The floor of the kasgi is made of rough planking, and the boards in the center are left loose so that they may be easily removed. These cover the k[=e]nethluk or fireplace, an excavation four feet square, and four feet deep, used in the sweat baths. It is thought to be the place where the spirits sit, when they visit the kasgi, during festivals held in their honor. Offerings are poured to them through the cracks in the planks. In the center of the floor is a round hole about two feet in diameter, called the entrance hole or pugyarok. This connects with a long tunnel, the a['g]veak, which leads outside. The tunnel is usually so low that it is necessary to enter in a stooping position, which the Eskimo does by placing both hands on the sides of the pugyarok, and drawing himself through. Some dance-houses have another entrance directly into the room on a level with the ground, the underground passage being used only in winter. The diagram (Plate XI) gives an idea of this arrangement. PARAPHERNALIA The drum (sauyit)[6] is the only instrument employed in the dances. It is made of a circular hoop about eighteen inches in width over which is stretched a resonant covering made from the bladder of the walrus or seal. It is held in place by a cord of rawhide (o['k]linok)[7] which fits into a groove on the outer rim. The cover can therefore be tightened at will. It is customary during the intermissions between the dances for the drummers to rub a handful of snow over the skins to prevent them from cracking under the heavy blows. The drum is held aloft and struck with a thin stick (mumwa).[8] It gives a deep boom in answer. The shaman uses a smaller baton with which he beats a continuous tattoo as an accompaniment to his songs. The northerners strike the back of the rim with their sticks, while the Yukon people belabor the face of the drum. [6] Tcauyak, Yukon dialect. [7] Loftak, Yukon dialect. [8] Mumra, Yukon dialect. The leader of the chorus frequently flourishes a baton, made from a fox tail or the skin of the ermine which is mounted on a stick. With this he marks the time of the dance. In Plate XIV, the white blur is the ermine at the end of his stick. It is very difficult to obtain a good picture in the ill lighted kasgi, and not often that the natives will allow one taken there.