ETHNIC FOLKWAYS RECORDS FE 4119.

Collected, Recorded and Annotated by Dr. Ida Halpern

COlleoted, Recorded and Annotated by Dr. Ida Halpern

OI;SCRIPTIVE NOlES ARE INSIDE POCKETFOLKWAYS RECORDS Album No. FE 4119
© 1986 by Folkways Records & Service Corp ., 632 Broadway, NYC, USA 10012

IIIDI

I.di•• M.._ia ., , ... Paai'ia N••, .....,
Songs and Dialogues Collected, Recorded and Annotated
By Dr. Ida Halpern
Research Associate: David G. Duke

PRINCIPAL TRIBES OF THE NORTHWEST COAST

Haida elders tried to protect their people from the effects of European
contact (one chief actually petioned the colonial governor of British
Columbia, Sir James Douglas, in an unsuccessful attempt to outlaw both trade
and trespass). But in the end, three catastrophies were to devastate the
Haida culture: whisky brought in by the European traders demoralized theirsociety; smallpox and, to a lesser extent, measles, influenza and venereal
disease killed two-thirds of the Haida population; and finally and perhaps
most insidiously, Christian missionaries made a concerted attempt toreplace native ceremonies, beliefs and traditions wtth European ones. It wasin the late 18508 that missionaries began to arrive; in 1878 the Rev. W.H.
collison established the Massett mission.
Today the art of the Haida Indians -- their argillite carvings,their
td:ems carved from cedar, their domestic crafts -- all are world famous andrecognized as a supreme artistic achievement of uniquely high quality. yet
the music of the Haida has been seric:usly neglected by anthropologists andmusicologists. Many books and publications have exhaustively described thecultural and social lif.. of the Haida and their various artistic endeavours
but always the exception is their music.
There is, of course, a reason for this omission. Their ceremonies,
rituals and legends all sprang from music as their central core; music was sosacred that cutsiders were rarely privileged to hear it, let alone record or
study these materials. At one point the Haida ceremonies and rituals wereactually forbidden by Canadian law; thus the transmission of native ritualand music was carried on in the strictest secrecy.

COLLECTING HAIDA SONGSPACIFICOCEAN

Haida music proved particularly difficult to collect. Even renowned Haida
carvers and their relatives were not always privileged to sing hereditary
songs. Once I asked the famoos carver Claude Davidson to sing some Haida
songs. He said "No, I woold have to have permission from my mother." The
Haida are matrilinear in their social organization, thus tradition prevented
him from singing his family's songs without the permission of his mother,Mrs. Florence Davidson, who was the sole owner of a number of private songs
which she had inherited from her ancestors and aoguired by marriage. Finally
Mrs. Davidson consented to sing a group of songs for me, both at theapartment of one of her rel..at.ia1s here in Vanc:nlver, then in another session,
during which she sang for me at my home.

Ida Halpern received her Ph.D. in Musicology from the university of Vienna in
1938, where she studied under Guido Adler, Robert Lach, Egon Wellesz, andRobert Haas. At the university of British Columbia, she did post-graduate
work in Anthropology with Diamond Jenness. She has taught at the Universityof Shanghai, the University of British Columbia, and was Honourary Associateof Simon Fraser university, British Columbia. Dr. Halpern has been honoured
with the Order of Canada (1978) and an LL.D. from Simon Fraser University(1978). She is also an elected counoellor of the Society of Ethnomusicology
and an elected member of the Austrian Society for Musicology.
David G. Duke, M.A. (University of North Carolina) is currently co-ordinatorof music theory at Vancouver Community College; he has worked with Dr.
Halpern since 1978.
ACKNOWLED GEMENTS
I am indebted to Simon Fraser University in three areas: for the electronic
research of Andre Coulombe, B.A., B.Sc., M.Eng., senior engineering
technologist, Department of Communications; for the technical assistance ofKurtis Vanel, audio specialist, Instructional Media Centre; and for the
support of Dr. Jack Blaney, vice president, University Development, and his
staff. I am also greatly indebted to the Canadian Broadcasting Corporation,
Mr. Len Lauk, head, Pacific Region; Dr. Andrea Laforet, Canadian Ethnology
Service, National Museum of Man, ottawa; and Ulli Stelzer, photographer.*
INTRODUCTION
The Haida are the native inhabitants of the Queen Charlotte Islands off
the northern coast of the canadian province of British Columbia. Prior toEuropean contact in the 18th century, the Haida were known and later fearedby the other peoples of the Pacific Northwest.
Europeans first came to the region in 1774/ 75 when the Spanish explorer
Juan Josef Perez Hernandez sailed into the B.C. coastal waters; shortly
thereafter, in 1785, the English began their explorations with the v isit of' trader/explorer George Dixon in the sltip the Oueen Charlotte (after which theislands were named). During the next hundred years the Haida people were
faced with an unprecedented challenge to their way of life. A few prescient* p r e vi ous rese a rc h was pr epa r ed wi th the he l p of S oc i a l Sciencesand Human i t i es Re s e a rch Co unc il of Canada g r a nt s , a n d a gra nt
f rom th e Pr ovi nc i a l Go ve rnment of British Columbi a .

