Fig. 533. Kilaut or drum.
The drum is made from the skin of the deer [or seal], which is stretched over a hoop made of wood, or of bone from the fin of a whale, by the use of a strong, braided cord of sinew passed around a groove on the outside. The hoop is about 2½ inches wide, 1½ inches thick, and 3 feet in diameter, the whole instrument weighing about 4 pounds. The wooden drumstick, 10 inches in length and 3 inches in diameter, is called a kentun. ***
The deerskin which is to be the head of the instrument is kept frozen when not in use. It is then thoroughly saturated with water, drawn over the hoop, and temporarily fastened in its place by a piece of sinew. A line of heavy, twisted sinew, about 50 feet long, is now wound tightly on the groove on the outside of the hoop, binding down the skin. This cord is fastened to the handle of the kilaut [drum], which is made to turn by the force of several men (while its other end is held firmly), and the line eased out as required. To do this a man sits on the bed-platform, “having one or two turns of the line about his body, which is encased in furred deerskins, and empaled by four upright pieces of wood.” Tension is secured by using a round stick of wood as a lever on the edge of the skin, drawing it from beneath the cord. When any whirring sound is heard, little whisps of reindeer hair are tucked in between the skin and the hoop, until the head is as tight as a drum.
performer, who strikes the edge of the rim opposite that over which the skin is stretched. He holds the drum in different positions, but keeps it in a constant fan-like motion by his hand and by the blows of the kentun struck alternately on the opposite sides of the edge. Skillfully keeping the drum vibrating on the handle, he accompanies this with grotesque motions of the body, and at intervals with a song, while the women keep up their own Inuit songs, one after another, through the whole performance.
The feast is described as follows:
As usual the women sat on the platform Turk fashion; the men, behind them with extended legs. The women were gayly dressed. They wore on each side of the face an enormous pigtail, made by wrapping their hair on a small wooden roller a foot in length; strips of reindeer-fur being wrapped with the hair [see [p. 559]]. These were black and white for those who had sons and black only for those who had none. Shining ornaments were worn on the head and on the breast they had masonic-like aprons, the groundwork of which was of a flaming red color, ornamented with glass beads of many colors.
In Cumberland Sound the women also wear pigtails at the celebration of these feasts. The drum is sometimes played with the wrist of the right hand instead of the beater.
Every singing house is dedicated to a tornaq, the qaggim inua, as mentioned above. For this reason all these performances may be considered religious feasts.
The songs are always composed by the singer himself. Satiric songs are great favorites on these occasions. While the men listen in silence the women join in the chorus, amna aya, the never failing end of each verse. The dancer remains on one spot only, stamping rhythmically with the feet, swinging the upper part of his body, and at the same time playing the kilaut. While dancing he always strips the upper part of the body, keeping on only trousers and boots. Singing and dancing are alternated with wrestling matches and playing at hook and crook. Almost every great success in hunting is celebrated in the qaggi, and especially the capture of a whale. Such a feast has been described by Parry.