
Dry Bay, 1954.
Yakutat from the south shore of Monti Bay, 1952.
The cannery, 1952.
Yakutat ANB Hall and church, 1952.
Yakutat homes, 1952.
The Old Village, Yakutat, 1952.
Smokehouse and drying racks. Old Village, 1954.
Ocean beach, 1949.
The deep woods, 1952.
Grave monuments near the Old Village, 1954.
Graves on the hill above the mission, 1954.
ANB cemetery, Ankau Point, 1954.
Grave of Jack Ellis, Ankau Point, 1954.
Wreck of LaPerouse's two boats, Lituya Bay,
1786.
Tlingit fish camp, Lituya Bay, 1786.
Boat frame at Lituya Bay, 1786.
Dugout canoe, Lituya Bay, 1786.
Inhabitants of Lituya Bay, 1786.
Tlingit woman of Lituya Bay, 1786.
General view of Port Mulgrave, 1791.
Trouble with the natives in removing the observa-
tory instruments, July 5, 1791.
A disagreement with the natives of Port Mulgrave,
July 5, 1791.

The chief of Port Mulgrave asks for peace, 1791.
The chief of Port Mulgrave and his son, 1791.
The chief of Port Mulgrave, 1791.
An Indian of Port Mulgrave   (the chief's son),
1791.
The son of the  chief of Port Mulgrave,   1791.
The son of the chief of Port Mulgrave, with a
dagger, 1791.
A man of Port Mulgrave, 1791.
Men of Port Mulgrave, 1791.
An Indian of Port Mulgrave armed for war, 1791.
Women of Port Mulgrave, wearing labrets, 1791.
A plebian woman of Port Mulgrave, 1791.
A woman of Port Midgrave ^^dth her baby, 1791.
A woman of Port Mulgrave with her baby, 1791.
A girl with nose pin, Port Mulgrave, 1791.
A young girl of Port Mulgrave, 1791.
Crest hat of the chief of Port Mulgrave, 1791.
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 famUy of the current
chief of Port Mulgrave, 1791.
62.	Chief   Minaman   or   "Yen-aht-setl,"   Khantaak
Island, 1886.
"Sheet-ahn-do-tin"   and family,   Yakutat,   1886.
Yakutat Chief George Yaxodaqet, 1888.
The shaman, Tek-'ic, 1888?
A Yakutat medicine man, 1886.
"Klog-Shegees,"   chief  of  Kayak,   Wingham  Is-
land, 1886.
Kayak, Wingham Island, 1886.
Kantaak Island and Martin Point, 1886.
Leaving Yakutat for Icy Bay in canoes, 1888.
"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,
Jidy 1899.
915
916
PLATES

77.	Sealing camp above Point Latouche, south end,
Jidy 1899.
78.	Sealing camp above Point Latouche, bark shelter,
July 1899.
79.	Sealing camp above Point Latouche, ^^ath Jenny
Abraham, July 1899.
80.	Sealing camp above Point Latouche, with wife of
Chief Minaman, July 1899.
81.	Bear Bit BUly in Fort House, Khantaak Island,
1889.
The Old Village, Yakutat, 1915.
The Old Village, Yakutat, 1915 or 1916.
Houses in the Old Village, Yakutat, 1912.
BeaverScreenin Wolf Bath House, Yakutat, 1949.
Posts   from   Shark   House,   Yakutat,   with   Jim
Kardeetoo, 1928.
Posts from Shark House, Old Village, Yakutat.
Carvings on posts in Moon House, Old Village,
Yakutat, 1901.
Bear Post from Shark House, Yakutat.
Totem pole carved for sale (1926-30?).
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,
"Skookum root," or American white hellebore.
Devilclub.
"Wild rice" or Kamchatka lily, and lupin.
Wild celery, yellow pond lily and buckbean.
Black seaweed.
Seaweed drying.

Yakutat foods and preserves.
Gathering clams and cockles.
Wmiam Thomas fishing with gill net, 1952.
Seining salmon.
Dried salmon.
Yakutat canoe paddles and canoe models.
Yakutat canoe models.
Models of Yakutat canoes.
Yakutat arrows, quiver, and bow.
Sea   otter  hunter's   bows,   harpoon arrows, and
quiver.
110.	Wooden  clubs for killing wounded seals or sea
otters.
Gaff hook.
Barbed heads for spear and sea otter haipoon
arrows.
Halibut fishing gear.
Halibut hooks.
Halibut hooks.
Powder horns, bullet mold, and shot pouch.
Yakutat tools.
Horn spoons and dish.

Grease containers.
Trinket boxes.
Tobacco pipe and snuff mortars.
Wooden pipes.
Wooden pipes.
Implements for working skins.
Modern implements for working sealskins.
Halibut skin bag.
Inherited family possessions.
Yakutat baskets and bag.
Yakutat berry baskets.
Spruce root basket.
Yakutat baskets.
Yakutat baskets.
Spruce root basket.
Yakutat doll and moccasins.
Yakutat silver and beadwork.
Comb and amulets.
Amulets and gambling tops.
Gaming counters and container.
Gaming implements and paint brushes.
Joseph Abraham as song leader, 1900 (?).
Clarence Peterson, 1920 (?).
Ned Williams, 1906.
Teqwedi heirlooms on the porch of Shark House.
Teqwedi   and   K^acliqwan  heirlooms   in   Shark
House.
Ceremonial garments of the Bear House Teqwedi,
Yakutat dance shirts.
Mount Saint Elias Shirt and beaded vest.
Chilkat blanket with Raven design,
Chilkat blanket for a child,
Thunderbird Blanket of the CAnkuqedi.
Ahrnklin   River  Blanket   of   the   Drum   House
Teqwedi,
152.	Harvey Milton, wearing the K^'ackqwan Mount
Saint Elias Blanket, 1954.
War bonnet and Bear's Ears headdress.
Yakutat crest hat.
Yakutat crest hats.
Tecjwedi headdress.
Teqwedi headdresses and dancing masks.
Crest helmets.
Wooden helmet.
Copper war knife.
Moosehide armor,
Chief's staffs or canes.
Song leader's staffs.
Killerwhale Drum of the Teqwedi,
Wooden drum with Owl crest.
Raven Drum of the K'^actqwan.
K^'ackqwan memorial image.
Wooden figurines.
Shaman's grave guardian from Yakutat.
PLATES
917

170. Paraphernalia of the Yakutat shaman, coUected
171
by Libbey,
Paraphernaha of the Yakutat shaman, coUected
172
by Libbey,
Ivory charms of the Yakutat shaman, coUected
by Libbey,
173,	Ivory charms of the Yakutat shaman, coUected
by Libbey.
Masks of Libbey's unknown Yakutat shaman.
Headdress  ornaments  of  the   Yakutat  shaman,
coUected by Libbey,
176,	Rattles   of   the   Yakutat  shaman,   coUected  by
Libbey.
Rattle of the Yakutat shaman, collected by Libbey
Paraphernalia of unidentified shamans of Yakutat
and Dry Bay,
179,	Dance wands and headdress ornament of Yakutat
and Dry Bay shamans.
Masks of an unidentified Dry Bay shaman.
Masks of unidentified shamans of Dry Bay and
Akwe River.
182,	Ivory   and   bone   charms   of   unknown   Yakutat
shamans.
Ivory charms of unknown Dry Bay shamans.
Masks of an unidentified Yakutat shaman,
Masks of unidentified Yakutat shamans,
Masks of unidentified shamans of the Yakutat-
Dry Bay area.
Paraphernalia belonging to SEtAn.
Masks belonging to SEtAn.
Masks belonging to SEtAn.
Masks belonging to Gutcda.
Masks belonging to Gutcda,
Masks belonging to Gutcda.
Headdresses belonging to Gutcda.

Copies of masks belonging to Gutcda.
Paraphernalia of an unknown TluknaxAdi shaman,
Paraiohernalia    of     the    unknown    Tluk^'axAdi
shaman,
Masks of the unknown TluknaxAdi shaman,
Paraphernalia belonging to Qadjuse.
Paraphernalia belonging to Qadjuse,
Mask and headdress belonging to Qadjuse.
Masks belonging to Qadjuse.
Masks belonging to Qadjuse.
Headdresses belonging to Qadjuse.
Paraphernalia   of    the   unidentified    Xat'kA'ayi
shaman.
205.	Paraphernalia   of    the    unidentified   I^Iat'kA'ayi
shaman,
206.	Headdress and mask of the unidentified %2itkA-
'a3d shaman,
207.	Masks and maskette of the unidentified %a.tkA-
'ayi shaman,
Headdress of the unidentified Xat'kA'ayi shaman.
Frog Crest of the Tl'uknaxAdi, Sitka, 1902.
Yakutat natives at the Sitka potlatch, 1904.
Yakutat natives at the Sitka potlatch, 1904.
Hosts and Yakutat guests at the Sitka potlatch,
1904.
213.	The   Golden   Eagle   Screen   for   Drum   House,
Yakutat, 1905,
214.	Teqwedi   guests   at   the   Tl'uknaxAdi   potlatch,
Yakutat, 1916,
215.	The Thunderbird Screen and CAnkuqedi, Yakutat,
1918.
Performance in the ANB HaU, Yakutat, 1936.
Harry   K.   Bremner   with   Mount   Saint   EUas
Dancers' equipment, 1965.
218.	The Mount Saint EUas 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 WUl Stark for
this publication.)
TBM/WSM, Thomas Burke Memorial Washington State Museum, Seattle, (Photographs by WiUiam Eng for
this pubUcation,)
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.)

918
PLATE 1
Charley White (1879-1964) in 1949.
919

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.
920

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.
921

922
PLATE 5
Mrs. Jenny Jack (1903-        ) and Mrs. Minnie Johnson (1884-1964) in 1954.
923

(=^

 
	3	   
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924
PLATE 7
Jack Reed (1888-1953) in 1949.

PLATE 8
Wilham Milton (1888-1950) rendering seal oil, 1949.
925

926
PLATE 9
Mrs. WiUiam Thomas (Mary Kardeetoo) (1911-1967) and her children, 1952,

PLATE 10
Tom John (1901-1959) in 1954,
927

928
PLATE 11
Harvey Milton (1912-        ), Chief of Police, in 1952.
929



PLATE 12
Mrs, Annie George (1890-
) in 1954.

930
PLATE 13
Mrs, Maggie Adams Harry (1892-       ) with Copper River Dance Stafif, 1954

PLATE 14
Beverly Jean and Rebecca Bremner, my "joking relatives" and the daughters of Harold and Esther Bremner, 1952.
931
932



Leonard WiUiams (1942-
PLATE 15
) in a Chilkat blanket, 1952. (Photograph by Catharine McClellan.)
933


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938

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946

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956
PLATE 39
Tlingit woman, Lituya Bay, 1786. "Femme du Port des Frangais." (After Chinard, 1937, pi. opp, p. 48,)
957



 
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961

PLATE 44
The chief of Port Mulgrave and his son, 1791. "Indio de Mulgrave. Jefe del Puerto de Mulgrave." (Aquatint by Suria, courtesy
Museo Naval, Madrid.)
962
"1

l/(
/    7
PLATE 45
The chief of Port Mulgrave. "Jefe del Puerto de Mulgrave nombrado Ankaiui." (MS. sketch by Suria, courtesy Yale Univ. Library.)
963

PLATE 46
An Indian of Port Mulgrave (evidently the chief's son), 1791. "Indio de Mulgrave." (MS. sketch by Suria, courtesy Yale Univ. Library.)
964
KK

Y.
'^-J
,1 ■   i^ ^

JuAit    ri;    • <i««i*lf 4^
PLATE 47
The son of the chief of Port Mulgrave, 1791. "Indio de Mulgrave." (Aquatint "405" by Suria, courtesy Museo Naval, Madrid.)

PLATE 48
The son of the chief of Port Mulgrave, armed with a dagger, 1791, (Aquatint by Surfa, courtesy Museo Naval, Madrid.)
965
966

i -\)oy^




,) ^i i   ^IC
%   • >
PLATE 49
A man of Port Mulgrave, 1791. "Pleveyo." (MS. sketch by Surla, courtesy Yale Univ. Library.)
-^


^v-y
PLATE 50
Men of Port Mulgrave, 1791. Left, A warrior with his hair tied up, and a tasseled cloak tied up about his loins. Riiht A man
a basketry hat and a long tasseled robe, probably a woven goathair blanket. (MS. sketch by Surfa, courtesy Yale 'uni    ^Y^^^^^"^
967
968
^c^iluiP-
2
^iA/^C/7l/t^

halfc^^^
^
isttir
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 Surla, courtesy Yale Univ. Library.)
969
/
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V
^J^^ t>-


'1/ '	^

PLATE 52
Women of Port Mulgrave wearing labrets, 1791. (MS. sketches by Suria, courtesy Ytle Univ. Library.)
265-517—72—vol. VII, pt. 3	5
970



t;
«v  ' i^!

PLATE 53
A plebian woman of Port Mulgrave, 1791. (MS, sketch by Surfa, courtesy Yale Univ, Library.)
971


A'    ^■'
^V. \


PLATE 54
A woman of Port Mulgrave with her baby, 1791. "India de Mulgrave con su hijo." (Aquatint by Surfa, courtesy Museo Naval, Madrid)
972



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

PLATE 56
A girl with nose pin. Port Mulgrave, 1791. (MS. sketch by Surfa, courtesy Yale Univ. Library.)
■"^
973
974
i(»:

cAAo I'Y^ '''^C
PLATE 57
A young girl of Port Mulgrave, 1791. (Aquatint "403 " by Suria, courtesy Museo Naval, Madrid.)
975

PLATE 58
Crest hat of the chief of Port Mulgrave, 1791, "Sombrero o turbante del Jefe de Mulgrave." (Aquatint "81" bj'^ Surfa: erroneously
attributed to Josef Cardero. Courtesy Museo Naval, Madrid.)
976

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977

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978

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979

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.)
980

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.)
981

'^^^'V^^^^jg^,.^^

PLATE 64
Yakutat Chief George Ya:sodaqet, photographed by George T, Emmons. "Yah-hoo-da-kate, Chief of the Qwash-qwa-kwan, Yakutat,
Alaska, 1888," (Courtesy, Amer, Mus, Nat, Hist.)
982

PLATE 05
The Teqwedi shaman, Tek-'ic, "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.)
983
984

PLATE 67
"Klog-Shegees in his 'store' clothing." Chief of Kayak, Wingham Island, Controller Bay, 1886, (After Seton-Karr, 1887, p. 159.)
985



PLATE 68
Kayak, Wingham Island, Controller Bay, 1886. Above, "Kaiak." Below, "Indian hovels at Kaiak,"
(After Seton-Karr, 1887, pp, 147, 157.)
986

W::K>J«:3;j«?:SSS!p^«;w*«^::!


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.)
987
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1005

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.)
1006

PLATE 89
Bear Post from Shark House, Yakutat. This post was made by YandAs-'ic, TluknaxAdi, Minnie Johnson's mother's uncle.
OriginaUy 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,)

1007
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 Tek-'ic. The boy on the left is Willy Brown (1916-dcceased) and the boy on the right is Charley Brown
(1916-51). All are Kwackqwan. The carving on the pole represents, from top to bottom: Eagle or Thunderbird, Bear holding Kats (who
married a bear), and Beaver. These would be the crests of the CAnkuqedi, Teqwedi, and Qalyix-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.)

1008
PLATE 91
Thunderbird Screen from Thunderbird House, Yakutat, now in Alaska State Museum, Juneau. (See pi. 215.)
(Photograph by J, Malcolm Greanj^ for this volume.)

PLATE 92
Yel nawu of Sitka (1905 ?) painting the Golden Eagle Screen for Drum House. (See pi. 213.)
(Photographer unknown; purchased as postcard in Sitka, 1954.)
263-517—72—vol. VII, pt. 3	S
1009
1010

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 eschschoUzii), ferns, and horsetail. Early June 1952.
1011
1012

PLATE 95
Devilclub. Left Devilclub (Oplopanax horridus) in full fruit, and highbush cranberries; early September 1952. Right, Devilclub shoot
in early June 1954.
1013

PLATE 96
"Wild rice" or Kamchatka lily {Fritillaria camtchatcensis) in foreground; lupin {Lupinus nootkalensis) in background. Early June 1952.
1014

PLATE 97
Wild celery, yellow pond lily, and buckbean. Above, Wild celery {Herachim lanatum), June 1949. Below, Yellow pond lily {Nymphaea
polysepalam) and "its child," the buckbean {Menanthes trifoliata), mid-August 1952.
1015

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3

PLATE 104
Dried salmon, opened out, as prepared by Mrs. Maggie Harry. (Photograph by Catharine McClellan, 1952.)
1021
1022


PLATE 105
Yakutat canoe paddles and canoe models. Top to Bottom: Canoe paddle, 68}^ inches long, carved to represent a wolf, collected by
Governor Thomas Riggs at Yakutat in 1906 (PU 5205), Canoe paddle, 60}^ 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 (tcAyac, bow to right), col-
lected 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 WUliam 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).
1023

PLATE 106
Yakutat canoe models. Top to Bottom.: Model of a split-prow sea otter hunting canoe (tcAyac), with shelf seats in bow and stern, hol-
low 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 smaU paddle for use in the bow, a hollow log stool, and a regular paddle; made by Sampson Harry, March 1954. Model of a
epht-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.)
1024



PLATE 107
Models of Yakutat canoes (gudiys) for sealing in the ice. Top, Model, 49 cm. long, probably collected on the Harriman Alaska Ex-
pedition 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 un-
doubtedly collected at Yakutat (USNM 76,276).
1025
I
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, coUected by George T. Emmons at Yakutat (MAI/HF 9/7863).
1026
<
>

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 }i of the natural size.
1027

PLATE 110
Wooden clubs for kiUing wounded seals or sea otters. Left to Right: Club with incised design around the handle and the end col-
lected by George T. Emmons at Yakutat before 1909; scale in inches (TBM/WSM 1999). Club ornamented on the head with iiicised
triangles, coUected by Emmons at Dry Bay before 1888; scale in centimeters and inches (AMNH E/440). Club carved to represent a
shaman's spirit, collected by Emmons at Yakutat before 1888; scale in centimeters and inches (AMNH E/435)
1028


 
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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, coUected by James T White t
Yakutat before 1904; scale in inches (TBM/WSM 657). Right, Hook carved to represent a spirit that Uves in the water coUected bv
Emmons at Yakutat before 1888; scale in inches and centimeters (AMNH 19/1148).	'	^
1032

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PLATE 115
Halibut Hooks. Left. Hook carved to represent a crow; the bUl 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.
1033

1^
ra,.
PLATE 116
Powder horns, buUet mold, and shot pouch. Top, left to right: Powder horn (4 inches long) carved to represent a man's head with head-
drels collected by George T, Emmons at Yakutat before 1909 (TBM/WSM 1747), BuUet mold m inches long) and lead bullet (PU
5181) • and shot pouch made from a bird's foot (scale in centimeters and inches) (PU5171) ;bothcollectedbyWilliamS,Libbey at Yakutat
in 1886 Bottom, left to right: Powder horn, coUected 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, coUected by WUliam S. Libbey from Chief Yen-at-setl
at Yakutat in 1886; scale in inches and centimeters (PU 5149).
265-517—72—vol. VII, pt, 3	9
1034
T'sinrnr
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pi:::a~''a-"'"a:'' 61-
i,iL'i~LjiL,aJj.ni3i.T,:f;,:ilu.Lu^^^^
.1   'al'slol



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 pi, 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.

1035
PLATE 118
Horn spoons and dish. Top, from left to righi: 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
(10^ 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),
1036











m
h.] ,
'T^'
TT^ilo^'TZi:''-']
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 WiUiam S. Libbey at Yakutat in 1886. Scale in inches and centimeters.
1037

.,;,i ..| '.,1 '.,|    ,   .,   -1 ,;,ji9.'. jlm, ' .1. '-I '■■! ''.| ''r''i ■■■! 'J"''l 'I   ;1 '-.I '■i;-l '-i '"l '.| 'jiy'iirn ■ .i '<i.'-,i ;.^    ,   -,    ,
lj.i,^..,M,J.S,,iaO,l-'''-U''-:'^IU,UAUbUubtd^^		■fl,lJd,lHjn'lfM,hl,jM(l,'„l,li,,l,,^ISl,,,l,l,l,.',hf,l,hl,hl,M,!,l,l,l,l,l,,'Jr«l,l.
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 coUected at Yakutat by WiUiam S. Libbey in 1886. Scale
in inches and centimeters.
1038

5'	61


PLATE 121
Tobacco pipe and snuff mortars. Top, Pipe carved to represent an eagle; coUected by George T, Emmons at Dry Bay before 1888;
scale in inches and centimeters (ANMH E/2724), Center, Mortar, 5M inches high, made of whale vertebra, from Dry Bay (PAM 48,3,-
169). Bottom, Wooden snuflf 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,)
1039

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., ;;§[!'atkA' ayi sib) (MAI/HF 9427). Bottom, Pipe, 4}4 inches high, carved to represent a
bear, with a brass cap at the mouthpiece; "coUected by G, T. Emmons at Yakutat in 1869" but more probably obtained from Yakutat
natives at Sitka (MAI/HF 9212).
1040


PLATE 123
Wooden pipes. Top, Pipe, 9M 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; coUected by George T. Emmons at Yakutat or from Yakutat natives (MAI/HF 9207). Bottom, Pipe,
10 inches long, illustrating the Spirit of Lituj'-a 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 18S8 from the DAqdentan chief of Hoonah
(MAI/HF 9205; cf. Emmons, 1911, fig. 50),
1041




CH  II      it     I*     l4     Is     It     Ir     li     I*    ilo    )>■     fit    < s    lU    lit
j||.iJu,.l.iJito«.i.l.i.ri 1.1.1.1.1.I.I.1.1.1.irt.l.ij. J,U.ijLiJ^jLi,LLuioi-^l*
PLATE 124

Implements for working skins. Top, Ulo, with wooden handle and iron blade, collected by George T. Emmons at Yakutat before 1909j
life size (TBM/WSM 1047), Bottom, Bone skin scrapers, also used as knives for skinning small animals; coUected by Emmons at Dry
Bay and Yakutat before 1888; scale in centimeters and inches (AMNH E/377, 379, 2120 a, b),
265-517—72—vol. VII, pt. 3	10
1042



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,
1043


 
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1044

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.
1045
?\y::<L. r^i   r-Ji-T,!   I  ,|-T^| ■t;:|- T-^|'r->[- T-|--.r^|-	      ,..|....,..^,. ,..^.,,..^..
^.r:\ySui7JZ^:uuui:X.O^	.hMuu '1^ i:,: ?F

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),
1046




PLATE 129
Yakutat berry baskets. Top: Basket, 14V2 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,
1047

PLATE 130
Spruce root basket, 3 inches high, with braided handle and design representing birds; coUected by J, E, Standley at Yakutat before
1900 (MAI/HF 5/3629).
1048




|||»iw»;ffM:^ '' '■ "'. ■'",' ■''; •■" ■''-*'.yy^-f"-
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-      ."%.•-* tr^'r i-ink-*-        .   ,„-  .-;•::    ••
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 yeUow 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). AU baskets are a little
less than half natural size.
1049



«»;j^^
yy ■ym'^^^y^^biii

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''■■'''■ ■■ IH-•'./''" ^--^-^'*i^--'■■'■-■■ ^



wmy'^
>y^^Mm

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 6% inches diameter, made by Mrs. Emma Ellis
at Yakutat, with design of brown and yellow native colors (PAM 48.3.640 a, b).
1050

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).
1051

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 McCleUan. The hair is black commercial yarn. The baby in the pouch has an umbUical 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.)

1052
'^Uiit.^
3   ''
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VM

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m^^v.
5«««./

m




 
riPTTST'^i"	■  '    5|	'W	i    ,,     T8{-|-9|'	.,,„,,,	-ii'-^'w^-ar	v"4	   
ill   i""'i	1,1 1^1 1	llllll	•3 1      M«n!   IN ,li :	}]Ma	htkhlMy^	uJ	 
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 Kwackqwan 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, aU crests of the Teqwedi; probably one of a pair of feathers worn by Mrs, Situk Jim (K"ackqwan) 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: SiWer
bracelet with incised floral design (PU 5124). Silver bracelet with incised design representing the American eagle (PU 5126). The
sUver and bead bracelets and the labret were collected by WiUiam S. Libbey at Yakutat in 1886, AU objects are natural size; see
scale in centimeters and inches.
1053








iBJ,l,i^l,lJJJ!hul■lJ.^J■l^J.l.l■lJ.l■ll^l ^1JI t^jJj-W	thf.TJLi.! .71.1, LI. I. I. K§l
.^^^■^.,|.,,.,^.,.,.|i...|..gp|.^
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). AU coUected by WiUiam S, Libbey at Yakutat in 1886, Scale in centimeters and inches.
1054




vso[ iSiJ s
iIjIiIiIiI,
2 M[iRic3
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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 gambhng games, with a Frog incised on one side (PU 5087). AU collected by William S. Libbey at Yakutat in 1886. Scale in
centimeters and inches.
1055



I

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; coUected by WiUiam S. Libbey at Yakutat in 1886 (PU 5167). Scale in inches.
1056
.,.i.|,|,,.|.,.j,|.j.,,|.,,,,,,j.,.c,.j.l.|T,.I.,.,.p.,-,-I.|ljM'lTj'CI»PJT|'
*ILi.,l„.„!i:	!LJLJL..,*I.J,....„!:l..i..:i„„,„!l„...,:i	^1	1^1.1





».M

M^dJL,\7AadBi.uU< I ..i. I .^Li'T.' i''lVu|,ii,L.I,i.i...li,i.l,i^.L.i...l.i,i,i li,\M i Tl I'l'i' I u 111? I, i, l m 1. 111 i^l, 11111,1, i, l i^^l i n I, i, I, i, 1, M111111 II 11 i^l ^ a 111 111 11. Mi?a ■ 11K n 1 ,?i r^^i 1111111,1 ill'il I, >'
PLATE 139
Gaming implements and paintbrushes. Top, left to right: Counting board coUected at Yakutat by George T, Emmons before 1888;
scale in inches and centimeters (AMNH E/2760), Paintbrushes in a skin case, coUected by Emmons at Yakutat before 1888 (AMNH
E/939 A, B; neg. No. 323374). Bone disk, 2^/^ inches in diameter, for a top used in gambling games, coUected by Emmons at Yakutat
before 1909 (TBM/WSM 1865). Bottom, Wooden chessmen or checkers, stained red, and evidently belonging to two or more sets;
coUected by WiUiam 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.)
1057
1058

PLATE 141
Clarence Peterson, Tl'uknaxAdi, wearing an ermine shirt decorated with (red ?) flannel and beadwork, and holding a "devUfish 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
(pi, 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.)
1059

PLATE 142
Ned WiUiams, "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.)

1060
PLATE 143
Teqwedi heirlooms on the porch of Shark House at Yakutat. From left to right: Chair with spruce root hat, with painted designs sug-
gesting "coppers," topped by cylinders and ermine skins. The Killerwhale Drum, with its fin standing on it (see pi. 164). On the drum
is a spruce root hat with painted design, evidently the KiUerwhale Hat (see pi. 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 pi. 163). The Uttle 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 pis. 86 and 87),
(Photograph by Fhoki Kayamori, about 1912. Courtesy of Mr. and Mrs. Harry K. Bremner.)

1061
PLATE 144
Teqwedi and Kwackqwan heirlooms in Shark House, Yakutat. Mary James (born 1926), then Mrs. Sam Henninger, wears the K''ack-
qwan 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
pi. 164) held by Mary Henninger. The KiUerwhale Hat with painted designs, three woven and three copper cylinders, and ermine tails
(see pi, 145). The Brown Bear Chilkat Blanket (under the hat). Two canes that belonged to the shaman Tek-'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 waU (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 pi. 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 pi. 156), (Photograph by Fhoki Kayamori; courtesy Mr. and Mrs. Harry K. Bremner.)
1062

^laaaaw^
PLATE 145
Ceremonial garments of the Bear House Teqwedi. The Killerwhale Hat, formerly owned by Jim Kardeetoo, is painted with a Killer-
whale 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-chUd, 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.)
1063

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1064


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1065

265-517—72—vol. VII, pt. 3
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1066

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1067

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1068

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PLATE 151
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1069

PLATE  152
Harvey Milton wearing the Mount Saint Elias Blanket of the Kwackqwan 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 cloud.s 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). (Photo-
graphed at Yakutat in 1954.)
1070




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 Tl'uknaxAdi, 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 Gusex. It was a cap with braids on it of the hair of every slave kiUed. Djiniq's father—my broth-
er's wife's father had it. Qawusa, Dry Bay Chief George, had it, and after that it belonged to Lituya Bay George, whose name was
Ciyilq. Then I had it. I sold it in Juneau." Bottom, Bear's Ears headdress of the Teqwedi, made of skin, painted wooden disks, feath-
ers, and hair from a cow's tail. Purchased from Mrs. Jenny Jack in 1950. AU are now in the Alaska State Museum, Juneau. (Photog-
graphs by Edward Keithahn.)
1071

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. CoUected by WiUiam S. Libbey at Yakutat in 1886 (PU 5179).
1072

PLATE 155
Yakutat crest hats. Top, Recently made hat, 20^8 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), coUected by WiUiam S. Libbey at Yakutat in 1886 (PU 5178).
1073

PL.\TE  156
Ceremonial headdress (cAki'At) once belonging to Jim Kardeetoo, Teqwedi. The wooden carving, IJi inches tall, represents what "Mr.
Henry Yakutat," i.e., Henry Shada (1865 ?-1944 ?, Teqwedi), caUed a "Gidjuk on a rock". The head of the Golden Eagle is sur-
rounded by an oval of abalone shell inlay (Uke the sun); below, the wings are folded together across the bird's body, their tips over-
hanging 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 yeUow wool yarn (PAM 48.433).
26.5-517—72—vol. VII, pt. 3	12
1074
PLATE 157
Teqwedi headdresses and dancing masks. Top left, A wooden maskette for a headdress said to have been owned by Kax-da-xetl, 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 aU 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 Yen-
aht-setl when photographed by WiUiam S. Libbey in 1886. (Kodachrome by Edward Mahn at Yakutat in 1949.) Top right, A dancing
mask used by the Teqwedi and made by Tom Coxe, K^'ackqwan (d. after 1921), and son of the shaman, Tek-'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
hj a Yakvitat man of the Drum House Teqwedi, Xaw-h-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, K'*'ackqwan (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 G\es are not pierced. The colors of the commercial paints
used were not recorded. (Photographed at Yakutat in 1949).
1075

iiU^
1076
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 Tl'uknaxAdi, who later went to war and regained it.
At one time, it was used as a mortar. Once owned b}'^ 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, formerlj'- owned by Tanux, Teqwedi of Yakutat, and purchased b}'^ Axel Rasmussen from Billj'^ Jackson in 1945. and now
in the Alaska State Museum, Juneau. (Photograph bj^ Edward Keithahn.)
1077

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 coUar. Collected by George T. Emmons at Diy Bay before 1888 (AMNH E/453;
neg. No. 291534), (Cf. Vaillant, 1939, pi. 83; d'Harnoncourt, 1941, pi. 168.)
1078


i      «
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).

<iBWirrBni¥iin»	
PLATE 161
Moosehide armor, coUected by George T. Emmons at Yakutat before 1909 (TBM/WSM 1998).
1079
1080

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, 57 Yi 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, pi. 215a), and was coUected by George T, Emmons at Yakutat in 1926 (MAI/HF 15/1332).
1081
PLATE 163
Song leaders' staffs. Left to right. Copper River staff of the K*ackqwan, 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
pi, 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 pi. 214c), (Photographed at Yakutat in 1949; cf, MaUn and Feder
1962, fig. 17. Now in the Denver Art Museum.) Teqwedi staff painted red and black and representing the KiUerwhale's Fin and
NatsAlAn6, the man who made the first Killerwhale. This staff was formerly owned by Jim Kardeetoo, Teqwedi (see pi. 143) and is
now in the Alaska State Museum at Juneau, (Photograph by Edward Keithahn,) Obvervse and reverse of a model of a TluknaxAdi
staff depicting an octopus with a naked female figure between the two pairs of tentacles. This represents the woman who married
the devUfish. The original had belonged to Charley White; the model was made by B, A. Jack, (Photograph by Catharine McClellan
in 1952.)
1082

PLATE 164
KiUerwhale Drum of the Teqwedi, The drum is 39^^ inches high and the fin 28'/4 inches high. They were purchased from Jim Kardeetoo
by Axel Rasmussen (PAM 48.3.490 a, b; cf. Davis, 1949, pi. 93). (See pi. 143.)
1083

PLATE 165
Wooden drum, 37 inches high, with painted decoration representing an Owl with abalone eyes, evidently the K'^ackqwan crest. Pur-
chased by G. G. Heye at Yakutat in 1938 (MAI/HF 19/9099).

1084
PLATE 166
Raven Drum of the K'^'ackqwan, held by Jerry Harry. Edna Harry wears a chUd's button blanket of navj^ blue broadcloth, trimmed with
red borders and panels. (Photographed at Yakutat in 1949.)
1085

PLATE 167
Kwackqwan 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 memorj'-, 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, K'^ackqwan
(PAM 48.3.354; cf, Davis, 1949, pi. v in color).

1086

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), Hviman 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 carv-
ings made by B. A, Jack (1860-1949) and photographed at Yakutat in 1949.These aretUnpainted model of a totem pole representing
the Eagle on a rock. Model of a totem pole representing the She-bear and the Teqwedi man, Kats, 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,)
1087

PLATE 169
Shaman's grave guardian from a gravehouse at Yakutat. This figure, 23>2 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, pi, 179).
1088

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1089
PLATE 171
Paraphernalia of the unknown Yakutat shaman, collected by WiUiam S. Libbey in 1886 from a gravehouse near Port Mulgrave,
(See also pis, 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 strangula-
tion .and two birds (ravens ? ")(PU 5063). Bottom, Tapping sticks (PU 5201),
1090




:«:«(,	"^t
, ._..,..riitm»>s&::»^-::
,.-;.««Saiafiip





PLATE 172
Ivory charms of the unknown Yakutat shaman, collected by William S, Libbey in 1886 from a gravehouse near Port Mulgrave. (See
also pis. 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 manu-
facture.
1091



if



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^>iilailiiiiMiiiliiiliiiLil.9iiii>liiii.^l^
PLATE 173
Ivory charms of the unknown Yakutat shaman, collected by William S. Libbey in 1886 from a gravehouse near Port Mulgrave. (See
also pis, 170-172, 174r-177,) Top, Ten bone and ivory charms, "probably from the shaman's grave." These include carvings represent-
ing 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).
1092

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 pis, 170-
173, 175-177.)
1093

PLATE 176
Headdress ornaments of the unknown Yakutat shaman, collected by WUliam S, Libbey in 1886 from a gravehouse near Port Mul-
grave. (See also pis. 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).
1094

. i^U pt.nnr ' 4l   ' sf'Ui  '' .   '8i   N"'"ilo'''ir'"2l   'yj   '♦!   'il   '6r'i',|'Te|   iQl-T^ur,!  i^l'TarUI T.l'T^i   1,1   le   r a|M jb ij-ra ■■. j ■ i ..p-r ,i|-r6|
V	PLATE 176
Rattles, probably belonging to the unknown Yakutat shaman, coUected by WiUiam S. Libbey at Port Mulgrave in 1886. (See also
pis. 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, whUe 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).
1095

)   %i ...



PLATE 177
Rattle of the unknown Yakutat shaman, collected by WiUiam S. Libbey in 1886 from a gravehouse near Port Mulgrave. (See also
pis. 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).
1096


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, Medi-
cine 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).
1097

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 ?IatkA'ayi shaman at Dry Bay, but not part of a known set (AMNH E/2212, neg. No. 124488). Center, Headdress orna-
ment, about 18 inches long, representing a land otter with octopus tentacles for the tongue; part of the set (see pi. 180) from the grave-
house of an old shaman at a village on Dry Bay (AMNH E/344, neg. No. 330977). Right, Dance wand carved and painted to repre-
sent 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).
265-517—72—VOL VII, pt. 8	18
1098
.^U-  ¥^^
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 pi, 179 center), Top left. Mask representing the spirit of a Land Otter Man (AMNH E/342), Top right, Mask repre-
senting 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).

1099
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
smaU figures with land otter heads and octopus tentacles for bodies; collected at Dry Bay before 1909 (TBM/WSM 2032). Bottom left
Mask, SYz 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).
1100




J^lilwiMiiiiiiMkiMte
<^Vm^
PLATE 182
Ivory and bone charms of unknown Yakutat shamans, collected by George T. Emmons, Top, Ivory charm, 4^ inches long, represent-
ing a shaman's spirit, a double-headed monster eating smaU 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),
1101



PLATE 183
Ivory charms of unknown shamans, collected by George T. Emmons at Dry Bay. Left, Whale tooth, 5^ 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). Righi An ivory charm,
4^ 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),

1102
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 pi. 185 top, and pi. 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),
1103

PLATE 185
Masks of unidentified Yakutat shamans, coUected by George T. Emmons. Top, Mask representing a mosquito, from na old shaman's
gravehouse and probably part of the set shown on pi. 184, coUected before 1888 (AMNH 19/880). Bottom, Mask, about 7>^ by 9 inches
representing a man's face painted with red, black, and blue-copper pigment (MAI/HF 11/1755).
1104
PLATE 186
Masks of unidentified shamans of the Yakutat-Dry Bay area, coUected 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 teU 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 pi. 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).

265-517—72—vol. VII, pt, 3	14
1105
1106
PLATE 187
Paraphernalia belonging to SetAn, a TluknaxAdi shaman, collected before 1888 from an old gravehouse on Akwe River by George T.
Emmons, who writes: "Some of these objects have deseeded 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 pis.
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).
1107

1108

PLATE 188
Masks belonging to SEtAn, a Thik^axiAdi shaman of Akwe River (see pis. 187 and 189). Top left. Mask representing the spirit of a
TUngit 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 symbohze 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).
1109

PLATE 189
Masks belonging to SstAn, a Tluk*a?Adi shaman of Akwe River (see pla. 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).
1110

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1112
PLATE 192
Masks belonging to a Tluk^'axAdi shaman named Qutcda, coUected by George T. Emmons from a gravehouse on Dry Bay before 1888.
(See also pis. 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 prehminary treatment of iUness, 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 spu-it of the peacemaker or the one who intercedes between two sibs; if he should
be kiUed, his spirit has the power to cure the sick; the lower Up was formerly bewhiskered with brown bear fur (AMNH E/401).
1113





1114
PLATE 193
Headdresses belonging to a Tiuk^'axAdi shaman named Qutcda, collected by George T. Emmons from a gravehouse on Dry Bay before
1888, (See also pis. 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 represent-
ing the spirit of the air that lives above, detached from a headdress of swansdown and eagle tail feathers (AMNH E/406).
1115

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1116
PLATE 194
Copies of masks belonging to Qutcda 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-W ar, 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 Unes
on the face representing starfishes (BAE neg. nos. 3089-a-l and 3; Swanton, 1908, pi. lviii).
1117

1118





PLATE 195
Paraphernalia of an unknown TluknaxAdi shaman, collected by George T. Emmons from a gravehouse on the Akwe River before 1888.
(See also pis. 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, W ooden dish, 30,5 cm. long, carved to represent a land otter
and an octopus (AMNH E/1653).
1119



Y=7^'"r"rV''^*^fH^t*' f

PLATE 196
ParaphernaUa of the unknown Tluk*a?Adi shaman, coUected by George T, Emmons from a gravehouse on the Akwe River before 1888.
(See also pis. 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).
1120

PLATE 197
Masks of the unknown Tluk^a^Adi shaman, collected by George T. Emmons from a gravehouse on the Akwe River before 1888. (See
also pis, 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).
1121

PLATE 198
Paraphernalia belonging to Qadjus6, a :fcatkA'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 pis. 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 skuUs remain) (AMNH E/1613, 1614), Bottom, Neck rings of devUclub 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).

1122
PLATE 196
Paraphernalia belonging to Qadjus^, a XatkA'ayi shaman of the Alsek River, collected from his heirs by George T. Emmons before
1888. (See also pis. 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 rep-
resenting 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 represent-
ing 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),
1123

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1125




PLATE 202
Masks belonging to Qadjus^, a ]^atkA'ayi shaman of the Alsek River, coUected from his heirs by George T. Emmons before 1888.
(See also pis. 198-201, 203.) Top left, Mask representing a stickleback, formerly ornamented with copper bands across the face
(AMNH E/1594). Top righi, Mask representing the spirit of an angry man (AMNH E/1592). Bottom left. Mask representing the spirit
of a young woman who Uves in the woods, a good spirit (AMNH E/1601). Bottom right. Mask representing the Sun, formerly orna-
mented with copper bands in the form of a rectangle around the face (AMNH E/1593).
1126

PLATE 203
Headdresses belonging to Qadjus6, a XatkA'ayi shaman of the Alsek River, collected from his heirs by George T. Emmons before 1888.
(See also pis. 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).
1127

PLATE 204
ParaphernaUa of an unidentified ]^atkA'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 pis. 205-208.) Top
left, Pair of wooden ornaments, representing the fins of kiUerwhales, worn on the shoulders of a dancing robe (AMNH E/1650). Right
Wooden ornament, representing the fin of a kUlerwhale, 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).
1128

PLATE 205
Paraphernalia of the unidentified XatkA'ayi shaman, collected from his gravehouse on the shore of Dry Bay by George T. Emmons
before 1888. (See also pis. 204, 206-208,) Top, Dance rattle made of a wooden rod and pufl^in bills (AMNH E/1648). Bottom left, Dance
rattle of wooden rings and cross bars with deer hoofs and puffin biUs (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).
1129

PLATE 206
Headdress and mask of the unidentified iX^atkA'ayi shaman, coUected from his gravehouse on the shore of Dry Bay by George T.
Emmons before 1888. (See also pis. 204-205, 207-208,) Top, Bear's ears headdress of bear skin ornamented with a carving represent-
ing 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 Uve in the clouds (see also masks on pi. 207).
265-517—72—VOL VII. pt. 3	15

1130
PLATE 207
Masks and maskette of the unidentified XatkA'ayi shaman, collected from his gravehouse on the shore of Dry Bay by George T.
Emmons before 1888. (See also pis. 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 pi. 206 bottom, are from a set of eight masks representing a tribe of women spirits that live in the clouds.
1131


PLATE 208
Headdress of the unidentified XatkA'ayi shaman, coUected from his gravehouse on the shore of Dry Bay by George T, Emmons before
1888. (See also pis. 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),
265-517—72—vol, VII, pt. 3-
-16
1132

1133
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1138


1139
PLATE 212
Hosts and Yakutat guests at the Sitka potlatcli 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, /, Sitka Charley,
;^atsuq"a (or i^a^agu), of Sitka Whale House, Tl'uknaxAdi, holds song leader's pole and wears a banded fur cap and nose pin (see
pi, 210, c); g, George Dick, "Don-Nah-icth," holds a Raven or Thunderbird pole, and wears a striped fur hat and two feathers (see
pi, 210, d); h, T, G, Henry, Duksa'at, Tl'uknaxAdi of Sitka, holds a long Raven pole and wears a nosering (see pi. 210, e). i, Sitka
Jack, Katsex, Ldaxin, Ti'ukna?:Adi of Sitka, wears a Raven hat, button blanket, and bag decorated with Chinese coins (see pi, 210, t).
j, Ned James, Stagwan, Tl'uknaxAdi, wears a shaman's white feather headdress with forehead maskette, a Chilkat blanket, and a bib
with Frog (see pi. 210, u). k. Young man with nosering and hat with bead fringe (probably John Smith, Tl'uknaxAdi, see pi. 210, x).
I, Charley White, Yaniki (1882-1964), Ti'ukaxAdi, 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 pi. 210, s). n, Qexix, Chief of Sitka Whale House,
Tl'uknaxAdi, wears a Raven hat, glasses, and button blanket (see pi. 210, z). o, Jack Ellis, Qatcak^ (1892-1952), Tl'uknaxAdi. 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 pi. 210 r). t, Jack Reed, Kakendaqin, Ckuyel (1880-1953), Tl'uknaxAdi, wears a beaded head-
band, earrings, fringed jacket, and a dancing bag (see pi. 210/). 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, Tl'e'an (1872-1951), K^'ackqwan, wears a
hat with beaded fringe and headband, nosering, and Raven shirt (see pi. 210, n). w, Kitty, Xitl'i, sister of Dry Bay Charley, Tl'uknaxAdi,
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,
Kuwu:^, Da?tan, K'^ackqwan, wears a hat with beaded fringe, a nosering, button blanket, long earrings, and holds a wand with black
feathers (see pi. 211s). y, Teet Milton, Det3i:un or Ka'u (1878-1920), Teqwedi, wears a beaded cap, neckband with two eagles, a
white shirt, dancing bag, and holds a drum (see pi, 210). (Photograph by Merrill, courtesy American Museum of Natural History, neg.
No. 328740.)
1140

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1148

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, Kwackqwan, born 1926, with clappers; Frederic Bremner, DAqdentan, son of Mr.
and Mrs. John Bremner III, born 1948. (After a travel folder, ca, 196.5.)
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 de-
scribed 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".is 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 where the transcrip-
tions 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 Univer-
sity, 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 apprecia-
tion 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 re-
corded 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 interrupt-
ing 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
1149
1150
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

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 struc-
ture, 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 foUowing pages as a means
of indicating the degree of variation encountered. It
has not been possible, however, to include aU variations,
or to analyze the differences between two or more ver-
sions 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
(xixt6 xin 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 mean-
ingful 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, fluc-
tuations 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 over-aU 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 struc-
ture 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 con-
tinuous 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 Re-
frain and Stanza I, and between Stanza I and Stanza
II. Refrains are aU vocables, and the last phrase or
phrases of a stanza may also consist of vocables, usu-
aUy 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 xawEs ('thus').
Yet, as McAUester observes, "Texts seem to influence
melody. Repeats of stanzas, with the same words, are
close to being identical musicaUy, too. But the second
stanza, though clearly a repeat of the first, musicaUy,
often has quite a bit of variation, apparently to ac-
commodate new text. And then it, too, is almost iden-
tical 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 foUows: B' and B" are variations of B, B+ is a
lengthened form of B. ( ) indicates that an originaUy
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 sub-
IN  THREE  PARTS
APPENDIX
1151

scripts indicate that the original phrase has been trans-
posed upward or downward. Thus, A^ means a repeat
of phrase A, transposed upward a third, whUe 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 caU out direc-
tions to others. (These caUs 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 incom-
plete 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," WhUe coughs are toler-
ated 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
caUs, however, are an integral feature of the musical
style and, when given, take the place of one or more
syUables of the song. The latter may be carried by
another singer. To some songs, special cries (Raven
caws, Tsimshian whistling caUs) are traditionaUy 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 hne with this flair for syncope,
drununing is often on alternate beats, and when this is
the case, almost every long note begins on the offbeat,"
Such drumming is usuaUy so regular that it is sufficient
to indicate the beats only at the beginning of the song.
A tremulo effect is occasionaUy employed when attempt-
ing to indicate the noise of a rattle.
Although the Yakutat TUngit 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 aU (1952, 7-2-A and 7-2-B)
are traditional Raven Moiety songs referring to Raven's
Theft of Dayhght, and are beheved to be very ancient
Thngit songs,
Agi Jambor has made the foUowing observations on
the songs:
"It is almost paradoxical to try to transcribe ab-
original Indian music in Western musical notation.
It is as if we would explain a pear by means of an
apple. Our notation preserves with ahnost a short-
hand technique a musical style which is more or less
systematized. Between the sources and the manifes-
tation—that is, between our soul and the music—is
our Western knowledge of that art, Minnie Johnson
expressed it so beautifuUy on one of her tapes:
'Nobody taught me this song; it hved in my heart.'
Our feehngs have finer shadings than the 12 notes of
a scale or the musical forms that we have to foUow in
our compositions.
"The performance of Thngit 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 grand-
children 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 fines and httle black dots Minnie
Johnson who didn't learn her songs; they hved 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 pot-
latches. The great majority are mourning songs or laments; some are associated with par-
ticular 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 Sep-
tember 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 Tl'uknaxAdi 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
i
J = 58
As sung-
m
t=m
^
^
ye qe 'i tieu   de
? to the sand beach v
ye qe H tieu de
(' ? to the sand beach!
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 Day-
light (1952, 7-2-A and B) were included by Frank Italio
1152
as part of the Raven cycle, a story which he was fond of
teUing. 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 whUe he was stUl 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 ob-
tained Daylight, and threatens to open the box. It is
by far the most complex song in the collection, con-
sisting of many repeated phrases. Apparently, however,
these fall into two stanzas, with fragments of a third.
On September 13,  1952, Minnie Johnson gave the
IN  THREE  PARTS
APPENDIX
1153

foUowing free translation of the songs which Frank
Italio had sung that afternoon:
Song A
Daylight, daylight, daylight,
Pretty soon wQl break.
SongB
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
teU whether some of the syUables of the song are in-
tended to be separate vocables or simply quavers. He
was also in the habit of interrupting his singing, some-
times 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 fuU, but are simply summarized with
a hope of catching the meaning. Letters indicate each
musical phrase.