Besides the songs, her oral information was also most important andvaluable. She told me her deep feelings about the songs and what she
remembered in her own words, in a beautiful voice very different from hersinging voice. She told her story and gave me the explanations which areheard directly as given on the recordings. On and off I will be heard asking
a few questions or requesting clarification. Then she came to my home andone song was able to be repeated (this was to prove very important for
research purposes as we were then able to study any differences ininterpretation), and she was able to add additional explanations (which again
are heard directly as glven). We had tea together both times and it was mostenjoyable. She was beal tifully dressed, petite, with a handsome face and an
exquisitely refined uanner -- a perfect lady.

With Mrs. Peter Kelly the collecting process was a quite different
experience. Mrs. Kelly was the wife of the well known Indian missionary Dr.
Peter Kelly of Skidegate, and the daughter of a Skidegate native Haida
missionary, Amos Russ. In 1974 Vancouver had a large exhibition of the"Arts of the Raven" at the VanOCAlVer Art Gallery. Mrs. Kelly had read about
it in the newspaper and came from Victoria. She had also seen a picture ofme and she had made a very important decision within herself: she wanted to
entrust me with her story, what she ooold remember aboot the old ways of her
people. She phoned me at my home and suggested what amoonted to a command
performance: "Come over, I want to tell you everything I still know of myown people, the true story." She felt the necessity to shed the mental
restrictions of the missionary code which had bound her for years. She told
me of Haida rites and rituals, how it really was, anxious that the truth
should be kept alive as a heritage for her people.
During oor conversation I naturally questioned her aba.lt songs. This wasa delicate subject because she was brought up without proper instruction inor knowledge of her hereditary songs. However, what she remembered she was
graciously willing to share. In doing so she revealed something she had
kept deeply within herself -- hidden because she had never been in aposition to demonstrate her feeling for these songs. But how deeply engraved
in her they were! Everything came alive in her memory. On and off she said,"I'm in a strange position as the wife of a missionary and the daughter of a
missionary!", but she felt so strongly that things had to be told. She wasin her eighties, and the old lady felt both relived and delighted toreminisce and to bring forward what she feared she might already haveforgotten. Yoo will hear her story and interspersed comments with the music
she remembered, again with my occasional questions and promptings.
The dialogues with Mrs. Kelly eloquently convey her dualistic legacy. Asa Christian and the daughter and wife of missionaries she accepted the social
attitudes of church authorities; as an heir to a proud native tradition she
persisted in retaining her secret belief in the importance of her culture.

Publication of these recordings sponsored by Simon Fraser University, William G. Say well, President.

