One indispensable part of a male dancer's outfit is his gloves. I have never seen a man dancing without them. These are usually of wolverine, or of reindeer with elaborate trimmings, but on ordinary occasions any kind will do. The women do not share this peculiarity. In place of gloves they wear handlets of grass decorated with feathers of duck or of ptarmigan. The men in the Totem Dances also wear handlets which are carved and painted to represent the particular totem they seek to honor. These too are fantastically decorated with feathers, usually of the loon. The central feather is stripped, and crowned with a tuft of white down. Both men and women wear armlets and fillets of skin or feathers according to the animal character they represent. When in the full swing of the dance with fur and feathers streaming they present a pleasing spectacle, a picture full of the same wild grace and poetic motion which characterizes the animal forbears from which they claim descent. The chief characters in the Totem and Comic Dances wear masks and carry staves decorated with feathers. Occasionally the women assistants carry feathered wands (Kelizruk). Of the masks there is a great variety ranging from the plain wooden masks to those of such great size that they are suspended from the ceiling of the kasgi by a cord while the dancer performs behind them. The Cape Prince of Wales (Kinigumiut) Eskimo construct complete figures of their totems. These are worked by means of concealed strings by the performers, a climax of art which is supposed to be particularly pleasing to the spirits addressed. Then the shaman (Tungalik)[9] has his own set of masks, hideous enough to strike terror to even the initiated. Each one of these represents a familiar spirit (tunghat)[10] which assists him in his operations. [9] Tungralik, Yukon dialect. [10] Tungraniyak, Yukon dialect. Ordinary dance masks may be made by anyone, but the masks for the ceremonial dances are made by some renowned shaman, engaged for the occasion. These masks are burned at the close of the festival, but may be sold by the actors if they supply an equal amount of wood for the sacrificial fire. Many of the masks are very complicated, having appendages of wood, fur and feathers. They are all fashioned with an idea of representing some feature in the mythology of the spirit (Inua) or animal shade (Tunghat) which they represent. In the latter case they are nearly always made double, the mythical beings who inhabited the early world being regarded as able to change from animal to human shape, by merely pushing up or pulling down the upper part of the face as a mask. Such masks are often hinged to complete the illusion, the actor changing the face at will. It might be mentioned here that when the actor puts on the mask he is supposed to become imbued with the spirit of the being represented. This accounts, to the native mind, for the very lifelike imitation which he gives.