 
	Introduction	   
A	qe'a [daylight]		   
B	'aha		   
0	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?]	 

Stanza (repeated)
Stanza 1st
D	yisa [soon]	D
E	gi [perhaps]	E
qewu [gewu, net ?]
gi [perhaps] 'ehs
Nas [Nass]
cax [at head of]
duwa-
-'uwu [was] qe-
-'a [day-lightl
'a-
-cdjit-de [to his
hands]
ki-da
nik yel [Raven]
F	we'e {or ye)	F
G	da {or daha)	G
H	Nas [Nass]	H
I	cax [at head of]	I
duwa-
J	-'uwu [was] qe-	J
K	-'a [daylightl	K
L	'a	L
M	'a de [to it]	M
N     keni-	N
O     -gut [went up] yel	O
[Raven]
P	[speaks]
Q	'aha
R	qeya [daylight]
S	'Uii
T	'aha [speaks]
U	qe'a [dayhght] 'i 'eya'a
V	qe'a [dayhght]
X/	'a hutca\ "That's
aU!"
P      'ehe 'ehe
Q      'aha 'aha
R     qe-[s^ea^s]-a' [day-
hght]
S      [speaks]
T      'aha 'aha da
U     qe'a [daylight] 'edja
V     yi {or ye) qe'a [day-
light]
X/    'aya
OPQRSTUVX
The structure of the song is:
Introduction: A B
Stanza  (1st): ABCDEFGHIJKLMN
OPQRSTUVX/
(2d): ABCF*G*        HIJKLMN
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, Avith some meaningful syllables. It departs from
the structure of the stanza by omitting 12 phrases.
McAUester comments that the song "is notable in this
coUection 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
syUables 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 unneces-
sary to publish the score, especiaUy as it is incomplete.
In this song, the structiu-e of which appears at first
1154
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

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. X^ 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 originaUy,
it all falls into place as six basic phrases, much varied
and transposed, but aU 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 inter-
rupted 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 simUar sequences of musical
phrases. The latter are indicated by letters (with the
variations explained by McAUester), and the groups of
phrases are designated by Roman numerals. Only the
syUables that may be meaningful, or are clearly defined,
are given below.

Stanza I
[Read down]
Stanza II (false start)
Stanza II
Stanza III

 
I:    X	'iyUii [you?]	X	'UiUii		X^	'ihi heheheh	X	'ihi	   
	'aka ['AkA on it, or	A	'ahaha				A	'aka	   
A	'Aga for it; possibly
'for you'l								   
B	qe'a [dayhght]	B	qe'a [breaks off	B	ckul telihika	B	qe'a [dayhght]	   
			to teU	part of					   
			story]						   
C	'aha [comes or brings]						C	'aha [brings]	   
D	yel [Raven]				D	yel [Raven]	D	yel [Raven]	   
E	'ehe yaha {or 'eya,
that?)				E	'eya 'aha	E	'eya [that]	   
II:   X^	'ihjd heh				X'	'i	X'	'i-yuhu	   
A	'aha-kaha				A	'aka	A	hu wucl [wu wal'?
he cracks]	   
B	qe'a [dayhght]				B	qe'a [dayhght]	B/	'a	   
C	'ahaha ya				C	'aya	C	'iyisa [soon]
[speaks]	   
D'	'unax [or 'auax out
of it] du [he]				D'	'unax du [out of it,
he]	D'	['u]nax du [out of
it, he]	   
E'	'ukuts Pie breaks]				E'	'ukutsi [breaks]
'eyaha	E'	'ukutsgci [breaks,
maybe]
(FI ends: hut6
'awa! "That's
aU!")	   
III:X	hihihi				Xl	'Uii			   
A4	'aka [on it, for it]				As	'aka			   
B3	qe'a [dayhght]				B4	qe-ha [dayhght]			   
Cs	'aha				C4	'aya			   
D4	'unax du [out of it, he]				D4	'unax du [out of it he]			   
E4	'ukutci [breaks]				E4	'uk'uts-gci [breaks,
maybe]			   
x„	hihihihi				X5	'a ha			   
Y	'a 'ayaha				Y	'ahaha			 
in three parts
APPENDIX
1155

Stanza II:
Stanza II:
The meaning would seem to be: That Raven brings
daylight for you. Pretty soon he wUl break it out of [that
box].
The structure of the song is:
Stanza I:     X     A     B     C     D     E
X*   A     B     C    D" E"
X     A4    B3    C3    D4   E4   Xg    Y

X
X
X^
Xl
A     B	[breaks off to teU story]
B	C     D     E
A    B	C     D'   E'
A5   B4	C4   D4   E4   X5   Y
Stanza III: X     ABODE
X^   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 simUar 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 Day-
light 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
AprU 29, 1954.
As dictated and explained the words were:
Nas cakx quwa 'uwu qe'a ceya—At the head of Nass
was daylight
'adAx du djit kAylAkel'—Untie the box!
du dAtcAnktc—By his grandchUd
wusigax qe'a ceya—Dayhght was being cried for.
As sung, the words are pieced out by many meaning-
less syllables.
Refrain
B
C/
/B
D
he he ya ha ha 'e,
we ya ha ha ha ha,
'i ya ha he he,
ye ya ha ha"", 'a ha,
Stanza I (sung twice)
A
B
Nas cax duwa 'uwu—At the head of Nass was
qe'a ceyaha,—That daylight
'i ya ha he he

D
'e ya ha ha ha,   'i ya ha he yu hu
('e ya ha ha ha, 'e ya ha he he)—(on repeat)
'e ya ha"" hm, 'a ya
('e ya ha ha™ [talks] 'a ha, 'a ha ha) (on repeat)
A/
B
C
D
Refrain
'a he ha
'a ha ha ha ha, 'e ya ha he he,
'e ya ha ha ha, 'e ya ha he yu hu,
he ya ha ha ha 'a ha
Stanza II (sung twice)
A+
'a dac djit kelAkett'a    1-
I'-a] /
—Out of his hands un-
'adAx djit kAlAketl'-a] J	tie it!
du datcAnktc wus-[i]gax-i—By his grandchUd
was cried for
B       qe'a ceyaha, 'i ya ha he he—That dayhght
C       he ya ha ha ha, 'e ya ha he yu hu,
D       'e ya ha ha, 'a ha,
(ya ha h"° m [falsetto] hutt!)—{on repe&t)—"All!"
The structure is:
Refram:     B/   C/  /B    D
Stanza I:   A     B     CD (repeated)
Refrain:     A/   B     C    D
Stanza II: A+   B     CD (repeated, last D haphazard)
The first refrain, as McAUester 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 K'acliqwan Song: Lament of GudUta'
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 Gmexqwan
man, Gudilta', 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 Gmexqwan from
the Copper River to the coast, and is now used by
their descendants, the K'^ackqwan, as a mourning song
at potlatches.
The first recording was made when Mrs. Isaac was
teUing 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.
1156
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

The second recording was made by Mrs. Maggie
Harry, accompanied by Mrs. Jenny Jack who beat
the drum. Mrs. Harry had previously told the migra-
tion 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-il 'e-e ya,
C	'e-dju-u 'uci-i ke 'a qe-a ye-a
Part II (sung once)
A	cikaya 'a,
B"	'a bay ya na ta qa,
B" '	na-ay yu ni 'il 'e he ya,
C	'adjuci-i ke-a qen [tcukanatle (spoken)]
Part III (sung once)
X        'ay-ya
A        cikayen 'a,
B"      'a ta yu na ta qa
B" '    na yu ni-le ni ya,
C        'adjuci-i ke na qe 'e—[sobs,    exclaiming   about
her grandchUdren]
It was very difficult to catch these syUables, for the
singer was on the verge of tears throughout.
The structure of the song is:
Parti:	A    [']    B	B'	C
Part II:	A	B"        B" '        C    [']
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 kiUed him. My Httle brother,
where are you? Come back to me! Why did I do it?"
Unlike Thngit songs, there is no clear division between
refrain and stanza, although the melody faUs into two
parts, hnked by X and A' (reduced), as McAUester
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:
Parti
A	'adjuci kine 'aya,—"My httle 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+	nile '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    AXA/
Part I: B    C    B    C+    C    C'+    X    A'    / (3 times)
K'^ackqwan 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 ChUkat
on Bering River, near KataUa. Mrs. Harry's mother
heard it when she was about 9 years old, at a potlatch
given by Kag^'ask, of the Eyak GanAxtedi, in memory
of his brother who had been lost in a snowslide. The
' The pitch rises at these points during the song.
melody must date therefore at least to 1875, and is
probably older. Presumably the original words were
in Eyak.
The Kwackqwan 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
IN   THREE   PARTS
APPENDIX
1157

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 'ayaxa 'ax yit?^—Where is my son paddhng?
'Antlen  yikde   gwa   'anaxa—Into     Arhnklin     River
perhaps.
Stanza II
gudesa 'ayaxa, gudesa 'ayaxa—Where is he paddling?
(repeated)
hedi yu'ak'^ce ax yit—Perhaps hither my son
Tlaxayik de ce .   ,   .   .—Into Yakutat Bay ,   .   ,  .
Stanza III
tsuyat qaqEnqa'Ena—Already another dawn,
'ax tuwu CAnastitc—Longing for hun.
'ahte ya—"There's another night that
de xa tsu wuxi—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 'axaha—Where does he paddle?
B gudesa 'ayaxa—Where does he paddle?
C      hedi yu 'ak^ce 'ax yide—Hither, perhaps, my
son,
D     'Antlen xeyikde—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 'ayaxaha—Where does he paddle?
B	gudesa 'ayaxa—Where does he paddle?
C	hedi yu 'ak'^ce 'ax yide—Hither, perhaps, my
son.
D	Tlaxayik 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      tsuyat qaqEnqa'Ena—Already another dawn
B      tsuya qaqEnqa'Ena—Already another dawn
C      'ax tuwu cunastidja—My feelings (longing?)
D     'ahte ya, 'a ha—(?)
C?    de xa tsu waxe—(?) very much wish
E    'a hine he-ya,
F     ya 'a hine ya, 'a ha ha
'a ha [at end]
The structure is:
Refram:	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 K'^actqwan Songs
Other traditional songs with Atna words are con-
nected with the migration of the Gmexqwan from
Copper River to Yakutat, but were not recorded. One
is a mom-ning song, supposedly composed by a woman
who stayed behind at Icy Bay when some of the
Gmexqwan 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 Gmexqwan,
Another song, mentioned but not recorded, is a sib
mourning song of the Chilkat Kagwantan. It was given
to the K^'ackqwan as do^^Ty, 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.
1158
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
Traditional TluknaxAdi 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 Tl'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
Thngit the story of how Raven obtained medicinal
(aU?) plants from the Sea Otters (1:40 minutes; see
p. 864). The song consists of a single stanza sung
twice. This, however, faUs 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 aU' (hutc 'awe!). On the repeat, Charley
White as song leader caUs 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 Tl'uknaxAdi,  long  ago
(teak"); 'this was Raven' ('aya sAti Yel). 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 cix—real hard
red [alder] wood—grows there, and you'U have that
luck,"
The words of the song seem to be:
A    cuguni djix [cAgun 'idjix—destiny to your hands?]
naxa [?] gudi [gut—went] di yel [the Raven] he 'eya
B    'aga   [for   it]   ::fea^da   [around   the   island]   tcune
[straight]
'uq'^acukudja ['uq'^acukAdja—advise]
C    hAS [they] tciyi [some?] cexu [hardwood] gudji [?J
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 TluknaxAdi Song, Attributed to Qakex'^tE
1952,  1-2-A; recorded by Jack Reed on July 4.
This song is one supposedly composed by the
Hoonah man, Qakex^tE, 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 iUusions
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 Effis
(pp. 271-272).
The song, lasting 2:05 minutes, has two stanzas.
The first is sung twice, foUowed 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 simUar to the last words of
the song recorded by Swanton (1909, Song 2, pp. 390-
391), also attributed to Qakex^tE, 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 LAq!A'sgt point. 'Do not let me watch
the little stones or I might get bewitched,' "
The last we would transhterate as:
lil 'ilatinqeq yu texsani
'i 'ix 'unAxlixacA
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       kahlatink qeq-ci (repeated)—I   was   watching
C	qayayi kikci [xayayik ikce]?^—(The appearance
of  a man,  perhaps)?
kiki (on repeat)
D, E       'ixhkaci texisani—Were bewitching (me?), the
[x]?	little stones
F, G       'iyAnaha he, 'iyAna he, ya [^l
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
2 While this syllable (ya) corresponds to the musical phrase
X Ceya) with which the repetition of Stanza I is ended, it cannot
be considered musically as a short but independent phrase be-
cause it is musically a part of Phrase A' on the repetition of
Stanza I.
IN   THREE  PARTS
APPENDIX
1159

'iyAna he ya (on repeat at end)       Stanza II (second): A     B'
Stanza II (sung twice)
A, B'      'uhxadji-ce (repeated)—I give up hope
E"	hAS tixi hiqutina—Of seeing them,
[I]?
F, G       'iyAnaha he, 'iyAna he
G+
The structure of the melody, according to McAlles-
ter's   analysis,   is:
Stanza I (first):	A    B     C     D E    F     G     [^l
(second):	A'BCDEFGX
Refram:	K" B'   C   D        F'	X'
Stanza II (first):	A    B'	E" F     G
E"  F     G+
Traditional TluknaxAdi Song: Lament of Wuckika (I)
1952, 2-2-B (a, b); recorded by Frank Italio on July 30.
This song, and the foUowing (1952, 2-2-B c, and 1954,
6-2-C), were ascribed to the Tl'uknaxAdi 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 Gusex
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 under-
stand that he had sung only one song, not two as was
revealed by McAUester's analysis. She was too over-
come 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     t6u tlak"* qutax na' adi kat—Very long ago (-?-) they
(gudax) [on repeat]	went out
B     di 'ani yAtxi hu-a ha—The chUdren of the vUlage,
C     'itl'yexa 'unati-ye—Cahnlike when he did not find
[yEi'-yAx-a 'unat'i-ye]?—(when they did not find it
cahn?)
D    yisAkudjin nay ande—Because of them (it?), shore-
ward,
E     tea wusixix 'uwa 'a 'a gusik:xye—^Just (they were)
destroyed (-?-)
F     'ani qaxu 'ax 'lie,—For the sake of (?) of the viUage,
('ike) [on repeat]	my brother,
hua 'aw 'a
Stanza II
A'    -kA dax qu du djinex gulce(x)—(-?-)
B     'adawul'ini yAtiye—Trouble was remaining (?)
C     'ax 'ike huwa(ha)—My brother, (huwa-ha),
D     'iyEtxi-tina 'iwustiyi—With your chUdren (?) you
carried
E     yi qu t'a hayi huwa haw ha—When you disappeared
(?),
F     'a hine [speaks, machine turned offl
Refrain
[Machine is turned on, whUe MJ continues to talk,l
/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: t6u tlake. Machine turned
offl.
This song has the foUowing structure:
Refram:     X    Y
Stanza I:   A    B    C    D    E   F (repeated)
Stanza II: A'    B    C    D    E   F
Refram:     /X' Y
(There is a possibUity that the second refrain is reaUy
an introduction to the second song.)
2 See footnote on p. 1158.
1160
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
Traditional TluknaxAdi Song: Lament of Wuckika (II)
1952, 2-2-B (c); recorded by Frank Itaho 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 be-
ginning (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-ax
B     'ihlk"u-hAS djaka gaxayi ca
[tcakax  'axayi ca]?—
Your grandfathers were watching the paddlers'
mountain
C     'e ya ha ha haw,
D     de 'ag'^Askitak nuhu xawa cu hede
['ak^q'^]?
A'    tea nagaski yEta 'asasgi
B'    qunin  qal'nigi  ['i]  kagi-hAS—WhUe  your   uncles
were teUing
C daka cu 'uwe t'a
E     ye kunaskititi
F     'ani qawu yAx 'a hine [speaks]—Like a chief, alas
ya 'a he ya 'aw ha,
Stanza (repeated with variations)
A     tcu   tlagut   'asuga   'asgi—Very   long    ago    (-?-)
perhaps
B     'i-i daka cux t6a 'unq^aditca—You aU appeared,
I just imagined
C     ya heya 'au,
D    de 'ag'^AskitAk nuhu xawa cu hede
A'    t6a-nagaski yEta 'asasgi
B'    qunin qal'nigi kagi-hAS
C    daka cu 'uwetia
E     ye kuuAskititi
F     'ani qawu yAx 'a hine, ya he yah 'aw ha [breaks
off to taUi]
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 TluknaxAdi Song: Lament of Wuckika (III)
1954, 6-2-C; recorded by Mrs. Frank Dick on May 17,	As sung, the words are:
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 hlk'^ hAS 'akax 'axayi ca—Your grandfathers were
watching the paddlers' mountain [Fairweather],
'a qinx 'i dji qaxix—Close-by it your hands miss it
[the over-turned canoe].
It shoiUd be remembered that Mount Fairweather
was supposed to indicate whether or not there would
be stormy weather or dangerous waves, and on this
occasion faUed 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.
Refrain (sung twice)
A	'a ha ha hu-wey, 'a ha 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 lilak'^A hAs gaxa xayi ca-ha—Your grand-
fathers were watching the paddlers' mountain
B 'i lilak^A hAs gaxa xajd ca ha-ha-ha—(repeated)
C 'a qinxa 'i dji qaxixa—Near it your hands miss (it)
D 'ax 'it-key hu-wey, 'a ha, 'a wa ha ha-ha-ya—My
brother, hu-wey.
Stanza I (2d)
A    'i kahagi hAs ckaxa xayi ca-ha—Your uncles were
watching the paddlers' mountain
B     'i kagahi hAs ckaxa xayi ca 'a ha ya—(repeated)
IN   THREE   PARTS
APPENDIX
1161

Stanza I:
C    'a   qinia   'i   dji   qaxixa—Near   it   your   hands
miss (it)
D    'ax 'ii-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.l
Stanza I (3d)
[Words the same as the first time: A, B, Cl
D    'ax kak din-ni-ni, ha ha, 'a ha ha—
Refrain
The structure of this song is:
Refrain:   A       BCD    (repeated)
Stanza I: A       BCD
(repeated, with shghtly dif-
ferent words)
A
A[^]
A
D
D
C
C
Refrain:
[talks]
BCD    (repeated with slightly dif-
ferent words)
Refrain:   A       BCD
TluknaxAdi or K'^actqwan Song: Lament for the Crane Canoe
1954,  1-2-E; recorded by Charley White and Frank
Dick on AprU 9.
This song is claimed by both the Tl'uknaxAdi and
Kwackqwan sibs (see p, 454), It apparently mourns
those (TluknaxAdi ?) who were kUled in a war with
the GanAxtedi of ChiUiat (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 foUowed 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'
(dul yak'' daciyi). When I attempted to secure the
words to the song, what was dictated to me was more
in the nature of an explanation:
kawduwatex dul yak''—All smashed up,  the Crane
Canoe,
'awa 'at 'adAx—They went away from there,
dul yak'' tcA '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 ya'' 'e hi
E     ye he ya he ya he
F     'e-i ya he he
X    ya hi 'a
Stanza (sung twice)
A     tea wa ca yu [tcA wasA yu]—Where (there?) is that
B     dul yak" yehe—Crane Canoe (yehe)?
A'    'ayi ka-xayi—Below there (?) it was paddled (?)
B'    tea du wa'a tina [tcA duwa  'atinl—There it
remains
C     ha da de [hadade]—Behind the mountains,
D    ckax '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:
Refram: A   B   A'    B'    C   D    E   F   X
Stanza: ABA'B'CDEFX (twice)
Traditional TluknaxAdi 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, caUed 'Song
about the Raven House Post' (yel ga^ daciyi).
The singer gave an introduction in Thngit (35
seconds), in which she mentioned her younger sisters
Cax kiki '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 trans-
lated by the singer are:
Stanza I
nahhac—[The pole] drifted away,
lew wAnu—The sandbank falls down.
3 Hesitation here.
1162
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

Stanza II
cwuditin—At himself is looking
ceyAdi yel—That Raven,
'ican di yel—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	nalihahahaca—Drifted away.
B	nalihaca—Drifted away.
C/	I'ew WAnu h^u-hu—Sand faUs,
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 yeie he he-he,—That Raven.
D    'a ha-ha ha, 'a ha-ha ha,
E    'ican di yela,—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]
hutc '^wS!—"That's aU!" [spoken]
The structure of the melody is:
Refrain:     ABC     D    E    F
 
Stanza I:   A	B	c/	D	E	   
Refrain:     A	B	c	D	E	   
Stanza II: A	B	c	D	E	 
F (repeated)
F
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 TluknaxAdi Mourning Song
A 'sad song' (tuwunik" datx ci) was composed by
two old ladies, Tl'ukna-ca, when the earth shook (1899),
and their uncles' coffins on Khantaak Island feU down.
This is sung as a sib mourning song at potlatches. The
only words obtained for the song are: 'His coffin broke
down' (dakEti kawawul).
TluknaxAdi JMourning 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,
Qawusa, (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 iu
memory of Roy BroAvn (1931-51), who was drowned
with a companion. Although K"ackqwan, Roy Brown
was reckoned a nephew to Jack Reed, Tl'uknaxAdi,
because Roy was the grandson of Peter LawTence
(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."
IN   THREE   PARTS
APPENDIX
1163

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 'ituwu—?- your feehngs
A'       linigit 'ani-hi yau haya—(O) world, yau haya
B        di tsui tu 'udjiyi-t xa-wi—^?-
C        ye te xa-yu-^ahe hi yau ha yahaha (1st) —? I am
[x]	weeping
[C''"   tea tlAq"Aga-xayi 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'       tlak"   'uwaye   hutc   xati   wuti—Long-ago   it-
was by-it (I wish ?)
A'       'ax hunxu-hAs ahi ya ha ya—My older-brothers
B'       'ax SAk"udjin-a qui ke'itA'a'ta—My back you-
wUl-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 feehng. 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 (Wuct-wudutsu') when
aU his friends were drowned in the rapids at Dry Bay
(Gonaxo'), 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).
TluknaxAdi 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,
Qawusa, (1850?-1916) for the potlatch m 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 na 'e-ya heye
'ax'a 'eya heya
'a na 'eye he 'a
'eya 'e ye-ha 'a 'eya heye
A
B
A'
Stanza I
A     ye tun qAtin ce gutca
B     tea nisuEtc gaxtce-ye
C
A'	'a ye yAx ijawitca na^
D	-naqitciyi
A'	nitc gax setc de yela
C	'aya 'eye he 'a 'eye heye
"It's no wonder that the WoK 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 xayAx 'unlika ceye	   
B	'ax hlk"-hAs 'ani cayi	   
A	yu xan gaseneye	   
D'+	'ax lilk"u-hAs si-xa	   
A'	-tea qa sA-tintci 'a	   
C+	'ax tu(wu) 'ultictca 'eyehe 'a	   
	'aya 'eya yahe [clears throat] he ya [speaks]	 
1164
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

A'    C
A'    C+
"When I look out at the mountains of my grand-
fathers' land, I imagine that my grandfathers are stiU
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 aU
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	   
Refrain:	A	D'+	A'	C	   
Stanza II:	A	B	A	D'+	 
McAUester 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.
TluknaxAdi 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,
Qawusa, (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 TluknaxAdi potlatch
which was to be given in Juneau in November 1954.
This would have reaffirmed TluknaxAdi claims to the
Frog (pp. 288-291). It was not possible to make the rec-
ord 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 Gusex (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 mtroduction (1954, 2-2-B).
The second recording (1954, 6-2-A) was made by
Frank Italio's sister, Mrs. Frank Dick. She also intro-
duced 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!' (tlek 'aya! tlek!), 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 EUis. The various versions, dictated
and sung, are compared below.
As dictated, the words are:
Stanza I
hin cak xenAyi 'akitcgeuAx—From out of the inside
of the wings of the fishtrap at the head of the river,
ke uwa at de xixt6—The frogs begin to come out.
'akitcgede tcA—Inside the Avings, indeed
duwA'axtc—They make a noise.
'At   qugaq   'Asikudjin—On   account   of   the   visitors
duwA'axtc—They make a noise.
The "visitors" are the fish runs.
Stanza II
de 'ax djixa 'asgi—Within my reach almost
yeq 'uwa 'at—To the beach they came,
hutci 'ayi 'ax kak—My last uncle
'Adjit wudzigit—By  accident feU in.
de 'awlixatc—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 syUables 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-j-	'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]
IN   THREE   PARTS
APPENDIX
1165

Stanza I
2-2-A	hini cak xenayi hi-itc-dji geuAxa
6-2-A	hini cak xeuAyi kite genaxa
(rep)	ya hini [etc.]
2-2-A	ke 'aguwut de xixt6a hi-ya, ya-ha
6-2-A	keyawa-at di xixtc de 'aya ha ha ya
(rep)	keya 'at di xixtc-e 'aya ha-w
2-2-A	'adji gehede xawE tcA duwa 'axa
(rep)	'akitc (etc)
6-2-A	'akitc gede 'axa wetcA duwA 'axa
(rep)	(as above,,,.)	'atca
2-2-A	'At qugaq 'Asikudjina 'i hi hi ya 'aya [*] 'a ha
(rep)	(as above...)	'aya ha
6-2-A	'At qugaq sikudjina-ihi 'iya 'aya ha ha [*]
(rep)	(as above)...)	-i 'iya 'aya [*]
Stanza II
2-2-A	de 'ax daia 'asgihe yAx 'uwa 'a-ha-ta-ha
(rep)	(as above)   'asgEhe (as above...)
6-2-A	'a ya de 'ax daxaci 'eyex 'uwa 'Ada
(rep)	'a ha ya de, 'ax daxasgE (etc..)
2-2-A	'askuha-at nice yixiya, 'a ha, hutci 'a he
(rep)	(as above...)      hi-i-ya (as above...)
6-2-A	'acquha nicehi, ya ha ya, hutci 'aya
2-2-A	'ax kahak 'Adjit dzigita de 'awlixatc [^]
6-2-A	'ax kelk 'Adjit djigida de 'awlixatc
2-2-A    'ax tuwu, 'i hi hi ya, 'a ya ha hm hm,
(rep)     (as above...)	'a ya
6-2-A    'ax tuwu 'i hi, 'i ya ha ya
(as above...)    'i ya, 'a ya ha ha u mm hutc!
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:     ABCDEFXYZ
Stanza I:   ABODE  (F)XYZ
A   B   C   D   E  (F)  X   Y   Z/
Refrain:     ABCDEFXYZ
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:
6-2-A:
A
B
C
D
2-2-A: A, B
C, D
E, F
X, Y,Z
Teqwedi Song, Attributed to Men Lost when Getting Green Paint Stone
1954, 6-1-1; recorded by Nick MUton 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 MUton told a
story similar to Swanton's. The men had been sea otter
hunting and landed at a place caUed NexintE-'At'Ak-'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 MUton 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, foUowing the refrain
(1:38 minutes). Nick MUton accompanied himself on
* Clears throat or coughs.
5 Frank Italio's version refers to 'my uncle' Cax kak), while
his sister's version refers to 'my nephew' Cax kelk) who drowns.
the drum. He had forgotten the second stanza. The
words as he dictated them were:
guuAx SA yAudwu q"Ali 'At
de yak" 'iyixqagut
tcAyA ±Ax 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,
265-517  O - 72 - 2
1166
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

Stanza I (sung twice)
A    gun AX SA yandwu q"Ah 'a-de
B    yag"i-he yix-qa-ha-gudiya,
C    tcA xa-ax g"adi {hui!) 'i-ya,
g"ahadi(/i,ae.')        [on repeat]
D    'i-hi 'i-ya-ha {tcuyel) a, 'iya, um hya,        {"again!")
(•••'a   ha   'i-ya,   'a   ha    {hutcA.')
—C 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 AprU 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 EUis. 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 syUables, 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-kauAx daqena 'eu—'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,        ["comeV]
Stanza I
A       hadaha', naxahaha—(hada) interior (uax) out of
B'"^    dagihidi qihihin yaha 'anehe,—(dak) seaward (di) ?
(qin) fly

["again!"]
C 'ehehe ' yaha hanehe,
D 'iyehehe, yaha 'anehe,
E       'ahaha [ha tcuyel], 'ahaha.
Stanza I (repeated)
A hagu {or hada), nikaha naxahaha,—[(CW and
OA sang different words,)]
B'+, C, and D as above
E/ he ya [tie hede\ hede\] -am nahaha—[(CW:
"Then to the beginning!" OA: "To the be-
ginning!")]
Stanza II
A       haguhu,   nikahanaxahaha—(hagunikauAx)   from
where the sun rises
[daqena 'sn!] ["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 caU
C       'ehehe 'yaha, 'anehehe,
D       'iyehehe yaha, 'anehe,
E//    'ahaha [hutcawA!]—["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 caUs of the song leader tend to occur in exactly
the same places in the refrain and stanzas.
IN  THREE  PARTS
APPENDIX
1167
Teqwedi Mourning Song, Composed by Jim Kardeetoo
1954, 5-1-C; recorded by Nick Milton and Mary
Thomas on AprU 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 hved
at Diyaguna'Et, an abandoned viUage 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 min-
utes, Nick MUton, 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    'unxadjitca—StiU   there,    I    imagine
[mistakenly]
B    Diyaguna'Et de—At Diyaguna'Et
'ax kagi hAs—My uncles,
tcu   'ade  sAxsit!ana—"I'm stUl  expecting   them"
there.
X   ha 'ey ya hu 'a na       [After second repeat, there
is a period of hesitation]
Stanza II (sung twice)
A    t6ad]ayi hidi yis—Nevertheless, for your house,
B    yi 'iqatuxditana—I wish you were here [to help
me],
'ax kagi hAs 'eye—My uncles,
X    'a 'e ya hu 'a na
It was explained that the Teqwedi leader, Jim
Kardeetoo, wanted to rebuUd 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:
Refram:     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 MUton,
Katy Dixon Isaac, and Louise Peterson on AprU 25.
1954, 6-1-F; recorded by Nick MUton on May 12.
This is a traditional Teqwedi song, which would be
sung by the Teqwedi men when they were hosts at a
potlatch, whUe 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 MUton 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
EUis, It is this recording which has been transcribed.
The second recording was made by Nick MUton 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 MUton's record-
ing, 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, caUing out such expres-
sions as 'to the beginning' (hed6!), to indicate that the
melody should be repeated. He also made various cries:
hiiii, wuuuu, or h"iui, at the end of each stanza, which
sounded like a whale spouting. When the recording was
played back, Nick MUton 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 MUton. They are apparently very difficult for
the present Thngit to translate or explain:
Stanza I
wa'e' agi tlXk" qudziti—Were you "born long ago"?
(living always)
cay Adi yel aha—You (little) Raven?
'ahe   'iuAx  du   tlagut   tsu    sidi   he   'aha—"They're
teUing a myth about you,"
1168
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

Stanza II
Nas   CAki  yel   'iuAx  sati—Raven-at-the-head-of-Nass
you want to be,
cay Adi yel 'aha—You (little) Raven,
'ahe 'itcide  yAnde   quha—Your  Murrelet will  come
ashore,
'a he 'aha (etc.)
The song is apparently sung by Petrel (Qanuq), 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 (tcit) is another crest of the Eagle-Wolf
moiety, and is mentioned here to frighten Raven.
John EUis translated the concluding remarks by
Olaf Abraham as: "The song we sing this time, it's
Teqwedi's clan song (ha nax sAtiyi). They were staying
out there at Diyaguna'Et. That's where they made
that KUlerwhale Drum, that crest ('Atu), It was square,
just like a wooden box (tlAkt), 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 EUis
denied that Olaf Abraham had mentioned kiUing 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 KUler-
whale accumulating the wealth which was to be dis-
tributed to his guests. It was sung by the Teqwedi
male hosts while the Teq"ca danced (p.   634).
I could also mention a Haida Mouth Song, composed
by the Drum House Teqwedi leader, Xeyegatqln or
Skin Canoe George (1855-1900), which was sung at a
potlatch given by the Teqwedi, whUe his nephew
danced to it (see pp. 572, 633).
Kagwantan Mourning Song, Attributed to Kacksn
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 CiAtqwan of Wrangell kiUed 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
t6A hu dutuwu 'acix tinsiti—"That's their own foolish-
ness"
hede (or wede) gutc—"That Wolf people"
'i (da) 111 tsu ctuxidaniguq"—"They wounded them-
selves"
Stanza II
yi 'ide xawe djasa {or tcAsa) suk" qaltan—"They are
lonesome all the time"
'ax kak-hAS—"My uncles"
di yu yln qAdjiigu—"I want to dream"
Swanton recorded a very simUar song (1909, Song
103, p, 415), the words of which are:

 
Tc!ahu	dutuwu	uct't         uslte'	yadego'tc.	   
Right	his mind	to him     was	this man of
Wolf [people]	   
Lll	q!wAn	ctu ye' daq!eq.		   
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:

 
IN	THREE   PARTS	   
	Stanza I (sung twice)	   
A	t6A hu dutuwu—"It was	   
B	'acix tinsiti—his own fault"	   
C	wedi gutce, ye—^That Wolf	   
D	da ctu 'idaniguq",—Yourself don't (?)	   
	yahe 'ehiye.	   
E	yahe 'ehiye, yahe, 'ehiyeye	   
F	yahe 'ehiya, 'ay yaha,	 
APPENDIX
A
B
C
D
E
F
1169
Stanza II (sung twice)
yi'i de xawe—For you, thus,
t6Asa guxqalt'ana—Always (?) I wUl long,
'ax kagi hAsa—My uncles,
da yu yin qadjungu, yahe,  'ehiye,—"I want to
dream [about you]"
yahe   'ehiye,   yahe,   'ehiyeye,
yahe 'ehiya, 'ay yaha,
[ga hutc 'awe!]—[That's the last word!]
Galyix-Kagwantan Mourning Song: Lament of the Beaver
A
B
C
D
E
A
B
C
D
X
1952, 7-1-B; recorded by Frank Italio on September 13,
This is a traditional sib mourning song of the Qalyix-
Kagwantan, and was recorded at the request of Helen
Bremner, a woman of that sib. It is preceded by an ex-
planation in Tlingit by Frank Italio of how the Beaver
composed the song, and how the Galyix-Kagwantan ac-
quired the Beaver as a crest (55 seconds). A translation
of his remarks and of the song are given in English by
Minnie Jolmson (7-1-D). Finally, Helen Bremner
thanks the singer for rendering the Beaver's song
(7-1-E; 1:32 minutes).
The beavers had buUt a dam and lodge at 'AnAk"6
near Controller Bay, This was destroyed, and aU were
drowned except for one little beaver. A Galyix-Kag-
wantan 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 wUl stop buUding the den? But they buUt 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 Mc-
CleUan). The Angoon Decitan caU 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
KUlisnoo".) 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
mumbhng, the words seem to be:
Refrain
he-ya hine
'e-ya hine ya
'e-ya hine hi-
ne ya 'e-ya 'a"
ya hine he-ya 'a" mm; ha ya
Stanza I (sung twice)
'asasgi 'a—Why someone (who?)
-du   qaqatne-ye—[hAsdu    iA-kA-na-ye    ?     (them
ordered) I
'ax kagi-hAs-A  nitc—['ax  kak-hAs   (my   uncles)]
[nitckA (empty beach, nowhere)]
-kA 'an lA-yex—a town to buUd
[speaks two sentences here]
he-ya 'a"-m ha ya
Stanza II (sung once)
'asa  ga
'ax]   (for what
A     'asagax  [tlek'   'eya]  ha-
my) No then!
B    du kagi-hAS-A—[hAsdu kak-hAs ? (their uncles)]
C    'ax kagi 'ate—['ax kak] (my uncle)
D    -k"a yen-si-kit'—with it down-to-consume (?)
X    ya hine, 'e-ya wa
[Breaks off to speak,l
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.
1170
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
Traditional Galyix-Kagwantan Songs, Attributed to Lqayak'
VOLUME   7

1952, 7-1-C (a, b); recorded by Frank Italio on
September 13,
These songs were supposed to have been composed
by Lqayak", 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 finaUy 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 Qalyix-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
foUowed 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)
dekudikit; (? 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 aU," 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 musicaUy
distinct.
The second song (b) has an introduction (or false
start?) of three phrases. He breaks off to exclaim:
"De hut6! (That's all), De hut6 'eya! (That's the end),
De daga k"Altsaq (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 "Hutc '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 (?) caUs for the skeleton canoe
to be given a push. It is exceedingly difficult to foUow
the Tlingit text as sung, because of the singer's qua-
vering voice, the insertion of many extra syUables,
and the muffling or mumbling of others.
Eliminating what appear to be insignificant varia-
tions, the words seem to be:
Song 1(a)
Introduction
W    Kiwa'a hahahaha, Ki—[Kiwa'a = Ghost Land,
Sky Landl
X    -wa'a hiyehe, Ki-
Y    -wa'a ha,
Z     'aha, 'ihi, yehe.
Stanza I
A    yahahe, kinik, wa [or x"a]—[kinik = above]
B     'a" ha", 'a" ha",
C     Kiwa qawu hidi—Houses of the ghosts
D    Kiwa     qawux-ii     yaqu-tutliqada,     iye,—[Kiwa-
qawuxu yaqutliqat (?)  = 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 dekudikitJ (?). He came
out (?) at the houses of the ghosts.]
Stanza II
A	yaha, 'i-e, kini, 'a" [or x"a]
B	'a"i 'a"i 'a"w,
C	Kiwa qawu hidihi,
D	Kiwa qawuxu 'a [or ya]?-qutut}iqada ha, 'ihe,
E	Kiwa qawu'u hidi 'ihi
F	'aha yi hide.
End
A     'ahahe, yi-i kine hu'a
B/   'a" 'a" hutd!—The end!
The singer speaks for 10 seconds.
SONQ 11(6)
Introduction
X    yaha 'ahi hya 'a,
Y    ya 'uyi hya ha,
Z     ya 'uhi hya, 'a hm
[Breaks off: De hut6! de hut6 'eya! de daga k^Altsaq:
That's aU! That's the end! Push (the skin
canoe ?)!]
Stanza I
A     'aya, 'ucgi,—['ucgi = perhaps]
B     da ha qu-lA-tsaq de-he—[qulAtsaq de = push 1]
C     'ihiy 'ixt!i nAna hiyinihi—['i 'iytii nAna hini =
river of your dead shaman]
D    di wA?-tla-k"a nex ta—[di — the] —[ne? = safe]
IN  THREE  PARTS
APPENDIX
1171

iBreaks off to speak,]
Y	ya, 'ahi ya 'a",
Z     ya 'uhi hya 'a.
Stanza II
/A   'ucgi,
B da ha qulAtsaq de-ya
C 'ihiy 'ixfi nAna hiyini
D    di wAx-tlA-k"a nex ta
Y	ya, huwi yaha",
Z     ya, 'uhi ya ha" hutc 'awe!        That's all!
[Frank Itaho continues to talk about the story.
The structure of these songs is:
Song I
Introduction: W   X    Y   Z
Stanza (1st):  ABODE    F [speaks]
Stanza (2d):   A    B    C    D    E    F
End:	A    B/   [That's aU]
Song II
Introduction: X	Y	Z	[That's aU, etc]
Stanza (1st):   A	B	C	D[speaks]Y    Z
Stanza (2d):   /A	B	C	D	Y   Z [That's aU]
McAUester comments that it is "surprising how
these seemingly meandering songs are reaUy well-
structured. The drum beats are not haphazard, but
emphasize long notes, usuaUy o_ff heat—a strong Yakutat
characteristic."
Traditional CAnkuqedi Mourning Song: Lament for GosnA''
1952, 2-1-B; recorded by Frank Itaho on July 30.
This is the lament, with Southern Tutchone words,
for Gosua'", 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 duwasak" [It was
caUed the Thunderbird]," possibly offered as a transla-
tion 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 "hut6!
[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.
WeU, he done pretty good by singing that because he
can't understand a word of "Eyak" language [sic:
yAtqwan ^euAx, 'local people's speech,' in this case
Southern Tutchone of Dry Bay], but from generation
to generation they practice to the next one is going to
take the place. And that's aU!"
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 buUt 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 Kag-
wantan 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 foUowed 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.
1172
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

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
A	'ax kak t!i-nal-ni-ne
B	'ax 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  Mmnie
Johnson, would seem to be:

Stanza I:
Stanza I
A, B    dja xat 'uwu sa-dJA (repeated)—[I always be-
[x"a tuhu?l
come hurt?]
C	di xetl qAdu 'axe huwA—Whenever the Thunder
sounds
D	'aw-, ha ha';
A	'ax  kak   'unxa-djitc-A—I   always  imagine  my
(lost) uncle
B	'ax  kik'   'unxa-djitc-A—I   always  imagine  my
(lost) younger brother
C	hu hu-e, he huwA,
D+      'a ha, ha hu aw,
'a ke hede! [spokenl 'a ha—"To the beginning!"
Stanza II
A, B    dja xat 'uwu sa-dJA (repeated)
C	di yu kuwAti kEt 'uwa
D	'aw-, ha ha';
Whenever I hear the Thunderbird, I become hurt.
The noise of the Thunderbh-d reminds me of the
uncle and brother whom I lost.
II
I am surprised when I hear the Thunder, It sounds
lUie 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 McAUester,
is:
Refrain:
A
A
A
A
BCD
BCD
B    C    D-
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 Itaho, 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
caUed GoxXq,
Only one stanza was sung, although there were said
to have been three in aU, The words are very simUar
to the version sung by Frank Itaho. 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)
t6a XAt 'uhticta—It always makes me lonesome
di xetl qAdu'Axin—When I hear the thunder.
'ax 'ik 'unxadjitca—My brothers I always think of
[imagine]
di xetl qAdu'Axin—W^hen 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).
IN  THREE  PARTS
APPENDIX
CAnkuqedi Song for the Thunderbird Blanket (II)
1173