Listening to Mrs. Kelly's conversation, recorded in 1974, one is struck
with the intensity of her memories as well as the explicit struggle within
her. Not suprisingly, Mrs. Kelly's musical repertoire graphically reflects
this dualism. While several of her songs are recognizably authentic, onesong -- the "Haida King" dance song -- is demonstrably a=turated. Severalof Mrs. Kellys' performance idioms suggest European influence, mostpart:l.cWarly the augmented slow notes at the conclusion of songs, an obvious
borrowing from the "Amen" plagel cadences of Protestant hymnody. It isequally interesting to hear a native performance of the "Haida King" song, an
A flat major waltz tune in a demonstrably Haida performance style.
The other singers on this recording expand oor knowledge of Haida music
through a somewhat different process. A=rding to custom Pacific Northwest
natives may exchange hereditary songs for songs owned by another song makeror chief from another tribe.
I have been fortunate enough to have obtained a number of examples of
Haida SCI1qs given in exchange to Kwakiutl and Nootka singers. It is naturalthat the most outstanding carver and singer of his generation, the late
Kwakiutl chief Mungo Martin, should have been involved in such exchanges, andwe have recorded eight examples of Haida songs which Chief Martin sangfor me in 1951 when I recorded him during a number of sessions. (All in all
he gave me 134 songs, and amongst them were many very valuable exchange songs
from the Haida, Tsimshian and Tlingit). The Nootka singers were Fred Louisand Ella Thompson, who I recorded in Port Alberni in 1951. On Side I you
will hear a Haida song and the Nootka "Hummingbird Song" which was given in
return to the Haida, a unique example of the exchange process. Kwakiutl
Orief Tom willie Jdmson worked with me in the 1970s and sang two Haida songs
for me. I have included a "Paddle Song" on the recording.
For this album I originally intended to let the Indians speak and telltheir own story. But when we gave the music a detailed analysis, we were
better able to establish the distinctions and differentiations found in Haida
music as opposed to music from other Pacific Northwest tribes.
RESEARCH HISTORYAs the first scholar to be entrusted with native music from the PacificNorthwest, the approach I have used in working with this music has evolved
CNer the foor decades of research, but it has always been based on threefundamental principles:-- to begin with an ~en mind and the highest respect for this unique,complex musical culture;-- to preserve the oldest examples of authentic hereditary songs;-- to find the best way of understanding this important music.
My first stage was to record those chiefs who would sing for me. The nextstage was the publishing of my first recording of Northwest music on theWorld Library of Folk and Primitive Music for Columbia Masterwork Recordings
under the editorship of Alan Lemax. Then, in 1961, I gave my first paper
which analyzed the music and vocal style of the Kwakiutl Indians at theInternational Folk Music Council at Laval University, Quebec (subsequently
printed in the Journal of the International Folk Music Council XIV,
cambridge, England). For the canadian Centennial Year in 1967 I was able torelease my first album of Indian Music of the Pacific Northwest: two discsof hereditary songs from a number of West Coast tribes, with an accompanying
booklet which attempted to identify many of the style characteristics of thismusic together with information about scales, mythm, and translations. Thiswas followed in 1974 with my first album devoted to a single tribe with therecording Noot:ka Indian Music of the Pacific Northwest which included newly
collected material.. In 1976 at the Society for Ethnomusicoloqy Congress I
read a paper which established my beliefs about the so-called"meaningless-nonsensical syllables" which was later published in the Journalof the Society for Etilnomusioology. In 1978 I discussed the early historicalcomments on native music made by the crew of Captain Cook's expedition of
1778 -- an interesting early recognition of the characteristic Indian tone
placement. Then, in 1981, I published my second and most complete assessmentof a single tribe, Kwakiutl Indian Music of the Pacific Northwest. Here myresearch included, for the first time, exhaustive electronic analysis ofnative songs, extremely detailed formal analysis, and a redefinition of theidioms of native music.
In the current album of Haida music I have decided to expand into one
further area: for the first time I have decided to record the actual
dialogues with the native singers for listeners to hear. In earlier
pUblications we were pleased to bring so many songs to the listeners'
attention; here we have chosen to let the Indian singers speak for themselves
and to present the actual recording sessions as they occurred.
SONG GENRES
With large Kwakiutl and Nootka collections, it was possible to compare
song genres in many areas including sacred ceremonial and ritual song
types.
With a much smaller Haida corpus this was not possible. The song
types which are presented include LCNe Songs, a Celebration Song, a Lullaby
Song, a Marriage Song, and a Children's Song. I have been especiallyprivileged to record Mrs. Davidson's "Welcome Dance for Charles Edenshaw's
Potlatch" in two versions.
With the exchange songs from the Kwakiutl and Nootka, we see other song
types including Play Songs, Drinking Songs and a particuarly impressive WarSong cycle. There is also a unique example of the exchange song process with
the inclusion of a Haida song and a Nootka "Hummingbird Song" given in
exchange.

