Boas and Hunt (1897): A Prototype Digital EditionMain MenuThe Social Organization and the Secret Societies of the Kwakiutl Indians by Franz BoasAn Annotated Digital Edition (in Prototype) With Notes By George HuntAnnotations to the Digital EditionTimelinesMaps
8.7 | Object Annotation
12021-07-29T21:03:39+00:00Bill Kennedy15318238463d5962ca788c0c4e0c237d293d0f9e36plain2021-09-07T22:59:15+00:00AnnotationBill Kennedy15318238463d5962ca788c0c4e0c237d293d0f9eBoas illustrates this mask as belonging to the ’Walasa’ax̱a in particular, though there is no evidence for this. Hunt’s caption correction simply identifies it as a xisiwe’, the Kwak’wala term for a wolf mask or headdress. Moreover, the pictured mask is not Kwakwaka’wakw but Nuu-chah-nulth, having been collected by Captain Cook among the Mowachaht around 1778 (AFig. 8.7.1). Contemporary Kwakwaka’wakw distinguish between at least two different Wolf Dances, of which the ’Walasa’ax̱a is characterized by the use of a large number of masked dancers (more typical Wolf Dances are called Długwala; see pp. 478-79). It seems as if Boas, in his early typological mode, did not yet recognize distinctions between mask variations; on pg. 478, he simply points out the material similarity of wolf masks across time and space. Nuu-chah-nulth historian Haa’yuups (Ron Hamilton, personal communication) identifies this piece as a sa-aky'ak (crawling wolf headdress or frontlet) belonging to a fully initiated member of the Tluukwaana (Wolf) Society (see pp. 632-44; see Drucker 1951:386-442; Ernst 1952). It is adorned with mica flakes, sea otter teeth, and dentalia shells—all symbols of wealth and authority. [BM Am,NWC.71]
AFig. 8.7.1: British Museum, Am,NWC.71
[Image 8.7.1 to come]
Contents of this annotation:
12021-07-29T21:03:39+00:00Bill Kennedy15318238463d5962ca788c0c4e0c237d293d0f9ePlate 371Wolf Mask (a. Side view; b. View from below). [Original caption]plain2021-07-29T21:03:39+00:00British Museum. Collected by Captian Cook.Bill Kennedy15318238463d5962ca788c0c4e0c237d293d0f9e
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12021-07-29T18:50:27+00:00Bill Kennedy15318238463d5962ca788c0c4e0c237d293d0f9eAnnotations to the Digital EditionBill Kennedy5splash2021-07-29T23:16:08+00:00Bill Kennedy15318238463d5962ca788c0c4e0c237d293d0f9e
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12021-07-29T21:03:39+00:00Bill Kennedy15318238463d5962ca788c0c4e0c237d293d0f9eGeorge Hunt’s short revisions and caption correctionsBill Kennedy2plain2021-07-29T21:33:37+00:00Bill Kennedy15318238463d5962ca788c0c4e0c237d293d0f9e
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12021-07-29T18:40:55+00:00’Walasa’ax̱a/Dlugwala section (1897.477-78)40Original 1897 text and figs/plates (from uncorrected OCR, with original footnotes):plain2021-09-23T18:40:29+00:00[ Page 477 ]
The Wolf.[1]
1. I go to the seat of the chief of the wolves. Yihihi ahahi. 2. I am taken to the middle of the rear of the house of the wolves. Yihihi ahahi. 3. Thus I obtained all the supernatural powers of the wolves. Yihihi ahahi.
Wolf Song, ʟa´ʟasiqoala.[1]
I come barking on the beach. I make the noise of distributions of blankets, for you will be as great as your ancestor, the first one of all the chiefs.
Wonderful are the words of our chief, the wolf. It is said: We shall assemble with our children, asking him to give blankets, to give blankets to each tribe, even to all the tribes of the world. Yihēi.
Let us try to pacify our chief, else he will swing his death bringer and cut short our lives, and we shall fall before the chief of the wolves. Yihēi.
Wālas’axa´.[2]
The Wālas’axa´ is a peculiar wolf’s dance. It belongs to the legend of Ō’maxt’ā´laʟē (see p. 382), who obtained it by marrying the daughter of Qāwatiliqala. The Wālas’axa´ is danced in the following way: All the men of the tribe dress in blankets and headdresses representing the wolf. They hide behind a curtain which stretches across the rear of the house, and when the singers open their song, come forth from the right-hand entrance of the curtain. There two criers are stationed, who hold staffs and announce their arrival. As soon as a dancer appears, he turns and proceeds on a march around the fire. The fists are held forward, the thumbs erect (Plate 36).
Plate 36: The Walas’axa’ [original caption]
When the dancers arrive in front of the door, they turn once and then proceed around the fire, disappearing again behind the curtain, at the left-hand side. When all have disappeared, two more circuits are made in the same manner. In the fourth circuit they stop when all have come out. They squat down on hands and feet, imitating the motions of wolves. They rest on their toes and knuckles and turn their heads to the right and to the left.
In fig. 140 (p. 493) and in Plate 37 a number of the masks used in the Wālas’axa´ are shown. Some of these claim particular interest, as they [ Page 478 ] were collected on Cook’s expedition, and show that no change of the type of these masks has taken place during the last century. The teeth of the mask (Plate 37) are made of dentalia, and the trail is carefully worked of cedar bark.
Fig. 140. Wolf Masks for the Walas’axa´. Royal Ethnographical Museum, Berlin. Collected by Captain Cook and A. Jacobsen. [original caption]
Plate 37. Wolf Mask. a. Side view. b. View from below. British Museum. Collected by Captain Cook. [Original caption]
The ʟō´koala.
There is still another wolf dance, which is derived from traditions of the initiation of men by the wolves. The tradition underlying this dance is that of Mink and the wolves. The sons of the chief of the wolves were preparing to be initiated. Mink found and killed them and thus obtained their names and places. He came back wearing the wolf’s scalp as a head mask. Three times he danced around the fire, covering his face and his head with his blanket. Then the fourth time he uncovered it and thus showed that he had killed the wolves. All the animals tried to kill him, but were unable to do so. I shall give the full legend later on. Mink, whose quē´qutsa name is K·ēx·, thus obtained the wolf’s name, Nūn, as a member of the seal society, and also the wolf’s ʟō´koala or supernatural power. This tradition belongs to the clan La´alaxsᴇnt’aiō, and K·ēx· and Nūn are the two names of the ʟō´koala dancer. When he appears as quē´qutsa, he wears the frontlet (x·isī´waē) representing the wolf, nūnqᴇmʟ or ʟō´koalaqᴇmʟ (fig. 140, p. 493).