A
A'+
B
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' (xetl xu 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 Qalyix-Kagwantan woman who died
tragicaUy during the winter of 1954,
The song is introduced by a few words in Thngit,
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'+
B
'a(aha)hu wa ha hu wa ha 'e
'a(aha) hu wa ha hu wa 'e, 'a 'e hu wa ha,
'u wa(ha) 'e yu 'a ha, 'u wa 'a.
Stanza I (sung twice)
haguni kade du kayek—Over there   [southeast,
out to sea], invisible,
t6A  duwa 'axtca di xetle ya,—It sounds,   the
'e hu wa ha	Thunder,
'u wa ha 'e ye hu 'a ha yu wa 'a
Stanza II (sung twice)
A       hadaha-dehe 'uq"a(ha) 'ina—Behind the moun-
tains, you help us
A'"*"    -suwu de 'ix"aye di xetle ya,—I beg you (?), the
Thunder
-(suwu deye 'i x"ayi 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 xetl) in the
repetition of Stanza II is the only unusual feature.
Three (?) Traditional CAnkuqedi Songs in Yukon Athabaskan
Song A (Refrain)
A 'o ya ha, we-eh ya ha,
[ye-eh]
'o-ho, ya ha, we-he y a-a,
A    'o ya ha, we-eh, ya ha,
'o-ho, yaha,we-hey a-a,
A    'o yaha, we-he, ya ha,
'o-u, ya ha, we-he yaha
hutc!
1952, 4-1-A  (a, b, c); recorded by Frank Itaho 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 Itaho to sing: 'Begin!' (gukde). (A) He sings the
first song: 'o ya ha we-eh ya ha , . , (45 seconds),
ending with 'the end!' (hut6!), (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 hut6! He speaks a few words, concluding with
'thank you' (gunatltcic).
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 virtuaUy a repetition of the first
with only minor variations on the "words" and in the
tune: the J5's of Song A are all Cs 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' (hutc!) at
the end of each "refrain."
The "words" of these songs or parts seem to be:
Song C (Refrain repeated)
'ahayi ya ha, we-eh ya ha,
'o-o, ya ha, we-he, ya ha-a
'aya ya ha, we-eh, ya ha,
'o-o, ya ha, we-he ya ha-a
'ahay ya ha, we-eh, ya ha,
'o-ho, ya ha wehe, heya yu
hutc!
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY	volume  7
The structure of the compostition or set of songs is:
1174
Song B (Stanza I)
B
C
B
C
nit, di ta-ax nte__, 'ei hi hi ya, 'a hu-u,
'O'U, ye-e', ye-e', 'e-, 'aw, ye-ex, yi-, 'a-,
li ta-ax ni te__, 'ei hi, 'i ya, 'a hu ho,
wi-i ye-ex, wi-i ye-ex, 'e-, 'a-, ye-ex, 'i, 'a-A
[Breaks off to speak, before singing Song C]
Song A (Refram): A A
Song B (Stanza I): B C
Song C (Refrain):  A   A
B    C    [speaks]
A

Traditional CAnkuqedi Lament for Those Drowned in the Yukon
Stanza I (repeated)
1952, 4-1-D; recorded by Frank Itaho on August 29.
This is a traditional sib mourning song, supposedly
composed by a woman whose relatives were aU drowned
in the Yukon Rapids, when going to the Aiyan chief's
potlatch. WhUe 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
Itaho 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 overaU
structure," McAUester informs me. Therefore, the re-
frain 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       'aha	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 tcu-hu su-u ('A)qa
B 'a-ha wuh-i tca-ha,
C      q"a-ha-a, t6u-u su qa-,ha
D      'ux"a wuh-, xa	,dja^ha,—(I give them up)?
E      de 'aga-, 'aha yAdi hi, —   (Because of it, they
have gone)?
F      'ax 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,
A	tcu su 'Aqa,
B	xa-ha-wuti-i dja-ha,
C	qa-ha, t6u-u su, qa ha,
D	'ux"a wuh xa-ha, t6ar-ha,
E	de 'a ga, 'a^-ha-a diye,
F	'ax kagi, ha-A-sa, hi hin sqa,
G	'a ha ha di-hi huwa,
X	'a ha, ha huwa ha m	ma [tl'e hede!] ha.
Stanza II
D'+    ha-gu-'ace	, 'ax ka^gi-hi, he ya,—Come (per-
haps?), my uncle
E'      ne-el gu ce	, he-ye—Come in (perhaps?)
F'       'ax 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 'ax ka-agi, he-e ya,
E'	ne-el gu ce-, e-he
F	ax 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:   ABC	D      E	F	G	X	   
ABC	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.
AdEn and Qaltiaqe (born before 1870, died before 1916).
The occasion was when his brother Qixutske, and his
sister's son, Qalaxel', died on the same day from drink-
ing bad liquor (Case 12, p, 604). The singer is the widow
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 DAxquw-
IN   THREE  PARTS
APPENDIX
1175

of Sam George, a nephew of the composer. When the lat-
ter'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 heya'a,
C    ya' a hine hine, heya' a.
Stanza I (sung twice)
A    'ax    ketudutatci    qa,    ckayuda,—I    am    always
thinkmg, (?),
B    tsu yel 'ani tudeqan nak—Again Raven's  town
ueI wugut -eye,—Inside he went,
C   ya 'a hine hine, he-ya 'a ha—(Alas, etc)
Refrain
Stanza II (sung twice)
A    t^u-da :iisisagi—Why is it — ?
tsu yi, 'unxadjitca,— -?- I always imagine,
B    tsu yel 'ani  tudAx—Again, from out of Raven's
town
'ax kAx quqagaxeye,—He wiU 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 ViUage of Yakutat, where
a Tluk"axAdi man had served his guests bad hquor.
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 (t6it 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 Thngit 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
daq"Et tuwu de^a—Why, what is the reason,
lAdAx gaxdut^itine—Away where we cannot see
yede 'udaqintca—Thither you flew away,
cewAdi t6it—O Murrelet?
Stanza II
qa ie quwA 'axtc—His voice sounds (?)
ka yeli—Of the Raven,
tcus yis dugax—For you he is crying,
cewAdi t6it—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 ie quwu 'axtca—His voice sounds
B/	ka yeli,—Of the Raven.
C+	tcus yis dja dugaxa—For you he is crying,
D'	cewAdi t6ita—O Murrelet,
E	'e 'e 'uwe ha,
F	'a 'a-u 'aye 'a
Stanza II (sung twice)
A'      daq"Et tuwu de^a—Why, for what reason,
B       yec   dak   tunditana—(?)    seaward   turned   his
mind
1176
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
C       cewAdi tcita—O Murrelet?	would indicate that the song	is about the Murrelet,
D-h   lAdAx gaxdutsitini—Away where we cannot see	but is not addressed to him.
E       yede(n) daqintca—Thither you flew away	The structure of the melody is:
F       'a 'a-u 'a-e 'a	^^     r^       t\       -e^    XT'
hutc.'-Thafs all!	Refrain:     ABC       D       E    F
Stanza I-   A'    B/    C-|-    D'      E    F (repeated)
I have had to foUow the translation given to me, but
I suspect that a more literal rendering of the words	Stanza II: A'    B     C       D-|-    E    F
1952, 7-2-A Raven Moiety Song Referring to Raven's Theft of Daylight (I)
i
p=if
J = 58
As sung-
Introduction
A
^m
'^' LT Lf P'' r r rj- p r r '
qe-
ha~      ha'
'a	   ha ha     'a
o
p  ••—•	2.
p V p f   p  [^   f^
i9	(9	^
7-i p f r p Q f I p f^ i
'a.   ha-
qe       he      'a-ha--	ha--      ha--	'a  ha--a    ha-ha-ha
R
^^
^
s
^
i»—«9—0-
g^   1^    g
^	—Vi—.^^
f ^ ' \r t ^
ha-
'i— hi - 'e -  hi
ya
qe - he'      'a - ha - ha
u
i' .1   J   V M J.   J' .1    .1    i
1    J^ J    i   I.J      J   J    i    J    J   ^^
m
^m
qe   -    he - he-
W^
s-	__.£	:k_
ha    ha
X
he— he-- he-
'am
m-
'a	ha	ha-- ha
B...
ir r M I
g-
i-(h)  i       dji<h)i
..      G _..
E
^
p     F   W^
p    'p      (1
?
^
g-i-(h)i (h):
we - he     'e~-
da—      'a—
'ehe — ye      qe	he -- he
Stanza 1st
F     g
i
^
qe - he
D
(P        F   -^
v-ff r p
yi-(h) i-(h)i -   sa—-
IN   THREE  PARTS
APPENDIX
1177

Na -  ha	     c        ca - x    du -  wu—       'u—-hu-hu	wu	       qe - he
K	L		M	...	N
(9	F    ^
'a    de - he	he—
H
,   fJ        f2
r>" r H n \m
3^
r Mr r r ^ig
'a -   ha—
• p r  r p [' r r ?
^
^s
ni—
ke.
0
Q   ...
m    ff     r.
^  p  _
p==g
a^
(■ g J
t
^
?
^^
^u   hu-t ye - -ife - he        [speaks]    *e     he      'e    he	'a   ha     'a   ha  ha   ha
R
§
S       'p
^
J p fej J ^ JI T' r
«—fi»—g*—&
qe -  [speaks]   - 'a     ha      ha	[speaks] 'a ha^       'a   ha^-ha^ - m—da—-ha
»    o     J    f   ~
U
€M—^—e—#
■'>'** r p- f J' J M j' J M ^' f
qe - he     'a-ha^-ha^	'e(ni) dja	yi — i    qe	'a—-ha
X/
■«—#
a       ya

Stanza repeated (much varied)
A    ^_        	...        B
^>tf p Y r r r m r r' r r ■
<9'      F     g
^

qe.
'a--ha     'a-ha	i-hi    dji-hi	qe-he wu-hu

G
^>'ff r  p
P
H
p=-
f9^
#      ^
gi-(h)i        e-he	Na - ha—a--ha-{s]	ca—x        du—-	wa---
...   K     	        L
<vj^ f fi' F p r f'' I r p f t
p=^
M
9	p       p*       F      Z

'u~-    wu-hu     qe—      'a- ha-ha	'a- ha-
ctcit       de   (he) - he—
[acdjit    de] ?
1178
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

N
0^
v<< r 1° r f H r f " r ^
r P n Q
a-      P
^^

ki—-        da—	ni-hi-lt   ye—ie
speaks
'a    ha— a-ha^—ha-- ha-
'^ f f   p J  J  - fJ.  J' ,1   J J ■ ff f-   f  J ^^
qe-hi--ya-ha--ha-	'i—hi- hi	he
ha"	   [speakC

x/
U
fe^^
m
^
-e—#
«—#—e^—g	#
7<<  f f^P f t,
qe   'ehe- 'a^--ha^	'i-'eya	'a    ye   qe        a^  ha^        'a      hut ca!
speaks]
1952, 7-2-B Raven Moiety Song Referring to Raven's Theft of Daylight (II)
J = 58
As sung"
Stanza I
X
^
^
Vi       P
B
d^
m

1	yi     hi
ka-
qe-

gg
ha
-o-
^
ha
D
I
g	F
ye	(he)	ie-
r^'       T^

E
S
2Zi
^
X'
p	g:
S
jP^

'e—-he	ya--ha	'i	hi	yi    he - he	'a	ha-
ka

^
0       f

B
C
M r r r r y I   ' 11 ii|  ni |   11
qe	 ha     'a---ha	ha	a-—ha	ha    ya
IN  THREE  PARTS
APPENDIX
1179

D
3
'u	na
^
ax	du-
#	F
'u	Itu-
g-
^
tci      ye   [speaks]
[tsi]

m
x
B.
A4
' r   r r ir '^
S^ I   a*     a      r—   (j*     gl      f
D4
3
hi	hi-—hi        'a	ka        qe	        'a	ha	'a	ha	'u—na--ax    du
E4
m
^
F	F	F	g
'u	Itu	u	tci	hi    hi     hi       hi
-o-
>«w
^	#
'a      ya   ha

ir    Mftf
n     n
- Ii - hi - ka
[xi]?
Stanza II
X
1'^ r   r j ■
'i—-(h)i   (h)i	'a       ha-
Stanza II (beg-un again)
X'	B
xi:
' U I   I .1 II
'i - hi    he     he - - he      ckul     te - -
B
Iffl
J
#F^^^
^^

ha	qe	e—he	a	ha
D
r ° M^ p ^Hfrf I
'a^     >.
a-ha	ye - te - he
E
'^' ^ r rr rr ^ I r f r f M [T Cf p mt f r f ^
'e-he - - e-ya 'a-ha        'i-
ka-
B ..   ..	C	p^     _	^     .	E^    _	,   ^.
17 r f ^ - I If f ^ i[^r f P /I Mr r r p *-• ^
qe	     'a	'a - ya	' u - na	ax   du	'u   Itu	u - tsi
	B4	I   	
' Mr J J n   ^
^m
X,
r r r Mf r Mf ° r Mf
C4
rj'    n

'e   -   ya - ha
--hi	'a -   ka -   ha	qe	e     ha	'a—ya
1180
D4
'} ^ f n
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
•^m
E4	r-,	.        Jk	Y
r;-       r^*
ZEl
r ^^r JM"r ^^
VOLUME   7
rj'        m —w

'u-na- (a)	ax    du	'u  k'u-
ts    gci
'a        ha	'a	ha   ha

Stanza EI
X
3
i
rj     o
^
B..    ..
¥=0-
n ^ ' \^ ^

'i     hi -   ye-hi-hi	'a	ka
— ha	qe-
'a---ha
'a-—ha

F    ff    I*
D
m
0=W
p r r f r M f p r r m r r ^^

y^-
te-
'e—he--he    ya	'i	yu	hu-—hu	

-hu-huwucf qe-ya       'a	
' Breaks off to tell part of story.
^ Breaks off; hvic 'awa spoken.
^D'
E'
B/    ..    C
-> r r r r p^ir rTTi77^^=^ p r ip r r
11-1.	1	1.     .       i-»—   .. J/.	1       .   . 1      '.
'i	yi-sa      [5eaks|('ujna - ax du	'u   ltuc--gci
Kuts]
2 -•
1954, 6-2-B Raven Moiety Song: Raven Cries for Daylight
J = 108
As sung
Refrain
B/
drum: J
m
I i I } c/i   i   i     J
he      he	ya	ha     ha      'e
r r nr^
we	ya       ha     ha        ha     ha
\B
3
D
jz:
F-      _    I r-*       F	N	
I    ^11    Iff   ^
ya      ha      he	he	ye       ya   ha    ha™      ha
^
ha

Stanza I (sung twice)
r>1i:r    r    r r r p. "r    ^
^

Nas	cax	qu - wa     'u  - wu
qe
ce    -    ya -   ha
IN  THREE  PARTS
APPENDIX
c
1181

^
ya        ha       he
he
r r   p-
y        ha       ha	ha
D
m
^
^^
ZL
ya-—
ha™       hm
ya-
Refrain
AX
ya    ha   he   yu    hu
B
f9—F
F    r^
«      F
^MR
r r r^
^
^
^^\' t r \\'  r
a  he  ha  'a   ha—  ha  ha ha  'e ya ha he he   'e ya ha ha ha
D
»	F
^
^
f=^
ya ha he yu  hu
he  ye ha  ha   ha
ha-—
Stanza II (sung twice)
m
m
F	Q	F
I
i2	(2	F	P	fi.
i

'a   -    dac       dji    -    tke -la- keti   -   a-
['a   -    dax      djit	ka-ia-keti
du     da - tcx ank - tcwus - ga   -   xi
du     da - tcanittc      wus - i    -    ffax]

B
m
F    r>    =jg
m
F    rj
r Mr r
^
qe _ 'a	     ce   -  ya - ha       *i       ya   ha    he     he	he    ya    ha    ha       ha
F  F
'e	ya ha he yu  hu
D
^^
r i^   r p V .-II
'e   ya ha ha  ha   'a   ha

^
m-
hutcl
(falsetto)
talks
m
about
m
^
Raven
a      ha        'a      ha ha
<V F
§
D
f=^
ha
hu	hu	ya
Variations in Stanza I repeated
al	
D
m
^
F    r^
^
m    *-	-'        }
'e     ya   ha   he      he	'e	ya     ha    ha
1182
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
1954, 4-1-A Traditional K'^ac^qwan Mourning Song: Lament of Guditta' (I)
VOLUME   7

speaks at length
J = 104
As sung (note pitch rise)
Part I
A
£
^
ci - ka - ye        'a

^
n B
r iiuii^'^^
'a     ta yi   ya	   na     ta      qa

^
m
r   u u Li
ta - i     ya-
s
rn--'
f
il
m	m
e-e	ya

J  r\\ ju^J^^
J.   JM   ^

dju   - u    'u    ci  -   i	    ke        'a        qe
a	y----a

Part II
A
J  r\ J
^

^
IM^"
r " cj-Lt r^^

Cl     -
ka—-      ye	'a
'a        tay      ya-
na      ta        qa

B^
P
^
i
^^
i

na    -     ay	yu-
yu	     ni	'if
he	ya
c
^
^
^
^
^
J   J   J-
tcukanatte
_ (spoken)
dju	ci    -      i	ke-a	qen
Part m
X	A
B
|^J J 1^  0\   J H[i,]r 't LKb I' I J '
a     ta      yu-
na      ta      qa
ay - ya       ci	ka—   yen      'a
B'"
r a C^ Lr r r .^ .J. > H r^^'^^-u^^i-iiJl
'a-—dju   ci-i   ke na qe    'e[sobs]
na---       yu	    ni	l--e     ni      ya
IN  THREE  PARTS
APPENDIX
1954, 7-2-C Traditional Kwackqwan Mourning Song: Lament of Gudilt^ (II)
1183

^ ^ n {ju j.^iJ ^ ^ n^- j)j J.'
a     dju     ci      ki-—    ne	    'a      ya	'a    dju   ci     ki--   ne	   'a      ya
X	A'/
y©
IL ii:j -n ;;jii.rJI >iiJ'n i ^ u ■njijin i
J = 76
DH-E
A   drum: )i
n
r^
?
Cl
ka
(sung 3 times)	j
^
ma--
B	^
J	I   i       U U    A
^ "> li^  J      N
ya-
ci       ka-	
F—F
yu-
ma—   ta - y
J	i     J
ye-
B
ma-
g
iT	^
a	ya
yu-

^^
^ +
C^
rn J   n ^
ni-
le-
F	F
b
F       F
F	^
dju

i
C'+
ci-
at=*
ki-
*=*
Land 2.
;F—o	
-.-    ne       ye
-O	-o	2?	ir^
ci        ka        ye        ya-
S

3.
"F^
ne
A7     c
^
'^' j    ji j-   j' J     I
ci     ka-	   ye	   'a	ya
0        al~			b[~
^
"O	TO	^
ci        ka      ye
c^   2d repeat
yu	

ni-
]fe	(etc.)     'a-	(etc.)        ci
ka—-
F	
(etc.)
VOLUME   7
1184	SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
1954, 7-2-H K^aclcqwan Lament for a Drowned Son
J = 76
D-DH
Refrain
A	drum:   J	J J J J      B J     J J etc.	C
J J J XJJ J.''IJ
vl  I  J  J J J    hvlJ  J   J    J
_	-W'	-0	^=:^:"	^	—^	
hi - ne     he   ya—   ha  ha	'i - ne   he ya   ha—	'a   hi - ne    ya  ya   'a      ha
D
fegga
-O	F
IJ J J >
•Q	F
1	ne	
he - ya     'a        ha
hi -  ne	he-ya - 'a	ha
Stanza I
A
li
F'
s
-Q	F	F	F'   ^	F	 	 	^^	^^^^	"v^(F	^
ha
ya      'a     hi - ne	   ya       'a-ha-ha	gu - de -  sa--   'a	xa
B
J  J  J J   i'
C
J  J  J  J J
i

gu - de - sa     'a-ya -   xa--
	F^	y   	O	W
he - di     yu 'ak'*^ - ce    'ax     yi	de	
'An    -    tfe -   n - xe - yik - de	'a       hi    -    ne	      ya	'a    -   ha
I    I   I    I    Stanza I repeated (with slightly different words)
S
ya     'a     ha	gu - de - sa—    'a - ya-xa  - ha
ya
-F	F	FT
'a      hi -  ne
ji J    I  i    i
mmm.
^^

if J   J J J J JjJ ^|M   1   I   I   I J   I
m
gu - de - sa    'a  - ya - xa—	he - di - yu 'ak"^- ce     'ax     yi	  de-
IN  THREE  PARTS
APPENDIX
1185

^m
^
F	F
-0
ya
I
-S	F	F	^Z_^     ■>	J       rJ	■!,	I   F      F-	F       ^	^j^	^
ya        'a     hi -   ne	ya	'a-ha - ha	'i   - de	he    ya    'a       ha
Tla -  xa — - yik - de    kce
F
^
E
n J. j^ J
- ne-
hi- -
Refrain
A
^
^
^	F

B
*

^
.1        J     J      J        t>   V    I  J       J       J	J
13
'r   -   ne        he    ya      ha		*a       hi -   ne	ya      ya      'a	ha

E
	,	a-;	#—
D
^^
-a
'i — ne	    he-ya  'a     ha	'a        hi	ne-
^
ya
-O	FT
'a   -    ha

J	J      J      J.
^

hi    -    ne-
ya	'a
Stanza II (sung twice)
A
IN   J   Jp J  J
IS	F
ya
B
ha      -       ha
J J J J n j
tsuyat        qa — qen - qa -'e—na	tsu - yat     qa---qen-qa	'e	na
P
0' "r   0
'ax      tu-wu    cu - nas - ti	-dja	'a(x)	Xi	te     ya        'a	ha
I
J     J   J iJ
^m
D
£
^^
-r	o	F

ijTi    Ijlil     I   J    vM   \1 \J^
'a       hi	ne —      he - - ya
de       xa	   tsu     wa  -   xe
|wa  -   xi]
-O	F
1186
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
2[
'S' J     J   J   J.   i' i' M
ya
hi        ne-
ya
'a	ha	ha
^
1^^
'a	ha
Pitch rising in this phrase; up half a step by Phrase F.
i4's in this phrase are raised one whole step in the repeat.
1952, 1-1-C Traditional TluknaxAdi Song: How Raven Deceived the Sea Otters
J=76
As sung
I>um: J
\      J     I     J     ^     j     i     J     i       J i      J      i      J
\^     ^^   I       r  r   r   r  i' i   i   ^=^^
cu   -    ■
[cagun
-   gu
ni  -   i       dji
'idjix]?
-   tx      na - xa
gu   -
-   u   -

etc
7- J'    J    > J    J, J    J    J ^
6
s:

di
di   ye     -      Xe       he      *e       ya        a	
Caga]?
	qa -
a      xat      da
[xat'-  da]?
'> .1   \ s r% \   J V j^ J   J. j^ J   .1   J.
tcu    -     u
-ne
'u   q'^a   -    a        cu - ku   -    da    -     a
J = 120
M    D   J   J    J    J    J    J    J   J    J    J    etc.
^
-e-
^
■/ ji j^j \ J J J J ^
na
na      ha       ni
has    ti   -   yi	ce  -   xu     gu - dji     (na)*
[tci -  yi]?
J=76
^	F	(PI
r r r I
hi       ye
cu   -    gu  -   ni       dji  - ix       na - xa
IN THREE PARTS
APPENDIX
1187

'>" .1 1 .] > J J. /g J J f >
#	F"
gu   -    di       di    ye     -     te      he      he	     ya       'a		^a   -    a    xat'- da
'uq^ atigtda I ^    hastceye   cejru gudi! ^ C
r> 'J    .1.   V J^ ..    J   .1   J.   V |J^ ^1.   i   J  J  J   J, j\y I
tcu - wu(ne)     'u- q'^a       cu - ku - da   jdj^? has tci	ce - 3^u   gu- dji - yi
J=120
D  J J J J J J J J J     J J J J J J J J J J r3
^
XE
^^
XE
^^»
hi—
na-
ye
Autc awe!
* Apparently a mistake.
2 Song leader's cry.
1952, 1-2-A Traditional T^knaxAdi Song Attributed to QakeJc^tE
J=:69
Stanza I (1st)
A   .--T
c
B
y'^ f ^ f [^' J J ■
1,-        V	x-_lJ      J-_
Y=::p
fl-      o     3g
^
j.   ff    f.     J    :jr^
ka-ii - la- tink'- qeq - ci	ka- li - la-tink - qeq - ci	qa - ya - yi - kik - ci
E
>if'  .  .\  } i
■•  J'J   ^
D,
?
P
^^
IX  -    li - ka  -   ci	te    -     xi   -  sa -  ni	'i       ya   na(ha)     he
Stanza I (2d)
B
x=s
r-'-    f   r'
.7'^  J.   J) J    J  H J    fj^f f   J  J ■
'i       ya    na     he	ya       ka-K - ta-tinl^-^eq-ci	ka-K-Ia-tink-qeq-ci
.C    ,
^
^^
qa - ya-yi  - ki - ki
D.
E
P
Y r     rJ   =y=T
ix   -   Zi - ka    -    ci        te   -    i^i   -    sa   -   ni
1188
m
VOLUME   7
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
G	.     .	.	X
^^
J' J I I J. i^ .1   J ^ iJ   J I m
he
a    na
ya
'i      y
'i	ya     na(ha)        he

'i    ya  na(ha) he      ya	'i     ya  na   he    ya	'i    ya.   na(ha)   he      ya
Refrain
A"
3
^
i> .1 1 i I r P
n     f2     J2.

m
J. ff r J' J   J
71^'t- p r   p f j^ fj- p f_J^ J   ^ N  J  J ^
i      ya   na        he - (a)	'i        ya   na (ha)     he
ya      ha

0-    0    fS'    n    f3
Stanza II (sung twice)
A
nr p r -^ -^^^
E^
0    n
i
^^
^
'u   -   li - xa  -   dji - ce
'u - li - xa-dji-ce	has   ti(xi)   Iu - qu -ti - na
G	G
11
';i^ 'p p ^-j J ^ i'^j. J' J J ^ irr7 J J
'i      ya   na(ha)    he
'i      ya   na       he
'i       ya   na      he       ya
1952, 2-2-B(a, b) Traditional TluknaxAdi Song: Lament of Wuckika (I)
Jr 60
El.
Refrain
X  (Frank Italio taps his foot gently for each beat)
'/I- [J r r c Q r re r~g   u    ' '^^"=^
ya--      hi - ne - -    ya- -   hi - ne-
Y
^'' -i-'^p ^J'^Lf r u V
ne
'aw        ya-hi-ne	'a   hi-ne     ya   hi-

'aw
ya - hi     -    ne      *eya
.U=i-^ I  ' J
"speaks]     'e     ya   ha   -    u
IN  THREE  PARTS
APPENDIX
1189
Stanza I (1st)
A
-/ D V p V [J p J J J. M i^ V ^ LT r^
di	'a - ni    yatxi   hu-a    ha
t(!u     tlak"^       quta^N:      na      'a - di-kat
[d]?
^
0—F
m
m
D
r^rr^
r r p r r ^ m p r p p r
^iii - ye - xa
[yetiyexa]?
E
'u - na - ti  -  ye	yisa  - ku-djin    na - ya - n   -   de-
^
d       d     ^
m
^^
K	_ 	^
tea   wu  -   si - xix        'uwa
'a	'a
gus   -    k'ix—   -   ye

M
):    r   j:
i> p
3
p T' M P M^    r   P r ^
a        aw
hu
'a - ni      qa - xu
Stanza I (2d)
A
v^i^^'r 'ip V p7 p ^ Y J J J mJ rj'y ^p ^
tcu   tlak^     gu - dax  na	'a - di kat	di       'a - ni yat - xi     hu-a     he
§
c
D
r P Y' r p r T ^ lt p r p p r mi/ ^
iti - ye - xa      'u   - na - ti  - ye	yisa -  ku-djin   na - yan    -      de
71^^^- ill r],\_h p J j^J^pji p py p p"^^»
tcawu-si-xix   'uwa   'a-ya      gus-kix-ye	'a-ni qa-xu   'ax  'i - Ice  hu - a haw-a
Stanza II
A
^r 'f r^p p i^ J J J. Mp J f p
2
xa    dax     qu - - - du    djin-ex  gulce (x)	'a - da-wu- li-ni     ya - ti   -   ye
1190
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
'>''r ^ r 'r r'' '°i i '"''''"' ^ f r r r' -i
'ax    'ilife	hu-wa-(ha)	'iy- et - xi-ti - na       'i     wus - ti    -    yi--
^;^^r p J'J. i'J J'J it J ^ p J J vlf p f^^
yi    qu     t'a  y a - yi   hu - wa  haw	ha	ya   hi - ne	'a     hi - ne
Machine turned on
Refrain
X
f   m   f    m
^
i
P
<J.  J . J. ^
ya         he              'aw       haw           ya     ha-
[Minnie Johnson is talking	

P     ^       *      P
^^^
ye--	ya    ha	
-]
0    n
P
'^'' Q f r P r p r ^ f
'aw--      hi   -   ne   -   ya    'aw       hi-ne	yaw        'e - ya   'aw       hm
i FI speaks; machine turned off.
2 FI breaks off and talks: tcu talke; machine turned off.
1952, 2-2-B(c) Traditional TluknaxAdi Song: Lament of Wuckika (II)
J =60
E[>
Stanza
B
^^A
7\' [ 1 J J I p J. p i'J. ;,J. i'J J JiiJJ.I .hJ f

-ax	'i - i-lilk^-u  has dja-ka  ga-xa-yi   ca	'e ya ha ha haw
[tcaka:3c 'a - xa- yi] ?
ef:
7i'°p p p p n J. [ Q v^^
de
de     'a - - - g^as -ki-tal^    nu  -   hu       xa-wa	cu     he
[k^q^^as ] ?
A	^-.	.      B'
t<^a—     na-gas ki  ye -t
1'^'' py'tr r pp ^ p r p^ ^ip^Y ■^'■I- -t'^^^
qu—   nin qai-ni - gi'i ka-gi-has
a	as - as - gi—
IN  THREE  PARTS
APPENDIX
1191
r;^^^j.   J. ji V J' J   i') flip I'p- p n^^
da	ka
cu
'u - we        t'a	ye     ku - nas - ki - ti - ti-
^si
*>i^ r ^r\^
'•     7    I
p "p r M r r L J r ^' p ^' r^
. •	      	   >_       i_ •	2	,1	1	1
'a - ni   qa-wu   yax 'a    hi-ne       ^       ya      'a     he    ya    'aw      ha
Stanza (repeated with variations)
A
B
'>^' [} f^f i-p J- p p p- J- H p J  p J' J- j) J- ^^
t'cu   tla	gut   'a- su-ga   'a - sgi	'i-i     da   ka   cux   tea   'un-q^a-dji-tca
D
'/^ i i^J> MJ. M p p p p ^ J- p' [J ^ ^' {' r "r^
ya     heya        'au	de  'a	g'^as-ki-tak'nu - hu     xawa        cu    he - de-
yi'^pY 'r r r p1 ^ p r ''p J Mp J p i'i jti J'^
tea	na gas-ki   yeta	'as-as- gi--	qu	nin qai-ni-gi ka-gi-has
C.	.	.	...	E
^
i
^^
0	0
'>i^ J.    J.   i' i   i' J   ^^ i  \h
da    -   ka        cu	'u - we  -   t'a	ye      ku - nas - ki - ti  -   ti-
'^^' r p p r p r-p r w r p r '^' ^ [
'a  -   ni   qa-wu    yax   'a       hi-ne	ya      he    yah  'aw    ha
1 Machine turned on in middle of singing.
Speaks.
Breaks off to talk to MJ.
1192
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
1954, 6-2-C Traditional TluknaxAdi Song: Lament of Wuckika (III)
VOLUME   7

J =120
rai
A        drum: (J)
5
As sung:   rises one whole note in pitch
Refrain
F^	G	F^	F	F	F
(J)
^m
(J)
(J) '
n J   Hi
'a      ha       ha     hu - wey-
B	J
^a        ha        hu     wa     ha	     ha
J      J	J	J
^^
i' J n 1 ^ J ^. i) J n
^	F^	0~
'a    ha     ha  hu    wey
c        J
'a    ha-
a   hu   wa    hey	    he   he	'ey
i' J   n  n J  ^
J	J
; J- u J'
'a     ha       ha   hu     wey-
D       J
^   —•—F	0--—m:—W'—F"
'a	     ha-	a    hu   wa   hey       he
J	J
J      j'  ^    -II
^'i.  ^'i 4 4 ^^
'a     ha-a    hu    wa   hey
ha
J
Stanza I
A
F'	F
^
'a      ha
j      etc.
^^

ha
hu   wa    ha       ha      ha
n J   j^ v^
li     -      lak'^a	ha    -    s       ga   -   3^a	xa - yi      ca     -      ha
h J     1) V
'i       li   -   lal^'^a        ha -   s     ga - xa	xa - yi     ca        ha-ha     -    ha
+B
7    0      ri       0
J.    h J   J
%
*
^	0'	&	=3

^
^^
'a	qi
• n   -   -ki
F	F
'i	dji
^e=3^
-6>-
qa   -   xi    -    xa
IN  THREE  PARTS
APPENDIX
1193
D
J J. JH   J) ^
F^——F	^	#
'ax       'i    -   k - key   hu - wey
('ax      ka -   k    din - ni - ni ^
Stanza I (repeated with variations)
A
\ i i- > i 'i j. W i-

 
'a	ha	'u    wa	ha	ha-ha   -	■  ya	   
ha	ha	'a   ha	ha  .	a -   a    .	-     a)	 
r\'	^   ^
ji J   n J.  N J  J  i r^
'i	ka   -    ha -  gi     ha   -   s      cka  -  xa
xa -  yi      ca   -    (ha)

B
^
J' J n J I ^^
^^
«=3E
i
*        g     	F
'i  ka - ha - gi ha - s  cka - xa	  xa - yi  ca	     'a  ha  ya
c
^
r^=^
i ^ ^ i i
'a     qi     -      n - xa	i       dji	    qa - xi - xa
D
-&
W-       F
\i i J^x-a j.^^
It - key    hu wey	'a      ha	hu    wa   ha	'a     mm -  a
^

Refrain
A
^S
F^	F	F	F
'T ^ J J  n J ;■ J )

'a      ha	ha    hu - wey-
'a	ha	hu   wa    ha	   ha

B
il J n J ^ J N V ji J n
0^	F
^
J'JO ^ J
'a    ha   ha  hu    wey-	^—	'a     ha	a    hu   wa    hey	    he   he	'ey
0'      0
^
F	F
'a     ha       ha    hu    wey-

"F^	•^	F~^—F^—IJ—0-'
'a	     ha	    a   hu   wa   hey       he
' n J j."j J. ] j^
1194
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
'a     ha      ya
ha    hu wey
i
Refrain (repeated with hesitations)
A
i
J.     i>   .1
II	II  ^^

(na	ya        qa	'i	ni	hi)
[tries to sing Stanza II, but has forgotten the words]
ye
he	he

B
^
^

'a	ha     hu wey     etc.
Stanza I (3rd repeat)
A        B	C	D
Refrain
D
talks
hutc awa! [spoken]
• Drum beats on first line in the repeat, only.
2 On 3rd repeat, see below.
' Note variation in words.
1954, 1-2-E TluknaxAdi or K'^ackqwan Song: Lament for the Crane Canoe
J =94
la
drum: J	B(J)
A  (J)
As sung— pitch rises
A
V^ IhJ \^i^ J   f  H p^f, p Jj, V J.  I IY   f IfJ   [-' p 1 \
Refrain: ta      wa    -   ya    he
Stanza:^ tea    wa	ca    yu
e	
?a- yi
ya    ''
ka    y,
'e	ya    'e		ye	ya     'e
du -1   ya	k^       yehe	'a - yi
bf
b'J	j	c j	j   d        j	j
m
i\ vn
a    e
a    da
y®        J
tina	hj
'e	ya—     e	ye
tea       du—     wa'a       tina

de
ya--   he           'e         hi— ya^	'e     hi
	    rio           ckax   'ani   eta	kde    ye

E
J	J	F[f(J)        [J]  J	J        J	J

ye    he        ya he        ya   he—	'e-i     ya—    he--    he
ya     ha
ya hm
ya hi
'a	
IN  THREE  PARTS
APPENDIX
1195

s
J     bH
f JU > II r^ f ^J^nJ J ^ p p' J^^ V ^ 1^
dul   ya-k"^    ye   he	tea      du wa - a       ti - na       ha   da—    dc     ckax 'a-ni(etc.)
1 Drum beats father free. (^ indicates beats omitted on 1st rendition of stanza.
[b] indicates new beats in stanza not used in refrain; 2d rendition of stanza not indicated.
Pitch has risen a whole tone.
1954, 3-2-H Traditional TluknaxAdi Song: Lament for the Raven Post
J = 132
As sung
Refrain
A
drumt J      j
J J J J J J J J J J ! J J J J J J

^
F—(©■
W
r pr f'^ ^"r m

'a	ha-ha
ha
ha        ha-ha       ha
'a	ha-ha
ha
c   J     J     J     J    J     J     J     J     J     J     J      J     J     J     J     J     J     J
^
'>H r   P p^ P r   ppH" r ^^
hi        'i      ya	ha-hi—     hi
1	
hi        hi
D    J       J       J    J    J    J       J        J       J    J        J   eJ        J        J	J     J
'f^^ d7 p p   r ^**P^r P r p h p^'p p pj^ p v
'a---
hi ha	ha
'a---
ha-ha       ha
hi - ha--   ha
J   J   J   J J      J     J     J J J J  J F    J      J   J     J   J   j     J   J    J     J  J J
'■^''f pf ppi^f ^^pr r ^if pr r r pt r Pr^^
'i—     hi--   he-ya	'a-he     he	'e       he-he     he      'a     ha-ha   wa    ha-ha
Stanza Ksun^- twice)	B	...
,j1j   jjjjjjjjjjjjjj   j    jjjjj
A
r   p p
i
a      fJ
i
'> ii: r    P
na-
li - ha    -   ca
na
li - ha - ha - ha - ca
1196
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
C/J   J   J   J   JJ  J   J  J J   J   J   J JD J    J    J     J J      J       J   J     J J     J  J
^
<»^
t
i
V p- p p' r V g
I
iew   wa-nu	 h'^u    -    hu	'a	    ha-ha        ha	'a     ha-ha    ha
E
J    J       J J J   J   J  J   J J J    J    J    J     J J  J  J  J
p r t  p r I'—^
^
'a - he	he
'ay
'; p r P f^^
hi
hi     ya
yu
'a	     ha   ha-	ha	'i
J	J   J    J     J   J     J   J   J   J    J    J     J
i
m
^
$
^
ha   ha
he - he
he
ha       ha
Refrain (as before)
A
m
B
D
E
Y	(pitch rising)
Stanza II (sung twice)
J    J J     J J J J     J  J  J J J   J  J^J   J J   J J J J
A    -—-	o
s:
711= r p p
fl	F
t
p vif p pr r ^
;a (wu) - di-ti - na
(a) - wu   -  di - ti    -     hi  -   -  -  'i - — na	ha--
J  J J    J J J J J J J J    J J u  J  J J J J J   J   J J   J J  J J
^> r r ^tf ri' r pr vir r p r r ^rpn^
ce -ya - di   ye-
le       he     he-he	'a	       ha-ha   ha        'a   ha-ha   ha

E
n i  i
-> p r p r r ^

i
F.    ff
i-     n  7   ^ .    r   J    J       J        J     J    J    J
^
^

'i - can    di     ye - la
hi
he   -   ya
'a - ye	he
ir
l2l
J       J  J      J   J  J       J  J   J  J   J  J  J  J   J  J   J   J        J J J   J   JJJJ
'^ r Pr r r Pr - V   ^' ^paw r^-
mm
'e     he-he    he      'a     ha-ha   [clears throat]       'a      ha	ha   ha
hutc   awe!
IN  THREE  PARTS
APPENDIX
1197
1952, 1-1-A TluknaxAdi Mourning Song, Composed by Dry Bay Chief George
J = 100
A
Stanza I (1st)
A
A
<>rf rrr p r r n.\^ xtr rr.n r p ^
ta    -    qa-na   su - ti    'i     tu - wu--        li - nig-it   'a- ni hi       y-au    ha    ya
B _  -#-   .	,  C	--,	,   —,   D
7 [Ti_^i
F—F
iC=K
A|[/Tp/3vppJiT]HJJl7J:iJ^
di tsui tu-	'u-dji-yi-txa wi    ye te j:a yu gahe   hi yau ha yaha ha    hu haya hani haya
Stanza I (2d)
A ^^^^     ^-^   ^   ^^^^^   ^   ^-^^	B
>> rnr prr rM^trrtTM^^.^^r^im' r ^'
ta qana su-ti 'i-tu-wu-      li-nigit 'a-nihi    y-au ha ya-   ditsuitu       'ud ji-yi- txawi
m
'> P pj-riJl.p, Jiuiu Ji>|j n.pi il
t^'a    tlTaq^ aga -   xayi       hiyau    heya       he  he   heya	yu   haya       hani  ha ya
Refrain
A
A
m
r i^r rj.^r r r^i^"^^ ^^^^^ r y\
hi - hi   ya      nahi         y-au    ha   ya-a     hi- hi  ya    nahi        y-au     ha     ya--
B	::^     .   C	-,		   D
'> r P[;'p'vPrrrr'^^-^Mp rrpvJ^vpp j jDjiij j^^
he hi yai-(na) hihiya-u hai-ya     he yuwi he  hai   hiyauhayahaha   huhaya hanihaya
Stanza n (1st)	a»
^^•rrrrprrrr;;^''^^^^^'^-'"^^^^
0   0   0
A	^
^
tlaljT'uwa-ye hutc ?ati   wu  ti	      'ax  hunyuhasahi     y-a haya    'ax sak'^i  dji - na
c	—	,    ,  . . D
r=N
^
g
J)v|p p/p/3vpp JiliiiMJiU J]J Ju
qu? qa 'ita 'a 'a  -   ta       ye yuwi ye hahi   hi yau hay hu haya    hu haya hani haya
•Jfiii-RI7   n  -  72  -   4
1198
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

Stanza n (2d)
A
■fr rrr nryj
i^
^ rrr pr r>T^^
ilalt^   'u   wa-ye hutc :^ati     wu    ti	       'ax hunxu   has    ahi	y-a    ha   ya
S^^^^   j'7  [
B'       _	-X^	C
m
#—F
■CJ^i \^\nn r^^
'ax sak^     dji- naqu   qux ke'it'a 'a   ta       ye   yuwi ye   nahi    hi yau hay
1954, 2-1-G TluknaxAdi Mourning Song, Composed by Dry Bay Chief George
J= 112
As sung
Refrain
A
drum: JJJJ   etc.
i
'a'
na     'e - ya
^^	B
Y Y Ip J-
^
p r T T
^iif i>r] J. \i\^fi^\if 1 j) J. J. ^
he   - ye
■X     'a     'e -ya      he - ye
s
1?     rJ
^^
^
CThv i.J'^ I I v' Ji j  .1 j . u Ji j. j) .1. J J
'a^     na   'e - ye-
he-     'a	'e-ya    'e      ye—   -ha        'a    'e-ya   he-ye
Stanza I
A
J       Jb    J
i
^^P
''p T Y ^L^ p
fe
^
JIJ J'^ lijflTTur   J   i'fl J.   ,^
tea	a    ni - s netcgasc-tce - ye
D
ye    tun   qa-ti	n    ce-   gu-tca
'^' J.   ^  J   J
i
^^
A   .	J J     J'J    J
p r T r^ ^ r^
tci   -   yi
ye    yax  §"a—       wi—	tea - a   na   -   na    qi
c
A
J   1 p p"YY-^p ^_J J. li'J- J J p^p ^' i J'J. ^^fe
nitc   gax na  se   -   tc    de  ye - la      'a-ya   'e -ye—    he—   'a   'e-ye	he -ye
Refrain	.    i      .     i
A    ,	.	-	^    , D'+       _	JJJJ
I, J J. p py^phJ"] J. ivb^'tip J ji^, ^ j^j^
'a^    na   'e - ya-
he - ye
•ye
'a  - q     'a     'e - ya
IN  THREE  PARTS
APPENDIX
1199

A
L      J	I      F   FVb>kJl    I    l^ilj      J      J    fU      j.    1    J    J.      J      J
^
!>    J   >   J.  J.  J.   p  p^tip l>pj   J'y Itlp'hp lip  J    p  J   p  J   J. E
^^
'a      na   'e - ya	     he-   'a
Stanzan	JJJJJ       J
ye	xa yax ' un - li - ka-
^
ha--   a™    'e-ya    he-ye
'e-ya   'e     ye—
B
ce    -   ye	'a	?  lil-!^'Tias'a - ni   ca-yi

^
==^=1n»^
P fT^t
yu      xan  gas   'e-
ne	-ye
t
A

^
J^ J  M.  J
SI   -  xa
'a - X   lil-^'^u   has

dia        qa        sa - ti	n      tci	   'a      'ax     tu(wu)       'uJ - tic   -   tea
Pica]?
J	JJJJ      J.	.J        J.    J.   J    .	J J,    J. J    J,     J
^^
'e - (yeKhe) 'a	        'a    ya     'e    ya     he	*        he     ya
A
I2==2i
F==y=

i
^
p r T Y T
J   1 .\>. Jh JU  iiJ  j)
3x:
^^
^m
[speaks]
^ Clears throat.
1954, 2-2-A TluknaxAdi Song for the Frog Screen (I)
J = 92
As sung
Refrain
A
m
F	F

P
»
B
F	^
^
F—F     O
Bg

e
«
hi    ya    ha	'a    ya     ha—    'i    xi hi  ye   ya	'i      ya  ha   ha
i
F—^
3
E
Q.	F
^j/p    P     ptt^lt^   ^^     p  j
'a   ya    'a   hi  ya ha  ha	'i   hi    ya ha  ha
1	    ya-
■ik	^
f=P=»
-<©	F—F	^^—^	F-
F—(9	F
'i   xi hi ya  ha
'a   ya    ha-
Z
-^	F	^
t

'i        hi   ya	'a    ya     ha   'i     hi   hi     ya
'a     ya       ha    ha     ya
1200
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

Stanza I (sung twice)
B
F—^
N^
■ jr r¥ f>i\
hi - ni    cak   xen-	-na-yi     hi-itc   dji—     ge-na-xa	ke-'a-gu-wut
D
m
0	Q	F
M
^
• pi-jf r^^r r r P^r
i^i-

m
de xix-tea hi-ya      ya-ha	'adji	ge-he-de  xa-we      tea du-wa   a - xa
'akitc |on repeat]	„	y,
IT
—\[t.
#
m
fF-P'   F
i
^
^^jffp-p^:[|^^
'at    qu-gaq  'asi    -   ku-dji- na	'i    hi   hi   ya      'a ya       'a   ha	'a ya ha
Refrain
A
m
t
B
0—f»
F-	F
F	O-
etc.