meaning of the archaic song texts themselves. (Haida language is currently
being studied and preserved by John Enrico.)
We know that the collected songs are many generations old and that thesingers we have recorded were, in most instances, reproducing songs learned
with conscientious accuracy. In this way the archaic syllables and texts
have been preserved through performance while the exact linguistic meaning of
the syllables and texts has been obscured.
ThrcA.lgh repeated searching one may trace original words which give clues
to the meaning of the syllables. Often this has proven to be a very
roundabout process; the actual singers may not know the original word but
another singer, translator or other informant can sometimes provide a clue.
In Haida songs, for example, Mrs. Davidson points out the syllables AH LA
are frequently used. While Mrs. Davidson could not supply a translation,
another informant, Lavina Liqhtbown, gave me the clue that these syllables
are a part. of a word meaning "right" or IICX)rrectness" in the sense of ethicallaw and/or moral justice. We know from earlier research that there is ananalogous situation with Nootka music.
On my second Folkways album Nootka Indian MUSic of the Pacific Northwest,
both Margaret Shewish and George Clutesi independently explained theimportance of the syllables WEI OH; in both these instances we can sense a
reluctance to convey the exact meaning because of its sacred or symbolic
significance (OH means "Lerd" or "Highest Power"). In further questioning
Mrs. Liqhtbown also told me that the frequently heard syllables JA LA mean''Raven'' (understandable since the Haida are known as the Raven ~le) and LA
JA and JA LA indicate whether songs "were made for nooility or for the middle
class". Texts also indicate nobility while syllables indicate the middle
class. The syllable JA is derived from words appropriate to nobility; thesyllables WU or HU LA are used to point out or distinguish something while
the syllables WI JA HA mean "is it he or him". The meaning of the name
Edenshaw is "so be it; word is the lawll.
When writing down syllables the vowel sounds commonly used and referred
to as the international system, according to Boas, are employed:
a as in f.1ltheri as in feetu as in moon
0 as in .Qh
e as in f~ll

Note that the vowels "0", "a" and "e" have a slight differentiation whened.ing with, respectively "i" or "y", according to the wishes of the Indian
chiefs' translation, and are not inconsistent within the translations. For
example:
wei
jei
hei
woi
hai

wey
jey
hey
way
hay

Also note that the "jtt in the international system is pronounced tty" inEnglish.

FOUNDATION TONES
In earlier research I often isolated and identified scales; in my 1981
Folkways recording Kwakiutl Indian Music of the Pacific Northwest I presented
these scales marked with microtonal inflections and commented on theintervalic relations of these tones and their microtonal migrations. On thisrecording of Haida songs I have tried to refine these concepts further, andthus prefer not to present scales but rather foundation tones. These are, bydefinition, the core tones of a Haida song, translated into Western
notation. Rather than scales in the Western European meaning of the term,
they provide an aid for our understanding of the given composition andnothing more.
Through electronic analysis I have been able to hear and understand thatthe foundation tones are presented with many varied inflections andmicrotonal placements. Thus when the pitch content of any song isscientifically analyzed and measured it becomes obvious that the foundation
tones prCNide only a highly simplified picture: the foundation tones are a
representation of some aspects of the pitch but in no wayan accurate
representation of all the microtonal pitch detail.
In me song we measured every note and then graphed the information. The
comparison between the variants of the same foundation tone demonstrated therange of pitch variation possible on each foundation tone. In the Western
tradition, we expect our intervals to be measurements between two fixed
pitches; Haida intervals are flexible as the foundation tones are subject tomuch microtonal inflection (similar to the process found earlier in Kwakiutl
music). Thus intervals are flexible and not frozen. (See Foundation Tone
Graph.)

Microtonal rise or fall in pitch level is described in much detail inearlier publications. This performance idiom is also found in certain Haida
songs.
It is interesting to note that in many songs there are five foundation
tones -- a Pacific Northwest manifestation of the pentatonic concept,
encountered to a significantly lesser degree in earlier research into Nootka
and Kwakiutl music.

SONG TEXTS AND CHARACTERISTIC SYLLABLESVOCAL STYLESong texts usually consist of a few words and characteristic syllables.
ThrcA.lgh my research I have found that syllables have an intrinsic meaning of
considerable significance whether or not it is understood by all native
singers or speakers, and it is thus a misinterpretation to label these as
nonsel. dcal syllables.
(See "On The Interpretation Of The'MeaninSless-Nonsensical Syllables' In The Music of The Pacific Northwest
Indians" in Ethnomusicology XX: 2.)
Frequently I have found that contemporary speakers of native languages
are no longer familiar with the exact meaning of the syllables or even the2

The Haida vocal style demonstrates several unique features. In
particular, I was stunned by the distinction between Mrs. Davidson's speaking
and singing voices; in fact she reminded me of Chinese falsetto. For her
songs she would mask her voice.
It was also interesting to consider the exchange songs performed by
Kwakiutl and Nootka singers. HOW, for example, did Mungo Martin sing? Was
he completely Haida in his presentation, or did he include some Kwakiutl
techniques and performance idioms? The same applies to .the Nootka singers.

