The feast givers or n['ä]skut assemble in the kásgi the second day, and the ceremony proper begins. They range themselves around the púgyarok or entrance, the chorus and guests occupying the back of the room and the spectators packing themselves against the walls.
Each feast giver is garbed according to the sex of his dead relative, not his own, so that some men wear women's clothes and vice versa. Each bears in his right hand a wand about two feet long (Kelézruk).[24] This is a small stick of wood surmounted with tufts of down from ptarmigan (Okozregéwik). All are dressed to represent the totem to which the deceased belongs. One wears a fillet and armlet of wolfskin (Egóalik); others wear armlets of ermine (Táreak); still others are crowned with feathers of the raven (Tulúa) or the hawk (Tciakaúret).[25] After a short dance they withdraw and the day's ceremony is finished.
[24] The same arrangement characterizes the finger masks of the Inviting-In Dance. (Kiggilúnok), meaning wand, in southern dialect.
[25] Southern dialect. Akkizhzhígik, Ptarmigan. Teibúviak, hawk; Tulukaúguk, meaning raven.
The following day the n['ä]skut assemble again, but they have doffed their fine feathers, and are dressed in their oldest clothes. The suits of the day before they carry in a grass sack. They wear raincoats of sealgut tied about the waist with a belt of dogskin, and enter the kásgi with eyes cast on the floor. Even in the dances they keep their faces from the audience.
This attitude of humility is in accord with Eskimo ethics. They say that if they adopt a boastful air and fail to give as many presents as the other n['ä]skut they will be ashamed. So they safeguard themselves in advance.
Advancing with downcast eyes, the n['ä]skut creep softly across the kásgi and take their places before the funeral lamps. Then taking out their festival garments, they slip them on. Immediately the drummers start tapping lightly on their drums, and at a signal from their leader the song of invitation begins. Each n['ä]skuk advances in turn, invoking the presence of his dead in a sad minor strain.
Toakóra ílyuga takína Dead brother, come hither A-yunga-ayunga-a-yunga.
Nuleága awúnga toakóra Sister mine, dead one, Takína, núleaga, takína, Come hither, sister, come hither.