'i       he     hi      ya     ha
Stanza II (sung twice)
(B)
*♦—(9
19	F
3
^
'a     ya        ha	'i      xi    hi    ye     ya
Ca
F—F
19	(S>	F
etc.
t

^^''n nr^^^i-r^^
de    'ax da-xa    'asgi   - he
'asge   - he
yax 'u -wa   'a - ha- ta- ha
[yeq]?
E-    -	(P)
^	F
^
'as - ku   ha-at
F—(9^	F

F—(9-
ni - ce   yi - XI - ya
hi - i -ya
(Y)
^
'a    ha        hu-tci k he 'ax ka-ha-k
z
[I
F—<9
19	F	(9
'adjit dzi-gi - ta
Z7
^

de 'aw-li-xatc   'ax tu-wu        i   hi  hi   ya	'a   ya   ha   hm  hm
1 Clears throat.
a     ya
IN   THREE   PARTS
APPENDIX
1201
1954, 6-2-A TluknaxAdi Song for the Frog Screen (II)
J = 92
8va higher than sung
Refrain
drum: >      J
I   i      I    i
¥
'l      }■        i'    J       J       j^    7      J-       i'    J-^^
ya        ha       hi	ha    ya      ha       ha	ya        ha     hi	ha     ya       {jakya!^
^      J	i     J	^      J	i	J       J	r
S
5
^
«
0      SF
F	F
^
hu
ya
J    ^
ya	ha       hi	'a      yau	hu      hu
I    J
ffj-  ^>tfJ- !,>  J-    Jw   J.    ;> J    ?   >tfj.    >   ^   J     J' y    I
'a    ya     ha   ha   ha   wa     ya
ya     ha   hi     ha   ya      ha	ya     ha   hi
Begins Stanza I
,A/7   J   ^      J    ^	J   ^   J   ^     J
*
JO J  > J  Jm J bJ J  I  > J   >
ttekhyaitieK!
?t 2
g    J ^
g       0      '    0      0'    0^^
■na - xa - ha
hi - ni    ca-k   xe-na - yi	ki - hitc    ge-
Stanza I
JJJJJ
J	J       Jb J
m
5
0—F—0—0-
J J JO mJ-J'^
hi-ni—cak xe-nayi kite ^e-na-xa	ke   ya-wa-at dixixt6 de       'a   ya ha ha   ya
£
J
^^
J
J
M   J^ J^
J
J
^

'a   kite    ^e - de
p.   J
r^
'at    qu - gaq     si
Stanza I (repeated)	,	.	.
• )) J-' J- J JM n J -
i

a -  xa	we—
t6a     du   -   wa
J
J      J
J
«	F
J   J  J  M
ku - dji  -   na - ihi    'i     ya	'a    ya      ha   ho
J
-&■
xa
J,
£

ya-
hi - ni      cak    xe-na  -  yi--        ki	     tc     ge   -   na   -     ya-
1202
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
B      J	J	J	J	.	.     J       .
j_^,p J J ^ J J   J J ^ J J    ;ji
a       ya
ke	        ya      'at	di       xi    -     x -  tee	'a       va	ha---w
J
J
J
J
^
^
^
i
*=?
#^
'a   kite     ge - de	a - xa        we--     tea    du - wa-	-a?:     -     tea
#
D        J	J	J	J	J	J      J
t
^
0	g
^
ku-dji   -   na -   i -  hi     'i      ya
a     ya
r-}
'at    qu - gaq      si-
Refrain
.A + J	J
g) J   Q J   J J^ j) J  J   J_J J^ J   J   f~}   ^
ya--     'i   -   ya     ha	    ha     ya       ha—    'i    hi    hi      ya      ha   ha
a        ya
4
b
i
r
J
J
J   J   ^ iJ   J
ya	ha
J
hi
J
ya
ha
J
^
ha

J     tfJ      llJ
^

ya	ha—     'i      hi        hi        ya        ha
J     J
'a     ya       hay     hi
ya      ha-u
r^
^
^S
I	hi     ya
Stanza II (sung twice)
^
1       ya
^
mm - ya [coughs]
^-g	0
n
J ^  J J J J ^^
'a       ya—     de
^	F	g
'ax    da  -   3^a -
Cl
'e	ye? 'u - wa-   'a	-da
J       I   J        U i   J   I-     J
B	J	i     J	I J  I    ^    I-       i	J	j
J_p   J   J   >   J   J    J   >   J   j    Jm   J_J    J   4—JH'
-tci      'a   -   ya
hU'
*a	    cqu   ha	ni - ce      hi	ya   ha     ya
IN  THREE  PARTS
APPENDIX
1203
J
J
^
te
^
F	F
F	F	g
J' J   n i'
'ax   kell^	qa	       'a - djit - dji -  gi    -      da
		D
J	Jll	j	
de    'aw   -    li    -    :?a-
J        J       *•-
D	J	Jll       J	J    121	J
F	g
J   J^vJ  J   J J nil J  JO J   J J  J  J
'i     ya        'a   ya    ha  ha   u  mm    hutc!
T
I    J
m
^m
i
-tc ax    tu - wu   'i   hi      'i    ya   ha ya
afT	
ha
0	t	0	4
de
da	       xa    -sge   (etc.)
ya-
'a^
Clears throat.
Breaks off because she is aware that she has not caught the tune. Laughs at herself and talks before resuming.
1954, 6-1-1 Teqwedi Song, Attributed to Men Lost When Getting Green Paint Stone
J =164
Refrain
drum: j:    J    ^       J       I      J      etc
Irum: I    j    I       j       I      j      etc.      ^^	lB	.        .
^^^^n^ p p p p r Pf'- p J-1 p p V p p J J J J ^
ha      ya   hi - ya    hi    'i-hi    -     ya    -     'i-hi       'i - ya - ha   hi - m - ya
C    ^    J    etc^	.	.	.   D
I.     V    J-    V
'A [' f"~r p i'v J ^ p p JI f p p p J ^i  J- 7 J
a       ha
Stanza I (1st)
A   i   J   etc.
-   'a-ha      'a	'i - ya   ha     'i -   hi    'i - ya   ha   ha      ya
B
^
n     0
n     rJ
ff y I J^p [^ p V p p J ^i  J J ^
gu-nax   sa  yan-dwu q'^a li    'a-de -	ya - g^'i - he   yix-qa-ha-gu - di -ya
i J
c U
J, J ^  JdUi J ^ J, ,jj ,, i i,l. i M K i
'^    ['   r r p  J   'I [ ]  P  P  M p   P P P J [»  J-]   » J J- V ^1   J
t(?a    ^a - ajj: g*a-di    hzti!   *i-ya	^-hi 'i-ya-ha	a	'i-ya     um  hya
£t^uye!j
1204
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
Stanza I (2d)
A    i  J  etc.
T»
ri   r<i
fp V ipj- f p '^ r r ^ J=J=J=^
gu-nax sa   yandwu q'^a li    'a-de -	ya -   g^^i-he     yix-qa-ha-gu -de-ya
c

i^
^^ jpp^irppP"^^
tea 3ca-axg^a-ha-di  Ace/ 'i-ya        'i-hi''i-ya-ha    'a ha'i-ya    'a   ha	[JiutdalJi
1954, 1-1-F Teqwedi Song of the Golden Eagle
J=76
As sung
Refrain
A
drum: ^    J     i
S

*
4
1     i   1   I       B J      U   J     J     i   J   i	J      I   J    i
F       ff
p ^ I p ffp    p   p qp     p ^   up   p      p   j.
ya   ha  'a  ne   he     'i  ye  he he ya   ha    'a  ne   he
i
CJ J I   J   u i   J   r J    I    dj    M i    J    i   J     I
^
^^
'.J^^f   rrr   rriir'B^ir
'e   he  he' ya  ha ha  ne - e   he    'i  ye   he  he  ya - a   ha
^
J     i  J   i     J  E M   i    J     ^    J     J	\ ^   I     }
\i\: 0      g
m
P   <*p-      P      ^    p     [      J   f        p^i^
ha       ne	he
'a	ha-a      ha	'a	hagu!    'a	ha      ha
g     F    #   I p     a
Stanza I (1st)
A    \n   11	J       U   etc.        B' +
v> r r P^p
t
rJ       0
=JF=
ha da ha'  na xa ha ha  da gi hi di qi hi hin ya— ha 'a  ne  he
' [qi	nl?
9-' ?     P ^r   ^^
F ir r r r  i'^^
'e	he    he'   ya       ha    'a     ne - e      he	'i      ye      he    he        ya- - a	ha
IN  THREE  PARTS
APPENDIX
1205
IJ I
E   i    }     I	i      I     ^
_j
m
P	f
S
^m
^^
^
ha        ha
ha—a     ha     ha tcuye!
'a     ne      he
Stanza I (2d)
B' +
A   I J I J I   J     etc.
a   r<i
t
m
%
%
a    f2   ^ 0   f2    0   0a
ha gu (da) ni ka   ha na ]s:a   ha ha
da gi   hi di 4i    hi hi  ya-a   ha   'a   ne      he
Si	n]?
'    \{0     P
D
^
^m
' p p r p ^ rp
'i     ye        he     he      ya--a        ha
_ i   J        \      J
e        he    he'  ya       ha   ha    ne  he     he
E/     i   J _
^
i9-
EE3E^

zz:
g^
a
ne
I
Stanza II (1st)
A
^
*
ha
B' +
S
he
^
hu
he    ya
ffe hede!
22:
ni
ka
jz:
hede!
ha
-am
isz:
na       xa
^
na      ha
^
ha	ha
daqena 'en.'
ha
^
da	gi        hi      qe       'a	ha     ha       ya	a        ha	'a        ne	he
c
s
#
^
^
I

P
ha
he
ya
he'
D
'-'^'^r r r r p^^
'i       ye       he     he      ya--a    ha
ha	ha	ne        he	he
W/\   J   MM
f9^
ha
^
ne       he
tcuye!
1206
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

Stanza II (2d)
A
^
zz:
m      m
^
m      u
i
t

ha
m
ha	gu	hu       ni       ka
B' +
g^
41; gp	P
na        xa
F        F     gP
ha        ha
daqena ^en!
^

da       gi       hi      qe       'a	ha     ha      ya---a     ha
'a.        ne
he
c
s
I
?==^

a	ne
E/
D
S

ha
he	he'	ya
p p p p- p VI p r p ^
he
n	ff
he

'i      ye       he     he     ya--a    ha	'a      ne       he
'a	ha       ha     hutcawal
1954, 5-1-C Teqwedi Mourning Song, Composed by Jim Kardeetoo
J = 69
Fjl
Refrain
A
drum:  i
J      ^	J      i      J       B^      J      ^	J
irum: V	d        ^	d        h        S	U h       d       ^	d    etc.
|> r r c; r r pvir r Lfpt r r r r^''
ha       'a      'i-ya    'a      'e      ye	'a      ha     'i-ya   ha        'e     ye    'a      'e	
X

^
^
s;
^^
yii        'a-	na
ya      'a	'ey	ya
Stanza I
A i     J     ^	J
k   t        J        (^	J     etc.	B
ii^r r l; r r p .i| r lf r p^^r r r p r
tcu    'a - de 'un - xa- djitc   -a	Di - ya - guna 'et - de    'ax ka-gi-has tcu  'a-
X
if Lf r r J 1.1 ^ri j j i'j > if'.^^
na Qiesitation]
-de    sax- si    -    ta	na	ha       'ey	    ya    hu      'a	na
IN  THREE   PARTS
APPENDIX
1207

StanzaH
A
t6a       dja	    yi    hi   - di      yis        yi      'i   -   qa - tu? - di  - ta   -na    'ax      ka —
X
J
i       J       i
^   *	d	h	d       etc.
ii:r O ^ r r
p  P r   r
B
^
^^
?
F        F
i
I

—a   -   gi   -   has
ye
ya     hu	'a
na
1954, 5-1-D Teqwedi Dance Song: Killerwhale Drum Song
J = 104
drum: J	J     J
A
Refrain
A   X
etc.
X       X	X	X
etc.
J   J    J
J       J-       >'
m
^^^
"r   r   r   p
a	a	'a	a	'a	he	'a—-(ha)	'a	ha	'a
4
B ■   J	J       J	J     J     J        J        J        J        J     J	J      J      J
^
m
w
f^
w^a
'a	'a-
ha
'a       hey
J	J	J	J
p	J        J.        i^J.        J       V      |J       J       J       i        p     J	>
■^ r' r r r ^ '^-    ^' r p r p f   '
'a        ha       'a      hey       'a-	
Stanza I (1st)
JJJJJ    J    J* J
'a      'a      'a     hey      'a    ha
JJJJJ

wa      'e   -   gi    tlak^ qit -si-
ti	ca - ya
ca - ya (di yet)
di    yet       'a     ha
^
1208
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

B
J        J	J	J        J       J       J     J   ^      i      J      J
r r ^p r  or p r tff T  r ^
'a       he	'in - ax        du    tla - gut    tsu    s - i    -   di       he
C   J	J	J	etc.
p    p    J    J.     J'_J.     J.    |J    J    J     J._J'
ha

'a        ha      'a	he	'a  -  ha	ha
Stanza I (2nd)
\A
zz:
^^
J J.    il
'a        ha        'a	he-
tcuye!
r  p r  p r
gi   tlak"^ qit   -   si  -   ti	ca - ya   -   di     yet       'a       ha
^
wa       e   -   gl
V p r
ca  -   Cl  - ya
i|°r r «i; r  P 	 "i   i   fi   \ i
'a	he	'in -  ax        du     tla -   gut    tsu    s-i    -   di        he
ha

^
J    J.    J' i     1    I J     J     J     1      ^

'a	ha       'a        he	'a-
Stanza II (1st)
ha	'a	ha        'a	'e-
ffe hede!

r p r p r r
^fe^
r p r P r  '^
Nas      ca   -  ki   yel     -a     'i - nax    sa -   ti	ca - ya   -   di    yel       'a     ha
i
B

P-	!iF=f
'p r P r  r r "I ^1   i   r f   f:
'a        he        'in -  ax      du    tla -  gut     tsu   s-i	di        he	'a  -  ha	ha
[a      he	'i      tci   -   di    yan  -de      qu   -   ha	a	he	'a -   ha	ha]
IN  THREE  PARTS
APPENDIX
1209
\ff       p       J      1       i^J-      J     |J      J      J      J._J'
'a	ha        'a       he
StanzaH (2d)
ha	'a	ha       'a	hey-
tcuye!
i| ^ r p r p r r ^ ^- ^' r p r p r ^
Nas      ca  - ki    yet  -   a      'i - nax    sa  -  ti	ca - ya   -   di    yel       'a     ha
F	0' 	^!'^       F	F
^
B
p r  f) r fff Y  r  p
3   >.
a        he	'in -   ax       du    tlfa  -  gut    tsu   s - i    -    di        he	'a-ha	ha
^
I     I      M     	I
7     J
ha
'a	ha        'a        he
ha        'a       hey	hutc    awe!
^ From here to * one male voice doubles an octave lower.
2 This drum figure is repeated here in all subsequent repeats.
2 The words in these lines are incorrect; the singers simply repeated those of Phrase B in Stanza I.
* These are the correct words.
1954, 3-1-D Kagwantan Mourning Song, Attributed to KackEn
J = 88
B
Stanza I (sung twice)
A    al	1
ii=j,j"r > r r^^'^
tea    hu
wu
du        tu-
B

i^
F	(9^
'a     Cl
^ r r r '^'^'^^
tin - si   -   ti

^^^
gu.
we     -    di
^
^
tee
te
ye

\f r f ^ [j; [j' j_Jm> j) ^^
J	rJ*   -—^

da   ctu	i	     da—    -ni-
guq^	ya	he	'e       hi     ye
1210
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME 7

i
E
0      ^        ^      0  zzd
ya  he   'e  hi  ye-
3
I
ya  he

^m
^^m
hi  ye    ye
Variation on repeat
al	
j^ ^' 'IIJ r ^

r > r M J Hf f ^ r r r
ya        he	'e        hi        ya
Stanza II (sung twice)
A
'ay	ya
B
ha
tea      hu
«=!«
^

yi      'i	de        xa	  -we	tea - sa	gux-qal^ -   t'a-
-na

4
m
^
D
^ n ^^^ n '^- ^ H r [- c^^
0     0

'ax    ka	   -gi	ha -   sa	da   yu      yin—    qa—-     djur-
.n-gi
-gu

\ n J- V J
E
za
^

ya—-    he
'e       hi      ye
ya       he	'e        hi        ye-
3
^
0      0
-JOL
F»    F	P
-O	F^	^F"
ya   he	'e    hi   ye     ye	ya   he    'e    hi    ya	'ay    ya   ha	qa hutc hwel
1952, 7-1-B Galyix-Kagwantan Mourning Song: Lament of the Beaver
J = 57
B'
Refrain
drum.J	J	i\   :	J    U   i	J
r>-ptr Tpf rT^7if fp-p- p. ][• p^ ^ i i ^
he - ya     'i—n    de-
'e-ya^  in-ne   ya	'e-—  ya hid-ne    ya        'i -
IN  THREE  PARTS
APPENDIX
1211
lil}
D i    J   ^    J     i J    X U i    J      i    J   i     i
•/ p  J p  p iJ.  H J    J  >t J  J  i'J-  >  -   I J     i   »
-ne    ya   'e-ya"^   'aw	ya      hi-ne       he-ya 'a^ mm
ha       ya

r f ^ N ^' r r
Stanza I (sung twice)
.   J i  J  i J M    „ U i  J  U U ..0.
^1
frfl^vfir fr
^
'a   -  sa-	sgi	i       'a - du    qa-qa-tne   ye	'a - ?    tag'i    ha - sa   nitc-
D
"J^   ^        J       ^       ^
^
J       J       i'   J-       J      ^^

-ka-
'an       la    -   yex
he       ya     'a"^ - m        ha	ya

Stanza n
^^
<V    F    I   g
m
ha	du    ka-gi   ha - sa	'a - x  ka- gi
J      i      J      M R U M   J J i J ..C.
r flvi:^nFvir^
^
E
^
B...    .	c
L-   _J
a   -   sa      ga—        ax
[^ -tj. * ^ \>
'atc-

-^r ^ r r
J   Jm,I   j   .t)v j   j   Ji
-k^a—        yen - tsi    -    ki  -   t	ya        hi  - ne	'e       ya      wa     [speaks]
Tsil?
' "A" on tape at end was half-tone high.
2 Speaks both times.
^ Speaks: tlek 'eya! No then!
1212
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
1952, 7-l-C(a) Traditional Galyix-Kagwantan Song, Attributed totqayak'' (I)
'^h p J V r Y^r f^r ^pip^r ^•"t~['^^i>^ J- ^^^
'^h r i rptfpff^ MP p ^f; [J ^ p>' r ^
J=123 somewhat variable
As sung
Introduction
w
ki - wa          'a    ha    ha   ha ha       ki - wa—	'a
-wa
ha
ha
Y			,	Z
hi    ye he	ki-
hi—-	ye—	he
Stanza (1st)
B
m
A
jt ptff ^r f p ^ pof -V J- M^f p r ^ r ^^
ya   ha      he	e	ki-nik
'^h n  .J.   f^"   P  P
ki - wa       qa-	 wu    hi   -    di-

w^a
[x-a].?
>«W	l,«W	>„w
ha^	'a^        ha^-
D
,     .     I   F      fi        F     F       'k      F    P	F.
P H P [   p r ? [) r ^
ki - wa      qa-wux	-xi    ya   -   qu -

m
(2	0
-tu - tli - qa   -   da-
r p^f r HP r ^n^r ^^^^
'u   hi - id   -   'i-hi
1 - ye	ki-wa   qa-wu-
Stanza II
A
>'    7    J.     7
'^H p r ^ p f p p L J "P r ^ ^ r n H p r
ki - ni	'a'^
[x-a]?
'a   ha	yi   hi - id-di	ya    ha—	'i   -   e	
'a"^	-i    'a"^-"—i     a^'^-'—w	ki-wa       qa-	wu    hi	di-hi
B
m
r  P f p r
P H fl J.   ]'"   > P f^    P P
?

fj       0
D
^
m     m     m      m^        ^    I   F      F	P      (■*	_	.      	

ki-wa      qa-wu   xu     'a
qu - tu-tii  -qa     -da     ha	'i    -    he
IN  THREE  PARTS
APPENDIX
1213

E
'>h p r P r ^
p p M P r ^ p f p'° ^

'^h p> p I i^^H r ^ ^' ^ ^ I r  r
End
ki-wa     qa-wu-	'u   hi - id-      'i - hi
ya - ha       he	yi -   i    ki - ne	     hu
'a    ha	yi   hi - id- de
B
hutc'
'a^      'a^
li2
* Breaks oflF: Kiwa qawu hidi dekudik'it' (?)
2 Hutc! Continues to speak for 10 seconds.
1952, 7-l-C(b) Traditional Galyix-Kagwantan Song, Attributed toiqayalc" (II)
J = 72
As sung
Introduction
drum: J
m
J	Y     J	J	Z      J
"^'' r ^''U ^ i ^'T [!r r p Hr ^ i; p ^'P
ya   ha       'a-hi hya   'a-
Stanza I
^A     J
ya   'u-yi  hya  ha	ya	'u-hi hya        'a   hm
s
J      J        i'
J	B	J	J
r p ^ P r '^ ^^ M P r CJ
a       ya	uc - gi-
da   ha      qu - la -tsaq      dehe	
D	J.J
m
^
^H^
p r LT
''"u u u m
'i - hi y 'ix - t'i na - na hi - yi - ni - hi     di wa x - tla- k^a nex ta
J
J
J
^
z J     J
S
J f •'' u- f
r p^LT p r ^
'u   hi  hya   'a-
ya	'a    hi   ya      'a"^	ya-
Stanza II
/A
J.       B	J     .      . J   ,      C
*;|^ p p Jw I p p f f J ...n^ M [J g' y p- p i'
uc - gi		da ha   qu-la-tsaq   de-ya	'i-hiy 'ixti    na-na  hi-yi-ni
265-517 O - 72 - 5
1214
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

di wax-tlAk^a nex ta	ya       huwi ya ha"^	ya—      'u-hi ya ha
D	J
'''' p r u
^
Jy  j
^d^^
r'irr ^'^r p^ltp^p'-'t^l j
w	3
^ Breaks off: de hutc! de hutc 'eya! de daga k'^.dtsaq.
2 Breaks off to speak.
^ hutc 'awe! Continues to speak.
1952, 2-1-B Traditional CAnkuqedi Mourning Song: Lament for GosnA"'
J=110
F
B
^^
Stanza I
A
m
f9	F	F
^ r ? I
r^F=^
0     0      (S       0     0 H^
P
^
'a   dax    dax   du - (u)		sxed - e	'uax   k^i - e   siyas k^i-e	he
D
^^
^m
I      ri-	I
^^
^^
J 1 J J i
he
'a	   dax  dax dax    du    sxe - de	'uax   k^e      si-yas    k^e	
E	......	F
m
^_> J J J' J J J. V H -H J ^ n 6	-^ ^
±			       iV_       _-'w._.		     J.	)		iw	•	iw	1
xa     txa-—   xe - tla    qeq^ne      sxe-de	'uax—   k^e	siyas      k^i - eheye
G
^^
^
m
^^
r    p ^ L/
hutc	i	ni
Stanza II
A
yi      sat'      u   - wu       w-	a	:^a-
B
f r r 'LT 'f ^ ^j r,^'*^^ --)' ^
Gos-na? dax     du	        s?e - de	'uax	k^e	    si-yas     k^e		he
D
&
p J .J.- J .J  M f p  f_r p-_J' ^ -I- ^m
'a	   dax dax dax   du     sxe - de	'uax k'^e      si-^yas    k^e		he
IN   THREE   PARTS
APPENDIX
1215
/p ^_ji J J i',j J J. V > [ji ] i n f^f I
^«       *-.«		     xy	!w  __        	      i_	)	       1 w,	-•    	i_w-      _T	
xa    txa--    xe-tlaqex  -ne     sxe-de
'uax     k^e	si -yas k^i - eheye
[MJ begins talking.	.]]
j    .fl -1
G
^
i
'■'r    p  r
gutc        a
hui	ni	he	Iu	wa	
[words of song obscured by MJ's conversation]
Stanza HI
A	B
#
;/ p r r p 7 p r' ^ I u* M r f r r ^ "^•- ^
Gos-nax dax da?   du    s?e-de	'uax        k'^e—     si-yas     k'^e—        'e      he
C _	.       .        .      .	D
.7 Q p p J J. J J M r p u rJ ^ '^- ^'
'a	   day   das:  dax   du       sxe - de	'uax  k^e     si-yas     k^e-—	he
E	......	F
'> p p_ji il j) J J J J. V H r] .3 > Ji o	p
jca      t?a—    xe-tla qex^-ne     si^e - de
'uax      k^e	si - yas k'^i - eheye

G
tiu
M    P r    p ^
de	ne

t'a-
J)   J     J       j^
wa	     a        gu

3

F	F
p   P L
Gos - nax   dax   dax    du        sxe
B
^
uax   k e        si - yas - k e
^ di xetlE duwasak''; 'It was ailed the Thunderbird.'
2 MJ speaks.
1216
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
1952, 2-1-F Traditional CAnkuqedi Song for the Thunderbird Screen
VOLUME   7
J = 144
F
Refrain
A
^^Mi-p f   [ r '' '^-  ^'''' V f r ^r ^^
ha  ha    ha  ha      ha    ha      ha  ha   ha  ha  ha
c
^ir
'z'' r^f f f p I f f^- Hf p 4^]pf p? p f r p^ ^ =1'
'a   hu  hu we he        he huwa        'a   ha
'a hu   'aw      'a   ha   ha   ha
[clears throat]
g
?  ti
\'   r  \'   ^ ' ^ \'   r    p ^ »   I

'aw    -      ha	ha	hu    -   wa
ha      ha	ha	ha

Stanzas I cfe II
A
A    	,	,        B
dja   xat        'u - wu       sa   -   dja
[x^a        tu - hu]?
F	9-»
^
dja     xat        'u - wu	sa   -   dja

*/b p Y ^Y ^r V   r    r   r^
D
XE
-r   fi p- '

 
I:   di	xe ■	- etl	q   -	du	'a	xe   huwa	   
E: di	yu	ku	wat -	()	i	ket  'uwa	 
'aw	ha-
ha'

^
^
^^
he huwa
^^
I:  'ax kak   'unxa    dji - tea
II: 'ax kak   ti-nal - ni - ne

\}0        rj        j|?#    tj#   |>
B
r r FT r
'ax kilt  'un-xa-dji  - tea   hu   hu-e
'ax kak   tu - nal-ni   -  ye
IN  THREE  PARTS
APPENDIX
1217
D'
If
yi- r r^rr M^ rrrVrr^^^'Tr^ ^n^^ fp^^'^"
'a-ha     hahu 'aw      'a    ke hede!      'a-ha	'a-ha     ha ha 'aw       'a	     hutc'awa
[spoken]
[spoken]
1954, 5-2-F CAnkuqedi Song for the Thunderbird Blanket (II)
(a    -     ha)       hu
Refrain
A
drum: J
4

etc.
J I J i J ^ j
^
^
J      iJ       j      h^^
wa
ha        hu	wa	ha        *'e-

i
A +
^
«	F
^
'a - (a - ha) hu   wa       ha    hu     wa—      'e
^
	   ^   |;g;	F
'e      hu   wa        ha

>B
^
0	d
i^   t{d      ^
^
F	6^
-^^

u       wa
-(ha)
Stanza I (sung twice)
lA
1^
i
yu--
ha
^
u	wa	'a-
^
t|F        l>i

ha-
-gu
-   ni	ka
de
du	ka-
ye	k

^	F
"F*0	F
t6a --     du -wa 'axtc -   a	di     xe—  -tie        ya		'e     hu    wa       ha
A +
^
^
^
J J J J   }   }>y i
e

zT
	Ki	M '	II—S '
B
i
«	F
i
if
a       0     0     0'     	fi»
^	*
^

'u  wa   ha   'e     ye   hu   'a     ha yu wa
ha	'u      wa      'a-
1218
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
Stanza II (sung twice)
A
^
#
f)   V    J      iJ        J     liJ
ha	    -     da    -    ha        de     -       he	'uq"^-	a-	(ha)      'i     -     na   -
^
m
di      xe	
1      x a--
ye
ye
A +
f
J r J
■&	#
-su   wu   de     'i - x^a -
-su   wu	    de   -
-tle
ya-
ya-

^   \fd
^
'e       hu   w^a       ha
'e      hu   we       ye

^
B
i
^^ J   J J J   ^
ir
F	(9	^=	F
2i—;r
-^

hu   wa    ha        'e      ye   hu   'e
ye
ha
'u     wa      'a-
[speaks]
1952, 4-1-A (a, b, c) Three (?) Traditional CAnkuqedi Songs in Yukon Athabaskan
' u'
J = 80
E^
Song A (or Refrain)
A	drum: J*
m
«^=Pi==?f
n ' u
'o     ya   ha	we - eh	ya   ha
[ye - eh]
jl   J     7   J.     J
'o - ho	ya   ha	wehe     ya  -
^

'o       ya   ha	we - eh	ya   ha	'o - ho	ya   ha	we - he     ya-a
A -
^^r P ^ ^ u
m
w
iu    V   i' J-   J.
s
A _
r ;>;>
17  r  P  p    V q}7  J>J   V [[p7   i'j    V J'J-   J.   J    JM|[   ]
'o    ya   ha        we-eh       ya  ha	'o-u        ya  ha        we-he   ya    ha hutc!   jspeaks]
IN   THREE   PARTS
APPENDIX
1219
J>
Song B (or Stanza I)
B.^        -	^
s
^^
[^ P^Jpr r ^ ^n 'U r p ^
nit	di   ta - ax     n - te-
'ei	hi     hi   ya	'a    hu-u
1 ^ 1 i^  yj^yj^
'^p r ^ ^rP^b-P^ r ^ r ^Lir ^ p^p Mp-
'o-u	ye-e'       ye - e'        'e

aw	ye-ex	yi—

^
r^     PF
B
''* p r p 11
li    ta -   ax    ni     te-
J)	i     J)7    J^
P ^ 'U P ^ P f ^
'ei	    hi	'i    ya	'a     hu	ho
^ ^yi^y^j i^      i^ I       J^y J^7 7 i)
'^r p^P^PEjp^p^r V ^cr^p^f >^r J'L JJ
b    wi-i ye-ex     wi-i ye-ex	e		a	ye-ex        i		a-a
1 Song C (or Refrain) repeats as above (Song A) except that all B's are C's. Song D (or Stanza II) was forgotten.
1952, 4-1-D Traditional CAnkuqedi Lament for those Drowned in the Yukon
J=:72
E
Refrain
Y   drum: d^
i
m
p^^ O' u r^^
ha-a       hu		we   he     he-
E
J' VI r   n V J   J   ji
'u     wa- a	he -   e -   he
'/n n iij'v p p_jw J?p p V ^._^^ J" J J ^
he    hu     wa
'e    he-(he-he - e) ya       'e    he---        'u     we    he
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
G
1220
VOLUME   7
'/J'J.  J   JiJ.   j'>   p J    hi   Ip  !■•   p   J'J.   i'i-J
he - (he -   he)   hu     wa
we
'a - (ha - ha-ha- ha)   ya	'e - he      hu
'>• J. J J) J il > J. n ^  i' J- J' ^
'a      ha	ya
n. J.  i)
^
tea
Cdja]?
ha--
'a	ha	
J)
'a	ha        ha     hu      wa
Stanza I (1st)
■> i' 1^^ rn
B
p
r ^ IT- r r
'a    -   ha     wnl  -i-i
tcu - hu      su-u    qa
[^a4a] ?
v^^ J' J. ji^ p P i P p H p J' «n_H JT]_/3 ^ j_^ J' ?
q^a-ha-ha      tcu-u    su qa-ha	'u-x^a wuli-i	xa
dja	ha
D(?a]?

de 'a    ga-	'a - haya	di  -  hi	'ax ka - gi    a-he      ha-ha-sa      hi-hin-sqa
>
G	•"	J'	X
JIJ ii^ J. J J J^
-;|^ ^ ^ P^> J' J J' ^ IJ
'a   ha   di--    hi hu-wa	'a   ^uyiticiyi^aya^nsi-a.   'u - wa        ha-(ha-ha-ha) ya
Stanza I (2d)	.	».	i	i
A	i*	J>      B	]>	J>
m
tcu
c     ^
CT'^ J_^ J) r ^J'T ''L-T r ''^ ^-^^^
su   -    u  - u        qa	xa-ha wnl -i-i      dja  -   ha
,	Ca]?
J*	_    JiD_	J>	i>	J>
71' J_Juiip'f Ju rVpT'T] ' I ' ' h i=hn
qa - ha        tcu - u     su	qa   -    ha      'u -   x'^a wul - i     xa-ha	tea - ha
IN  THREE  PARTS
APPENDIX
1221
^
E
7^- p p J ^ f~p r f^ji^vi Jiy i ^ JO J>^ p J j)^
de   'a    ga	'a	ha    di	hi       'ax ka - gi        ha-ha-sa	hi-hin   sqa
J-
G	i>	J)        X   J>	J>	^	J"        ^
7'^   p   ^ p   p_Ji J) J   ill  I J. i)^   ilJ   iu   i)JJ ilj [        ] Jl
'a   ha ha   di	hi hu-wa	'a   ha     ha  huwa	ham	ma pe hede\   ha
Stanza II (1st)
D' + I	 J>	i*	Jl—	J>	J*
n. n
m
XEJ
s
?
•^"^^i^:^
n J   il 1 ^^
ha—        gu—       ('a)ce	'ax     ka	      gi	hi
he        ya

E'	-P	-P	F'      -P        J^	J)	-P
71^ p p J [Jp ^ ^^JI J'J J. Hi JO. J'it p J J j
he - ye      'ax ki - ki    hehe	'e   he   ya	'e   he  he
X ;>
ne-el   gu    ce—
^
GJtj>        xj)        ;>j)
71^ p p- p p i i-i'^ M- i i'J h J J'J JI
we he   he   'e   he   hu-wa	'a - ha   ha hu     a        'a   ha ha ha     ^cuye!_   ha ya
Stanza II(2d)
D'+	J)	J)	J)     	     J	.     .  i^
'-^'' p r U ^ "L/ f- p f p r r -^ ^' * ^' ^- ■^' ^
'a ha gu—    ce he he he he he he 'ax ka - a - gi    he-e  ya
E'	j)  .	J)	F' .   J)      . J)        . J^  .	.J)
^^'' f^^ ^ p7 ^ Li^"^'^'^- ^- > '^ "^'^ p-** ^
'e	ha
ne - el    gu     ce—	'e	he—      'ax  ka - gi	he    ya
G	j)	J)	X/
m
p f r p
'a   -  ha     ha   hu     'a
J   J. i' U i-   i   i' i   J' ^   i
we    he      he     'e     he    hu - wa
^Breaks off to speak -.'aya hAsdu 'aliciyi 'aya.
I
1222
J=84
F
Refrain
^
ya-
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
X954, 3-2-K CAnkuqedi Mourning Song, Composed by Blind Dave Dick
drum:
JJJJJ        J    J    J     J
^m
^^
jOL
ne
'a      hi  -  ne	hine	he	ye        'a
VOLUME   7
etc.
B   J J      J      J J     J J    J      J J    cJ J      J        J  J      J     J      J       JJJJ
^. iii"]j. hi J i'J. VI J. uni i'J V J i'J. i'v
^
ya—   'a hi-ne    hi-ne	he-ya  'a-
ye—   'a hi-ne   hi-ne  he  ya 'a
Stanza I (sung twice)
J      J     J     J       JJJJ
il    ^     ^        ^        ^
?
f
zz
l|:r        -n    fl     J'   J       J)   J       I       J    ^
'ax	ke	     -tu - du - tan -  tci     qa
cka   -   a -  yu     -     da
J
J	J	J
B   J	J
J.^	J     J        J
^
r^-n  J.    J   i' J    J    i'
^
tsu	ye -  1      'a-ni      tu - de - qan     na-k   nel       wu - gut    -e-ye
C   J    J        J	J   J	J       J	J	JJJJ        ^-^f^^i"   „
c
J.     j) r^   J.    J'   J     V    J      i'   J       J.    V :||^
he - ya
J     J
F	F       F        F
ya	    'a   hi-ne      hine
Stanza II (sung twice)
A       J	J.	J
Bir   n n
ha
J      J      J       JJJJ
J     i' J      i   V I

tsu	da—      xi - si -  s'a	gi    tsu    yi
un
-   xa - dji    -   tea
J
J	J.
B  J	J
J      J	J	J	J	J
^
n jn jTi J.   J   i) J ^^
xe    -    ye
tsu	ye - t      'a-ni    tu- dax  'ax-kax        qu    -    qa - ga
IN  THREE  PARTS
APPENDIX
1223

c
g
F        F
JJJJJ
J.  J' J
JJJJ
J' J     J-   ^

ha
ya-
Refrain
.A   J
^
ya
ne
'a      hi   -
hi - ne	he
J       J
JJJJ
J   n
hi  -   ne	hine	he       ya
ya        a
i
ya
ha
^
ha--
1954, 7-1-B Wuckitan Mourning Song: Lament for the Murrelet Cane
J = 60
Cfl  written 8va higher than sung
Refrain
drum: J	J	B       J
r p r~ > r ' r ^v ^'^- ^' ^- ^' ^' ^ ^
'a     hu - we
'a       hue—
ya
ya    he       hu - we
PJ
fJ
J      J
E    J
g
r F^^^r r
r  ^ P P f^'^J
J'J ^ I v|J. rvh h hv
mzzm:
•ya
a	a
- u   'e   we  ha	he     'a
a	'a  hu - we
J B/      J	J    C+ J
jTTT^j. n m
Stanza I (sung twice)
A    J
ka —   ye - K
J
p
p f LT r K ^ ^^
tcus yis      dja   du-ga-xa
qa    3^e     qu-wru   'ax-— tea
J     J
E
fe
fJ      J       J
m
^^
r u ^'
J.   J)J  J   J  7   Ip   p_Jlp~pV   ^1
ce - wa- di    tci	ta	'e      'e    'u-we  ha	'e     'a-u    'a - ye        'a
1224
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
Stanza II (sung twice)
C J
J     B
A J	J
P   p-   U  p~>  p    7  I p    J' p    J' J.    J"/ I J'  J      J' ^^
da-q^et tu-wu    de	sa	yec   dak tun-di-ta -  na	ce-wa   -  di   tci-ta
,D+        J
^ t r r p^-
j	E
J    > J' J' i' y ^
%
0      0

la-dax   gax-dut - si-
Edz]?
ti - ni
ye	den        da-qin-tea
~le1?

in      J
4
F	     ,
n
^
IfTJ—    J
£
r r^^' r r ^ r ^ ^" r r ' ^ r^^
e        a-u      a-e
e       a      ya- u     a
'-      '-       —   "    '-	'e     'a	huth!
Walking, Resting or Sitting Down, and Dancing Songs
The following songs are those sung by guests at a potlatch, and are grouped here accord-
ing 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 exclu-
sive 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 MUton on May 12.
This is one of the three songs with Tsimshian words
which McCleUan and I recorded at Angoon in 1950.
It was beheved 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 especiaUy 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 MUton 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:
Parti
A 'a(haha) yayina yawina,
B yawina, yayina yawina,
C     yanina, hani'na, hanina', hani'na, hani'na, ha
Part II
A'    'a, 'andaci yawina,
B     'andaci na, yawina, yawina,
C    yatlata, 'aditlata, telquca he hihihihihihihihi!
kawina(taha)
Part III
A'    'a-ha, yawina, yawina,
B     'andaci, yawina ha, yawina,
C    yatlata, 'aditlata hihihihihi! yelquca 'aya'ni'na
'a'ninahaha.
Part IV
A     'a, 'a' ni-na-ha, 'anina
B     'at}ata(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:
ABC
A'  B    C (repeated)
ABC
Tsimshian Dance Song
1954, 6-1-H; recorded by Nick MUton 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 ha'^ ha''
C     ha^, ha* ha* ha'^ 'iya*, ha* ha* ha'
D     ha* ha* ha* ha* hiya ha* ha* ha*
[at end] (as above)
haya* ha* 'aw he! 'aw he!
[cried      out]
1225
1226
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
Tsimshian Dance (?) Song: "Seltin's JVCarriage Song"
1954, 3-1-B; recorded by Emma EUis on March 27.
The proper name for this song is 'Seltin's Foot-
prints' (Seltin xtjsiyedi). According to Swanton (1909,
Song 47, p. 401), it was composed for and given to
Gonahi'n (Gunahin, 'Other Water') a Kagwantan man,
at the time of his marriage to Seltin 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: xelgayuwa heyuwa' hayA'cgllnaxa, hayu'
wacgllnAxa.
As sung by Emma EUis, they are:
A     heyuwa, hetqeyuwa,
B     'i, 'i, 'i, 'i 'i (repeated)
This was repeated three times completely, but on
the fourth repetition, Emma EUis ended the song with
a word and a laugh just after the beginning of the
second B phrase. The whole lasted 48 seconds. McAl-
lester comments that this "shows Thngit 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)
ABB/
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 Gmexqwan
ancestors of the K*ackqwan 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" (yAdAl 'heavy'),
because the people were sad at leaving their relatives
behind in Chitina. I believe that it is now sung by
the K*ackqwan when they are marching to a house as
potlatch guests.
The simple melody is sung through four times, except
for the final syUable 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 lie 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 IVIarching 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 Gmexqwan as they began theu- journey over
the ice. The words are in Atna. It is now sung by the
K*acliqwan 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
K*ackqwan, 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.
McAUester comments that the song is unusual in
that "the first phrase of Stanza II is taken (textually)
from tlie 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:
IN   THREE   PARTS
APPENDIX
1227

Refrain
A	'aya 'ane 'aya,
B	'ane 'aya,
C=A"''    'a 'ane 'a 'uwaneya.
Stanza I
A	cuya detxaya,
B	'ayu detxaya
C=A-|- 'a 'ane 'a 'uwa 'aneya.
Stanza II
A	'a 'ane 'ay ay a,
B	cuyu detxa
C=A-|- 'a 'ane 'a, 'a 'u 'ane wi yau!
The structure is simply:
Refrain: ABC
Stanza I: ABC
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 Gmexqwan whUe they rested on a prairie
during their journey across the ice (p. 240). It is now
sung by the K*ac]5qwan when they pause at the door
of the house to which they have been invited as pot-
latch 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 intro-
duction (19 seconds); Jenny Jack beat the drum for
the song which lasted 2:42 minutes.
McAUester 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 stUl syncopated."
The words are:
Refrain

 
	guk"'!	"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 K*ackqwan, 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 cAue kAnahe, (he, added on 2d time)
1228
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
Atna or Chugach Eskimo Dance Song: Spear Song
1954,  7-2-1; recorded  by Maggie Harry  and  Jenny
on May 27.
This is called 'spear song' (tsagal' daciyi). It is
sung for a dance in which a group of men dance and
sing whUe 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 K*ackqwan at Chitina
when they danced against their rivals who had been in-
vited 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, tUting the spears from
side to side as they sang. The Atna words in the snatch
sung by Harry K. Bremner were: hayu 'e hu hu 'e.
This song (if different from 1954 Reel 7-2-1) was not
recorded.
Maggie Harry introduced her song in Tlingit,
ending: "You teU 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,
whUe Jenny Jack and Maggie Harry sang in unison,
after the song was resumed foUowing the interruption,
Sarah WUliams joined in, foUowing in paraUel fifths.
As McAllester observes, the song does not sound Tlingit
at aU.
The structure is:
X
 
A	B  C	   
A	['] c	   
A	B C (sung twice)	   
A	B C/	 
Unrecorded Atna or Eyak "Steamboat Song"
The Tcicqedi and Galyix-Kagwantan sang a Copper
River song when coming on the steamer to the
K*ackqwan 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 pot-
latch at Dry Bay.
The words of the song were:
ya ha . . . e
SAni sa, SAni sa,
ya ha, yu ho.
SAni sa, SAUI sa
Southern Tutchone Walking Song
1954, 3-2-B; recorded by Frank Itaho 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 Tluk*axAdi 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:

 
ABB	C	   
ABB	C	   
ABB	c/	 
The vocables are:
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,
(• • • ^ff [grunt] at end.)
° Spoken interruption.
IN  THREE   PARTS
APPENDIX
1229
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 (lAdjlici), with Alsek
Athabaskan words, which would be sung by guests
after a potlatch. It has a lively tempo and lasts 1:17
minutes. It faUs 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-ci-du ce 'a 'a 'i-ye,
C	to I (as above)
I	(at end) 'a ha ha 'e, ha xwan tcuc!
Southern Tutchone Dance Song
1954, 3-2-D; recorded by Frank Italio on May 7.
This song is said to be simUar to the preceding dance
song. WhUe singing it, the potlatch guests, CAnkuqedi
or Tluk*axA.di, would hold eagle taUs 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
A
B
B
D
D'
C
C
X
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
Tl'uknaxAdi (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 ptarmi-
gan. 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 sUent,
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 Avith hardly
a pause between them, are called "sitting down songs"
because the guests who are feasting after a potlatch
sing them whUe they are seated. These songs, perhaps
also the other Southern Tutchone songs recorded by
Frank Italio, had been obtained from Nuq*a or
Nuq*ayik (p. 89) on the Alsek River, a village from
which some Dry Bay men had obtained a wife. "WeU,
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
265-517  O - 72 - 6
1230
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