..

It is particularly mteresting to have available a Nootka performance of a
Hajda song followed dlrectl.y by a Nootka performance of a Nootka song forcomparison.

then related to the nearest pitch of a just chromatic scale having A440hz as
its standard. This method was developed and standardized by Alexander John
Ellis.

one senses an understandable affiliation between Haida and Asian music.
Indeed it seems logical that the Haida, a northern and isolated PacificNorthwest Indian tribe, might reflect aspects of an Asian idiom or viceversa.

This song, FD 6, reveals complex frequency modulation of the fundamental, as
well as simultaneous amplitude modulation. The presence of very strong
second harmonics, also frequency and amplitude modulated, and sometimes in areversed direction and simUltaneous to the fundamental, is exemplified infigures 1-4.

I must caution the listener or musicologist who may want to reproduce theseresults that several pitfalls exist:

For the most part, Haida songs use spondaic a=ompanying beats; thecomplicated beat patterns and elaborate beat repetitions found in ceremonial
songs from other Pacific Northwest peoples are not usually encountered inthese song examples.

..

1) Since there is as much as a 25 to 50 cent change in frequency
modulation of the sample, it must be taken at the exact moment in time as
has been done.

In Mungo Martm's Love Song MM 47, a particularly interesting rhythmic
idicm is demonstrated by the seoondary singer who emphasizes the spondaic
beat pattern with accented vocal exclamations. Mrs. Peter Kelly also
demonstrates a distinctive attitude towards rhythm in her Love Songs K3 andK4; here there is a particularly high degree of similarity between the
melodic rhythm and the a=mpanymg beat, a situation rarely encountered inother Pacific Northwest Indian music. Perhaps, since Mrs. Kelly is the mosta=.liturated smger on the recordings (listeners will be able to consider her
performance of the n~Indian "Haida King Sang" or her "Amen" cadences), herrhythmic practices may represent another form of acculturation.

2) The simultanerus first and seoond harmonics have a definite effect on
the frequency one appears to hear. The ear tends to average these toconform to a unitized pitch.
3) The extreme complexity of the harmonic constituents affects theoverall pitch.
A look at figures 1, 2, 3, and 4 show the variance of pitch in three events;
Le., in the first YA of the first three groups of YA-HO, YA-HO, one sees
both amplitude modulation and frequency modulation. The composite drawing,
figure 4, proves this point. The term amplitude means: change in loudness
or in dynamics. On the graph it is on the Y axis. The X axis off all thegraph is the frequency in period.

Because of her arthritis, Mrs. Davidson preferred not to beat along withher songs (except in one single example, the "Children's Song" FD 4).

A look at figure 6 reveals the variance of pitch of some consecutive samples.
The greater number of Haida songs on the recordings are strophic andwithrut extreme formal complexity. Several songs are,. however, particularly
notable: L 18, the "Hajda Song" of Fred Louis and Ella Thompson, is in two
distinct parts with two different tempi; MM 48, the "War Song" cycle of Mungo
Martm, is in three sections, each of which is strophically repeated; FD 3,
the "Marriage Song" of Mrs. Florence Davidson, employs interesting variation
procedures within a bmary context; and FD 6/FD 6A, the "Welcome Dance forCharles Edenshaw's Pd:latch", demonstrates a particularly elaborate example
of Hajda music for ceremonial use and a complex pattern of variation andrepetition.

Personal observation: I was deeply moved by the sense of imploration,
supplication, and of sadness which this song conveyed. (AC)L 18A HAIDA SONG
(sung by FRED LOUIS and ELLA THOMPSON, Side 1/10)
A different and simplified approach was used for L 18A.
L 18A is in a different class harmonically than FD 6in that its pitch
structure is very close to rur normal chromatic pitch structure; however, it
differs in scalar structure.

ELECTRONIC ANALYSIS
In my 1981 study of Kwakiutl music electronic analysis of the materials

was introduced.

The male smger solidly establishes the pitch on the very first note of thesong.

Here on the present recording of Haida music several

selected excerpts were given detailed electronic analysis with the use of
several of the latest and most refined electronic devices. Three songs were

given special scrutiny:

L 18, FD 6/FD6A, and MM 46.

The first note is extremely close to E4 -- just about 10 cents lower thanstandard pitch -- and maintains an uncanny a=racy thrCA1ghrut the song. The
female singer is also very accurate.

