Suddenly the drummers cease and rap sharply on the inǵlak with their drumsticks. The dancers stop in the midst of their movements and stamp on the floor, first with one foot then with the other, placing their hands on their shoulders, bringing them down over their bodies as though wiping off some unseen thing. Then they slap their thighs and sit down. I am informed that this is to “wipe off” any uncleanness (wahok) that might offend the shades of the dead.
Then the namesakes of the dead troop into the kásgi, and take their places in the center of the room between the two lines. To each, the nä́skuk hands a bowl of water and a kantag of frozen reindeer meat cut into small pieces. The namesakes drop a small portion of the meat on the floor. The essence is evidently thought to pass below to the waiting inua. Then they finish the remainder. At the same time a large amount of frozen meat and fish is brought in and distributed among the guests. This is done at the end of each day.
The fourth day the chorus leader mounts the top of the kásgi and begins again the invitation song. The people scatter to the burying ground or to the ice along the shore according to the spot where they have lain their dead. They dance among the grave boxes so that the shades who have returned to them, when not in the kásgi, may see that they are doing them honor.
During the dancing the children of the village gather in the kásgi, carrying little kantags and sealskin sacks. The women on returning bring great bags of frozen blueberries and reindeer fat, commonly called “Eskimo Ice Cream,” with which they fill the bowls of the children, but the young rogues immediately slip their portions into their sacks (póksrut) and hold out their dishes for more, crying in a deafening chorus, “Wunga-Tū́k” (Me too). This part of the festival is thoroughly enjoyed by the Eskimo, who idolize their children.
At the conclusion of the day’s feast many presents are given away by the nä́skut, the husbands of the female feast givers distributing them for the ladies, who assume a bashful air. During the distribution the nä́skut maintain their deprecatory attitude and pass disparaging remarks on their gifts. Sometimes the presents are attached to a long line of óklinok (seal thong) which the nä́skut haul down through the smokehole, making the line appear as long as possible. At the same time they sing in a mournful key bewailing their relative:
Ah-ka- ilyúga toakóra, tákin,
Oh! oh! dead brother, return,
Utiktutátuk, ilyúga awúnga,
Return to us, our brother,
Illearúqtutuk, ilyúga,
We miss you, dear brother,
Pikeyútum, kokítutuk,
A trifling present we bring you.
The Clothing of the Namesakes
The following day occurs the clothing of the namesakes. This is symbolical of clothing the dead, who ascend into the bodies of their namesakes during the ceremony and take on the spiritual counterpart of the clothing.
After a grand distribution of presents by the nä́skut, bags of fine clothing are lowered to the feast givers and the namesakes take the center of the floor, in front of their relatives, the feast givers. Then each nä́skuk calls out to the particular namesake of his dead kinsman: “Ītakín, illorahug-náka,” “Come hither, my beloved,” and proceeds to remove the clothing of the namesake and put on an entirely new suit of mukluks, trousers, and parka, made of the finest furs. Then the feast giver gathers up the discarded clothing, and stamps vigorously on the floor, bidding the ghost begone to its resting place. It goes, well satisfied, and the dancers disperse until another great festival. Until the feast is concluded no one can leave the village.