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—Nuq*aqwan."
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:
B
B
AV
A
A'
A'
C   D
C   D/

Alsek River Song: Coming Under the Ice (I)
The words, as dictated by both Emma EUis and
Mrs. Maggie Dick, have no recognizable connection
with the perUs of descending the Alsek River. They are:
du   kite   'ax   djit   dulikAts—His   wing   in   my   hand
broke off.
du qA sAn wasa dAn qane—"I don't know what I'm
going to do for his body."
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 Tluk*axAdi or CAnkuqedi
guests after a potlatch. Her version (a) consists of a
single stanza sung twice, and a refrain at the end.
The structure is:
B
B
C
C
(repeated)
A
A
Stanza:
Refrain:
Emma EUis' version (a), as sung, is somewhat different,
especially since it ends with the refrain (1954, 3-1-C).
Stanza (sung twice)
A
B
C
A    he ya kite qu'a, 'as dji duligutla,
(du) [on repeat]
du kite qu'a, 'as dji duligutla,
du qa SAn qu'a, wasgi d^n qaneye,
'e ye 'e ye, 'a ha 'ay, ya ha ha,

According to Frank Italio, this song is one derived
from Nuq*ayik 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 Tluk*axAdi 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 Avas a small boy, about 1910. His
version lasted 2:04 minutes. This Avas not transcribed,
since it Avas essentially simUar to that sung by Frank
Italio.
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 Avould seem to be a more "orthodox" version
(b) is represented by 1954, 3-2-F; the Avords 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 tAvice)
A    du kite qu'a, 'ax dji duligutsa
B    du kite qu'a, 'ax dji duligutsa du qas An qu'a
C    AvasA 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   Gutcda   (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 tAVO 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).
IN   THREE   PARTS
APPENDIX
1231
Frank Dick evidently told this story in his Tlingit	with the Alsek River (1954, 6-2-E), as a dance song
introduction   (1:05  minutes),  for  he began:   'In  the	for guests after a potlatch, not a sitting down song,
beginning'  (cuk*anAx), and later said 'after they all	The song lasted 2:32 minutes. Frank Dick beat the
came out underneath the ice' ('ayas wudila). He also	drum; his wife clapped her hands, singing an octave
identified this song, like the preceding song associated	higher.
1954, 6-1-GTsimshian Walking Song
J = 160
°*    1 J J
drum: i i   4
A
g
f9	F
J    J     J     JJJJ
tj
#
etc.
F   O
P
^
*
'a—(ha   -ha) ya-yi - na        ya - wi - na	ya-wi-na        ya-yi-na     ya-wi-na
F^=^
r f ^ ^ r f ^
7 r r pM J r p-  ^ r J J ^ ^ J J Jg
ha-ni-na'
B
F—F—F
ya-ni-na	ha-ni'   na
ha	ni' na	ha-ni    na	ha
A _.-^      ^  ,	,    ,       B  ,
r r- p 7 r J JI
n     0
'> r r^r ^ 1^ r" r J J- VIJ
'an-da-ci   ya-wi-na	'an-da-ci    na       ya-wi-na—       ya-wi-na
falsetto
8va
J      JJ	J      J      J"
/r p p'wo f ^-^p J JWOffffi^ff fp^]J]j j.j)jj>
ya-tia-ta        'a-di-t?a-ta       tel'-qu-ca      he—     hihihihihihihihi	ka-wi-na(taha)
A'	.	.^	.     .       B
^
0   ra     0
p
'> f p ^ r r (H^ V ^ JIVIJ r^
'a     ha     ya-wi-na—       ya-wi-na	'an-da-ci	ya-wi-na    ha       ya-wi-na
J i   j) J.   7
F    *     F   F*
^
J t""}—J—J—7
'^ f f^  vJ'J p p-[f ppy^j] JJ Jvi'J J J. 7
ya-tJa-ta      'a-di-t^a-ta    hihihihihi      yef-qu-ca     ^aya'ni'na      'a   ni na  ha ha
^—^
F        F
a - ni      na
g

v>
^r J1 vll r 1^^^
'a - t^a - ta - (ha)
a    ni   na      ha	a    ni   na
1232
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
J     J
8va—	
J         J          J     JJJ
^8va	—1_^	I        I	 C
F       F

t
i-^ir n n'-\^-
p
'/[f  r r f  r 1 r J =s=^
hi    hi    hi    hi     hi	'a     ni    na	'a'    ni'     na	hi     hi     hi      hi
'>   JU     .     .       ,•    V   .     J    J    V  J)  J     ^
rt f V
'^^^
he-ya     ni'   na -   ha	ya-ni-na'       'a - o!     'o      he!       'o      A/.'	[laug-hter]
1954, 6-1-H Tsimshian Dance Song
As sung"
m

drirni:
rr—}       n—}
f~k     ^  ^   f     M

hi'
J	3	]
'i       -      hi'	'e     -      hi
r-}—3

ha
i-ya     -     ha
J—3—3	rT~3
'i     -      hi'	'e	hi'	'i  -  ya	ha	ha'        ha"    '
J  J  J    m
etc.
^
?r   flyifl7fl?p   flg
? p   fl y
^a
ha'
landnr
r r M ^ r r rip^ p'^r^
ha^      ha'^    ha^	i   ya^        ha'^      ha^  ha^       ha^      ha^   ha''   ha'
J      J     J      J        I	J
andni		iffli 	'	rl       I	-i '
:^ Tp 7 py p f!f:ii rp 7 p[^ P^7 r^ ^
hi-ya        ha''     ha''   ha*^	ha-ya^        ha*'  'aw- he!	'aw- hef      [laug-hter]
1 a" is used here to indicate the sound normally written with o.
IN   THREE   PARTS
APPENDIX
1954, 3-1-B Tsimshian Dance (?) Song: "Seltin's Marriage Song'
1233
J=116
As sung"
ifn J' 7 JH ^
-n    >   7   ;||
n r   r
he	yu
(sun^ twice)
B
^m
wa-

F*        F
P
m^
hei	qe  -  yu      wa-
«!'    7     P     y      P^

^
'•■^
m
he	yu	wa-
^^
hel	qe  -  yu      wa-
^
ll||:  [^ U^V   ^  i^Vtfp y  p V ^^h :||
'i	       'i	       'i       'i      'i		I
[Keeps Cj|-G}l in the repeat]
^^
he	yu	wa-

^
^^
hel	qe  -  yu
m    >   )-
wa

B	—
\\^Q'Ji>y  i]J'J'V Ifp  V   p V   Q_> ^ :U
(as above)

^^
^'C? J' ' [Ji
wa-
he	yu	
■r   c_f
hel	qe -  yu     wa-

B ^	^     ^	P—,		I		B/
speaks,
laughs.
1234
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
1954, 4-1-B Atna Marching Song
VOLUME   7

J = 154
(sung* four times)
A
,j  1,1   J ifes^
J     IJ.      V   >        I

he	dju	ci	ye	he	dju
Cl	ye
B
i
^
^      rJ
—F	F	^	F	
ci        ye		^e	ci	ye	       'a        ya	ci        ye
i
'e	he	da     da
-0	F	V	F
da-u     ci    g"e    di     ke
X'
"5	F—^-O-
da    di      ke
Fine
m
lands
^mi
t^	13	^-
[speaks]      ya
^ Ends on Fine the 4th time through.
1954, 7-2-A Atna Marching Song
J=76
Refrain
A   drum: J	J	J	J	J J    J J     B J   J
etc.
"O	F^
a       'ya
r ^'LTCJ-^J
0—d	FT
'a      ya
^	w      0   ^     ^-^      »
ne.
I
a—   ya--  'a-—   ne
C=A+
-0	F-
ar	  ne-
A^J^ J    J   J'~J J     J.
ya
a	u	wa—      ne
^
IN   THREE   PARTS
APPENDIX
1235

A  Stanza I
^
0—0
B
^ J J. ^lr:^^LrLj'"^J J   J^

C=A
cu-
-A +
ya—   de	t   xa    ya
yu—    de-
■t    xa      ya

«=«
-0	»
in J  JJJJJ.

a	      ne--
u      wa      a       ne        ya

i
F—Zt
■t    xa
A   Stanza II
^40
C=A+
0—0
a—   ne-
^
B
J j) ^^ I r'^-J^ IS ^m
'a       ya    ya	cu	     yu—    de
J    \

^==-s-
%
F	F
a	      ne-
F'      F
F—F
J    J     Ml
-0	F	F	25	
yaul   ]
'a      'u       'a       ne       [u'l
1954, 7-2-B Atna Resting Song
drum:
^i"/ yay 'a	   yai       'a     ya	'a    ni— ya    ha— 'a     ni-
J=76—80 approx. (uneven)
c
Refrain
^>	'	.,^—
^

B
J? J    J?J    n J    Jl
a J i   pJ J    J i ^J ^   J  ^    J  U i
^
«—#
^
ye     a     ya
c J   ^    J   ^ ^J  ^  J    dU i      J  U i    eJ  J   J  i   J  J
^
iJJ   Jl3
^^
^
0     0
i rnx
'a     ya	ya    a   hi   ye  ye   ye-
'a     ni-  ya    ha—  ha   ni ya	'e
Refrain (repeated)
A   J      \   ^   \    etc.	B
etc.	B	^	--	—-
i
HiJ J ji7iiji^^p Zip /j^j. >;^j ^
ya   'a-
ye    'a     ya	'a     ni— ye   'au    'a    ni		i— ye     'a -  ya
D
c
#^^
^
p
ri     0
''^~  »   »
'a    ni- ye   hu-   ha ni   ya	'e--
E
i i'^'ii ^ ^ M
■ye    'a      ya	ya   ^a    ni   ye       ye--
m
1236
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
Stanza   (sung- three times)
A

ya   'a	    ye    'a     ya	'a     cu-   yu   de-   'a     cu		yu- txu da - ya
^	p        ^     k^^	E	Iland2^^    5
'a ni- ye hu-- ha ni ya   'e	ye 'a ya   ya 'a ni ye ye-    ni yu--
1954, 4-2-A Atna Dance Song
J = 154
As sung-
^i

i
J J ij   J   i^^
?
■(a)	'a	(a)     nik    -    a     -     ha	ca  - na        he

^
^
#
J    J    IJ     J
^

■(a)        'a	(a)      nik   -     a-ha       ca - na        he
ni

^
F	0
-ka (ha)       ca   -  na       he
*

i
^^
'a	(a)     nik   -
F	F
ca   - na

na        he
2d repeat
XE
he
^=^
dzE
he
J	J    IJ
af-
K
M
ca    -   ne
1    1st repeat
^
il?   J	I      J.	:|
-dh
he
he
he       [speaks]	he
ka -

IN  THREE  PARTS
APPENDIX
1954, 7-2-1 Atna or Chugach Eskimo Dance Song: Spear Song
1237

j = 132
X
drum: I   } j        J	J
etc.

¥

h j    h J   jU  J  J   > J.    j^ J.   J) J   J^
t'-j^.	i^'   0	0'   0	0	0	F	F	L_F—F^	F	F        F-
S
-»     W-	W     0	•     0
'a-ha     'a-ha    'a-ha   'u - hu   wa   'e        'a-ha     'a-ha    'a-ha    'u - hu  wa 'e

-0-*—•   F"  F	F-'-F	*—*	F	
'a - ha   'a - ha    'a - ha    'u - hu   wa 'e        'a - ha   'a - ha    'a - ha    'u - hu    wa  'e
hJ 1\1 1)
B
P	r~W'*	F^F	F-'—F
4 J JO. IJO J'
s
s
F	F
h }.   h }   -h
¥
0^—F
^	•—d
'a-ha      'a-ha     'a-ha     'u - hu    wa  'e	"You want to see how we dance this?"
C      1	A
s
^
j)J. j)J i^J J  J  J^J-ll'i^J. >^
'a-ha    'a-ha   'a-ha   'u - hu   wa  'e        'a-ha   'a-ha    'a-ha   'u - hu   wa 'e
B
|3t 51
\-—kl—-SkIILJ.
C    1.1	
W^0
I   J'J. J'J  J'J J J  i'J. I J'J. i'J   >
'a-ha  'a-ha  'a-ha'u-hu wa'e       'a-ha   'a-ha   'a-ha   'u-hu wa'e        'a ha 'u   we!
From here on, Sarah Williams' voice is faintly heard, following in parallel 5ths.
A, B, and C are sung three times.
1954, 3-2-B Southern Tutchone Walking Song
J=
Percussion (2d time)

ya-   'e   'a        'e  ya    iye
1     ya        'e      ya—    'e      'a       'e     ya
«r
JU U     c J    \   \   X    J     X   J   x\x\x       J,    X
p^^
-o-
>^   ,.„    '
1       ya
\- J ^ 'II p r' LT ^' ^
ye	u	u
1    ya      e - ya    a	wi    ya    e-
1238
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
^=
J      i	J     M       X     J     MU ^  J   i
^R#
»^

f=^
r   r   p (   i
'e'
ya	       'e	ha	hi      ya	'e *	e	ya
^^
g^
B   J      i        J     J  J   ^     J    M  M   M   i      J,     I
he	hu        hu        hu
M     f    P  P   M      I       I       I
ya—     'e        'a       he ya	ye
ha
1   X i   X  JirrTTTin     TT    112i   J   J J  J'aF
!l7   J    J'7:||
:^t?ii p r' r ^' ^'
^^
F     F     <V
^^
IZ
ya    'e        uff   ye
1     ya
Wl
'i   ya     'e     ha        wi   ya   'e-
1 Clears throat on this note but continues singing.
1954, 3-2-C Southern Tuchone Dance Song
->'M-rr 'r Pr-ppr7m Y ^pt R r ^p
J = 126
As sung"
S"l>ox= J   J	JJJJ        JJJ       JJJ
JJJJ
J  J  J
Si
ha   'e
e —
'a      'o-
ya    e
C^
e —       e
ya 'a	
D
V
F—F
ho—       'i - ye
^
^^
0       0-    tf0     0       0—0
?
?
r ^ f P r r r
ha    'o-ho-o     'i   -ye    ha    'o	ho  'o      'i - ye     'a     'o      ho-o      'i  -  ya
^
p r r  P
'o	'o	ho-o	'i    -    ye
'>^  J      j.       i'   i'   V     J     J     f      ^
'a        'a        ha-wi	ha      ha		'i - he        'e   -   hi       ha	
^
m
C^i	I ..	H
m
r p r p ^
'e - he       he	'a   -   ha    hi -  ya
*
IN   THREE   PARTS
APPENDIX
1239

fine]
JJJJ
0.
	F	^
'f }      J.      il   J'   V    J      J
ha	ha     'e
ha        ha       ha
Part II (sung- tw^ice)
V   J	J   J     J       J        J    J   J      ^,  J
^^
i
F—bF-	^
f
p r r H p

I
ha    p
p#^
xwan
tcuc!\
D.S. alji71^
J   J
r r r p > ji

sa   dju     ci     du     ce    'a-
sa    dju      ci      du      ce      'a        'a        'i -  ye
1954, 3-2-D Southern Tutchone Dance Song
J=134
As sung:
(sung- twice)  ,
A drum: J J
JJJJ   JJ   J J J J J J   J J JJ J J   JJ J     JJJ
i
Ff=^
3
^^
'A^i:rprir c?n;.f r.f rf
ye 'e- ya  'a - ni  na-- ye 'a -ye 'a -ye 'ey  'a 'e 'a 'e 'ey 'ey a ye a ye
'e he-ya na- ni  ye— ye ha ye haye hey  'a ye haye hey'ei
j  J   J   J J j jj    J   J   JJJ   J     JJJJJ
B	_;:-	,   ^.	C
J    J    J
3
p   7^J.   ip   J    J.7|P7P7r   P7P7|'frPHp/3rpP7
'ey	'a       ye   'e    -ya	'e       i        hi—     he	ha - hye	'e  ha-ha he ha ye'
'a—      'a	ye  'e   ye
Dir
J J J J   J  JJ   J J    J    J   J     J      JJJ     J   J J J JJ
e
jiy J J j J'H r' J J
^^
?
0^	0
T   !!2.D' I   ■      I
J'7:|lr' J J^r ^1
he     he    ya   he	ya    ha 'e        ya   ha ha ya	'ey    ey   ya  ye   'e      hun hutc!
1954, 2-1-H Southern Tutchone "Ptarmigan Dance Song"
J =142
As sung"
drumj      JJJJ	JJJ
B

he    'a        'a
e        a        a
'a     'a
'e     'a       uwe     uwe
1240
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

A (sung- three times)
I   I    I   I     II I .U   J   J   J'
F-^—&
'e        'a
'i     ya       he      'a	'e       'a
'e      'a
»       7

lui^dFnr J J	^rj J J j J   ^,rf
^ B	al	1	Iland2    H3    J   J	' J  -» -<
(^6 J-;iJ J^nj. ;)j JJ JJ-7:iiJJ^[ ]ii J ^h
'a	'e   'a  uwe uwe 'i ya 'e  'a.   e    a
e 'a	han!	'a	uwe
Ijhout]
fime
1954, 3-2-E Southern Tutchone Sitting Down Song
J =100
As sung-
drumJ  \  I \  \ Ix   I  \  \    \   \   x^\    \   \   \   \    X
|r r r V p i r ^
F—F
M
A'/,    -'-^-	%
g
^^
he    'e—      qi   ya        'i    ya    'e	he	'a     he-e        'i - ya    he	he
B  J     I     J     i     J     i    J       X    g\     \     \     X   \    \      \     \	J
Hr  H    B   ^
''' r r r r r r p Mr p r
^
-    he
ei	ya
W
i       J       ^
'^ ^r ^r p ^ r r r p ^ r r P ^" r r ^^^"
'a     ha     yo'/
J       X
D. S. al fine
r  V P 1   r   r
*
m
^m
M
'a       he—
'i     ya      'a -   hoi
hi	he
a      'e-he        hi    ya     ha      hoi
'e		'a
A   J	i        J
m	F-
'a -   ha—      'i
IT
J        i        J
'a-ha -  ya
J_ ^     J

1    -    ya
he
hi
ya
IN   THREE   PARTS
APPENDIX
1954, 3-1-C Alsek River Song: Coming Under the Ice (I) (version a)
1241

^
J =88
CU
stanza (sung* twice)
P
^
A an
F'	0'      0	0.
0	0
s
\J
0	F	F

he       ya      kite    qu        'a
du	
'as        dji	      du        Ji    -   gu   -   tfa

^5
a	F      F
i/        d
^
Vl/
J      J      i'

du-
kitc     qu        'a	'as        dji-	      du   -    tt    -    g-u   -   tla
B
n
^
i
^
F	F
J J Jl
du	qa    -     san    qu	'a	was   -    gi	     dan     qa   -   ne   -   ye
j- j. ' j i i ' i ^ j-
^

ye
'e	ye	'a	ha        'ay
ya	ha    ha

Refrain
I
lA
*	«	*.        i>
'ey	ya	'ey        ya
ye-
^
ei-
F	F
ye

—:	F
^
ya        'a
F	F
'a       'i
ya
F	F
e	ye
i
ei-
^
ya

^    J     J-   i       j   j. f
^
'^

e        ye	e        ye
ya      'a        ^ay	ya        ha	[laug-hs]      du
1242
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
1954, 3-2-F Alsek River Song: Coming Under the Ice (I) (version b)
VOLUME   7

J = 100
As sung*
Refrain
drum:i        J        J	J      ^
^
£
X      i     I	}        X        }
i
^

ye
he-
ya
ye
he.
ya
X     }  X    }   X    }     X     }   X    i    X   }   X      }   X     }     X      J
i
^
->%°r r
ye      he -  he     ya
ye     he   -   he       ye	'a   -   ha       he        ya
1:
X    }  X   }   X   i     X   i X    ix    }    X    } X      i     X  }   X
';^ r f r r ?
^^
r <tif >
P=F
ye    he      he     ya
Stanza(sung' twice)
^	F	0-
^^^^^^^
ye   he    he     hye	'a - ha     hoi	ya     ha ha ha
X        }	X       i      X        }       X       i
^
t
p r  r  r
du	kite      qu
'ax        dji	du - li    -   g-ut  -   sa

^
B
Xix      i    X    i    X    i  X      J    i    J    i    J   i       J     ^    J
F	F
0     0
m
^
£
i
^
p-n^
du	kite  qu     'a	'a?    dji     du - li - gut - sa    du    qa -   san qu      'a
xix   J i J ^ J J J YTTl   ^ J i J i J
c
*>tf|^ p T  ^ p^^
F      F
p p   p- ^p ftJ  ^   -J   ^^    •'!!

wa - sa     tsu qa - ne	ye    he     he	    ye     hya   ha    'oi
ya	ha
IN  THREE  PARTS
APPENDIX
1243

IF
Xix	J      i	J
xix	J     J

m
H    ^r    r m
ya
oi
'a	ha
ya
ho!
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-chUdren 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-chUdren 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 Tl'uknaxAdi 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 Ginexqwan-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 gunaye 'at—To the land of the dead they went
}244
'Aciawsigai—Weeping (?)
ya 'ida tuwu—Longing for you
ya 'iyeli xawe(s)—Your Raven thus
c-Ginexqwani-yAtxi—Ginexqwan-chUdren
The song, as sung (1:25 minutes), consists of a refrain
(sung once), a single stanza (sung tmce), 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	'an 'anuwe,
D	'ahe, 'aheya, ya-
B/	ha ha nuwe,
C	'aha n 'anuwe,
D	'ahe, ahe [tciye!—song leader's cry]
IN   THREE   PARTS
APPENDIX
1245

Stanza (sung twice)
A    de (ya) gunayehayata ['at]—To the land of the
dead they went
B/    'ac xan sigax ya—Near him (?) to weep (?)
C     'ida tuwu—Longing for you
D    'ahe, 'aheya,
B/   ya 'i yeli xawes—Your Raven, thus,
C     c-Ginexqwani-yAtxi—Ginexqwan-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 Itaho on May 7.       C     gusu di yeH—Where is the Raven?
'ayikden qa'adi 'anaqaguxu—Into it ? he will go (?)
D     SAgu 'ani-de 'a hu hu ya hu,—Happy to the land.
X     'a-ya ne ha ha
This song, and the following for 'K'^el Deer' (1954,
3-2-G, b), were composed for a Sitka Kagwantan man,
Kuckena, 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 aU those things and he's
the greatest dancer." In introducing the first song,
Frank Itaho said in Tlingit: "This is my grandfather's
song ('ax hlk'^ daciyi 'eya). He was finally (?) called
River Marker and Stone Canoe (hin k^eyi qa te yak'^
hutcu duwasaq'')." The song identifies him as one of
the Xa^hittan-yAtxi, chUdren 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 k'^eyi). 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'
B
C
D
X
'ey(he) ye haw, 'a-ya ha ha-ya,
'ey(he) ye haw, 'a-ya(ha) 'a-ha-ha,
'ey(he) ye ha, 'a-ya ha ha-ya, 'e he ye he
'a-ya 'e-ye 'a ho ho ho m hm,
'a-ya he ha ha,
Stanza I (sung twice)
B
yel yi yagux—Raven(s), your canoe
t6A 'awu(x)siti—Just he is.
'i tuwu xa—Your feelings ? (xa),
Xashittan (i)-yAtxi—Cow-House-People's-
children,
(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 'ayaxa—The paddler(s)
tee ya 'akawhku x^'a—Just (?) know(s)—?
[t6A?]
B     yi hin k'^eyiye—Your river marker
ceheyeyAdi yela—O Raven(s)
C     SAgu k^a(ha) da 'aya—(Be?) Happy ? ?
dek q'^a hayi 'at 'ade xa—? ? below (hayi) ?
D     ya ye kax da 'axtca—? ? is always heard (?)
ho ho ya, ha
X     'a-ya-ne ha ha
('a-ye-ne 'a wo!) [at end]
(The imphcation 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)
StanzaH: A	B	C	D	X
A	B	C	D	X'
According to Emma Ellis, who heard the recording,
the Xashittan were a branch of the XatJkA'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.
265-517  O - 72 - 7
1246
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
Sitka or Dry Bay Peace Dance Song for 'K^el Deer'
1954, 3-2-G (b); recorded by Frank Italio on May 7.       B
This song followed without a break from the pre-
ceding and, according to the singer, was for the same
Sitka man, Kackena. Possibly the name k'^el or k'^el is
really g'^el 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
B
C
D
E
F
kut yaw haw ha^ ha ya ha,
'a ya ha, 'a ha ho ye he, [laughs as he sings]
'a ya ha, 'a ha ha ya ha,
'a ya ha ha ha, 'a ya ha,
'a ya ha, 'a ha 'o yamm,
'a ya ha ha ha, 'a ya ha,
Stanza I (sung twice)
'AsdjidAx tea yahhasa-
' [tCA?]
-By accident (?) just (?) it
floated away
du k'^eh, caheyAdi yela—His bag (? g'^eli ?),
O Raven(s),
'adade   tcA   kanda^axtca—Because   of   it   just
always weeping
'a-ya-ha-ha ho-o-ya-ha,
'a-ya-ha, 'a-ha-ho-ya,
'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 kayani yexa—Your (?) feelings
to the head (?) medicine like (yAx?)
tee [tcA?] guk^ati—Just (?) will be (?)
Xashittani-yAtxi—Cow-House-People's-children
tut xa-de cade tcuc dad ax du cada—Toward me (?)
to the head (?) only from around his head (?)
'a-ya-ha-ha ho 'o ya-ha,
'a-ya-ha 'a ho^, ha-ya-ha
'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 [kayani].)
Peace Dance Song for 'Dog Deer' and 'Gateway Knob Deer'
1954, 3-2-A; recorded by Frank Itaho on May 7.
This song was composed by Dry Bay Chief George,
Tl'uknaxAdi, in 1902 for Frank Italio, K"'utcEn, a
CAnkuqedi man (1870-1956), when the latter was
taken as a peace hostage by the Dry Bay TluknaxAdi
(see Case 10, pp. 604-605). Frank Italio was given two
ceremonial names: 'Dog Deer' (ketl kuwakan), which
perhaps referred to an important Tluk^'axAdi shaman's
spirit; and 'Gateway Knob Deer' (kitca 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 TluknaxAdi hostage (Sun Deer, Mortar Deer,
and Fish Rack Deer) was not recorded.
The words to Frank Italio's song seem to be:
E    'a ha" ha hi ya, 'a hi-hi,
F     'e-he qa-ti
('e he, tie hede') [on repeat]—"To the beginning!"
Stanza II (sung tmce)
A    di kitca Iu kAt—The Gateway Knob Nose
B    'uc tcA 'a^ ha^—If not just ('aw ha^)
'idusa-ha-ha—You named him
C    di yax kux lA-ti-ca [or -sa]—? (the canoe would
turn back??)
D    'a^ te(x)-nAx dutina"—?  from   the rock see him
[visible] ?
E    'a ha^ ha hi ya, 'a he he
F    'e he tcuya!—"Again!"
he hutc![a.t end]~" That's all!"
I cannot attempt to explain the meaning of this song.
The structure is:

Stanza I (sung twice)
A	taqana ha quti
B	ketla ha ku[or qu]wucki-hi(hi)—(ketl-
C	'ini dak^u '{i'"di[or -ti]
D	'a* tex nAx sAti-hi-hi
-'dog')

 
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/	   
' Laughs here.	
 	
 	
 	
 		 
IN   THREE   PARTS
APPENDIX
1247
Peace Song for 'Dollar Deer'
1954, 1-2-D; recorded by Minnie Johnson on April 8.
This song was composed by Bhnd Sampson (1866-
1948) about 1904, for the Teqwedi to sing whUe their
peace hostage, Mrs. Situk Jim, Xosal-tla (K^ack-ca,
1856-1916), danced as 'Dollar Deer' (dana kuwaka;
see pp. 601, 604). Mrs. Situk Jim was a daughter of the
Teqwedi man, Xadenek 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: "Tie hede! De cukde
cuqalixux"" (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 trans-
lation.
Stanza I
tea dana-yex tea kug^atin—Just like  a doUar, just
wearing it,
Teqwedi-yAtxi—Teqwedi-children [i.e., the hostage]
dutuwu 'ayu—The thought about them [her].
Teqwedi-yAtxi—Teqwedi-children
du gutcitc seyiix kaguxdati—The Wolf will wear
around his neck.
Stanza II
'ackad^ yA dJAk sitan—Right onto her (like breakers)
striking
du gutc 'aqayi—The words of the WoK,
cewAdi yel—This Raven [i.e., the hostage]
'atuuAx kewudaqin—Out of it, up she flies.
As heard on the tape, however, the words are:
Stanza I (sung twice)
A	tea dana yex tea kug^atiyi
B	Teqwedi-yAtxi tuwu 'ayuda
C	du gutcitca seyux guxdati 'eya
X	'a-ne 'a (ya)
Stanza II (sung twice)
A	'ackade ya djak sitana
B	du gutca qayi ceyAdi yela
C	'atunAx '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 Kwackqwan
to sing for Joseph Abraham, Tsune (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 Kwackqwan—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
Bhnd Dave Dick, CAnkuqedi, although it was sung by
the TluknaxAdi 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, Gixutske, and her son, Qalaxel', had died
from bad liquor served to them by the Raven
TluknaxAdi. Jenny White is the daughter of Mary
and Lituya Bay George.
The recording is introduced in Thngit by Jenny White
(57 seconds), for which John EUis furnished the follow-
ing translation: "When I was smaU, 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 ('atlen kuxitl xakt 'ayu 'uwugut,
'ax tla). My uncle, my brother, by whiskey were killed
(naut 'uwAdJAq). About her was made that song
(dudaciyi wusiti ya ci). That's the time the song was
dedicated to her. That's why I want to sing it ('Ate
'aya 'axtuwasigu k^knxAciyi)."
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,' hteraUy
'wave marker' (tit 'ankneyi 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
1248
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

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 'ankneyi yex—Like the American Flag
[yAx?]
'atya quqwati—(?) (have become ?)
B    TluknaxAdi-yAtxi—TluknAdi-chUdren
C    tuwunik yis de—Longing (for them ?)
D    'adat yisiyeq de—On it aU ye hoist it!
E    tea yel 'ani kade—Right on Raven's town
F    tea 'anax 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 TluknaxAdi love
their sib-chUdren, i.e., their hostage, as they do the
American Flag. So aU hoist it above Raven's town
(Yakutat), where it can be seen.
Stanza II (sung twice)
A    de xat qu hani yex 'ayAnde—Like the fish souls
[yAx ?] shoreward
B	se 'it xen AX de daqena 'Ena—Through the horizon
dawn breaks,
C	du tuwu hede gutca—His feelings, that Wolf,
D	'ican 'Asgi hedi yel—Pity perhaps that Raven
E	-a 'akatx tu sAgu—(Because of it ?) wiU be happy
F	tea 'At cuhtini—Just to watch it.
G	'eya he-ye-ye ye-ya 'a
H	'aha ya,
Y	'a-ya ne,
X	ha—a
[Z	a'ahoy 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 imphcation is that now aU will be
happy.
When John EUis 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:   ABCDEFGHX   Y(repeated)
StanzaH: ABCDEFGHXY
ABCDEFGHXYZ
1954, 1-1-B Potlatch Peace Song, about Kardeetoo
J =100
As sung"
Refrain
A     ^
drum:^
J    i    J
J   B^    J	X       i
nu--     we - a
■^ j-f  p  p> pj'np-^J.-^p V p   p-Jj J
a	nu—      w^e
c
D
d     *^ B/ '   ^      •
fivli^p p-   p' ^^'7 I
^
m
^
i J     ^     J      X      t.J M     xix        J    U/ J i    J       J
■0—0
F«       F	0      0
'a       n    'a      nu— we	'a      he	'a    he   ya	ya	    ha     ha     nu--   we
g
cJ     ^     J   J   J
.';= J   J   fl J-^
dJ   ^     J   i     J
i
^
I

ha
n      a
nu
we
he
he
tciye!
IN   THREE  PARTS
APPENDIX
1249

Stanza (sung* twice)
J    X       i
i     J     i    J    i       J    ^  J    J    J    i
'MN j'p p p ^ Cr p p'-J If! r r ' ^
de     ya  ^ -na - ye	ha	yat -   a-—	'ae xan    si     -      g-ax     ya
^
B/
i      J
dJ   i     J      Xix
S
w
J    ri \^
F       0
0	0
0'	F:
he
'a	he       ya
X   J     J
u	     wu
'i    -   da - -1   -   u
J	I	J        J      J	i	r, J	i
^
?
p r  f
J   Jill   1-1°'.^
D
ya	'i       ye    -     K	xa   -   wes   c-Gin-      ex -  qwa - ni	yat   -    3^i
J    ^      J    ^     J      J	X        J    i    J       J     i
2        A
.      F     II   d'
F	F
»*	Mz	m-^	*-
r  f  P r  I'
ya	ya
ha       ha        nu    we
'a	he	'a	he	ya	
J J viiVp j
Variations on the repeat
al    J       i	j     etc.
m
m
w
0-      0
pr r L;r it'^^
de       g-u-na-ye    ha--yat -a--       'ac xan si  -^ax ya        -ni-    ya     - txi    ha    he
1954, 3-2-G(a) Sitka Peace Dance Song for 'Canoe Deer' and 'River Marker Deer'
Jrl20
druni://*-wvvvwvv'»»'wvv^'»'v etc.	-vv^/ww^ •*•••        d     d	d     d        d	d    d
0 r m 0 0
A    ^    —	^     -	B
^^
£
i
f»^
'> r r r rrr ^'Pr r Pp p
'ey(he) ye	haw      'a   ya~    ha-   haya        'ey(he) ye—haw     'a ya-(ha)  'a-ha-ha
1250
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
JJJJJ       J	JJJ	J    J        J       J       JJJJ
m
r p ^ p f r p f ' f r r ^
he       ye        he
'ey   (he)     ye	     ha	'a     ya       ha      ha   ya
^
D     J  J    J       J     J     J    J    J     J     J     J Jx     J   J    J   J   J   J      J
0"—-^
^
•■' n r p r r r r r r r ip ii
a - ya
he      ha        ha
'a   ya     'e     he  ye     'a     ho    ho    ho    m     hm
J J J J J J   JJJ   J JgJ J J J J J    J  J    J    J
Stanza I (sung* twice)
A
7 [) r P [J p p^
^   0   0   \ =FF=^=(g
*>ii'pr rp r pp Pr pp»
	> _ •      	        	. >_   ?_		    .:
yel yi   ya- -goix tea  a— wux-sa-ti
wii--si-ti
'i  tu -wu-   xa     Xa-shi-it- ta— ni ya -txi
Xas-hit  -   ta-n ya-txi   (-)
^^
^^
J    J      J_J   J   J     JJJ     JJJJ       JJJJ
f©	F
m
p ^ p r' r p
g*u - su   di     ye	   - li	'a -yik - den    qa    'a -  di     'a  - na-qa- gu        xu
,      ,	JJ    JJ JJJJ J   JJJJ   JJJJJJJJJ    JJJJJUJJJJJJ
w
D   JJJ   J J J J JJJniT
_ o
"■^ prr pr prr r r^'iprrr r^'^'UPrri jptl
sa-gii 'a-ni-de 'a huhu ya hu       'aya ne ha ha	*   'a-ya-ne     *       'a-ya[coug-hs]    'au
Stanza II (sung" twice)
. J J JJJ  J    J J   J   J J„J J J J J J    J  J   J    J   J
'Mi:rr r p^ Pr Pr pp p ip r r rr ^i^r Pr ^^
de 'a-ya-xa     tee ya   'a kaw-li-ku x^a   yi hin k^e-yi-ye      ce-he-ye-ya-di ye-ia
F	F^	F
s
cJ   J    J    J    J J     JJJ     J    J      J    J     J J  J     J
^
^
p r p ^ r r ^
'at        a-de	xa
sa - g-u   k'*^a-(ha)    da       'a   -ya      dek   q'^^a ha      vi
(■-)
IN   THREE  PARTS
APPENDIX
1251

D   J J J    J     J J JJJyJit
J J J  J J J   J  X'    J J   J       J J te
W
'-^ P r r P r r r r r p ^ p r- rrr^p r r m i mi
ya ye kax da 'ax-tea ho ho ya ha   'a-ya-ne ha ha    'a-ye - ne   'a  wo.
1 Clears throat.
1954, 3-2-G(b) Sitka or Dry Bay Peace Dance Song for 'K'^el'Deer'
B
J = 118
As sung"
Refrain	\
drum: J    J     i     ir^
J   r	M    ^
etc.
i
^
^^
^
F	F
P
'a       ya       ha
kut   yaw^       haw    ha^    ha     ya       ha
C	D
F—F
F—F
^^
^^
F^—F
F=P
S
p
py r p^
'a ha ho ^ ye he   'a ya ha  'a ha ha ya ha   'a ya ha ha ha  'a ya ha
E	F
'^p r r ^r r r r -i''p r r r ^'^ r r r
'a   ya    ha	'a     ha    'o yamm
Stanza I (sung- twice)
'a    ya    ha     ha    ha	'a       ya       ha
i
B
i9	F
1©	F
F^	F	F	F	F
7||:p   p-   p-   p   p   p^^
'as   dji    dax tea ya- ii - ha - sa	du k'^e - ii	ca - he - ya - di  ye -   ia
^
\A r r '^r r rV'^^P rr ^^ r r rV r'n'r pp^
'a-ya- ha        'a-ha-ho-ya	'a-ya-ha	'a   ha ha ya    ha      ya   ha ha
^^
'a- da- de    tea  kan-da- grax - tea

I
D
l*=fe
p r r r p *
'a-ya-ha-ha   ho - o -  yu -   ha
ir
1252
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

l^(g     ff
Stanza II(sung* twice)
A
>h I M M I I r ^'' I n
F^	F
rrrfr]
'u tu-wu   ca - de   ka-ya - ni    ye -  xa	tee    g^uk^ati       Xas-hit - tini   yat-xi
l?F    F*  b'F-^
g
F	F
^
t
^^^pr p r-TTT [jf pH^p
tut xa    de   ca - de tcuc   da-dax du  ca   da           'a   ya  ha ha     ho—          'o     ya   ha
cl	c	il	
E
m
n p'^^r r^rn ru^^w
0^—F
¥>	?<	¥>	?^
'a -ya-ha	ha ha ha ha    ha-ya - ha	'a-ya - ha	'a - ha-ha-ya - ha-ha
[laug-hs]
____«.„^	Variations on the repeat:
JJJJ      tr		Stanza I	Stanza II
bl
	laf
o-
^
S
«Nff^
f
\       ho
^^
ha-ya    -   ha    wo
Laughs as he sings.
xa        sa        ya        ha
hwl
1954, 3-2-A Peace Dance Song for 'Dog Deer' and 'Gateway Knob Deer'
J =112 approx
As sung-
stanza I
^
r r '^' p f Mf r I '' r ''' ^^
ta - qa - na    ha      qu - ti
ke  - tiwa-ha	ku-wuc-ki -   hi-hi
[qu]?
D		
g     ra
^
p 7 r r ^
r I i" P^P r ^'
'i	     ni	   da   k'^u       'a^^ - ti	'a^^   tex   naxsa--ti	-hi-hi
r^^^'it'Y r r r r ^ r r r '• T f ^'' p r r ^ '
a      ha"^     ha   hi     ya	'a     he - he	'e  -   he	qa---   -   ti
IN   THREE  PARTS
APPENDIX
1253

p J  i^rjTTftt^   p ^p tfp J T   r ^
^15
Stanza I (repeated)
A
F	F
tia -  qa  -   na   ha      qa - ti

S'
\k\e    -   tia  -ha    qu - wuc - ki   -    hi
1?

m
[ 7 y ^ ( I
i	     ni	    da k u    'a^     di	a^    tex   nax sa - ti	 -hi-hi
rtii?
A r p f ^p tff p ff «f p p
D
fl      q
r f P^p r ^

E
^r  r p r p^r r r ^ T r n' p p '<
n^ r r ^V-
di     k'i-	tea  iu    ka-t        'uc     tea    a"^   ha^      'i -  du - sa -  ha-ha
[ki	ca|?
C	..	D
J2L
'a'^
•.:,i
^
'a	ha^     ha   hi     ya	'a      hi - hi
Stanza n(sung- twice)
B
a       a
0    0
^
^m
i
ra	ra        0      0      ra
ca
sa
di       yax     kux    ia - ti   -
'e	he	t^e    hede!
i'7 f } I' p r^
^^^
te fxl nax   du - ti    -     na^
E	il	F	^    -	112	F	I
'a    ha^ ha hi   ya      'a   he he	'e     he   tcuya!	'a   he   he   he        hutc!
1954, 1-2-D Peace Dance Song for 'Dollar Deer'
I       J       i       J        I	J	I     J
i
J=ioo
B
drum: J
7   r   r  r
a
p r   r
^

Stanza I: tea
Stanza n:'ac
da
ka.
-   na
yex
de
tea'
va-
ku   -   g^a.
djak    si
ti
ta
yi
na
1254
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

J	X
iB
^
da
ia
Te
du
di
ca
r   r   r
qwe
g-ut
yat - xi
qa   - yi
i      Xix
r ^ p r   r
tu-
ce-
yu
ye
-wu       a
-va    -   di
m
J      I   J    I	"'}       i    ^    I       i jl  }      I    }    I	}   I     }     i	J	^
r [^ LT
2
ya
r r r r p^ r r rL J ^ w
a     ne
'a      ne
ya-
du     gu -   tcitca     se - yux giix da - ti        'e
tu - nax   as   ke - u	     da - qintca 'e       ya
Stanza II
rr
prr rrr- r- r- f^ p ^ ^n r r r  n
ke   -    'u - da - qin -  tea
wu?
ya
ni
ya
a       ne       a
The singer breaks down here on the repetition of Stanza I; starts over again but sings it only once.
At end of repetition of Stanza I (2d try), the singer says: tie hede. de cukde cuqalixux-".
1954, 1-1-A Peace Dance Song for 'American Flag Deer'
J = 100
stanza I (sung- twice)
drum: J	    J	J
A If
i
^
etc.
r p r r- p f^=^
P
de      tit      an - k'^e   -   yi    yex        'a    -    ty -   a	qu  -  q^a -  ti-
r   n' ^ r   ^  ^ r t
Tiu   -   k'^a     -     xa - di     ya    -     txi
B
§
^
^
f:
C
tu - wu    -     ni    -     k    yis       de
APPENDIX
IN  THREE  PARTS
D
■"'°r ^ u I' ntr r p r'^'^i^ ^ -^r r
1255
'a-  dat     yisi - yeq      de      tea yet     'a - ni    ka	de    tea   'an-ax du tin - i
G
.11° J'J lU Pi'
H
0    0    n
f^j ji7ij j.^
'a-ya   he-ye-ye   ye ye ya         ha   he   ya   'aha	'a-ya     ne	ha	a
Stanza II (sung-twice)
A .    .      2r"
'4=J J j'r"p r Lfri^r Pr r r r CJr r
de   xat   qu - ha - ni   yex   'a-yan-de	se     'it  xe-nax de   da-qe-na   'e	na
'^'' u p f n :^ 'h ^ u r  p t
du    tu - wu    he  -  de   g-utc - a	'i   -   can       'asgi        he    -     di     yet
E     sr-        J   Jp  ' J   J„ JJ^   Jg   ^J  ^    J ^    J
^
'Vf g r pip
_   t^ i._i.-l   x„   „..	      „      iXr.    y
r r ^ip "■
p
J.   I   i' J.   . J
a  'a-katx   tu  sa-gn -  u     tea    'at    cu-ii - tin -   i	'e   ya    he   ye  ye     ya  'a
J       etc.
JJJJ
H	X	Y	Z	>►
'M J J   Hi) i-J> V IJ   J  p =llp y ^y f  r'^^i
'a      ha    ya
'a - ya      ne	ha	a        'a	'a	hoy     yi!
'a       ha		[at end]
1256
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

'1^ ij ^ r If  P r \r r P r p ^ir '^^
m
de     tit      'ank^e
i i
3l~
ha   -   ni   yex      '^-katx
tu
J       J
sa - gfu  -   u
J       J
tc'a    'at
etc.
-ete:
Tcuye! spoken at end of first singing. Hede! spoken at end of repeat.
Half-tone higher throughout on repeat.
Another half-tone raise in pitch, except only the E's become F's; the rest of the song is as written.
* No break in rhythm on repeat.
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, whUe their husbands danced (pp. 570-571, 601-602).
'Raven and the Herring Heads,' 'Raven and Snipes,' 'Raven Steals Dayhght,' '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
K'^actqwan 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 foUowing "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, be-
cause 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 t^vice)
A    'a° 'a° 'a yayit yaw cayi—'A° 'a° those herring
heads
B    yel tculsex(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 wilUng to record. Finally they sang 'Raven and
Snipes,' which they entitled "'Raven's Claw' (yel xaku).
It lasted 40 seconds (cf. score p. 1262). According to
Minnie Johnson, it was composed by Raven himself,
when h^went to a potlatch given by the KUlerwhales.
The recording by Sarah WiUiams and Jenny Jack
followed immediately upon the song 'Raven and the
Heiring 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).
1257
1258
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

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 "tcule
(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    'aha°! 'aha°!, xa-di-da yi-dJA-yi        (repeated)
B    yeli xusiti ka-yulicu,
C    yel kelk'e-hAs, tsAna' tsAna'
As spoken, these woiUd be:
'aha"!   'aha°!   iat-da  yitcAyi—Ah,   ah,   [snipes]   that
fly around the island,
yel xusiti kAyuhcu—Raven's footsteps  are foUowing
3^el kelk'-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 cere-
monies. 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. SyUables dictated, but not
sung, are in brackets [ ].
Stanza I (sung twice)
A    tcAs WA 'e ['AJgi 'ik'^q'^Ana—You aren't the only
one going to die,
B    ya-di yel-a 'a ya 'a-na—You Raven,
C    ye tcuc kAxadigaxa—Why do you beg so much
[qAxya] (as dictated) [not to be harmed]?
D    c Ay Adi   yel   '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 'ayi ya di yel-a—His daylight, the Raven.
C    da 'icanx ya 'i gutci—Take pity on all your Wolves,
D    cAjAdi yel '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 (bUl) when he was stealing bait from the
fishermen and got his nose caught on a hook. In order
to recover it, he disguised hunself 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    dAlAx  tudAtsEn  ceheyAdi yel—"His   mind   is  so
unsettled," that Raven,
B    hayi de tcA  'a(wu)gud[in]—Down  below   [under
water] he went
C    'ai-[cougf)]-tA du hiwu—Just then his nose
D    tcA kewudusiyeq 'a  'ani 'eyi—^They puU up  ('a
'ani etc.)
Swanton renders this:
Del	yAx	wudAtse'n	ceye'l.
A big fellow	like        must have	that raven.
been
Hayide'	wugudfn.
Down underneath     he went.
IN   THREE   PARTS
APPENDIX
1259

Aga'guci	duhiwu'	ke       wududzlyA'q.
At that time      his nose	up        they came to puU.
Stanza II
['agawe hitx]—[For it, aU the houses] (not sung)
A3    'atux   yAWAgudiye,   qu'a—He   went   through   it
(or them)
B     'ada xa dutci duti—?—
C     'angan wudiqin ya 'ani 'i—"He flew out of the
smokehole."
D     'ya 'ani 'i ya 'ani 'ihi
Swanton's version is:
Aga'	antu'x	yawagu't       dulu'wuga.
At that	through the   he went	for his
time	town	nose.