The following analysesof these songs were prepared for me by Andr~ Coulombe, Senior Engineering

Technologist at Simon Fraser University, Department of Communications,
thrCA1gh whose painstaklllg research we have gained valuable new insights andperspectives.

There is no more than a 5 to 10 cent difference in the four samples taken.

METHODOLOGY

See figures 5 and 7.

A precision Tektronic analog storage scq>e was used to store and measure atleast 10 periods of anyone occuring notes.

Personal ooservation: I was extremely impressed by the power and dynamic
beauty of this song. It conveys empowerment; is happy, moving and joyous.
(AC)

The periods were averaged, and the frequency was derived by using thefollowing formula:

MM 46 PLAY SONG
(sung by MUNGO MARTIN, Side 1/3)

l/x where x = period in milisecond;

All of the notes on the first line, first verse were analysed.

then the nearest occurring interval in the diatonic scale was found anddivided by 100, for example:
D4
C4

Also all of

the notes on the first line, 2nd verse.
Base Frequency of first F# is 367.50 Hz.

293.656 Hz
261.624 Hz
32.032 HzThis is the interval between these two notes; the 1/100th part is .32
Then, the actual frequency of the note sung by the smger was related to theclosest note in the equal temperment diatonic scale, and algebraicallysubtracted.
This number was then divided by the l/lOoth part of the relevant interval.
This gives us the plus or minus difference from a diatonic equally tempered
scale, in cents.

FD 6/FD 6A WELCOME DANCE FOR CHARLES EDENS HAW'S POTLATCH(sung by MRS. FLORENCE DAVIDSON, Side IV/l and 3)

F# No 1 first verseF# No 2F# No 3
F# no 4
F# No 5F# No 6
F# No 7
F# No 8F# No 9F# No 10
F# No 11
F# No 12F# No 13
F# No 14-10c F# No 1 second verse = +110
- 8cF# No 2
+20c
+14c
6cF# No 3= +llc- 8c
F# No 4-12c
= +10cF# No 5
-10cF# No 6
- 4c
-l1cF# No 7
+ 6c
+ 9c
-12cF# No 8
-lOcF# No 9
+ 7c
8cF# No 10
+12c
+20c
-14cF# No 11+19c-16cF# No 12+10c-13cF# No 13+llc- 9cF# No 14

C# No 1

-20c

-

-

C# No 1= + 9cAll numbers entered refer to + or - cent abave or below the nearest note of a

The analysis of this song reveals an amazmg web of mtricacies and extremelycomplex harmonic relationships.

just chromatic scale.
C#4
277.183 Hz.
F#4 = 369.994 Hz.

The methodology used permitted me to extract the fundamental frequency fromeach event.
I define an event as a contextual happening; in the following syllables
YA-HO, YA-HO, YA-HE-YA-HO, the first YA is an event, secondly HO is an event,and so on.

New and innovative instruments were used for this analysis: a Tektronic
analog storage oscilloscope, computer-controlled analog to digital converter
capable of sampling at 50KhZ, as well as sophisticated software for theforegomg; also, a fast l/3-octave B & K analyzer, capable of dividing a sample
from an event into its proportional harmonic constituents.

Note: This song MM 46 exhibits several microtonal changes on the same note.
Subsequent verses become higher by around 22 cent, or 1/4 tone.
I wish to thank the Electronic Shop, Department of Physics. The Sonic
Research Studio, Department of Communication, both at Simon Fraser
University, Burnaby, B.C. for the use of their equipment.

The expression of the frequencies involved are measured in cents. A cent isa semitone divided into one hundred parts; for example, the distance between
C4 and C#4 is divided mto one hundred parts. This unit of measure (cent) is

Andre Coulombe

3

SIDE ONESide I, Band 3
MM 46 PLAY SONG (for dancing). sung by MUNGO MARTINHAIDA EXCHANGE SONGS
The third and final Martin Play Song is slightly more extended that MM 44 andMM 45; here an archaic text is introduced in later verses of the song. Thereis also more microtonal variation of the foundation tones. The use of aspondaic beat pattern, the use of an introductory solo verse and thesyllables are all similar.