 
AcdjI't
To him	duti'               an
it was             with it	   
gant
out of
doors	[given]
wudiqi'n.
he started
to fly.	   
	Stanza III	 
A3    'ayex 'awsine du gutci tuwu—Like that he does
with his Wolf's thoughts
B'l   'angan wudiqin ya 'ani hi—He flew out of the
smokehole.
Cl    tcA   nau    'idauA    'atunax   qu'a—If   you   drink
whiskey, then
Di   hitx  tux yaqegut ya 'anihi -"i—Through aU the
houses you'U [feel good enough to] go.
Swanton again:
Aye'x
Like it
Anstni'
he now
does to
gant
outside
dogodjiyAqayi'.
his (opposite)
Wolf phratry.
An
with it
wudiqi'n.
he flew.
W4'sa     yulcitl'kMaya      tc!A     nao	gadAuA'.
Why        does he not look   but      whiskey    ought to
like himself	drink.

 
Atu'nAX	ni' tc	nA'gegut,	   
After that	about the	you can	   
	whole beach	wander.	 
The structure of the melody is:
Stanza I: A B C D
StanzaH: A3 B C D
Stanza III: A3    B'l Ci    Dj
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 whUe they bran-
dished 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 yel 'ayu—What's the matter with Raven?
gutci qayat ckawuhcutc—(For the Wolf)  he  bathes
himself
gusus cq^AlukAt yequnuk—?-
'ican dena qiiwanuga—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	we-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 yel 'ayu de
B'3	gutci qayat 'ackawulicudja
A3	gusus cq^AlukAt yequnuga
B	'icahan dena quwanugwa'
C	we-ya 'a 'a 'a-a' we-ya 'e
(X	we-ya 'ah hm)	[hutca] (at end)
McAUester comments that the phrases are "ambigu-
ous," and "hard to distinguish" because they are "aU
related to each other."
The structure of the melody is:
Refram: A    B     C     C    X
Stanza:   A3   B;   A;   B     C     X
A3 b; a; b   c/
1260
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
Funny Song: Raven and the Mussel People
1954, 5-1-F; recorded by Nick MUton (with drum),
Katy Dixon Isaac, Louise Peterson, Mary Thomas,
and Susie Abraham.
This funny song was described as a "popular song"
sung by the K'^acliqwan 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 caUing "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 MUton and Susie
Abraham. The text was checked with several informants
(Emma EUis, Mary Thomas, Louise Peterson, and
Mrs. Frank Dick).
Stanza I
y^kalenm   'ax    tuwu   sAgunutc—At   low   tide    I'm
always happy
yixut 'an xalgEnin—When I'm looking around at
yak qu hani—The Mussel People.
Stanza II
dak daqad^nm—When it's high tide
'ax tuwu wanik''—I feel sad
tcatlek lik'^qatini—Never again to see
yak qu hani—The Mussel People.
It is evidently Raven himself who is singing. The
words are shghtly different as sung:
Stanza I (sung twice)
A	ye kalenin 'ax tuwu sAgu yak qu hani,
B	yixut 'anqalgEn-ni {or tci) yak qu ha-
C	-ni ya 'aha'^ 'a 'i ya 'eni 'a
D	'i ya ha 'a 'a 'i ya 'a
Stanza II (sung twice)
A	dak daqadenin 'ax tuwu wanik, yak qu hani,
B	tea tlek lik'^qatini yak qu ha-
C	-ni 'aha^ '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
teUs in Thngit how the Russians offered whiskey to
Raven. At first it did not seem to affect him. They
gave him more, and finaUy 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 caUed 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 fol-
lowed 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):
Yel q^wucu—"Raven was drinking"
deqAdet qutuyex du 'ix—"(For) everything he don't
care"
dEkAt dA gutci wunqagXx—"The wolf says 'take pity' "
As heard on the tape, the words are:
Stanza I (sung twice)
A    tcAldAkAt 'At gutc tuye—AU it (?) the wolves (wolf)
tcuye (on repeat)
xa-xi ia-ga-ti—-?- cried
B    ye yel qa-WAcu qwa-ya—The Raven was drinking
hAS det-ya-ka—-?-
ha  tlAlsa  du   gutci   tcu—Our-?-his  Wolf  indeed
C    :^Aga[x]  qonya di   yeli  'aya—Cried-?-the   Raven
'aye ya 'a 'u
D    'ahe 'a ha 'ahe 'ahu haya
'ani 'a ye-e
8 Falsetto raven cries on the repeat at this point.
IN   THREE  PARTS
APPENDIX
1261

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 hedel [spoken]        "To the beginning!"
Stanza II (sung twice)
A    hutli   nawu   yel   gak^i[t6]?—(The-last-of   ?   the
hquor Raven ?)
yidat-a hande tlita—Now this-way  (give!)-?-
B    ya 'ituwu ha lu-k^'a—Your feelings us to-pity(?)
(yi ya) [on repeat]
ha di ya-AtAi xati—Our chUdren -?-
C    'i yi kAt qu tlita '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-l-E(a, b) Funny Peace Dance Songs about Raven (a) Raven and the Herring Heads
J = 142	(a) Raven and the Herring- Heads
As sung-
drum:J    J_    J	JJJ	J
f~l r   V tr^ r v
JJJJ

)  n
a
'a"
a   -    va	
yit	yaw
ca
yi
-^^^^
B	J       J       JJJ    J J  J   J    .     J
>!,   f-   \\0     \fra.	^
J J JJJJ
i if r -pr^r V Y   p v
ye\    tcu-l-^e	xa
*a"       'a°
^a - ya—    yit     yaw    ca
yi
k i     J      ^     ^     J     ^
§
t
%
^yPb       P	0	0	^	0
yet        tcu   -  Is'-x
(b) Raven and Snipes (version cj   ......	, .   .	.        .       ,     ,     .	.    .
A    J    J       JJJ       JJ     J    JJ   JJ      JJJ J  B   J      J     J    J   J   J   J   J
'a
->^^ i v^fir^t^r frVr prpni^tTY^^^ u
'a   ha"-    'a ha°   :^a-di-da-yi-dja-yi—       ye - ti—  xu-si-ti   ka-joi-ti-cu
J
J
J
K
'^ p r 7 p r ^ p r 7 p
yet kel     -   Ice has        tsa-na	tsa-na     speaks,     laug-hs
265-517  O - 72
1262
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
1952, 3-1-B Funny Peace Dance Songs: Raven and Snipes (version a)
J   i   J    J    J     J   J       JJJJ
m ^   ^-     ^  '^      ^^
§
a        ha	'a       ha	xa  -   di   -   da       yi      -     dja - yi	da
X    i        J   I    J     J     J     J    J	JJJJ
j— -h   J       J
di    -   da       ji      -     ^j^   "  J^"
J   J J J J J   J   J
J     ^    J   J    J    J
yet - i	xus - i   -   ti        ka-	yu - J^i - cu
J,     jl    j)    Y      j)    V      il    V      j)      f	II
sa   -   na'     'a	'a	('a	'e)       fho! de hwe!~\
J=72
As sung-
A	drum: J
§^
ha
^
i>  J.    j^
J        J
^
^
sa     -na
^ One voice only.
ha
t
xa
X     i
^^
^^
i
0     0    :m.

§
#
0        rJ
0	g.
0       0
yet     ket
i
w
lie -has
J     i

J =112
As sung"
1954, 5-1-E Funny Peace Dance Song: Raven and Snipes (version b)
J J J^ J    J
drum:
JJJJJ

tf 11= h J. h J   m
'a   ha"!     'a      ha"!

i^
'=p'
i'J ^^11J    I
yi
xa - di - da     yi -  dja-yi

B    J	J
i
*
I
-#	•	0^

ye
ti
XU
Sl
ti     ka   yn
ti   -    cu
IN  THREE  PARTS
Iff
yet
D
%
^^
aha^        'a      ha"
APPENDIX
J    (J) : J J J J J
J	J	(J)
fc
t
j:       j>    J'     ^       j)    J'    ^        _[)^
ket   -    Ite     has
tsa - na'
tsa - na'
tcu^e, tcU'te!
Come on again!
i   i   i
bf
1      fl	If2'
?
0      Q0
0	0
j'     J        -II   J	'^
yi
xa   -   di   -   da       yi   -    dja - yi
1263

xa-
Variations on repeat:
arj        J        J
ha"
falsetto       .
bP-     h
"kaw
%
da
kaw
yi
T
1
A:ait»
ArctM^     kaw"
etc.
g
dja.
B
5
ye
ii
xu
Sl
i
ti	ka yu	-li
^
"IT
CU

^
h ^    K }) y
tsa -na'
i     J     i     J     J
j' ^   j. j' ^   j. i' ^
tsa - na'
tsa - na'
yel       kel - lie    has
^
ka!    ka!
laug-hter
1954, 7-2-J Funny Peace Dance Song: Raven Steals Daylight
Jrl04
B
Stanza I (sung- twice)
^i
dnun:J   J   ^	J      ]       J
i
na
I     I     J    I    I     J
kw w„
q a
teas	wa    -       'e	g-i
1264
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

fix
r~i  X     n  X
r~i  X
i—]

ya
I
di	yet
J     J^J   J
ya
g
-0
na
.Ci
^^
ye
PX
tcuc
ka
di
xa-
i
g:a?
J     i     J
etc.
"j t J  X i "2j   I   J    i   J   JJ
^
pi	o	P
'a   -    ne      'a	hm
^f—d—d—d	d—^—d—d—•H	0-,—i^^—^—*
caya - di    yet    'a     ha    'e - ya       'a   -ne    'a
Stanza 11 (sung" twice)
A
m
—0—
tcus
M
tu
gun
de
ti
u    -    di
B
du
qe
yi
-0—
ya-
I
di
—0-
yet
p

da
ca-
m
n-x
-0-
ya
gVi
tci
^ ^»^|^<»%«^'»»»V
-e-
gp	^	"n  J ~
gi J J J   J   i   J   J   J' ^ J.   J.  J   -II J.    j' ^
a-ne    g-w - g-w   ^'waaaa"!
ca-ya -di    yel    'a     ha    'e   - ya	a  - ne     'a
* Most of the drum beats are single, with only an occasional double beat.
IN   THREE   PARTS
APPENDIX
1265
1954, 7-2-K Funny Peace Dance Song: Raven Loses His Nose
J = 104
E
Stanza I
drum
■.i    X	J       ^       J       J	J      >B        J     i        J      i     J   ^        J     ^
5fe
P tlt r r r
j^j j]j J J- i>
da-laxtu-da-tsen   ce - he - ya-di yet	ha - yi	   de    tea    'a - (wu)-gfud Qn]
t
fe
J        i    I       J       i     Ji J       D      ^      J
^—d
}h} J ;.^ij^^
etc.
0	0	0	0
r\
m
'a     [coug-h]    ta-	xa       du    iu - wu	tea    kewudu-si-yeq   'a    'a-ni    'e - yi
Stanza II
X ^X      i     X        J     I     J   i       i     X
A.    i     X	J     i     J
5
?
0^	0-^	0
JU.n J r ^^OJ- iJ^J J^ J^
'a- tux   ya-wa - gfu - di - ye        qu   'a	'a - da-
xa     du - tci       du - ti
i     X	J     i      J      i        J      D^     J     ^       J    ^     J     ^        J
^
s
0^	0
^m
0	0	0
0	0	#-:—0
ya    'a - ni    'i       ya   'a - ni    'i  -   hi
'an-gan wu-di-qin   ya     'a - ni    'i
Stanza HI
J      J      J
J
i        J        J     B/^   J
^
^
^^
f
f
0    0
0     0
i) J  ..Ni' J    0   1
0	0
'a - yex 'au'^ - si - ne
[ya?]?
du    gu - tci   tu-wu    'an-gan  wu-di-qin ya   'a-  ni   hi
J  ^'   J
J	J
'-^'
J       J	J
ffji ^ J ji d^y d J ^ J J. I JO JJJ J J—iQ-i-
tea nau   'i-da-na        'a - tu-nax qu-'a      hitx tux   ya-qe-gut ya    'a - ni-hi   'i
i
1266	SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
1954, 6-1-K Funny Peace Dance Song: Raven Washes Himself in Vain
J=134
As sung
Refrain
etc.
drum:J i      J     i      J      i      J      i   JU        X      i
0	fi-
m
rrr > if f
J
VOLUME   7
I
we-ya-ha    'a-ha' we-ya	we-ya     ha-	    'a'   we-ya        he -  ya
we    -     ya
tC
sm
we     -     ya
r   r   r
ha     -      ha

he
^m
ya

we -he-ya    'a - ha    'a   we -ya      he - ya	[cough]     'e - ye    ye    'e - ya
c
'" rj r r J J r ^^
	       1    .        		>_	V_	>      >       	        		1    _
X
IJ   i J i  J I J u
Hf   f   0   0   f»

Stanza(sung twice)
A,   ^      •!      ^      -I      etc
i
'^"' II- r r r r r r
0—0—fi-
B
0—0
Mrr rr
0   0
r r pM
wa-sa qu-wa-nu-gfu yel 'a-yu    de       gutc-i   qa-yat'ac - ka-wu-ii - cu -   dja
^^
P   0   0
0	0
^
B
0	0
f r li^'u
19	(^
gu-sus cq'^a-tuk-At ye-qu-nu -ga	'i - ca-han   de-na        qu  -  wa-nu -   gwa-'
[gwa|?
^
cJ     X     X     X     J     X     J   I'i   J  I      i\ X      i      X   i    X    i
^^
we - ya      'a      'a
p M r r
w^e
-  ya     'ah	hm
a-a     we - ya        'e
i
IN  THREE  PARTS
APPENDIX
1267

2r
m
I    J
I  '^^r - II

ya	hutca!
yu
1954, 5-1-F Funny Song: Raven and the Mussel People
J = 86
D
Stanza 1
drum: J
A
etc.
I       }        I        }     I
u   J   J   J   J.    p   p    p   J.    JO   J    J   -/
ye
ka  - le   -   ni -   n 'ax   tuwu ^   sA - gu       yak   qu   -   ha-
ni

B
C     b
r ^- I p r Lj r r r CJ
D
J   .1    J  i I i    J   J   J   J   I
i        i       d	b I	'a 'a'a	c I	4    i     i
^ r r~^ II f Lf f f f r '^ II '^ ^ J^^
ye     ka—       ya     'a   ha   'a     'i     ya     'e      'j
4

^
m
^
yi-xut   'an-qal-gen -ni yak qu - ha
-tci
J   ^    J
p r u- r
'i    ya      ha  'a     'a      'i      ya       'a
'J    ^   J
bf
i
ni   ya     'a   ha   'a     'i     ya     'e    ni    'a
Stanza II, started by mistake
*J    i    J   ^    J    ^
I
>^,^,^
dak    da - qa - den-
J  X   i
ya    'a     'a      'a
Go on to
Stanza 11

Stanza 11
A J    df—
IM   J   J   J   J   ^
T^	^T-
^^
r\
J^   V    J      J     J      J
dak   da - qa - den - ni-n 'ax tu  - wu   wa - nik	yak    qu - ha -  ni
1268
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
J      i      J    ^C      ^    '^       J      J      J      ^      J    J
a      'a      'a
|°p r -^ H r r ^- I p r [J I I II ^' ^
tea tielt     li-k'^qat - i  -  ni    yak   qu  - ha   -    ni   ya      'a   ha   'a      iy
i      X     i     X     i
rtD     '      '     •      '     '	J    J    -ir^    J
IP r  r  r   >   ^    j j :ii i ii i    |i
ax
1     ya
'a	\tcuye!    laughter] 'a      'i	dak    da -  qa - den
^
J   i
^
han

J
'a       'a   'a
p r  p p r r^^
'i      ya	'a      'a      'a        'i	'a       'a        'a
D
J	J^
P r LM
1      ya
^ From here on, the male voice doubles an octave lower.
^ The singers laugh, realizing that they have started Stanza II without repeating Stanza I. Nick Milton breaks in with the proper
repetition of Stanza I.
' Falsetto Raven cries.
* Song breaks off in laughter
1952, 1-1-B Funny Dance Song: How Raven Became Drunk on Whiskey
J=104
A
JJJJ
J
J     J      J
drum
Stanza I
A ^.
^^
i
'> \\:T  r r r r_ r "^ ^^
teal   -    da - kat       'at       gutc	tu  - ye        xa - xi        xa - ga    -     ti
'at'     gutc	ctu - ye	[on repeat]
B
J     J    J     J     J     J     J    J    J     J    J     J     J    J

i
^
i
m
^m
^^
^r ^ r nT ^
ye    yel    qa - wa-eu       qwaya has     detya     ka  ha      tlak'a      du gu - tci   tcu
J    J
J
J      ^    J     J J     J    J      J       J
Q	d	d	d	d	\r	d	d      d	d	d	d
I
■^ p r ^ ij ^ f-^ J J' r P r~L; o
xa-ga     qon    ya—     di     ye	li       'a    ya     'a     ye	ya    'a	     'u
IN   THREE  PARTS
APPENDIX
1269
J     J
J     J
dJ   j   j
'>   P     p       J'   p      V     Jl   J       7     J1    J'   J^   V     J'^     ^     J^   V     :||
'a     he      'e     ha	'a     he	'a    hu   ha   ya	'a     ni    'a    ye-e
Refrain
, ^    J      i   J      J        JJJ        JJJJ
'^r   IT r
r V t
^
A  _.
^m
B
^
yau	'a-e	ya—       'a     yu	'a	ye     'e     yau	'a-e
J       JJJJJJJJJ
etc.

t
^
i
p
r 1^ r B r r
P
ya wa yu  ha we  'e ya  ha we  he ya  he yu  ha 'e  he ya
^m
J      X    ^
.7 p r p
^
:i ' n   LI t^
ha 'e  ye ya — ha hu  ha  ya ha ya    ha  e - e ya - 'a	  u
JJJJ	J       J	J	J
'a    he
-';|r r r t^ Cr^ t^ r p r p 1^ r 1^ r
D
^
^^
'a     he      'e     ha
Stanza 11
I     J	i	J

J
J	J
j) J V JI il j) V f^ n ^
'a     ni    'a    ye-e
'a    hu   ha   ya
hede! ^
J  J
JJJJJ
hu - tli    na - wu     yet	gak^'i        yi - dat -  a    han-de      tli - ta
J      J   J     J     J J  J     J    J     J       JJJJ
?
p
'/r ^ ^ ^ i n^    Pi'  1^^
ha     di     ya—    - a - txi      xa- ti
X       i       X     X	J
ya       'i-tu - wu - u     ha   Iu    -    k^a
yiya [on repeat]
J    J     J      J    J     ^
^
r/p r p r p r i ^ i ^ v r Cq
V	yi      ya	     ha
a     ya
1     yi      kat qu       tli    ta       'i     dat      '
gsu]?
1270
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

J	J
>>°p p Jin V il J . n iiii, n n JN i
'a    -    u
a     he       'a    ha   ha
Return to Refrain
i       J	i
'>r     1^  r
yau
J       J
'a     he
ya-
J
'a    hu   ha   ya
tcuye
X
a    ni     a    ye-e
J	J
breaks off
I
au
gnd]
CW calls out: hede!
Women's voices are audible an octave higher here.
Songs for Cliildren
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 rela-
tion." 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, 3-2-1; 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 chUd, 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 kiyex tlux^A tsak (repeated)—(Like a man?) creep
around
tlayi-ca kAx hedudikAhEtc—For the  sitting women,
"it's a dirty shame."
'andat naxaskitc—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, be-
cause he loved tlayi-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 tlayi-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-yAtxi.
As sung, the words are:
A    kiyEx lux^Atsa qa [or tsak?]
kiyEx lux'^Atsa qa
B    Tlayi-ca kAxa
he dudikAheca
'andat naxaskitca '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/ tlayi-ca kA-xa-kat yatakut6a ha he.
On the third time, the last part of Phrase B is:
'an dat naxaskintca ha he.
The end is:
X/ 'e 'e na 'a detcA hutc 'awe!—"Indeed that's the end!"
Swanton's Song 13(1909, p. 392), said to be a Kag-
wantan cradle song, "used also at feasts," is very
similar:
Kliyi't        luxwaca'din     Axho'nxo	cAt     kAX.
Around       I always like   my brother's   wife    for.
the house    to creep
1271
1272
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

KA'cde gux degu't
I thought he
would jump up
he' dudtkaxec.
and I should
be
very much
ashamed.
An
Town
dat
around
nAXASge' ttc.
I always
tramp.
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-yAtxi—so's
Susie. [I.e., their fathers are all Kagwantan men.]
This song is made up and any body can sing it—grand-
mother 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 be-
long to Kagwantan-yAtxi."
When the words were dictated, the name of Mrs.
Annie Johnson, Qelcake, was used as that of the joking-
relative of the singer's granchildren, Becky and Beverly
Bremner, because they are all Qalyix-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
berry bushes, "so her little husband can eat the berries."
Or, perhaps we are to imderstand that she can take de-
light 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 Kag wan tan-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   qawliliAa—"Breaking   the   berry
bushes ahead of me?"
Susie [or Leslie, etc.]—Susie
C    xawe[s] yaquwanuga du xuxkuies—It is. She did it
[uk]	for her little husband.
D    du xuxkuies 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 kAtskux t6iiki—"Little girl stinker."
CAt kAtskux t6ii-tlena—"Stink bigger."
The verb is probably Ue± '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.
IN   THREE  PARTS
APPENDIX
1273

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 faU 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: tcAx'^! tcAx''! with which the little boy used to
pretend to scare his mother as he pointed to spiders
and bugs. An adult would say Xox! 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     xasix xasix xane kawgul' tcanayu—?- (he comes)
[tcAUAyu]	stinker
B     'ixcixan xan XAnkayu—I love you, love, love
(a bit)
B     'ihtcan tcan tcanayu—You stink, stink, stinker
C     'ixcixan xan XAnkayu
D    'ihtcan tcan tcanayu
E     tcAx'^   tcAx"^   tcAx^'kayu—Scare,   scare   scare   (a
bit)
E     tcAx" tcAx^ tcA^'^kayu
E'    tcan tcan tcanayu
F     'ixcixan xan xAnkayu
G     'ihtcan 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 Thngit 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 aU 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
BCD
B   C
The melody is: A   BCDEGFGH.
Song B (17 seconds), for Rosemary, uses the expres-
sion 'dd 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
t6ikina "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:
ABC
B    C/ [talks]
C    D    E [talks]
1274
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
1954, 3-2-1 Traditional Teasing Song for a Little Boy
VOLUME   7

J = 128
As sung"
drum: J
A
J	J
J      J       J       J	J	J	JJJ

^^
ki    -   yex       Iu - x'^a-tsa	qa
ki
J
ye X       Iu
[yax]?
B
0—0
^
Tla - yi -  ca  ka - xa    he  du - di - ka - he	 - ca   'an - dat
0	0
r  r ir  r
X a - tsa	qa
[tsak]?
J     J     J    J    J    J    J     J
^ ^-  ^- \^
^m
J      JJJJ
^
r J. J J

i       J arJ    J       J
J'' V   i^ H J  J   J^   J-   J   J
na - xa -  ski		tea
gitf  J   *
^

J
X
JJJJ    J    J J
'e     'e      na      'a      hm   hm

ke - yex     Iu-.x^a -tsa	qa	ki   -   yex      iu - x a -tsa	qa
^
0      0
r   r T  r
0    0
w_        .)
r
JJJ    J
xJ       JJJJJ
^   B/	^	^      ^       \*	Ilk	L     ^^-^
s
♦^—0^	0	0
y r '^ r r r~p p^'1^ r ^ **• «^^«^^i^
Tl'a-yi-ca   ka - xa--  kat	ya-ta - ku--    tea  ha      he	'e   'e   na   'a    hm hm
•        0
^
^m
r  r T r
ki    -    yex      iu - x^a - tsa	qa	ki   -   yex      iu - x^a -tsa	qa
J J- J J n
B
^
0	0
i" r ^ r r f ■ r ^ CJ p--
T2a - vi - ca    ka - xa      he    du - di-ka-he--     ca    'an - dat    na-xa-ski-n    tea
(2rf repeat)
5
^*—^=^=¥
ha	he
x/J      JJJ
M  > V I J J J-   H
e     e     na       a
'rr J  J
it?
^
'      i. ^>   ?
c^efca   hutc   awe!        ki	      tea     ha
IN   THREE  PARTS
APPENDIX
1275
1954, 3-2-J Traditional Teasing Song for a Little Girl
rr^^
J=104
J	J	J	J	et.
As sung"	.
j^ drum: J     ^      J
J	J	J
du    -    sa     -    we
'a   -    du     -     sa   -   we

^
B
Lb'^    0        ¥
'' f   P r   p  f^
qa   -   cu -   wa   -   yi	tcu    qaw -   ti -   ii     -     xa     "Su     -     sie"
y
1' I   I' r  p I ^^

xa   -   we	
ya      qu   -   wa -  nu   -   g-a      du       xux-    Itu -   xes

}>  .\      J    J    ^    J    i    i' J ^
m
'a -du- sa -we     'a- du- sa -we	qa-cu-wa-vi    tcu qaw-ii-ii  -xa"Su - sie"
«Les-lie"
D
$
du    xux  -    ku- -xes	ya	'a	na	'e
B
0=W
^^
p r p f ^
ya      'a        na       'i   ^
^r J  J J
i9	0
pf pr Pr P^
D
i
li'M'Ri'fPr^^frJfMrriif ffi'ii'^^" '
xa-we- ya qu-wa-nu-g-a duxux-l^u-xes    duxux-ltu-:^es ya 'a na ^e ya ya 'a na 'i      [speaks]
^J  J   J      J      J      J
,^T  J     J   J
F i»   « .,  -   I*  11
^
[laug-hs]	-ii - xa      '^Les - lie"
'^ r   p r p p ^
'e	ya    'a       na    'i	de wa!
1 The singer was interrupted so sang the first stanza again.
1276
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
1954, 3-2-L Pet Song for a Little Girl, by Sam and Annie George
J=112
As sung*
E
drum: J    j^
A
J    ^    J    ^    J   M    i      J    UU i     J  i   J   J
B
ttitn
n     r^     £^
t
^
i njwiNiwJiHr r ^ ^
'e he'he'   he     he     hehe       eat g-ats-l^o     tcix-lti    hi     hi     hi'hi   hi   hehe
[cat katsliux    tcex?J
,   X    i    X      J   J   J   i     i   X     i .X      i     X      i      X     i      X      i
cat gats-Ito   tci^tJe-na  'i hi       'i hi	'i hi hi      hi      hi'     hi'     hi'     hi hi
A+
^ ^ ni 1} Hi n H il i'v i-b ^'v ^'v i'v ^ ^
catg-ats-ko   teix tte-na  'i hi       'i  hi	'i hi hi      hi'      hi      hi'     hi'      hi hi
B
iz^
^^
ra	ff
^
J J J n
^
cat     g*ats   -  Ito        tcix  -   k'i	hi	hi—      hi'       hi'      hi'        he    he
C	f^   ,     ,     ,    p-^        P-.    A+
12£
P r i^J J J Ji^ niiniuiivjivi).iiv.n>
s
cat g-a ts   l£o tcix tie-na   'i hi        'i  hi	'i  hi hi      hi'     hi'     hi'     hi'     hi hi
C	p^    ,      ,      .     „	^      Al>^^ J.       J.
P r OJ J J ;^> r]Mi"ii'vi
i

'        l'	x'
cat g-ats^-ko    tcix   tte-na    'i   hi	'i  hi	'i   hi hi       hi
[laug-hsj
hutc Awe!
IN   THREE   PARTS
APPENDIX
1277
1952, 5-1-A Pet Song for a Little Boy, by Minnie Johnson
B
B
0 0 0
0^-0
xa sijf  xasix xa ne Itawg-ul tcana yu      'ixci xan xan xan k'a yu       'iJi  tcantcantcana yu
C	D	E
^
0    0     0
J=160
B
4
^A
m
^
[JLTLJLJP
0	0-0   0
0—0

^m
^m
nr^^^-^ij^m
'be ci xan xan xan Ita yu	'i-Zi tcan tcan tcan   a  yu	tcax^ teax"^ tcax^ Ita yu
E	E'	F	G
FJ' 6 ny' Li Li Jii^ IF r uny^m i jiP
tcax'^tcax^tcax^kayu     tcan tcan tcan ayu      'ix cixanxanxankayu i li tcan tcantcan ayu
1952, 5-l-B(a) Pet Song for Esther, by Minnie Johnson
22
J=,
Song" transposed up a fifth for transcription
A	.	B
^
r P J r i^ > p ^ ' r P r P r P r p Jm p t
sam-ba.-da    ba-sa	'aw	so - si    sam-ba-da     ba-sam-ba-da	'o
c	D
r   ^ ^ p r ^ p ^ ' r  p J > > ^ ^
so    -    si     sam- ba - da
d a m - ba      so     ba    staw	'aw

^
S
B
so

h
s
h  J     J>
0	0
-0^	0	
si        sam  -     ba  -  da	ba -   sam    -    ba   -   da
f
aw
17 P r P P > p ^ "r p r p r> p ^
so
si     sam-ba - da	'aw	dam-ba     so       ba    sto
1278
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
°r p r i'i i'J i'J,> i'* N i' J i^j^< p ^^
so - si  sam-ba   da < ba  sam-ba-da	'aw	so -  si    sam-ba-da	'aw
1952, 5-l-B(b) Pet Song for Rosemary, by Minnie Johnson
Jrli2
As sung"
B
da'
D
P M  W    MP   ^   P   P   ^   p   p   ^^
ia'	ca'	na'	da'	'a'     ca'	'a'      na'	'a'
t
da'	ca
A'
P W    p  Hp  ^   p  P  ^   p   p   ^   p
3a	na	a	da	a     ca	a      na	a
y^
J, ^    p   ^    P  ^   P  M p   ^     p    t^    ^    p    P    ^   ^
da'
ca
y	y >
na	a
da'
'a'    ca'	'a'     na'	'a'

A"
D'
P  y   p  V   P  y (^0 7   I J> V    p   p   V    p    p   V    p   V   II
da'	ca'	na'       Ca')	da'	'a'     ca'	'a'    na'	'a'
1952, 5-l-B(c) Pet Song for Audrey, by Minnie Johnson
L
120

#
LJ  P M
y-	1 v-       i'«
1	tci     ki       na
B
*       *
1) V r  p p V ^^
ha
i	hi	tci        ki     na
IN   THREE  PARTS
APPENDIX
1279

c

B
c/
p ^ p > p p ^ p I r p p ^ p p ^ ^) ^ p ^
'i	tcik'	'i    na        ha      'i      hi   tci        Iti   na       ha	'i      tcilt	^
l|   P  ^    P^^    pp   ^   Plp^P^iJi^J^li'^i
'i	tcik        'i   na        ha     'i       hi      \li   Ita na     ha        'i        tci
»
ha     'i       hi      t6i   Ita na     ha        'i        tci k'a na
Recorded half a tone too high because of fluctuation in the current.
"I try to make her believe that I love her so much, and take pity [on her] and she's so proud of herself."
' "She start to smile and jump when I sing this song."
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, Xatgawet (pp. 679-680, 710-
712). The last Teqwedi shaman to have these spirits was
Tek-'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 morn-
ing 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 sup-
posed to be sung by the shaman's spirits, the Children
of the Sun, no informant was able to explain the mean-
ing. 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'    Ih'^an-di-hi, Ih^an-di(hi) nax nu yu-wai',  Ih'^an-di-
hi,
(B') Ih'^an di-hi nax nu (huq) yu-wa, 'i-hi, 'i-hi,
B     ya-ha ha-w ya-hoi', 'i-hi, 'i-hi,
1280
Note how the music and words seem to fall into the
foUowing 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-ki-ta, 'a-ni cu-wa, ha,
B    na-qa tla-wa yi-hi, 'a-ya-ha, 'i-hi, 'a-ya-ha
Conclusion
X    'a-ha, 'a-hi, 'a-ya
hutca' — "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. McAllester comments on the unusual form of the
IN   THREE   PARTS
APPENDIX
1281

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 ^a]-t^a-wa cke-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-ka-tsa-wa cke-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 LucwAq
1954, 1-1-C; recorded by Charley White on March 23.
This is the song of the ghost of the Luiedi or Tlax-
ayik-Teqwedi warrior, LucwAq who was killed at
WuganiyE by the Tl'uknaxAdi and who declared when
dying that he would become a spirit (yek) against
them (p. 267). As a shaman's spirit he is known as the
'Spirit above Yakutat Bay' (Tlaxayik kina qwani),
or 'Spirit of Tlaxa,' a camp near Disenchantment Bay.
He was one of the spirits controlled by Tet-'ic.
The song was introduced by Charley White in
Thngit, later translated by John EUis as: "I'm going
to teU you about my uncle, my father's older brother;
he's the one who became a shaman. He was caUed
Lxagusa ['sees the war']. That's his spirit song, I'm
going to sing."
The song, with a refrain, and a stanza (sung twice)
lasts 1:32 seconds. The singer beat on the drum in an
irregular rhythm, probably imitating the shaman's
rattle. He concludes in Thngit, as translated by John
EUis: "Thus (yu 'eya) the words of the song
('AcuklAxuxs) of my grandfather's spirit ('ax lillt'^ du
yegi)."
He then repeated the words of the song, which
seemed to be somewhat different both from the version
he had previously dictated and from what he had
sung. Thus: '"auax (there) ke-xa-wagut (I'm going
up) Tlaxa (Disenchantment or Yakutat Bay) kinak
(above), 'auax (there) xa-yux-dje'a (I look down
through a hole) GudAlltexl (Eagle Fort on the Situk
River, see p. 79) kinak (above)."
What he had previously dictated was:
,AnAx k^'ayu  'uwugut—I  [he?]  am going  to go up
there.
'AnAx xa yuxdzi 'a—There I turned my face down
Gudiyfxl-tl'elx [GudAlkexl] kinak—Above liagle Fort
'auax xa wuxte 'a—There I looked through a hole
Gudiyfxl-tl'elx kinak—Above Eagle Fort.
'auax k^xagut  Tlaxa kinak—There I wiU go above
Yakutat Bay.
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-Ax ke-he—I am going to
B	ka gu-hu da-ha—Go
C	Laxata-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-Ax ya—I'U my face
B"	kA-lita-a 'a-a—Put down [i.e., look]
C	-ha ha, GudAlkexl 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      CD'   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 stanxa. This makes
it probable that Maggie Harry (who heard the record-
ing) was correct when she said that "two words" had
been omitted and that this was at the end. The words
which she dictated were: cyAi qut XAt gAtAnitc—
"I was very proud of myseU."
Swanton (1909, Song 7, p. 391) has recorded a very
simUar song, said to have belonged to a Kagwantan
1282
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

shaman, LtiswA't. The latter is certainly our Yakutat
yek, however. The places mentioned in Swanton's ver-
sion are Chilkat and an unidentified locality (Lxode't).
Since the meaning of the words is even more confused
than those recorded at Yakutat, I beheve that the
Yakutat version is closer to the original. Swanton's
song is:
L     aua'x	ke q^gudiyA' Djilqa't
not through it up I come       ChUkat
ktna'uAX qo'a	ke qagudi'.
through, however, up 1 come.
Lxode't kina'uAX ke gagu't	duyaha'yi aga'x.
(place)   through   up I wiU come    [his ghost''] [cries].
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 caUed QAlaxetl and Ltunei (see pp. 713-714).
The singer could remember only two of the songs. The
spirits were caUed 'Things of the World [Disease]
Spirits' (Imgit'ani qu yek), and may have been asso-
ciated with the smaUpox epidemic of the late 18th
century, traces of which were seen by Portlock near
Sitka in 1787.
The first song is introduced in TUngit (20 seconds)
and lasts 1:13 minutes. It has the foUowing 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).
Ttuk'^axAdi Shaman's Songs: Fish Spirits
1945, 2-2-C and D; recorded by Frank Itaho 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 kiU 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 smger had started. It begins with a rather
unstructured Introduction consisting of vocables that
probably represent the shaman's ecstatic cries. Then
foUows a Refrain, sung twice with only minor varia-
tions, and two Stanzas, each sung once. This can be
summarized as:
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.	Stanza I	we he etc.	   
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	nui yuwas yuwa		   
A	qan qan qan lak	nux yuwa yuwe		   
B	hi 'e 'e yu etc.			   
B	ye he he 'a etc.			   
X	we hu- 'ayux			 
' 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.
IN   THREE  PARTS
APPENDIX
1283
Kwackqwan 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 essentiaUy two songs, separated by a
Tlingit introduction to the second, but associated in the
smger's mind because both belong to her sib.
The Kwackqwan 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 Uke a bugle caU before going out
m 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 aU." The introduction
and song together last 1:57 minutes.
The Owl Spu-it Song (b) is in Tsimshian, but is
preceded by a short introduction in Tlingit, in which
'owl spu-it' (tsisk" qu yek) is mentioned. This and the
song last 1:15 minutes. The sunple melody is repeated
three tunes. The only "words" appear in the second
line: wAn-de na-h'^o du 'ix CA-kA Ih^'Au-di ko 'a-ya.
The first K^'ackqwan shaman to receive the Owl
Spirit was said to have been Daxodzu, the sister of
Chief Yaxodaqet (see pp. 712-713).
1954, 6-1-J Teqwedi Shaman's Song: Spirit of Children of the Sun
Parti: J=fr*
Part 2: J=112
Parti
As sung
diumitr^
A
^
^^
^m
^
?
f ■»^>v»»^%«»»w^^»»
^

ya    hoi'	ya— -  ha wa -  i     ya     hoi'
'i - hi'
'i - hi'

J.    J.	J
B
^
n n n
^
P
^^
ya-ha	ha-wa       ha   - ya      hoi'
%^<v»^v»vw
hi
i
in
'i   -    hi

k/2
^
X   n.
n n n n n n
iV»»»'V»i^'V»V^i^i%'»V»i^>V»i»^i%»»^^^^^»^'V^%>W
r t  r f  P f p r ^ J P
te

ih^an -di-hi
Ih'^an - di        nax   nu      yu   wai'
dihi |pn repeat]
ih'^an - di
hi

^ n n n   n n i
WVWV»%^V^-^»WV»»»»%-^^i^i»»
^'    d    d     d    d     d    d	d    d    d   d    d.,^^
''^ ^ r tJ r r <p '^
' i^VVVVVVW^W^W
i
iF=¥

fii^an - di   -   hi—    nax     nu   (huq)       yu-wa
'i   -   hi
hi
1284
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

n n
B
^
n   J—]    X
f-   p r   ^' r ^
^WV^^'WW^'^'^'^i^'^
^^
^^

ha	ha - wa	ya - hoi'
hi
hi
J = 112
Part n    .      .
A J    J    J
J	J_      J	J	J
iV    P
3
d	d	d	d	d	d	etc.
a    ya
ha
hi
'a	ha--	'a   wa ha	'a   ya       ha	'a-
bJ	J	.        J	J	J	J	etc.
^> P     p-    V'   il   ^^        p    i.)   V'   JU      J^ V    p    jl  V    J1   J	il  V
ya    ha	'a    wa        'i - hi	'a    ya      ha	'i - hi	'a    ya	ha
^
^
Stanza (sunfi- twice)
A	\^
m
^m
p
M    :i r
'a    -     ha--       cu - wa	    k'i - ta
ni—
cu - wra	ha
'/p     P'    ^    i)'[^	p     J      ^   ilj"     i^   V    P    iw    il   J        iw   :||
na - qa
tla-wa        yi     hi	'a-ya  -   ha	'i - hi	'a-ya   -   ha

-,       a
^
M
. X I
^
ha

^
y  g   ('     f  r y  J' p
a		hi—     -       a-ya        hutca!	wa      yi        he   ya ete.
Up one-half tone.
By here, on repeat, up one-half tone again.
1954, 1-1-C Teqwedi Shaman's Song: Spirit of HucwAq
J=92
As sung" (pitch rises)
Refrain
A

drum: J J p i    tr.
g	drum: • • Q ^     trs	v>.   etc.
'a     ha       ha    ha	'u-we    he	'e-he	'a   ha     ha-a      'u-we   hu-he
IN  THREE  PARTS
APPENDIX
1285

'e-(ye)-(e)   he  he	'a    ha    hu-we he -he	'a    he    he	he   he   ya
'Hi^J^^^ \j i
E
0—7i
0      0
y t
f
0	0
J N J J 1
Stanza
(7)    J     tr.

'u  -na- ax   ke-he  -  ka-gii-hu - da-ha	La - xa - ta - a	ki-na ha-a
r J    frv
D'
E'
(I) F-
'> f J V r J J J i
^^
^0	0
J'J JTU J   ^
0	0
'a - a	'a   ha ha- a
^^TTl    X J fr™B"
'i    ya   ha    'i    ya  ha	'a    ha	'a    ha  ha
'u [on repeat]
c
7      J     frv
'; »r f tf
^^
i
^^
?
J  ^ illrwi'J  ^^
u - na - ax   ya
■(a)    ha   ha	Gu -da -kexl
ka - li - ta - a
^^^
bP
-s^
D
^^
y   d tn
^^

ki     - na	ha
[On repeat!
an   -■ J    i      ^
ha      ha
7  d^ tr..^  br2d ending-        D
'a      he      ha
<»'^WW^>^>»'^«»^V%»
J   i
'u   -   na -   ax    'a-		na      ha	'a      ha	'a     ha	u!
1954, 5-2-G Kagwantan Shaman's Song: Disease Spirits (I)
Refrain (sung* twice)
dnmii i      J       f      J       f
A
J    X     i
etc.
^
||:lJ	i	j^
ya
ha	ha     ha
'u	hu        ya      ha	ha
1286
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

B
zzz
J2
5
±
J)    t-      =11

ya
ha
hu
hu-
■hu

Stanza (sung* twice)
A
ii^i..i   .1   ^
^

ya
ha
ha      ha        taw
di        yi	ta-
■knu

B
fe
^m
0^	&
^^i

ya
ha	'a-
hu	'j
hu	hu
hutc!   (at end)
1954, 5-2-H Kagwantan Shaman's Song: Disease Spirits (II)
J = 100
drum:j:	J        I	J     ]     l
n   ^JiJ r3 „j    s~} X     n X
I. J i j^i [i n h J f^
s
B
^   fJ      d.    7
?J   J' J' J     J)   i
ya       ha     'a	   wu 'a"    'a   ya    'a      ya-
a— w^a   a  ya    ya—
n X  nx nx    n x     nx   n x   n x     nx
c
^
> J-   V
0' m   0
0   d' d
bJ)J J > J- V in i)jH  J >, J
'e        'a     ya 'a   ya—       ya-
'a— wa 'a   ya	      ya—
i^ nx n X   n X  nx nx n i^ X     n   x n
B
^
^S
i^  d.    t
fez
fl [i [) V J  hi
*'  0
0     0
rJ       d
'a--  wa 'a ya     ya—     ha   'e-
'e       'a    ya   'a    ya	'a       ya—

n^

r-3   X
nx    n X    n    X
^
^
*        0
i     i'  i'   J     >j
'a	wa     'a      ya        ya—
wa     a     ya	ya—
n
IN   THREE   PARTS
APPENDIX
1287
X   n X  n X   n i mnx n x    ri i
^
m
0    ■)—d
U	0	0'   0'   0
h[)i)r J j:J-vria
a—  yu   a   ya    ya--      ha     'e---   ye     'e        'a    yu 'a  ya        'a      ya—	hutc!
1 In last 3 lines, drum beat runs ahead.
1954, 2-2-C Tfuk'^axAdi Shaman's Song: Fish Spirits (I)
J=108
At
(Sung" three times)
J       J    J    J   Jb   J
drum: J   i  J J A  ^
etc.
:H	-	11:^   p   p   y   f   p   f   Ip   f    f    p    f    p    p   3
ye xa    a  yi ya  ye xa  xa yi  ya  xa  xa
A,
t \   ^  r n ^ ' ^   r ^
m
B
0	0
g
ye      xa        xa        yi        ya        xa        xa	ye     xa
'a	yi        xa
A',
§
CS¥
iirj > J    J x    nrn j
II(£2	115 «l     7   J	J X	JJJJJ il
p p w r r ^'"r r pip r   -^^ii
ye    xa	a       yi      ya
'a	yi        ya    he     ho	he-yu    Aiitc hwa!
1954, 2-2-D Tl'uk'^axAdi Shaman's Song: Fish Spirits (II)
^'»%'»^»»^^p%p^>%%^i^*V»^^>%^%^^^»^»V»i%i%V%«%»%^%^»^»,
>VWWV»WW»V»Ai'%^^>»V^i^i^^^
ff "  r ° Iff 1 IT p P T n i^
%
J=/r
J = 144
As sung-
Introduction
drum: JJJJ J    J J J J J J tr.
	X h0.      »     ci
g
J	JJJJ  etc.    tr.
i,Pff      0      ff    t>»	0

ye      he    he-
hu-u
ye   he    he   we      he   -
he
1288
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

tn
%«%»^»%^»»^»^»»»»%»%»»v
tn
.VVWW»^^A<»^^^^
J    i
J    I

rj) r   D V ^ :i[
i
^
^

he     yi	yi
Refrain 1
.  J	J
J     J
yi-
yu
we   -   u
J      J
we   -    u
J     J

^
he	ye
^
he	
i
he
^
e        ya

^
ii
g
i
i

J
U
J
P   p   .■ D
J     J
I
J    J

ye
B  J
^
he
he       he
J
ha'     ha      he
J      J
i
ha      he
J	J
I
ya
i

we	
we	
Refrain 11
A arr"
SP
71
'e
he
'e
he
p r   p P
ye
we
etc.
g
,a        ya
a       ya
i
i

we	
ye----
he
he
he       he
(etc.)
ha
he
he
ya
B
iy. i\.r       p      F        f*	fll*	4.       ff      r^'	=
ye
ye
we
we
Stanza 1
A
M
nil
aw

di-
'e
he

he
ha
ya
p r   p P
yu      wa -   a
^
yu -  wa
a
ya
ya
ha
p   r    > :||
ha    nant
nan (2d)


B
Si
di-
ye
i
e
he
yu
'a
i
'a
ye
--e
^
ya
ya
IN   THREE  PARTS
APPENDIX
1289

^
yu - was
yu     wa
Stanza 11
A
^ !   f^ ^> r^
qan	qan	qa -  an	tak     nu -   x

i
0    0
yu    wa
yu     we
I
'> ii-Lr r p r p r ^ p r fp pv r(^   f pN iir r ii
hi--    'e      'e   yu     'a  we
ye—   he     he  *a     he-e
'a   ya        'a ya	we   hu—      a  yn-x      ye   he
1954, 7-2-F(a) K'^aclcqwan Owl Cry
J=
152
drirni: tr,
i»^W^»'»»%^^i»^»»>V^^^%»^<W
frv
^   J   J J J     JJJJ

-o—o-
^
i Q Q r^
hu
Mp r r p^'pr r p^"
hu-—	hu  hu    hu    hu	hu hu   hu   hu	That's all
1954, 7-2-F(b) K'^ackqwan Shaman's Song: Owl Spirit
J = 126—144 (speeds up)
B
Sung- three times
J	^
h	J        J
drumJA	JJJJ	J      J      J_    J      al-     J,
^
11= •'' p r   r   p r   p t
hu   -   ye
'a  -  ya	ha	'a - ya	ha		'a - ya
B        i     X	i       (J)'   J
I p r'   p f  p r  LJ ^   r  ^-  '^' '^^^^
wan-de	na- h'^o        du    'ix       ca - ka   Ih'^an- di        Ito
wan-de	na- h'^o        du    'ix       ca - ka   Ih'^an- di        ko	'a -  3^	
^
0'        0
^
a-ya	hu    -    ye	'a-ya	hu   -    ye
t
ya-
^
1290
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

c/,
g
ri   h  y   h  V    n V   h V   J)  t    i

hu   -    ye
^^
ya
J
l| J' i^
'a - ya'
hu'	ha'
1 Drum beat is omitted on 1st repeat.
'a -   ya'
i
hu'
hu'
ha'
hu'	ha'
J	i      3 times      af      ^    on 1st & 2d repeat
m
^m
a-ya
ha'
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 (pp. 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 'Antlen 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 Tl'uknaxAdi man. In addition to the three songs
recorded (see below), he also composed one to his
former wife, a K'^ackqwan woman, and daughter of
Teqwedi. The words to this are: "It's for you this
WoK 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 'Antlen River song is for his present wife,
Susie, also K'^actca and daughter of Tcicqedi (or
Galyix-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 'Antlen, tla-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 com-
poser'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
'axiidan xal xEntc—Whenever I see
'Antlen cak  cayi—The  mountain(s)  at  the  head of
Ahrnklin
'adeyi 'unxadjitc—I always imagine are there
'ax kak-hAs—My [dead] uncles.
Stanza 11
'i'iqa 'an xal xEntc—Whenever I see you
Tcicqedi-yAtxi—Tcicqedi-children [i.e., his wife]
tuwu lAtsin—Strength of mind
'ax djit 'ititc—You always give me.
It is characteristic that, in dictating the words, the
extra syUables and vocables of the refrain are omitted.
As sung, the words are:
Stanza I (sung twice)

 
A	'axudan xal xEntcA—[A' on repeat]	   
B	'Antlen cak cayi	   
X	'uwa 'aha	   
C	'adeyin x^a djitca	   
B	'ax 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	 
1291
1292
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

Stanza II (sung twice)
A'	'i 'i qa 'an xal xEntc
B'	Tcicq^'e-hedi yAtxi
C	tu(wu) lAtsin 'ax 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
(2d): A'	B	X    C
Refrain	: A	B'	X
StanzaH (1st): A	B'	C
(2d): A'	B'	C
B
B
D
D
D
D
B
B
B
B
X
X
X
X
Olaf Abraham's Wolf Call Love Song for Kagwantan-Children
1964, 1-2-B; recorded by Olaf Abraham on AprU 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 syUables "''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, re-
frain, and second stanza sung twice.
The words as dictated by the composer are:
Stanza I
'ican 'Asgi dehe yXx ieyiqa—Alas, why do you weep,
s-Kagwantan-yAtxi—Kagwantan-chUdren?
dJAl qux kisagax kAt—Never caUs back
'i gutci d&d6 'igax—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 Wo-f?" (Free translation by Minnie Johnson.)
Stanza II
tcAw§,s 'itutin-nuk^tc—Why are your feelings always
sick
s-Kagawantan-yAtxi—Kagwantan children?
det6a 'ida tuwu—Just the thought of you
'Atciyit y6:^AyAqa—?-
"Why do you feel badly, Kagwantan-chUdren? 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 yex ^ayiqaye-ye
C	s-Kagwantani hayAtxi (s-Kagwantani-yAtxi)
B	dJAl qux Id-sa-gax kAt
E	'i gutci dada 'igaxa
F	ha-ho ha-ho ha ne'	a-ya
G	ha-ho 'a	ne ha-ya
Stanza II (sung twice)
(Variations in parentheses)
A    tcAwas sa-ya de-he
B    tcA'a 'itutini
C    s-Kagwantani hayAtxi
D   det6a 'idatuwu
E    'Atcyit ye iayaqa
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 AprU 8.
This song was composed by Olaf Abraham when his
brother-in-law, George Bremner, was drowned (about
1940^6 ?). Shortly after that, his wife had to go to
Tacoma for an operation. The song is therefore ad-
dressed to both of them, or refers to both of them, as
Kagwantan-chUdren.
IN   THREE   PARTS
APPENDIX
1293

The song is introduced in Tlingit by the singer, and
lasts 1:50 minutes. The words were dictated by him.
Later, John EUis checked my transcription and helped
with the translation. As dictated the words are:
Stanza I
t6A kawayik—Just aimlessly [in space]
gaxnas hEtc—Crying always,
Kagwantan-yAt^—Kagwantan-children,
det6a 'idatuwu—Just because longing for you
'adje yit—?-
yexayaqanuktc—(Always makes me feel badly)?
Stanza II
tuwunuktc—By sick feeling
XAt quqadjaq—I am kUled.
daq yel CAk^cE—Which Raven perhaps
gutc keyuk'^qagax—WUl 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 reaUy the
last three hues 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.
McAUester 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 1, '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 1 (sung twice)
A	kawayik qa-dja-gaxnas-hEtcka-dja-si
B	'i gutci Kagwantani-yAtxi
C	'i da-ha tuwu yau ha ni
D	'i yi ye ya" hani
E	'e he 'e ya"
F	ha ni 'e he 'e ya" ha ni 'e he
G	ha" ha ya
H	'a ni hay ya
Refrain
A'	ha 'a ni 'e ye 'e ya" 'a ni 'e ye ye
I	ya" '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]? xAt kuqv/adja-yaq daq yel CAk^'cE
K	gutc 'ayakqagax [keyuk^'qagax ?] '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 1 (sung twice) :A     BCDE     FGH
Refrain:	A'   1     J	(F)    F    G   H
Stanza II (twice):       A	K	FGH
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 Outcda, the
Tluk'^axAdi shaman of Dry Bay. He was born before
1870, and died before 1916. He was known as Qacdjaq
and DAxquwAdEn, 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
Tl'uknaxAdi woman, daughter of a Teqwedi man. She
had been married first to Dave Dick's brother
T'awligau, and then to his younger brother, Jack
Peterson, Qunak".
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
265-517  O - 72 -  10
1294
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

composed by David Dick of Dry Bay, DAxquwAdsn.
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 \vife, Mrs. Jack Peterson, Tluxnaq.
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 'anqitdax—(?)
'i 'Anqawu yA xawAs—Your God, thus,
A     kuxtiditani—Confess,
Teqwedi-yAtxi qu'a—Teqwedi-children,
A+    datx sux^  SA tsu t6A—From it soon again just
kehwAl i tuwu—WiU break your mind
'a 'e-ya 'a 'a 'e-yau
X     'e-ye ha 'a 'e-ya 'a
'a-ya ha-ni 'a-ya [tlekde^ 'a ha ya—(on repeat)
"You confess to go up to Heaven, but how come
you're backshder? You try to quarrel with me. It
didn't take you long, you backshder. Right away."
Stanza II (sung twice)
A     detcA 'ixagaxi—Indeed, when you pray,
tudAk   nAkaxixtc    qan—"think    of"    [xwan    ?,
emphaticl
A      ya i' gutci—Your Wolf,
c-Teqwedi-yAtxi qu'a—Teqwedi-children,
A"*"    'aga 'i tuwu—For him your feelings
yu 'aq^adjunk—May dream
'i gutci 'a {or tcA)—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
yoar Gutc [WoK, 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 wels composed by Dave Dick (CAnkuqedi)
in 1914. The first stanza is about his daughter, Jenny
Dick, Qaqax'^et-tla, a Tl'uknaxAdi woman who had
died in 1912. The second stanza is addressed to his
sister's husband, Lituya Bay George (1845-1926), a
XatkA'ayi 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 1
'ax tuwu cadaie—My feehngs are dejected.
gacA th'in XAt wuna—I wish to die (with you?)
CAnkuqedi-yAtxi—CAnkuqedi-chUdren [his daughter]
tuwunuk'' tcinuq—From sorrow.
Stanza II
de yac nasgax yi gutci—Weeping for himself is your Wolf
[yecnAsgax?]
Kagwantan-yAtxi—Kagwantan-chUdren
tcAS 'iyaqayi—Just your words
'aclACAt—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 differ-
ent from those dictated. As heard on the tape, they are:
Refrain
A 'a'' '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   tsux tu(wu) qatwe djac wEtaxqe   CAnkuqedi-yAtxi
gacu tetl-dje 'in
B    dja xat wuna tuwunik tcin-naq yu he 'iyaha
C    'a yeyu 'eyeya weyu 'awe 'ayu haya, 'ani 'aya
IN   THREE   PARTS
APPENDIX
1295

Stanza 11 (sung twice)
A    de yacnasgax ya  'igutci,  Kagwantani-yAtxi tcAs
'iyaqayyi,
B    t6a 'aclACAt ya 'igutci xa heu yaha(na)
C    'a yeyu 'eyeya 'eyu, 'awe, 'ayu haya, 'ani 'aya
McAUester 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 ElUs 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 chUd of Qalyix-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 kande 'i djin—"Shake hands"
t6A hutcinyis xa—Just for the last time
tcA qa-qalis tea-—Just -?-
B    -di S-Kagwantani-yAtxi—Kagwantan-children
[his wife]
'inaq xat nanani—For you, when I die,
'ax tu[wu] [keg]xisinik^—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
[tlel] ckuxde qisagax—WiU [not] be caUed back (?),
Kagwantani-yAtxi—Kagwantan-chUdren.
B    'Ate xayayi dat de—Because of that,
'uxawxhxatca—I give up
tcus   dade  dagax—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 unclesl."
The meaning, I believe, is that not even Kagwantan-
chUdren, or the wife, can caU 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 chUd of Teqwedi:
t6u 'Ix SA xAni, 'intjq xAt qugAna, Teqwedi-yAtxi.
hAnd6 'i djfn hutcin-yis ua qa-lA-degu.
"Come here to me. Let me love you for the last
time. I hate to leave you behind, Teqwedi-chUdren . . .
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 Qalyix-Kagwantan woman named NexlinAx. She
was said not to be able to siog weU, 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
1296
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

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 Tl'uknaxAdi and son of
Kagwantan, interpreted the song as addressed to him-
self. 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 steadUy rising pitch (up 1% 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?)
I'ayAx?]
yAkAnaceyena—"Nothing to help"
'i gutciyi—Your Wolf,
B     'e-ni ha-u he ye ye,—'E-ni, etc.,
Kagwantani-yAtxi ya—Kagwantan-chUdren.
C     'e ya he ye ye ni ha ya,
'e yay ha ni ha ya
"It's your own fault, Kagwantan-chUdren, that your
Wolf is havmg a hard time."
Refrain
As on the repeat.
Stanza II (sung twice)
A     yas wanawu qa yex—As if someone had died (?)
t6u yis 'ida yagax—Because, for you wiU weep
yi gutci—Your Wolf,
B     'e ni ha-u he ye ye,—'E-ni etc.
CAnkuqedi-yAtxi ya—CAnkuqedi-chUdren
C     'e ya he ye yen 'i ha ya,
(me) 'a ni ha, ya
"As if it were because someone had died, your Wolf
wiU weep for you, CAnkuqedi-chUdren."
The structure is:
Refrain:    A/   B    C
ABC
Stanza I:   A     B    C (repeated)
Refrain:    ABC
Stanza II: A     B    C (repeated)
Emma Ellis' Mourning Song
1954, 3-1-F; recorded by Emma EUis on May 11.
Emma EUis, born at Dry Bay in 1896, is Kagwantan
and the daughter of a Tluk'^axAdi man. Her first hus-
band was Dick Peterson, Tl'uknaxAdi and son of a
CAnkuqedi man. Her second husband was John EUis,
also Tl'uknaxAdi and son of a White man. She com-
posed 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-chUdren. 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 Galyix-
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 some-
body 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. StiU 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
aU 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 hke that. It's just hke my husband.
I sing about my husband. . . . That's when my hus-
band 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 Hke that, about
my husband."
The song is introduced in Enghsh: "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
IN   THREE  PARTS
APPENDIX
1297

(sung twice). Refrain, Stanza III (sung twice), and
ends with the Refrain, as McAUester comments,
exhibiting a "most elaborate refrain and stanza pat-
tern." It lasts 3:57 minutes. The pitch faUs 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 syUables
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   hut6in   yis   'At   'awliqEn(a)—For   the   last   time
I'm looldng at
A    'ax 'ic-hAS 'ani (qu 'aya)—My fathers' land.
B    'adusgi gutc yek'^qagaxle]—What Wolf wiU 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 'ax djit 'yAti(ye)—Sorrow to my hands
[to me] you gave,
A     Teqwedi-yAtxi (qu 'a-ya)—Teqwedi-chUdren,
B     'ax 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 HI (sung twice)
A     wasAk'^ce tlel yu yixwadjunk—Why is it I don't
dream about you?
(dja lu-xwadju-un)[on repeat]
A     Kagwantani-yAtxi (xawe)—Kagwantan-chUdren
[i.e., FdeL].
(qu 'a-ya)[on repeat]
B     qade dja (hxwaye djuni 'u he 'i)
(xwa dja fiyixwa djuni-i)[on repeat]
[qade dja 1 'ix'^adjuniq]—It's aU 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 bis wife, K'^actca
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-
chUdren, m 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 Enghsh: "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 had sung the song on a previous occa-
sion (AprU 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-yeye,
X     ye-ye 'a-ni 'a-ye-ya,
Stanza I (sung twice)
A     de 'ax tcide, de 'acAndayiyi,—-?-
B      'ax   tuwu,   Teqwedi-yAtii   yu   'e-ye,—My   feel-
ings, Teqwedi-chUdren,
C     hut6iyin   yisa,    good-bye—^For   the   last   time,
good-bye
D     yu x^adjana saqa—While I . . . ?
'a^'u 'e-ni 'e-ye-ye yau 'e-ye-ye,
X     ye-ye 'a-ni 'a-e-ye.
Refrain
(With slight variations.)
1298
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

yu
Stanza II (sung twice)
A      aw e-ye m ye
ya dja lidati xat—?-me
B     han   de   na,    Teqwedi-yAtxi
chUdren,
C     hut6iyinyisayidjina—For the L
D     nagalAtlegu—Shake hands.
'e-ye 'a'^u '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:

 
'e—Teqwedi-	Refrain:	A	B	C	D	X	   
	Stanza   I:	A	B	C	D	X	   
le, your hands		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 Gmexqwan-Children
1954, 6-2-G; recorded by Mrs Frank Dick on May 17
Dry Bay George, Tl'uknaxAdi and the son of Qatan,
a Kagwantan man, was known as Dulisat'at', Lingit-
'ani-ldna, 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 Qelke (1836-98), a Qalyix
Kagwantan woman. The song is simUar to the love
songs of T. Max Italio (1954, 5-1-G, p. 1302), and of
Kitty Martin (1954, 5-1-B; p. 1309). McAUester also
notes a melodic resemblance to Mrs. Chester Johnson's
Song for Teqwedi-Children, etc. (1954, 5-1-1; 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 partic-
ularly 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 Lingit-
'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   nu™ ha ni, 'a ya
Stanza I (sung twice)
A    ya [»"]   hnigit 'ani 'anyAnag'^Al'a—The world is
rolling around
t^u yadaseq'^a—With our breath [or life].
B    qa-  [or  '&]   yayide  xft wucAdugaxi—Get   ready,
have sympathy for one  another,
'ayAx 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 tlejc [tlAx?] wasiguwu—^Very happy
'Atxasadjaxa guxsayati—It woiUd make me,
Ginexqwani-yAtxi—Ginexqwan-chUdren, [his
wife],
B    ['i] 'ani qaya xat dja—In front of [your] land
XAt wunawu—If I died,
'At kuqacuq''—1 would smile.
C    'e ye yu ha 'e ye 'e ya, 'a na 'e he ya 'e 'e hyu 'e ye,
X    yaha,-ni,'ayaya
(yau harni ha m) [on repeat at end].
"It would make me very happy if I should die in
front of your land [or home], Ginexqwan-children; 1
would smile."
The structure of the song is:
Refrain:    A   B    C    X [pitch rises K tone]
Stanza I:   A   B    C   X (repeated) [pitch up a whole
tone by end of the repeat]
Refrain:    A   B    C   X
StanzaH: A   B    C   X (repeated) [pitch up 1}^ tones
by C on the repeat]
10 Here the singer began the second stanza by mistake.
IN   THREE   PARTS
APPENDIX
1299
Dry Bay Chief George's Love Song to a Young Girl
A
B
C
D
1954,  7-1-C; recorded by Mrs.  Chester Johnson on
June 10.
Qawusa or Qusun (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 Tl'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, Tusdex, he was father
of Sam George (1890-1947).
Dry Bay Chief George composed two Tl'uknaxAdi
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 com-
posed 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 sib-chUdren, although the
composer refers to himseK 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' (Qawusa 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 yiqe^aq wudAcan—^By   you why  is
refused the old man?
lisA.   'ixAnde   quqagut  wudAcan—Soon   to   you   wUl
come old age.
"You can't refuse old age. Some day it will come to
you."
As sung, the words are:
Refrain
'e yu he na 'a yu he na,
'e yu he na 'a yu he na 'e yau 'a ya,
'a yau 'e yu he ha 'e-ni 'a-ya 'e,
ne 'au 'e ya, 'au 'e 'e ye 'a 'u-um,
Stanza (sung three times)
A       WA'Etc qu  'age yak-  [or  yi]   -qiSaqa—^By   you
why is refused
B'      wudacana hede gutca ya—The old man?  That
Wolf
'i yeh 'Ate 'isiti—Your Raven by it (carries??)
C'-f- 'aya liyisi xa 'i>i:Ande—Then soon (>CA?)  to you
qaguta, wudacana—WUl 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 hutc!^["the end!"])
The structure is thus:
Refrain:        ABC       D

 
Stanza (1):	A	B'   C'+   D'     E	   
(2):	A	B'   C'+   D'     E	   
(3):	A	B'   C'+   D7	 
Unrecorded Songs by Dry Bay Chief George
Dry Bay Chief George is said to have composed a
sad song to Teqwedi-chUdren, one that probably con-
tains 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 EUis, but since no electric current was avaUable,
it was not recorded.
Stanza 1
tsuyat tuwunik^—Still (already?) sad
genyAx qatunfenin—EasUy -?-
(niya axawe)—?-
djasa kiuA? qu'a—Just from above -?-
yi]natitc-de—^Let it be!
qa tuwunik"—Sorrow
(nigu -eye) [as sung]
Stanza II
tcaya wds 'ayd,—But why is it
dja xat nasn6tc—Just 1 always
tcu yayi Avtidjiin—If again now dreaming
Teqwedi-yAtii—Teqwedi-chUdren
I'ex 'a? tuwu—Very much my mind
tbaVe ('ac ?) 'unaxfltc—Then is scarcely troubled.
1300
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
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, Ciytrk" (1854-1926), was a man
of the Raven I^atkA'ayi sib, and the son of a Kag-
wantan 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 XafkA'ayi-
children. 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 'ate 'ide xAt Ia'us—I don't care if you kUl me,
tlenAx wunex—AU alone,
'ax 'ic-hAS cuk'^a—My fathers' ancestors.
Stanza II
tlAxanse ca 'idawut—Hurry up, (I'm going to die),
^at'kA'ayi-yAtxi—^^at'kA'ayi-chUdren,
tsu yute 'isAxa 'axdji—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 'ate 'ide xAt Ia'us
lenA? wunex 'ax 'ic-hAs cuk'^a
B    de 'ax yada xayadagut kadidat
C    tsuyu 'ax yi (?) dja qux^i-si-tce-ye [qux'^istci?] 'a ye
D    'aye heyu 'aye, hayu haya hani 'aya
Refrain
Stanza II (sung twice)
A    tte(ye) xantse kan [lian] cAn ('i ?)dawul
^at'kA' ayi-yA tii
B    de(ye) yi xute dja yaxagut kadidat
C    tsu yulie tsu yisixa '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 ]§;!eyegat-
qin and TawAl^-'ic (1855-1900), was a Teqwedi man,
the son of Yakutat Chief Yaxodaqet, the K^'ackqwan
chief. He was also the chief assistant to the shaman,
Tet-'ic.
This song, which unfortunately could not be re-
corded 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 wa^A iayaqa
yu [or de] gutc 'ayude
nitc tut§igax-a
Teqwedi-yAtii
xande nisgax
yi xetx UAqagajc [or 'iiet qaqagax]
"Why is the WoK crying about on the beach? Go to
Teqwedi-children; they'U weep with you."
Stanza II
t6A kawayik—Just aimlessly
...—? [See 1954, 1-2-C; p. 1293]
Kagwantani-yAtii—Kagwantan-chUdren
...	?-
hande 'idjin—Give me your hand
kuq'^ana—Before I die.
IN   THREE   PARTS
APPENDIX
1301
Frank Italio's Song for Kagwantan-Children
1952, 2-1-H and 2-2-A; recorded by Frank Itaho and
Minnie Johnson on July 30.
Frank Italio (1870-1956) was the CAnkuqedi son of
the Tl'ukwaxAdi leader, Dry Bay Chief George. As
originaUy composed, this song was for Kagwantan-
chUdren, 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-chUdren, of whom Minnie
Johnson was one.
The song has a Refrain, Stanza I (sung twice), Re-
frain, 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 foUowed 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 paraUel columns
for comparison; what appears as the most probable ver-
sion 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 Itaho breaks in
with a snatch of the
refrain]
-ay,   'i   yay   'a   'ay,
[talks]
A     'ay 'i ya 'ay da 'ay-i-i    'ay, 'i ya 'ay na 'ay ni hi
ya ya ya ya,	ya, 'i ya,
B     'ay yi ya ha na 'ay-ni-    'ay   ye-ya   na   dla   'ay-i
i 'a-nya-ya,	ye-ya 'a, di ya ya,
C     'ay-i 'i ya 'a na 'ay-i-    'a-yi 'a na 'a ye 'i ya, 'ay
yi, 'i-ya, 'i-yu 'a	na 'ay [clears throat]
'ay [clears throat]
'a ya, mm,
D     'i ya ya ha-ni ya ya,    na ya, ha-ni yay.
Stanza 1 (sung twice)
A    tciya kAnaci det6u
cu-di-ya-yu
(ku)
B     dayu ditan-qan [^^]—^About them to think
(h.4.s)
c-Teqweyedi-yAtxi-yi—Teqwedi-chUdren
(ya-yAtxi-yi)
C    'ax kAnax dAtitc—Through me (?)
(dutitc)
qayi da-a yu ditanqe—?-about them to think
(jcayi-a- yi dutayanqe)
'a wi-ni' a
('awiyi ni 'a)
('ar-yi ya han)
D    ya hani ya ya
('a yani ya yA, ay)
"It's as if I were beginnmg to get drunk, when I just
think about Teqwedi-chUdren. Sometimes when I
think of Teqwedi-chUdren, I go out of my mind. I don't
know why."
Refrain
(As above.)
Stanza II (sung once each version)
A' tcA WASA ye det6A 'a—Why is it, indeed,
xat dAsnitc-uwi—I am always finished
(ka)	(-e)
B'    t6A dju 'itc 'i kAdjunin—Just when I dream (of
(tcu-wm) (-)	you?),
Kagwantani-yAtAi—Kagwantan-chUdren,
(ya-yAtii)
C    SAS kax nastitc-a—^Because every time
[gax]?	(-sxa)
'ax tuwu qu'a ya ya—My feelings are like that.
('a-ya 'a, 'ay   [breaks off])
'u-we ye-ni 'a
D    ya       [Frank ItaHo breaks off.]
"I'm just wondering why. Every tune I dream of
Kagwantan-chUdren, 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     D^'   E
Stanza I:    A     B'    C    D      E (repeated)
Refrain:     A     B     C     D     E
StanzaH:    A'    B    C    D/    [MJ  sings  a few
notes more]
" Reel 2-1-H begins here.
'2 Clears throat.
1302
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
T. Max Italio's Love Song to Tl'uknaxAdi-Children
1954, 5-1-G; recorded by Helen Bremner on AprU 30.      B    hut6inyis xawe,—Because for the last tiriie,
'idjinxu lAtl'ek'',—You shake hands [with me] (?)
C    'u 'eni 'eni 'ay,
ha 'e yeha 'eya, yahu 'aya
The composer, K'^Ani (1874-1940) was the Tl'uk-
naxAdi son of a Teqwedi man. The song was addressed
to his wKe, Jean or Jane (1871-1945), a Qalyix-Kag-
wantan woman and daughter of Dry Bay George, a
Tl'uknaxAdi man. The song is recorded by the com-
poser'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 famUiar 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    tleyex de 'ituwu,—Stop ! your [hard] feelings,
Tl'u]inaxAdi-yAtxi,—Tl'uknaxAdi-chUdren,
B    'ax hunxu-hAs 'itix-(xAs),—In place of my [dead]
older brothers,
'iyexketuxdatan—You make me feel happy
C    -tc(A) 'eni 'e 'a,—Always,
hu 'eyeha 'eya 'a 'aya ya
Stanza II (sung twice)
A    'Ak'^ce }gunaltcic(a),—(Can ?) I thank you,
Tl'uknaxAdi-yAtxi—Tl'uknaxAdi-chUdren,
The first word of the second stanza ('Ak'^ce) imphes
that a question was asked, although this was not indi-
cated 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
tleyek de 'ituwu—Don't! change your mind,
Tl'uknaxAdi-yAtAi—Tl'uknaxAdi-chUdren.
'ax hunxu hAs 'itik—Instead of my older brothers,
'iyAxketu^dAtantc.—You always make me happy.
(The composer was said to want to marry the wKe of
his older brother.)
Stanza II
'Ak'^ce Igunaltcic—(Perhaps) Thank you
'i'ituwu qu'a—For your feelings, because
Tl'uknaxAdi-yAtxi—Tl'uknaxAdi-chUdren
'i yeli-tin xawe 'ik^'qunawu—With your Raven you
wiU die.
"I'm very thankful that you wiU die with me, your
Raven."
B. A. Jack's Love Song for Gmexqwan-Children
1954, 6-1-C; recorded by Jenny Jack and Sarah WU-
hams on May 10.
The composer, Wa^ix or Qadaleli (1860-1949), was a
Kwackqwan man, the son of a Teqwedi father. He had
aheady 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 WUliams.
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 WiUiams. 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-Ginexqwani-yAtxi
t6ayax 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
Ginexqwan's chUdren, because he's so lonesome for
them."
Stanza II
qadjii 'ackawudjixit
tcaya 'ituwu
c-Ginexqwan-yAtii
dJA 'Ackawuc:s:idin
"It's as if someone marked it on the minds of Gin-
exqwan's chUdren, and after that they just wiped off
the words."
IN   THREE   PARTS
APPENDIX
1303

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 1 (sung twice)
A     qaha^e det6a yuqasa 'inge—(?) indeed (if) one
carried
A     t6uyu 'i nawu c-Ginexqwani-yAtxi—Even your
wiskey, Ginexqwan-children,
B     t6aya si 'i 'in tse 'e t6us 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     qahadji^ qa dja 'acka'^udjixita—(It is as K ?) one
just drew on
A     tsuyu 'ituwu c-Gineyqani-yAtii—(?) your minds,
Gineiqwan-chUdren,
B     dja yAc kAt yA kAt—Just then
t6A 'AckAtAxitiia—He just swept it [off].
C     'ay-i yia ha ya, 'a ha, hi ya 'ay hi
'ay-ya 'a,
('ay-ya 'a ha, hutd 'a!) [on repeat]—"That's all!
X     'u 'a ya ha-ni 'a^ya,        [first time only]
McAUester comments that this is a "fine swinging
song." The tone system is basicaUy 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 AprU 4.       B      'atuwu like—Made it happy
This song was composed in 1931 at the time of the
convention at Yakutat of the Alaska Native Brother-
hood and Sisterhood. When people come to Yakutat,
the singer explained, they always want to look at
Mount Saint Elias, but it is usuaUy covered by clouds.
During the convention it was also cloudy; finaUy,
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 Kwackqwan.
The singer also is K'^ackca.
According to one informant there should be one
stanza for the Sisterhood, and another (the first re-
peated?) 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
ya  'ax lilik^'-hAS   cayi—Yes,   my   grandfathers'
mountain
Wase-ta-ca—'Mountain-up-Icy-Bay'
(Mount Saint Elias) [on repeat]
C      'ate xawe 'e tsu 'ituwu sAgu—By it thus also
you are to be happy.
X     he 'ani 'ayu
Stanza II (sung twice)
A     djuwa   WA'Etc   wucadax—Just   as  if  you   were
the one
B     t6a cell'at—That opened
ya linigit 'ani—Yes, the world
Wa^e-ta-ca—'Mountain-up-Icy-Bay'
(Mount Saint Elias) [on repeat]
C      'ate xawe 'e tSu   '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)
StanzaH: A   B    C   X
A   B    C   X/ (on repeat at end)
1304
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
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 K'^ackqwan man. The song was
composed to mourn the death of George Bremner,
K^'ackqwan, who drowned about 1940. He was the son
of a Qalyix-Kagwantan father, and was the nephew
of B. A. Jack, the composer's husband. This man,
Qa:^wuxitc, 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 Thngit 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
B
C
D
'a he-ya 'a 'ay 'a 'e-i-ya 'a-ya, 'a,
'e-i-ya 'a^yay-a, 'e i-ya 'yay 'a,
'e-i-ya 'a-ya 'a 'e-i-ya 'a-ya 'a,
'e-i-ya 'a, 'u 'a-ya ha-ni ya na.
Stanza I (sung twice)
A
B
C
D
deya 'iti 'ituwu,—(? subside?) your feehngs,
Kahagantahani-yAtxiyi' a—Kagwantan-children,
'iyida   tuwutc  kuk'^qadjaqa   'a—By  longing   for
you 1 wiU be kUled.
'e-i-ya 'a-ya 'a 'e-i-ya 'a-ya 'a 'a,
'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-
chUdren (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 u"; ya ha-ni ya ya,
Stanza II (sung twice)
A    'ax 'Anqahawu yAX,—^Like my God
'ihihi ya qawes :^eyex <j^Adagaxxa	?-
B    Kagwantahani-yAtxiyi ha—Kagwantan-chUdren,
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  tcAWs!)   [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-chUdren.)
As is not unusual, the song rises a haK-tone during
the first refrain, again on the repetition of Stanza 1,
and stiU again on the second refrain.
The structure of the melody is:
Refrain:        A	B	C	D
Stanza 1:      A	B	C	D (repeated)
Refrain:       A	B	C	D
StanzaH:    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 K'^ackqwan man (1861-1948),
whom we have met as "Gums" (p. 194) or "Yeet-
shwoo-doo-kook," but who was more properly named
TayixgAlE and KusAx^k'^-'ic. His father was Kagwan-
tan.
This song was composed for a Teqwedi woman,
Sophie, or Kanidi and SAnax-tla, who was married to a
Kwackqwan man, Yakutat Charley (1862-1920),
WAtsdal or Sisdjak'^-'ic, the younger brother of Yakutat
Chief George. She was having an affair with her hus-
band's nephew, Kuxtitc, 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 Thngit (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 transla-
tion could be obtained:
Stanza I
yidAt 'ak'^ce—(Right now, perhaps)
lAkAtJC qa yeh quuAqana—(With aU the Ravens -?-)
qeyagaw qunqana	?-
"I wish I died right now with all the Ravens."
IN   THREE   PARTS
APPENDIX
1305

Stanza II
'&^o 'axASigu—Among them, he makes me happy (?)
c-Kagwantani-yAtxi—Kagwantan-chUdren,
'axo    'ago    'a^asigaxe—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     ('axu)["]   yidAt   'ak^'ce   gi  lAkAt   qa  yeliyi   t6A
qun wunawu
B     t6A ya da xawes t6A tl'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     'axu   'axawE   tcA   'a:^Asiguyuwi   da   ya   c-Kag-
wantani-yAtii
B     'axu 'axawes tcA 'a iasigaxeya '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:     ABC
Stanza I:    ABC (repeated)
Refrain:      ABC
Stanza II: A   B    C (repeated)
Refrain:      A/
McAUester   comments   that   this   reminds   one   of
B. A. Jack's Song for Mount Saint Ehas (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 oix, 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 worldng 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' (xaca kAtsk" :§:a 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 "t6uya!" to indi-
cate that the refrain was to be sung. The song lasts
2:10 minutes.
The words as dictated are:
Stanza I
gega 'axu 'ate—?-
tuwu kAtin yanalg^'Al'—With kindness let someone roU
[the world]
'aga qatuwu keguxsAgu—Because of it one wUl be
happy.
"Let someone roll it [the world] with kindness—or,
Let it roll around with kindness. It makes one happy."
Stanza II
kel 'ade yequwEn gagayiyE
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
" Began Stanza II by mistake.
1306
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

Stanza I (sung twice)
A	dega 'axu 'ate tuwu ketin yanalg^Ali
B	'aga qatuwu ckeguxsAguwu
C"*"	'a ye 'u 'e 'e ye 'u 'e ye
D	'i 'a yai 'ani 'aya
Refrain (repeated)
Stanza II (sung twice)
A     tlel [or lil?] 'ade xeyeqawun gaqayiyE goodby yina
B      'a 'ida gau xa [or ta?] cAne sAtiyi
C    'a ye 'u 'e 'e ye 'u 'e ya,
D    'u 'a yai 'ani 'aya
The structure is:
Refrain:     ABC
A
A
A
Stanza I:
Refrain:
Stanza 11
McAUester
D (repeated)
B    C+   D (repeated)
BCD
BCD (repeated)
writes: "Note the deUghtfuUy 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, Lixak 'SmeUs Good,' (1854-1919) was
a Kagwantan man from Sitka, the son of Sitka Jack,
Tl'uknaxAdi. 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,
KaxuxEt (died 1919), Tl'uknaca and the child of a
Teqwedi man.
The words were dictated by Minnie Johnson.
Stanza I
tea dja Kayak sa—(I'm) right here on Kayak
tuwunik'' de—Where sorrow struck(?).
daq yel sAk'^ce—What Raven
gutc yAk'^qAgax—WUl pity the Wolf?
'ican 'asgi—Alas,
'ax tuwu qu—1 feel so sad.
Stanza II
qatqa sAk^'ce gEs 'at—(There it is?)
'AnxalgEntc—I look around (at it)
'i 'ic-hAS 'ani—Your fathers' land,
c-Teqwedi-yAtii—Teqwedi-children.
yAk'^qeqa'enin tcadja—Just towards dawn
'aga[?] tsa 'axkA—(Because of it?)
wahucxEntc—I look around,
'a^c tuwu qu—1 feel so sad.
The music for this song was not recorded.
Mrs. Chester Johnson's Lament for Her Husband
Chester Jolmson on
1954,  5-1-H;
recorded by Mrs.
AprU 29.
The composer, Esther, the daughter of Lituya Bay
George and his wKe Mary, CAnkuqedi, was bom in
1900. She was formerly married to Clarence Peterson
(1890-1942), Skinya, a Tl'uknaxAdi 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-chUd 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 tran-
scription 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     det^A tuwu lAtsin—Indeed with a brave feeling
('akat ya jcakatuxlAtin-a)—I am looking at
Bg    CAnkuqedi-yAtxi—CAnkuqedi-children   [the  dead
husband]
('ida   yututan   xawes   'axka)—Thinking   about
you, thus, 1
Cs    (ya 'uc xEntc-a, 'a he 'a-(u)he ya,)—Feel upset.
('aya hani 'aya)
For the last line the composer dictated what was
obviously a hne from the third stanza of another of
her own songs (1954, 5-1-1):
'i gutci yis 'itulitsin—You refused ("were mean to")
your WoK.
IN   THREE  PARTS
APPENDIX
1307

B,
Stanza II (sung twice)
tsu 'i5:sA?Ani—StUl loving you
t6A s:at kuq^ana(xa)—I wiU die.
Teqwe(ye)di-yAtii—Teqwedi-chUdren,
s-hAnde ('e) 'idjin—Give me your hand
(?awEs) good-by—Thus good-by.
Cg    ('a 'u *eya, 'ahe 'auheya,)
('a ya hani 'aya)
The structure of the song is:
Refrain:     ABC
Stanza I:   A   B?   Cg (repeated)
Stanza II: A   Bg   Cg
Mrs. Chester Johnson's Lament for Teqwedi-Children, etc.
1954, 5-1-1; recorded by Mrs. Chester Johnson on
AprU 29.
This song is unusual in having three stanzas (each
sung twice) as weU 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 EUis.
In the first stanza the composer sings to Teqwedi-
chUdren (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, K^'actca 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 herseK, she was not afraid. The third stanza refers
to her dead husband, Clarence Peterson (1890-1942)
who is reproached for having died.
Refrain
A
B
C
'eye 'uweye 'eyu 'eyuha, 'eyehu 'eyeya,
'u 'eyu 'eyeyu 'eyehu 'eya, 'eyehu 'eyeya,
'eyehu 'eyeya, ya 'ehani 'ayeya
Stanza 1 (sung twice)
A
tlex [tlAx?] wulitici,—Very lonesome it is
ye 'ey-ya-pleyn ?a—This airplane
'inAx 'awe,—From you now
B
xan yakdaqin xawEs—With me flying, thus
Teqwedi-yAtxi   'eyehu   'eyaya—Teqwedi-chUdren,
C
'eyehu 'eyeya, ya 'ehani 'ayeya
Stanza II (sung twice)
A   dAq yaq^'alcuqw yawEs—Back [in the graveyard]
I'U be smUing, thus,
YAnyedi-yAtAi-tin,—With Yanyedi-children
[Maggie Harry],
?at kuq^anawu,—If 1 die
B    'a? tuwu xawEs—My feelings, thus
keguxsAgu (-wu, or xawEs)—WiU be happy,
'eyehu 'eyeya
C    (as above)
Stanza 111 (sung twice)
A    'itulitsin   xawes—You  were   strong-minded   [i.e.,
mean, hard-hearted]
CAiikuqedi-yAtii—CAnkuqedi-chUdren    [her    hus-
band],
'igutci-yis-a—For [to] your WoK,
B    'itulitsin  'a  'eyehu—You were   hard-hearted  [by
dying],
'eya, 'eyehu 'eyeya
{hutd! on repeat)—That's all!
C    (as above)
The structure is:
Refram:      ABC
Stanza 1:     A   B    C (repeated)
Stanza II:   A   B   C (repeated)
Stanza III: ABC
A   B
Mrs. Chester Johnson's Song for Teqwedi-Children and Norwegian-Children
Chester Johnson   on
1954,  2-1-1;
recorded by Mrs.
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-chUdren, 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 (K^ackca) and Ben Peterson; the Teqwedi-
children are probably those of Louise's younger sister,
Mary, and WUliam 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 wiU  be
1308
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

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     yauAx-a keya 'at 'eya,—From here or there they
are coming,
B     Teqwedi-yAtxi  heya   'a   'aya,—Teqwedi-chUdren,
B     Norwegian-yAtxi    heya     'a     'aya,—Norwegian-
chUdren,
C    hutcxu-yax da'at-di heya 'a 'a,—Mixed together
they come.
D     'a 'a 'eya 'a,
Stanza II (sung twice)
A tuuAx-qaya- duti-yin xa,—A mirror [inside-
through one's-face to-see].
B'    'iyuwusiti heya 'a 'aya,—I wish you were,
B' Norwegian-yAtxi heya 'aya,—Norwegian-chU-
dren.
C/ yayu[kA] guxduti 'eya 'a 'a,—Before my face
I wiU hold it up [And see myseK!]
D    'a 'a 'eya 'a hutc!—. . . that's all!
The structure is:
Refrain:      A	B	B	C	D
Stanza I:    A	B	B	C	D (repeated)
StanzaH:  A	B'	B'	C	D
A	B'	B'	C/	D
Mrs. Chester Johnson's Song for Tcicqedi-Children
1954,   5-2-1; 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 K'^ackca and the daughter of a
Tcicqedi man, like her namesake, Kuxanguwutan,
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 ua 'a,
Stanza (sung twice)
A       tE-gun   yex   (tcA)   kuq'^ati,—Like   a   gold-rock
[yAX?]
you wiU be
A       Tci(yi)cqedi-yAtii      (xawes),—Tcicqedi-chUdren
(thus)
B'+    deyi -kAx (-a),—For it
[du?]
gil' kuq'^atei—I wiU strike the cliff.
('a 'eya, 'ani 'a)
(Possibly the verb in the first line should be gaquti,
not kuq"ati.)
Xadanek Johnstone's Love Song for Teqwedi-Children
1954, 1-1-E; recorded by Charley White (with drum)
and Minnie Johnson on AprU 8.
The composer was a Teqwedi man (1843-88), the
father of the two singers. This song was composed
before 1885 for his two Tl'uknaxAdi wives, CawAtk
and Qatcqaqet, aunt and mother of the singers. The
women were the daughters of a Teqwedi man, Lusxox
(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, Xadanek. Just
the way he like it so much (tea 'ade dutuwasigu wltc),
that's why about it he was singing (djeyu 'adatx
cuklAcixIn). He sings about Teqwedi-chUdren. Also very
much he like it (tsu quuAX dutuwasigu). That's the
one I'm going to sing ('aya 'ayu kekAq^aci)."
The words, as dictated by John EUis were:
Stanza I
'a kAt kASAXA de—Pour it on it [in the glass],
Teqwedi-yAtii—Teqwedi-chUdren,
IN   THREE   PARTS
APPENDIX
1309

datuwu qu-'aya—The longing for, so that
tcAldAkAt hAsdu gutc—^AU of these Wolves
djitc gAn An a—May drink it!
tcAldAkAt gutc—AU of the Wolves,
kAn gAcuwu—Let them be drunk!
Pour out the love for Teqwedi-children, so that aU
of these Wolves may drmk. Let aU the Wolves become
drunk.
Stanza II
'a kAt cuwuxixi—On it aU gone
nau yuxiyati [yex 'iyati ?]—The hquor, it is hke.
[Teqwedi-yAtii—omitted]—Teqwedi-chUdren,
'ax t6A kauAx cuwuxixi—I'm not satisfied when it is
aU gone,
'ax tuwasigu—I want
'i'in ?:At wunawu—To die with you.
It is as if the hquor were aU gone, aU 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) caUs out "hede! hede!"
presumably to indicate the beginning of the second
stanza. At the end he calls "hutcA!" (that's aU).
The words as sung are:
Stanza I (sung twice)
A    'Ak-At kA-saA-XA de
B    Teqwedi-yAtii
C    da tuwu qu 'aya
D    tcAldAkAt du gutc djitc gAdAuayi ya
E    'aya tcA&At gutc kAn gAcuwu 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	'a k-At cuwAxixi
B	nau yex 'iyati
C	Teqwedi-yAtxi
D	'ax tcA 'ax: cuwuxi-xi 'ax tuwasigu-wu
E	'i 'i-yin xAt wunawu yeu hey e-u 'ana
F	yeu he 'iya 'ana yeu he ye
X	ye 'ani ya ha        (on repeat: ye 'a hutc a! ni)
Minnie Johnson sang an octave above her brother,
except for one part near the end of the second stanza
(^ on score) where his voice rose an octave and they
sang in unison.
McAUester 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, aU
suggest strong European influence."
The structure is:
Stanza I:   A   B    C    D    E   F   X (repeated)
StanzaH: A    B    C    D    E    F    X (repeated)
7
Kitty Martin's Love Song for TluknaxAdi-Children
1954, 5-1-B; recorded by Helen Bremner, Louise
Peterson, and Mary Thomas on AprU 25.
Kitty Martin (1895-1920) was the daughter of Jim
and Jenny Kardeetoo, and was therefore K^aclica and
chUd 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
Tl'uknaxAdi 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 K^acliqwan-
chUd 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  yeh—What  wiU   become
of your Raven
kawayix—In space [nowhere]
B    det6a 'a tcuyiuAq—Indeed, let go [dji-yA-uAq]
'uc  Tl'uknaxAdi-yAtxi—If,   Tl'uknaxAdi-chUdren?
C    tlex 'i 'iti litici—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 wiU become of
your Raven, if you abandon her in space, Tl'uknaxAdi-
chUdren. She longs very much for you."
Stanza II (sung once)
A    t6u cuxsAti ye xawes—I  am stiU waiting,  thus,
'iyuxatangi x'^a 'axa—To hear you talking,
265-517  O - 72 - 11
1310
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