The Haida exchange songs form a remarkable corpus of music. The greaternumber were sung by Chief Mungo Martin, a Kwakiutl, indeed the mostcelebrated KwaJdutJ. cazver and singer of his generation; Chief Martin's wifeis heard as a secx:ndary singer on many of the songs. As explained in the
preface, Chief Martin received his Haida songs as part of the complicatedprocess of Ba'Iq exchange. Nonetheless we must, of CQll"Se, be aware that thiscelebrated singer may be demonstrating several performance practices. Firstof all, tt is possible to assume that Chief Martin, a highly trained singer
in his own right, is able to transmit the Haida songs in a completely Haida
manner. If this is the case, the songs are perhaps more representative of
the authentic Haida style than the songs of Mrs. Kelly and Mrs. Davidson.
since Chief Martin was of an earlier generation and more scrupuloosly trained
than the ctller singers, it is possible to suggest that his songs represent
the most authentic and ancient in the Halpern collection.

FOUNDATION TONES...

If, on the ctller hand, Mungo Martin is presenting the Haida materials
with a KwaJdutJ. performance style, his performance may be of particular use
in establishing Haida and Kwakiutl characteristics.

SYLLABLESAs we hear and assess the songs, we also note that the Martin songs are agood deal longer and more complex than most of the Davidson and Kelly songs(possibly since Martin was able to reproduce entire songs as they were given
to him). Mungo Martin songs (ooded MM) include two Love Songs, three PlaySongs, a War Song, and two Drinking Songs.

Side I, Band 1
MM 44 PLAY SONG.

~ung~!}:46

Side I, Band 4
MM 47 LOVE SONG. sung by MUNGO MARTIN

FOUNDATION TONESThe first of Mungo Martin's two Haida Love Songs is a more extended
composition than either of the previous Play Songs. It begins with astriking introductory section where the secondary singer emphasizes thespondaic beat pattern with accented vocal exclamations; the primary singer
presents only syllables. F:0ur verses follow with both singers presenting
text and then syllables. The song ends with a shorter coda verse and atremolo cadence beat with the syllables WU AH. Notice the pronounced
downward contour of the melodic lines.

HA JA LI HEITRANSCRIPTIONFOUNDATION TONES

MM44 Play Son ~ (J verses )1

spondaic beats 2nd and )rd veJse only

(f J
t

T,o:1

WI

mj ±w
J J n J J ¥ra J II
l'
·1

t

(1 st verSe only)

by MUNGO MARTIN

The first of the Mungo Martin Play Songs is a three verse composition with asimple but memorable melody. It begins with an initial solo verse, after
which the secondary singer joins in and a spondaic beat pattern is added.
Note the cadential syllables WI WI used at the conclusion; they are similar
to cadential augmentations foond in the Haida songs of Mrs. Peter Kelly on
Side II. Pronoonced vocal aooents (foond in Kwakiutl songs performed by thissinger) are also notable (and are marked in the transcription).

SYLLABLES

Play SongWI JA HAHEI WI JA HA WI JA HA (three times)
HEI WI JA HA

t"

'I

l'

t"

fiJt ,ISYLLABLESEH EH JA AH WU AH LA

erse

onl/

Side I, Band 5
MM 48 WAR SONG CYCLE. sung by MUNGO MARTIN
Like similar cycles published on the album Kwakiutl Indian Music of the
Pacific Northwest, the War Song Cyle MM 48 is an elaborate, extended songcomplex. Here there are three recognizable segments separated by parlando
syllables . The first segment of the song is in three strophes:

Side I, Band 2
MM 45 PLAY SONG. sung by MUNGO MARTIN
The second Martin Play Song is also in three verses and, like MM 44, it
begins with a solo verse with the secondary singer and the spondaic beatpattern added in the second and third verses. It also employs the cadential
syllables WI WI. Unlike the Haida songs of Mrs. Kelly and Mrs. Davidson,there is an elaborate melisma on the syllable JA, pulsation on the syllable
HA and portamento (like that found frequently in Kwakiutl songs) on theelongated syllable HE!.
FOUNDATION TONESA, A variant, B
A, A variant, B

A, A variant

The initial A section is presented by the primary singer alone; the secondary
singer joins in on the first A variant. Syllables are used until the thirdpresentation of the A section; text occurs only in this section. Note theommission of the concluding B section.
FOUNDATION TONESSYLLABLESSYLLABLESHA LA WI JA
HA HEIHA HA HAHEIWI JA HAWI JA HAHA HA HAAH HA HA LI EH JA

The second segment of the song is also in three strophes. Here the material
is presented as more of a statement and response dialogue with the following
sections:

WI JA HAWI JA HA(WI WI)

A (solo), B (solo), A variant, C, B

A, a, A variant, C, B
A, B, A variant, C, B

TRANS CRIPTION>

j lj ]}Yp• . ,~ .~•.f'.. ..f

t

r I

l'

LIJ'

~ J :1 ,! .! II
4

Syllables are used exclusively; in the A section the syllables are AH HA LI
MA JA; in the B section the syllables are HEI JO.
FOUNDATION TONES..