B    c-Tl'uknax/ di-yAtxi—Tl'uknaxAdi-chUdren,
kel 'ulsi kAt de—^It's not hard
C    wireless   tuuAx   yuiatange—Through   the   wire--
less to talk.
yu 'a 'e-ye 'i-ya 'an
X   wu 'a-ya 'a-ni 'a-yA
Stanza III (sung twice)
A    'i 'ij^de ye xawes—For you, thus,
'ax tuwu wanik,—I feel sad,
c-Gine?qwani-yAtii—Ginexqwan-children.
B    tlex dak'^et yAx SAkce—Never-?-
ke 'ade citsiyixe—Do you want [citsixAn ?]
C    'i yeli 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)
StanzaH:   A    B    C	X
Stanza III: A    B    C	X
ABC
Natskik'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, Natsliili:, the
Tl'uknaxAdi man who buUt Boulder House on Johnson
Slough, and was the father of Situk Jim (pp. 317, 321).
When he was putting on his sealsldn boots to go out
to chop wood, he got into an argument with his Teq-
wedi brother-in-law, Lkutke'ux'^itc ('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 whUe she
sang and wept for her dead brother. The song is now
used by the Tl'ulmaxAdi as a mourning song at pot-
latches.
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 transcrip-
tion 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 WoK 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 1 (sung twice)
A    wASA('A)sgi 'at quq'^asni—How if I were (?)
B    kina- he cehewedi gutca—Up above, those wolves
C    'ada xa le-naxdustintc-ayi—I not always-to-see
X   'ahe-'a°
tl'e hedef-—"to  the   beginning"   (at   end   of
repeat).
Stanza II (sung twice)
A    wani qa 'ey-wana qa-(yi)—?-
[q-a]?
B    de gutce xa-hat quq'^adjaq-a—The wolves me will
kiU
C    wani qa tie quq'^adjaq-ayi yi-(a)—?-
[yan '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 Tl'uknaxAdi-Children
1952, 3-1-A; recorded by Annie Johnson on August 13.
The song was composed by the singer's mother's
brother, a K^'ackqwan man named Nicga or TauAxAci.
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 K^'ackqwan, 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:
IN   THREE   PARTS
APPENDIX
1311

Stanza 1
Raise the flag of the feeling for Tl'uknaxAdi-chUdren,
so that aU the Ravens wiU see it.
Stanza II
1 hate to leave Yakutat and the Tl'uknaxAdi-chUdren
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
ha 'e-ya ha-na.
'a yi 'i 'i-yaw 'a ye hu 'a ye-ye,
'e ye dji-ya 'an-a 'e-yi ye ya 'a
yay yu 'a 'e-ye 'e ya 'a 'e hu,
'a he ye ya, 'a ye [clears throatl he-ya ha-ya.
A
B
Stanza I (sung once)
tcu  'axtu  sAniku—Just   my feehngs are sick  [I
just feel sad]
'in de-i kudi 'ayi	?-
'i 'ani cayi—Your land's mountains,
C    Tl'uknaxAdi-yAtii—Tl'uknaxAdi-children,
'ade xaga [yuhude! yuhude!] (spoken)—About it, I
(weep ?) [seems to be correcting a mistake]
D    dade xagax nuktc 'ahi—About it I always weep.
E    'ehe ya ha he, yu 'a he
[tcuye! tcuye!] (spoken)—["Again! Again!"]
F    'u haye-he 'ani 'aha ya
Stanza II (sung once)
A    dadi sAyiyi^ de—(About it? [dade ?]) hoist ye!
B    Koc^i'kani-yAtxi—Kuc^i-qwani (?)-children's
tuhu 'ayu de—Feelings, so that
C    tcAldAkAt du yeli—AU their Ravens
t6A naqati—May see it.
X   hu! hu! hai ya he—Whoo! Whoo! hai etc.
[yuw;,i! laughs]—["That's it!"]
The old lady attempted to be a whole chorus, beating
the drum for herself and caUing 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:     ABC        D    E["]
Stanza I:   A   B    C[^^]    D    E[>^F
StanzaH: ABC	X
Clarence Peterson's Love Song for Tl'uknaxAdi-Children
1954, 1-2-F; recorded by Charley White (drumming)
and Frank Dick on AprU 9.
The composer, Clarence Peterson (1890-1942), a
Tl'uknaxAdi man named Skinya (or SkEnya), was the
son of a CAnkuqedi father. He was once married to
Violet James, the Teqwedi daughter of Ned James, a
Tl'uknaxAdi 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 ElHs.
Stanza I
tlax y^ 'alAdzfyin—This is very hard,
Tl'uknaxAdi-yAtxi—Tl'uknaxAdi-chUdren,
I'ew xa djdngE—If I never dream.
'ax tuwu yuke—I feel good
'At xiidAnayi—When I drink something.
'ax tuwu kekuxsAgu—I will feel happy
'At yiidAnayi—When I drink something.
Stanza II
tlei ci kAt—In one song
wucdaga—About each other
yti^etulA'at—We wiU be talldng,
Tl'uknaxAdi-yAtxi—Tl'uknaxAdi-chUdren,
'aga 'awE—And then,
yahdkagaceni—When we feel high,
keguxsAgu 'Ak'^ce—^It wiU 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)
'^ Interrupted by throat clearing.
"■ Correction of mistake.
" Song leader's cry.
1312
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

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 tlax ye 'alAticinde ['aUdziyinte]?
B      'e ye 'i 'e yi Ti'uknaxAdi-yAtxi tea lew xa djungu
x'^agaxcuna-xictca 'a-
X     -na kadjuni 'e ['anax 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       tlei ci kAt iwande [te?] wucda 'aga
(B)    tea yu:5:atula['a]di Tl'uknaxAdi-yAtii-yi 'aga
xawe yahakagaceni ke-
(X)    -guxsAgu-tcit [k^ci?]"'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 agam by
mistake)
StanzaH: A  (B)   (X) Y   Z
A  (B)  (X)".  [Ends here]
Blind Sampson's and Ckman'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 K'^ackqwan man,
named YAndultsfn, considered as an uncle of Annie
Johnson, K^ackca (1875-1964). The words were set
to it by Ckman, a Tl'uknaxAdi man, son of Qalyix-
Kagwantan, who died in the early 1900's, and who was
an uncle to Minnie Johnson, Tl'uknaca (1884-1964).
The song refers to how the use of the Tsimshian word,
kinau or Gfno (sung as kinayu) 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 Eng-
lish (10:50 minutes). The text to the song was not
transcribed, but the general meaning of the words is:
"Grab hold of that 'kinau,' 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
'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 [^''j	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'    tea da du wa qai du xeqAyicat,—Just ? his word
take!
B'    da qaik qa (ye) dji dja yin qa ti ya,
C    ki na yu wa 'iq 'a[^^]	yu we ya,—"kinau"
['ax 'ik', 'ax 'ik'!]—["My brother!"Y'
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'	t6A da du waqayi du xeqAyi CAt de,
B'	ctakAtqadjidjayinqadiyi,
C	kina-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:	ABODE
Stanza (1st): A'   B'   C    D    E
(2d):  A'   B'   C    D/       [breaks off with sobs]
" Ends here on repeat.
'8 Here, MJ sings an octave higher.
1' MJ sings an octave higher; AJ wails "my brother!".
IN   THREE   PARTS
APPENDIX
1313
Blind Sampson's Situk Train Love Song for Teqwedi-Children
1954, 2-1-D; recorded by Charley White (drummmg),
Jenny White, and Mrs. Chester Johnson on May 3.
This song was composed by Old Blmd Sampson
(1866-1948) for Jun 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; aU 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 tea xan—(If) your words already me
kawudunigi dax haya—Told me truly, (from - ?)
tcu tlak sAxsitan
[tcu  tlak sA'Axsit'an   ?]—Aheady long   ago  maybe 1
(would have) heated it (?)
t^u ya stin-ka—Again that steel car
tsu dJA sAtlAk sAxsit'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
te [tie ?] yu-da can-tin—Then with {or to) that poor
thing
t6a 'aq'^alanik 'iyaqayi—Your words stUl teU (me).
Teqwedi-yAtxi—Teqwedi-chUdren,
XAt ^eyitani—If you speak to me
'ax tuwu 'At cuq^iye—My feelings (wUl) smUe.
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    'iyaqayi tea xan kadunigi daxawe,
B    tcu tlak sAx-si-t'an tsu ya stin ka tsu dJA tlak sax-
si-tan 'e ye,
C    'u 'e 'aya hani 'aya
Stanza II (sung twice)
A    hu [or tie yu-] da can-tin, t6a 'aq'^alanik 'iyaqayi,
B    Teqwedi-yAtAi xat :^eyitani 'ax tuwu 'At cuq'^iye,
C    'u 'e 'aya hani 'aya
[X   at end] 'eye 'u wi!
The structure is:
Refram:     ABC
Stanza I:   A   B    C (repeated)
Stanza II: A   B    C (repeated) X
Blind Sampson also composed the Peace Song for
'DoUar 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,
K'^ackqwan, was drowned sea otter hunting in 1896.
B. B. Williams' Song for Tl'uknaxAdi-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 BiUy, Qankik-'ic
(1862-1902), a Kwackqwan man. It was later sung at
a potlatch in Fort House (about 1916), when his
daughter-in-law, Fanny Martin WiUiams ("Fanny
BUlie," 1897-1920), was dying of tuberculosis. She
was CawAtiit^, the K'^ackqwan daughter of Martin
Abraham, Teqwedi; her husband was B. B. WiUiams,
Jr., Xadanek, a Teqwedi man. The recording was made
by Fanny WiUiams' cousin, also K'^ackca, 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    t6AldAkAt  qayisgayisa—For  all the new [young]
people
'anag'^Al—Is roUing around
[yanag'Al']?
linigit 'ani—The world.
1314
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

B    'ate lil tlal qudAx—Therefore let us not
ctusxeniq—Love ourselves [too much].
[xaniq]?
'ehe 'a 'e 'i ya hay-ne
C    'a he ya ya ha-ni hay-ya,
"The world is roUing around for aU the young people,
so let's not love our life too much, hold ourselves back
from dying."
Stanza II (sung twice)
A    yidAt 'uc Tl'uknaxAdi-yAtxi—Now if Tl'uknaxAdi-
chUdren
'uc Iqustin   'ax  tutina—If  they were not  alive,
[nuxtc]?   I   (always?)   think.
B    'a kAtya 'ax tuxdatantc 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 Tl'uknaxAdi-chUdren, if they're
not alive—that's what I'm thinldng of. That's why I
never die."
The structure of the song is:
Refrain:
Stanza I:   A   B    C   (repeated)
StanzaH: ABC
ABC/ (last phrase is not completed).
Sarah William's Song for a Dead Soldier
1954, 6-1-D (a); recorded by Sarah WiUiams on May 10.
The composer, a K'^ackqwan woman (born 1910),
is the widow of B. B. WiUiams, 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 fuU 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    t6A was 'aya dJA tux k'^Atuxanuk" yayidAt,
B    detcA 'ax soldji [soldier] tuwu cAk deya,
C    'ayAX g^'AstcAx yAx yel
hutc 'awe!       ("That's aUI") laughs.
"Just like somebody saw him—and just my soldier—
and maybe it's not him. Maybe just like my relations,
Raven."
IN   THREE  PARTS
APPENDIX
1315
1954, 1-2-A Olaf Abraham's 'Amten River Song for Tcicqedi-Children
J = 88
As sung-
Stanza I
dnunJ i   I     Id   etc.
A      u      .	B-	x
m
i
^
¥
m
n n ^n {' m
'u    wa    'a
ha
'a - 3nx   jdan xaf xen-tea        An-tlen    cak  ea-yi
B
pc
+        +
m
r »r r [^
'a        de	jrin     x'a       dji      -       tea	'ax      ka   -    ha -   ^i       ha   -   sa
^
D
m
^m
B
$
•' r r (? H r f f p

Stanza 1 (repeated)
A'
'a       'a     hu     we—     he	*a       ha	ha    hu    we	'u     wa    ha
B   .      a	X
i
0—fi-
^m
p
^
<yf r I" r ^
ha
^

'a- xu      dan :Ka{  xe-n-tca        'An-tfen     cak  ca-yi
'u   wa    'a
ha

'a        de	yin     x'^a     dji   -    tea	'ax       ka    -     ha  -   g-i        ha   -   sa
CJ,
m
5t
i
r f^s-q^f 1 \\
r r r  P

Di
BJz.
Refrain
A
s
^
r r 1 p y (^
\       ha    hu      we—    he	'a     ha      ha    hu    we
/r r ^ r fTppvTr i?> r ^

%
ha
0—i»
u     wa    mm
ha
^m
*
*a     ha     ha   hu    we	 he	'a      ha-—     ha   hu   we	'u   wa   ha    ha
1316
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

E}u
Stanza 11
A'	+
m
+      +      +
f. p" |T p r''"f Iff r  p ^
'i        'i   -    qa     'an     xa	1 xente	Tcicq'^e	    -   he  - di    ya   -    txi
5k
Ck
^
n ^r r r r p ^ r r r r i p

tu^   ia   -   tsin     'ax       ^dji - t     'i-ya-ti-hi
3
Bk*	 -	X
r   r   p Mf ^
ha	hu	we
hu	wa
'a	ha
B'
k
Stanza 11 (repeated)
A
^
^
#	#	1»
^^
ha   hu     we	    he
^
ha
1
I

'i      'i
qa      'an       xa	-1  xente	Tcieq^e —
-  he -   di      ya   -  tii

m
i*

m
J Dp-      |>      |>      p       p    ^
i
^

tu^'^   la  -   tsin     'a - x    dji -1      'i-ya     ti -  hi
ha   ha     we	   he

B
m
i
ha
^^^
hu	we
u	wa
ha
i
1954, 1-2-B Olaf Abraham's Wolf Call Love Song for Kagwantan-Children
'a  ho  'a  ne  'a  ya   'a ho 'a  ne ha ya    'a ho  'a  ne ha ya
j=:88
E-F(pitch rises)
Refrain
drum: h	d
A
^

B
J   ^   J      ^    J I   J
^
J   i'vli'
etc.
r P H P r- r p J^
IN   THREE   PARTS
APPENDIX
1317

D
^
^
E
I   I   IM    il [i
JJJJ
'a      ho	'a        ne       ha       ya	'a      ho	'a      ho	'a     ne     ha     ya
G
m
J      Jlv    J    J   I.    J.     Jn     h   i    J    J
f
p f p f
ha   ho        ha    ho        ha       ne	'a     ya       ha   ho       'a	     ne	ha     ya
hede! [on repeat]

I?
r flviP r r r IJ
^
Stanza 1: 'i - can    'asgi     de - he
Stanzall: tcawas    sa- ya   de - he
D
djai   qux       ki   -   sa - gax    kAt       'i      gu   -   tci     da   -de       'i   -   ga - xa
de   -   tda	'i    -   da -    tu  -   wu       'atc-yit        ye     xa    -   ya       qa
Gfir
J n J J Ip J. n J V J i'v:ii
ha   ho       ha    ho      ha      ne—    'a       ya        ha   ho        'a	     ne	ha    ya
Variations
Stanza 11, both times
• ni
^^
^
m
IT"
m
ti
p f p r

p
i^^^
'a    yex   xa-yi-qa - ye-ye
tea   'a    'i - tu - ti - ni	
E
^
rj
'a
ha
r r IP r' cr
Stanza 11, both times
l2~
* IIP  r    r
ye
'ate        yit
^
sKagfwan - ta - ni   ya -1 xi
sKagfwan- ta - ni  hayat xi
I  I  I  ^
^
^
xa
t
ya    -    qa

Stanza 1, repeat; Stanza n,both times	Stanza 11, end
ITT	.	I	fJT"
J.	J      V      J.        >^^
7 J	J        J
ha
ya
t^i
^
ho	ya
ya
a     ni     'a,
1318
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
1954, 1-2-C Olaf Abraham's Song for Kagwantan-Children
J=130
c
Stanza l(sung- twice)
drum: J J JJJ J J J etc. A
m
(>' <t =p
^^
IM r P r P
ka - wa -  (a)-yik     qa - dja     gax    nas hetc   ka - dja- si
JJJJ
'fi'v r p r- n r »p r (I •>'] r' ^' r r f^f p p
'i    gu - tci Ka - gwan-tan - i   yat - xi	'i       da - ha   tu - wu   ya - u   ha   ni
D      J      J	J      J	J,E   J      J       J     J      J        JJJJJ
^
v-^ h  nr  j'i)v i)J  j)J ^>^
'i     yi      ye--   ya^    ha  ni	'e    he     'e   ya*^	ha   ni     'e    he    'e    ya^    ha   ne
J        J   ,G  J	J      ,hJ	j        liJ	1^
p r P V r p r^
ha      'a    ni      'e    ye     'e   ya^      'a    ni     'e    ye     ye        ya"     'a    ni      'e     he
^
^
m
m
he
m
ha^
he      ya	'a       ni    hay
ha     ya   (on repeat)
Refrain
A   J
:    J   J
\'>^ J or P r ^
^n
ya
ya	
J J
j_J
(F)
J     hF   J
^
P
1^
«=¥
i'^  i^ r> J^J   J^ J WU  J^J h hy
#	#
0	0
^    *      <l
ya-u     ha ni   m   m
[e   he]?
ya-u      ha   ni      'e    he     ye—   ya-u   ha   ni     'e    he
J	J	J       J   G
^_   ^      ^       J    |j G	^u	,
'a	ya-u     ha    ni        'e     he	ho       ha    ya	'a      ni      ha        ya-—
IN   THREE   PARTS
APPENDIX
1319

StanzaH (sung-twice)	i	I        I      I      I
J     .J  KJ

tu-wu -   (u)-ni	xat     ku-   q^a-dja-yaq   daq   yet   sak^-ce	gu - ute
7" ii: J T' P P 1^ r r- p
0    0

!> n I   r
^ r n' ' p

J	J      J        J	J       J,FJ        J
'.>» H   r    J
'     d      d
'a - yak   -qa -gax     'a	    ya     ha    ni     he    he
[keyuk*^] ?
G
§
^
0	0	0
'e      ya"    ha   ni      'e     he	'a     he ya      'a   ni ha    ya—       'a   ni  ha     ya
p r  M uw
fFf=^
0	0
\)} h hi } h i)} h
0	0
ya-u    ha    ni      'e    he
H
IT
ii^   J>"'"ii
1954, 5-2-C Blind Dave Dick's Reproach to Teqwedi-Children
Refrain
drum: J
A
$
J	JJJJ	J
s
I
m
•	0
G - ya
na        a	e   -   ya-
etc.
m
ye-

0	0	0	d
e   -   ya.
JW J   p
'e     -ya      'a    -     na
m=i:'M
^
ye-
^M
frj J J J J, > J Ji n^^
'a	   'e-ya'a- na      'a     'e-ya-ha   'e       ye—   'a-—   he-ya   'a       'a      hu    wu-
£
I

S
P
*   «)■
«*      ^ tf^ ^
'e    -    ye     ha       'a	'e -   ya      'a	'a   - ya	ha - ni       'a     -     ya
1320
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

m
Stanza I (sung- twice)
A
^
tJ      r-1
d      .^ n
qac     -de       'an - qit     -     dax    'i     'An -  qa - wu—       ya —
m
xa -was

^^
»   a
I
^^
^

kux--  -  ti -  di  - ta
ni
Te - qwe - di    yat - ii      qu	       'a	

,A+
rn
d*     d    $.
m I  J^ n
d    '-	d   d   d   d
^m

da-tx sux^sa   tsu   tea   ke-ii-wa-ii   tu - wu   'a—   'e-ya   'a
'a      'e    yau-

*

fr~
[2-
J'     ^   ^ =^
^
F   *   *—'
ye       ha       'a	'e -   ya      'a	'a -   ya	ha - ni      'a   -   ya

*
nr
fe
0	0	0
*
0———^
r2-
W

e    -
ya
'a        ^fek'del}        'a	ha
ya
ya	ha

m
m
Stanza II (sung" twice)
A
f
•       •
m
2-     y.
de - tea      i   - xa -   ga    -     xi      tu-dak   na -   ka--
^
- xix - tc       qa  -   n
[ibvanri?

*
0       0
ya---       'i-
^5
pi    -     tci     cTe - qwe - di     yat - xi       qu	
^

•       0Z     0   4
>L* **{}
^""^nj^i,j)J hi^pn} n.
0—0

'a— -ga   'i    tu - wu yu   'aq'^a-djun-k'i gu - tci—    'a--   'e -ya 'a
tea
'a    'e   yau-
IN   THREE   PARTS
APPENDIX
1321
m
^
e-ye     ha     'a	'e - ya    ya       ha - ni      'a   -   ya     ha	ha - ni     'ay
1954, 2-1-F Blind Dave Dick's Song for CAnkuqedi-Children and Kagwantan-Children
1   n   Ul I   !   Hf  n i   i^ i  ^
ya   ha    na   'a     ye    yu-(we)  'e     ye     ya—    'a     ya   ha    na    'a      yu
J     J      J
J = 116
?
Refrain
A
'a^     'e
^
r r r ^- p J i' J P-'
B
-*	IT
'a     wa   yeu     he      ya   ha      na    'a       yeu—

^
J	J      J
&
^
—0—0—0-
ha     na      yeu       he    yi ya ha
cJ    J . J
4 N ^^J Ooy J yn M'jjj'^iiJiji
a    ye  yi     'e—    ye-
Stanza I (sung- twice)
A       JJJJJ
ya'     we   yu'       'a   we	'a ya ha ya      'a ni 'a    ya-
J   J J J_ J    J    J   J    J    J
11= J r p J yJ pr r D p p p J i'J p f p py
tsuxtu^^ qa twe     djac we tax qe      Ca-n-ku-qe- di yat-xi   g-a - cu tetl^  dje in
—0—0—wr
tu - wu-nik tcin-naq   yu     he     'i    ya   ha
0' 0 0  0	.J.-J. 0	0	^~0	0	W		
'e--   ye- ya-we  yu     'awe        'ayu haya    'a ni ^a    ya-        'a     ^ekde\\      'a   ya—
Stanza 11 (sung- twice)
A  J	J	J	J.	J       .    J	J	ete.
P
^^
^
B
#
r M J N^p
dja   xat    wu - na
J    etc.
0-0
jj:ij j'^j'j 'i^}^m
t
J.   J   p r
de     yac	nas    ^ax        ya	i      gu   -   tci
c J     J.J
a    ye   yu
T~\
12J J
^P
O p r  p
Ka	g-wan-ta  -    ni
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY	VOLUME   7
hTX     i      X	J
1322
IJ J J p f p p>"p J. p J J p J J J^.p J_J)J)I
yat-xi teas  'i   va-qa-yi      t(^a 'ac - ^Ta.-cat  ya    'i   gai-tci    xa—      he - u   ya   ha(na)
C J	J	J       J       etc.
'§ N >J j;:jjij ji"Jij ^'j JJJ' jiJ iJ ■
fe
'a    ye yu   'e—   ye-   ya—  'e    yu      'a we        'a    yu haya        'a  ni   'a      ya--
^i	m	^-T	J	J	"fJ      J	i        J	^        J	etc.
i
^
^
#
^^
ha   ni    'a	[speaks]	'a     'a      ye    yu	xa-yii      he—    ya   ha    ha na
• Pitchpipe one-half tone high.
1954, 3-1-E Blind Dave Dick's Deathbed Song for Kagwantan-Children
J = 100
As sung (pitch fluctuates)
Stanza 1 (sung- twice)
r
f
0 J jiJH- .rrr
?
0^	0
r r I rJ p

hac     kande    'i-djin      tcahu-tcinyis  xa
djau   qa - qa-3fis  tea -   di   s-Ka-g^an-
[tca]?
hf LT n p p [j> Q i|j J J M J J J I
-ta - ni     yatxi     'i -   naq   xat   na - na— - ni     'ax     tu- [wu]pteq"]xi - si - nik'
J JljJ'J ?iO n jivJ J nil?   ill J J J i)7;ll
t	i	»	,	,	,	.	TT.	.     .
'a     ye- yu  a ye
'a  ye   yu haye      'a   ye yu haye	'a yay  ha-ni  'a- ya
Refrain
A
*
J  J J^ > r- 1^ r r r p r r  ri r . \
au        e        yu    'a     'e	'a     yu       'i    yu    'a     'a       ye        'i      ye    han
IN   THREE   PARTS
APPENDIX
1323
B
r r rrn
^^
Q J* p J~] J' j^
'a      yu       i   ye  ha-u   ha	'e       ya  ha    ye--     ha   'a    we--    yu   'a    ye
Q	pitch down
A J JijU'jyj'j Jii^vj jr]j^> i)j.,j.i)v j i)^
A
'a    ye- yai 'a ye       'a ye yu ha ye     'a   ye  yu ha ye
Stanza 11 (sung- twice)
A
?
vr rs
^   *    M
'a yay   ha-ni        ay - ya
pitch rising- again
T r p »
qa - ti - yu wa-e|tc]       ckuxde    qi-sa-gax      Ka - g-wantani     ya  -   t^^i
B
^
0	0
p ^^ r L r r J^ Jl j j >
'a-tc xa - yayi       dat      de	'u - xawx-li-xate -   a tcus    da	de    da-gax
c
f
¥==¥
It J n h i W)j Ji ju J J Jijw p
'a  ye— yu 'a ye   'a ye yu ha ye   'a  ye  yu ha ye    'a yay
2
a^
$
11.	.	|[2
^
;>  J    J     >^ii
a   -   ni
ya
yay       (ya)        |speaks]      tea     hu - tcinyis
' Pitch up to A# and G by here on the repeat.
2 Begins the repeat at the higher pitch on which she ended this section, maintaining it to the end.
1954, 6-2-F Hilda Dick's Song for Kagwantan-Children and CAnkuqedi-Children
J =112
Refrain   ,       ,	.	•	i	.
dnrniJ U  i        J	I        J       i       J        i        J        etc.
r f r r P V ^^
A/
¥==0-
ft
M
t
^
he--    ya      'a       e      ni      ha     wa     ya	a       e      ni      ha
VOLUME   7
I I r n n n-.^-^
0	0
1324
'A^R J
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
-0—i	^^
0	0	0
'e —-   ye     ha-u     he     ye     he	'u       'e	     ni—-     ha—     ya--     'e      ya

 
.C                                               i      i        I          i
^iJ—1	1—fc-^^	^^	j	4v—c—	   
■>^^^--J	J	J	J	J	J	j	;jV4	j^	J	J	*L_2^		 
ne     ha     ya	'e   yay    ha     ni       ha       ya
'e      ya      he     ye      ye
yau
Refrain (repeated)
rT r r ^i.r tM
.A
^e
^	0
^^m
^
ya—  ha    'e     ni   ha  wa   ya       'a    'e    ni   ha wa   ya       'a     'e-—   ni    ha   ya
i'tf'\r J J J J J jivf rrrr Jin J j'
'e	   ye     ha-u     he    ye    he        'u      'e	    ni--    ha--     ya--     'e	ya
'^r J  J  J  J   J  J   J   ;^M J   J   J   J  ^
'e       ya     he     ye      ye      he       ha      ya	'e   yay     ha       ni       ha       ya
Stanza I (sung twice)
grt
p y r r ^ r r p V r^^
g-u-
yas wa   'e    'i    tu - wu- yex    ya-ka - nace-ye-na       'i
^
-tci - yi
'^it^^^r^r J J J J J ;> V r Q rp ri
»e	ni     ha-u      he     ye      ye       Kag - wa-n-ta    -    ni--     ya	txi     ya
^	0
'n }}}}}} i>i h
0	0
i
'e   ya  he  ye  ye  ni  ha  ya     'e yay  ha  ni   ha   ya
IN   THREE   PARTS
APPENDIX
1325

Refrain
A
S
B
C
ya
J     J        J     i     J
Stanza II (sung- twice)
^A
i7itfihjjj r fp^p^r ft[ r Prr rir p <
■tci
yas-wa-na-wu   qa-	yex   tcu cyis 'i    da ya-gax     yi     g-u-
B
jO*
^h0 rr J
^
0	0
nm J>
0	0
'e—   ni      ha-u       he      ye     ye       Can - ku	qe  -  di--     ya-t-xi      ya
X j   X   T~T~n  rrrm
m
0	0
^^m
0	0
0	0
i

'e       ya       he     ye     yen     'i       ha     ya	(me)	'a     ni     ha
ya

2i
^

J      X      J
J     ^   J      ri
i^ ^   J   J   J^ J   U     J II

ye
ni	ha
'a	ni       ha -
hutc    awe!
» Pitch up one-half tone.
* Pitch up a whole tone by now.
3 Pitch is ncfw up one-and-one-half tones!
1954, 3-1-F Emma Ellis' Mourning Song
J = 92
^
As sung*
Refrain
A
ntu i 4^
^
iF=#
ii^Jiii'
he   ye    'e-—    hau-   'e—-   ni   ha  ya	'e     ye     'e---    hau-   'e—   ni     ha    ya
265-517  O - 72 - 12
1326
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
B
^ <i^ ^ i"^ i   j> i  i  i'' 1
'e	     yu--     'e	     ya        'e	ye	'a
^^^
'u	he—-      'i-
c
t^'' i i i i i j 4 J   4. TTin^
he yay   'a  na 'u   he   ye   ya    yay  ha - ni  'ay - ya
Stanza I (sung twice)
A
V IN  ^  OS^OS ^ ^

i;^^iij
hu - tcin - yis      'a.-t    awx- ii - qe - na      'ax   'ie     ha-s 'a	ni-  qu     a -ya
B
m
^^
d      d
i i i i ^
a	   -   dus	 gi	gutc        yek -  qa   -    gax	yeu	he	i
c
^£
jli i J i J J J''lj. J'J' w Jl"'

'i    yay       'a - na     'u        he      ye      ya	yay       ha -ni
Stanza II(sung-twice)
A	ar
A
/^      A		a I     	A		
ay -  ya
tu -wu - nik    'ax-   djit 'i-ya  -   ti - ye        Teqwe - di-    yat  -xi-   qu    'a - ya
d     d
ax-—
I
B
i i  i  i w   i ri i
da	       kA   -   tin	yi	yi       -       gu    -    di	yeu--      'i

fea
- Jl i   4 J J   4   i   J ' J.   J J' '   i   .1   ■'

1  yay
'a      na    'u
he       ye
ya        yay
ye
ha - ni
ay -
ya
yau
IN   THREE   PARTS
APPENDIX
1327

Refrain (as ahove)
A
B
C
Stanza HI (sung- twice)
A
'^lU J J~]j;JJi4yTJ ^OSiOi i^
was - ak^ce--    kei        yu - yi-xwa-djunk Kagwan-tan - ni--   yat  -   xi     xa-
[tlefj
dja -    hi - xwa-dju-un	yatxi   qu     'aya
w^e
'^0 j Jii J jiM IJ j,iii' jiijiijiji'i. wii*
y	1
qa- -de   dja tt-xwa-ye     djuni'u    he-   'i	'iyay ana  u  he ye ya   yay ha-ni   ay-ya
Ends with Refrain
A  A    B    C
Variations on repeat
Stanza 11	Stanza m
_ar"	hi—
^
I  ^'Minn      ll'JJi''iJ'l'iii>'iiJ'g
^e yay 'ana 'u  he yu   Qaug-hs) dji-yi-t 'i-ya-ti      xwadjali(x)yixwadju-ni- -i
1 By repeat, is down a half-tone, to end.
1954, 5-2-D Franklin's Deathbed Love Song for Teqwedi-Children
J=72
A^
Refrain
A
t
^
^^
?^ r    p

'aw      'e
- ye - ne       ye	yu      yu-e        ye	      ne	      ya      -     ya

B
m
-0	0-
^
-0	#-
^
r ^' r r r r p
hau-   'e-ye-ni - ye— ya       yu    'e - ye—   ni   yu   ye—  yau   'e-ye-ye - ye
1328
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7

^
^
yau—	e--
'' U"  U^-' ^
ne	e    -    ye
r  r  r   r
yau       'e    -    ye-ye   -   ya

m
D
r   r   r   u-^
yau	'e     -     ye	hau--        'e	        ni	'e     -    ye
i
^
u

?
d     d     d     d     4      J
S
#      *
i
*      *
g
- ya
stanza I
A
*e - ni     'e-ye - ye    yau   'e  - ye - ye	ye - ye      'a - ni      'a   -  ye
^
0	0
V r r r
^^
p r M^ p
eun	da	    yi   -   yi
de       'a   -   x        tci	de	de
'a -   x      tu    -     wu	Te   -    qwe	di       ya - txi      yu      'e-ye
^°^ r ^P~v p r^-> J
p r r ('   r

yu    x^a -    dja—      na--
(ta)?
J      J        i^   ^
D
-e-
^m
p
J' I [   ['   [J F
hu  -   tci--     yin-   yis   -    a        Good -  hye	
^

f
'a^u —
0	0
'U     i) V   J
sa  -   qa
xrr

d       d
J    J     J     J' ^   I
'e   -   ni      'e-ye  -   ye      yau      'e-ye   -    ye
x/
ll2
Tar

*	g»
g
g	g
i' ^ =11 J      J^   V   II p    V

ye-ye	a   -   ni	a-e-ye
ye     -    ye
wu
IN   THREE   PARTS
APPENDIX
1329

ye        ni        ye     -      ya      yu-e       ye	      ni	     ya  -  ya
Refrain
A
i
0	0
aw       'e   -
^
#-f-#
t.	0
^^

hau- 'e -ye ni ye— ya  yu 'e - ye— ne ya 'e yau e ye - ye - ye
D
ni     'e - ye      yau   'e     ye-ye - ya	yau    'e  - ye      hau-     'e	
0	0
0	0	0	0
^m
m
r ij-J^ J i'^r^B
yau    e-

i
^
^^ \ n n ^m^
s
^^

I
•        •
^©

-»—■m	■M ■r-
d^ d    d"   d     J
m
*      tf»      ^\   0      0       0      0
ni    e-ye    a-u      e-ni     e    ye—   yau    e	y^ -y^     a- ni    a - e - ya
stanza II
A
^
0	0	0
$
^
?
^1^
'aw      'e   -   ye      ni       ye	    ya    dja     ti   -   da	     ti	xa
B
t n r  il
ha - n      de-
br
#	0
na   -   na-
^

^
0	r»
XI
^
Te -   qwe —     di      yatxi    yu    'e

D
S
w
hu -   tci--  - yin-     yis   -    a	yi      dji   -    na	       na - ga	ta	tle-
fj	X/	112 .	b
i
-g^   'e-ye   'a^u       'e-ni   'e-ye-—    u     e	ye-ye    -u     e	        na-
c
^^
< #
^
<»     ^.      /-J
e
^^
XT    iriT
Z=3E
^—i^
"IS
^^
^
«	^
1330
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
1954, 6-2-G Dry Bay George's Song for Gmexqwan-Children
J = 112
C-DH
Refrain
drumJ     i      J      M   i	J      ^      J     ^
etc.
r ^. r r r r.
s
'/J J J r ir,,f^
he ye ha ^e  ye   'e  ye ha 'e—  ye ye ha 'e  ye   'a  'e  ni ya
^
ye        ye ha  'e—   ye      ni     ha    na      'e     hi   ya	a
ya
B
s
LTPv Cj
ye      ha      'e—
^
J i n J il

J-      il il
^
UI   P    LJ
ye    yu     ha	'e	       ye	he     ya
^
^
ya-
he
XlTT
^	J
^
7 J      J     r     J     J     J' V   I J-      j)   j)   V    J     J
0	0
ya	'a	'e        hyu       'e
Stanza I sung twice
AX	i      X       i      X
'a        ya       '
ye	nu™	ha      ni
-«■   <-	d	h	S	i^	etc.       .^Q.	.^	.M.        JL	^	^
.7 ii=,j[J J] J J J r   t^ r 1^ 1^ r P r g
ya        [tlfex    wa]    li-ni  - git
'a    -    ni	'an -ya-na  -   g^a    -     ia
'> V f f Lr 1" ff ^ V °f f r "pT^^
tsu     ya       da—    se   -   ye--
q-a
qa     ya     yi      de-
Pa]?
xa        wn   ca  -

'e       ye   yu   ha      'e	      ye       'e     ya
^
.7 r J J n ^
ti
du - ^ax - i       'a-yax  si  -
c
LI r LT
^^
IN   THREE   PARTS
APPENDIX
1331
';   p       n^   j    }     0     1     1     i)v|J.      j.   i^i      J       J      :||
ya
na—     e     he ya    'a      'e    hyu   'e      ye	nam     ha   ni
Refrain
A
yam
s
B	C	X
Stanza II (sungf twice)
A
rr r fff
'>i^jjjrtrr^
ya tfex wa-si-gu - wu-   'atxsa- djaxa gux- sa	ya - ti      Gin - ex- qwa-ni  yAt- xi
[tlax]
}	I        i	I        i
B
^
etc.
p=q^
s
:i y r r
J     i' V   .   i'  J       J
f
^
qa      ya      xa-t   dja    xat   wu - na - wu        'at   ku-qa -  cuq*^
J,   ^.     i  X
a   -    ni	
¥=^
'>r i!^ Qi i'J^P n[;jJ J p J J  J'
'e    yeyu ha   'e--   ye    'e  ya       'a      na-    'e   he ya   'e     'e   hyu  'e      ye
Stanza I, variations on the repeat;
.7 J. j)h J J ^:ii J. ji J J JII r r ^ Q r ^^
ya  ha-ni       'a  ya   ya-      yau  ha-ni ha   m       yi   de	xa-   wu-ca    yau  ha-ni
} Up one-half tone by here.
2 Starts Stanza II by mistake.
» Up a whole tone by end of the repeat.
* Up one-and-one-half tones by here on the repeat.
1332
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
1954, 7-1-C Dry Bay Chief George's Love Song to a Young Girl
J = 96
Written 8va higher than sung-
Refrain
J     B     J
drum: J	J
0-
yrrJjjJc^r>'iii ■LJJJ|i''Mi'^^
'e yau 'a   ya
'e   yu  he-   na 'a yu he-   na--
'e   yu   he— na 'a    yu-   he  na
J     J
J     J	J     J
^
m
m
II
^
rr'^r r
0    '   0
rl ' 'Lrrrrr^^
i
'a yau'e    yu-    he- ha 'e-ni 'a-ya'e        ne'au 'e   ya    'au 'e   'e   ye 'a 'u-um
Stanza (sung- three times)
A
i
.     B'
^
^
r r ^'^ip r
wa 'etc   qu   'a-gfe   yak qis - a - qa        wu-da - ca— -na   he- de    §11	tea

—ii~ff
^

£
C' +
s
f ^ P CJT
^^^
f
Lrrrrpf J J^^
'a-ya   li	yi - si-- xa  'i-xan-de qa-g-ut- a
ya  'i    ye - li     'atci  si - ti
[atc'i-si-ti]?
D'
t
m
rr
•' r r r icj-u- p •''ir r r vr pp
wu - da - ea - na	'e	    ye--     ye   'a       'u      'e     ye      ya--   'e        ye —

*l
E

s
i>7 J. J^r r^^
r r p'^nr r r '^p'r  p
'a    ye   yu  hu   ya     ya    'a-ni  'ay-ya	'u     'e    ye   yaha 'u        'e	ye

ya    'a-ni  'ay-ya	'u    'e      Mc/        he-de   gu--tea ya'i  ye-li   'u-tci
E/
1%^
D/
1[3-
p r p ^ •" p p L J
fi" f r7 f p I'J
on 1st <fe 2d repeats
-ete>
^
IN   THREE  PARTS
APPENDIX
1333
1954, 2-1-E Lituya Bay George's Song to the Bears
J = 92
JJJJ
drum
D: pitchpipe J^ tone high
Refrain
A
¥
g
f
J   J   7 p p   p   r   -T^
■0-*	0
ha he  yu  'e   ya ha  'a      'e  ye   he   he  yi ya ha
0^^^0- y	*	0
ya—    'a  ye    he yu   he	'a  'e
"*	1	0
ha        'a ye  he  he   yu ha 'e     'e-(i)   ya ha
B
>pr r J J"jJ Jjr ^'J'''|j J'P^ j'^^

e
he     yu 'a   ye	ha   ye    he    yu 'a   ye
Stanza I
A
^
^
D
^
^—d—d—d—d
0	0
0—0
J J Ji'^IJ
J
^S
0  p  0
ha yu ha  ya       hu       'a       ya
[ani]
^m
^
N   ^^ f   p p   p
da - ya  'a-tc'i   de   xat   la-us     tlenax       wu-nex      'ax     ic   has    cu-k^a
etc.
^Bj   J       J     J     J       J       J	J       J       J  cJ
p f r J'J jiJ'y Jlt J'jiij'p j J^i i.I
de    'ax   ya - da    xa-ya - da-gut	ka—      di-dat    tsuy^     'ax  'i      dja-    qu---
[yi]?
D
Il	112"
j)J J Jijiji'^ij J J JJJ M'J]J j^J }'-^L^\\
K^i si - tee -ye   'a   ye	'a    ye   he   yu 'a ye       ha yu ha ya  ha-ni 'a   ya	ya—
I
Refrain
A
B
D
(as above)
1334
SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY
VOLUME   7
I
^
*   0
^
Stanza 11 (sung- twice)
A
0^0
^
^
^
^m
tfe - ye xan tse   kan   canG) da-wu): Xa -  ya-t'- ka   -  'a  -   yi	yat - x'i
B	.     ^	.	,        C
jM'fif r I rj I i'|. J'JI J. Mi ^ ^^'W
de - ye       yixut-e   dja ya-xa-g^ut    ka--     di-dat     tsu	yuke      tsu--   yi - si —
Q		D		fl	_      II2J	J       J
gi i^^ J i'i'i'^ij J Ji'j'J ^J'JJJ jjJ JJ^"J * ^
-xa 'axtci -ye 'a  ye	'a   ye  he  yu 'aye      ha yuhaya   hani   a     ya--
1952, 2-2-A Frank Italio's Song for Kagwantan-Children (a)
J =70
D  Begins with snatch of Refrain
^
^
^
^
f
P
-ay
Refrain
drum  j  J   j   J"n    ]
A
i
a	ay
J    )
1     yay
[FI talks]
etc.
'>^ r    J
i
f  ^ P
'ay	1	ya   'ay -   da    'ay    -     i
[Minnie Johnson soon joins in singing-]
B^. :f:
i f f^fl r r r  ?
ya	ya	ya	ya
pi f p-'■ j. p
^m
rfffpQ . I j-..|nrf J
'ay   yi   ya ha   na 'ay - ni - i   'a - nya-ya	'ay - i    'i    ya  'a      na 'ay - i - yi
D
7-^   ^-p  ^   p p   J   7 ^ [^] [; p 7 J. M J'J- J i'p- M
'i - ya	'i - yu     'a	'ay       ^       'i   ya       mm	'i   ya    ha - ni ya    ya
IN   THREE  PARTS
APPENDIX
1335

Stanza I (sung twice)
A
iii.i. |.,,>. I „frfr prr.irf i^^fH^
w
tciya    ka-na-ci   de-tcu  cu   di ya-yu	da—yu   di-ta-n  qandTe-qwe-e-ye
has(on repeat)
—	c-     .	3r
7^   i'J  ^ J-plTTf^J. p  pf-^^p Jpl-pippp^
-ma
-di ya-    -txi-yi   'ax ka-nax da titc   qayi    da-a yu di-tan-  -qe   'a    wi
Variations on the repeat
in
•/^    J-   J-   ftp    p  ^  :||r   HI J    J'7||p-p-f^  {.p-   p^^
ya hani   ya        ya	-ka
ya - ya	tayan - qe	wi   -   yi   ni  'a

Refrain
A
3
B
C	D

Stanza 11
A
^^
^^
^
I
■^■'
^

tea   wa    -    sa