The exmcl.uding segment of MM 48 is in two strophes with a s i mUar (thoughsimplified) construction to the f i rst section:

A, A, B
A, A, BoHere, as in the first section, the initial A section is a solo presentationby the primary singer. :r:n the A sections the syllables are AH HEI YA HA HU;
in the B section they are HEI HA HU WEI HA HU WEI. Throughout the entire
song complex the beat is spondaic.

..

b&l b l~J\JjJ\l '[Ji~~~fJ. d lp

FOUNDATION TONESSide I, Band 8
MM 19 DRINKING SONG. sung by MUNGO MARTINSide I, Band 6
MM 49 LOVE SONG. sung by MUNGO MARTIN
The secxmd of Mungo Martin's Haida Love Songs is in three verses with only
solo singer performing. Syllables are used in the first v erse with text andsyllables used in the subsequent two verses. The cadence syllables WI JA areused in the exmclusion. The beat is spondaic throughout except for a short
tremolo beat with the cadence syllables. There are four foundation tones.

The second of Mungo Martin's Drinking Songs is in three verses ; heresyllables are used in the first verse with text sung in the second and third
verses. Somewhat atypically, the secondary singer does not join in until thethird verse. There is a spondaic beat throughout all verses of the song,
except for a tremolo beat to conclude; there are five foundation tones.
FOUNDATION TONESFOUNDATION TONESSYLLABLESSYLLABLESJA HA AH LI EH

Side I, Band 9
TW 12 PADDLE SONG. sung by Tom Wi llie Johnson

AI JA AI HA LE EH JA

TRANS CRIPTION

The Haida Paddle Song of Tom Willie Johnson is an extended composition inseven verses. There is an interesting interplay between repetition andvariati.an: verses one, two and seven are similar, as are three, four, fiveand six. Variation tends to occur in specific zones of the composition,
especially the final phrase of the music where variation, expansion and=traction frequently occur (see transcription). As in many other Haida
songs there is a spondaic beat pattern and there are five foundation tones.
Some upward microtonal migration in successive v erses may be noted.

NM49 Love Song
1st vers e, s~llable s & s~ndaiC br t

FOUNDATION TONES
ve r se onl y

p

~ ~

~/~.i

:

SYLLABLES

syllable s

AH YA LA AH AH HUI JA
JA EH JEI JA EH EH
JA LA AH HAl JA AH LA LEI EH
JA HU WAAH JA LA AH AH AH HUI JA
JA HU WA

TRANS CRIPTION'1'\0/12 Paddle Song; d .d

I

rod d

:H
~, ~;;

ve r Se 1 & 2

" b

b

~m 7
~I

fA

4th ve r se only

i. d---dSide I, Band 7
MM 50 DRINKING SONG, sung by MUNGO MARTIN.

ve r se 1.'

ve r se 2'.

The first of Mungo Martin's two Drinking Songs is in fiv e v erses; syllables
are used in the first, second and fifth verses with text sung in the thirdand fourth versei the beat is spondaic throughout and there are four
foundation tones .
1

FOUNDATION TONES'1:'! verse J!i ~JJbJ5J yd &hJ if) d d ip ,Md
I" :'\I'eN5e

4~ Ii ~J d dJiLi£\j d' 't d'&hD~hhl
S YLLABLES

JA U WAI AH LI HA AH
AH AH LI HEI JE EH;:

TRANS CRIPTION

vo~ 6

1

(fli~J..:ll5verse 7b.
p,~~'h.1 ~F?pM ~~Side I, Band 10
L 18 HAIDA SONG. sung by FRED LOUIS and ELLA THOMPSONSide II, Band 2
K 2 HAIDA KING SONG. sung by MRS. PETER KELLY'!he "Haida Soog" of the Nootka singers Fred IJ:W.s and Ella ThomPBal is in two

As the listener will discover from Mrs. Kelly's comments about this song, it
is a representation of the "nee-Indian" style -- an acculturated Ab major
tune in 3/4 time. However, though this song is clearly l!2!; an authentic

parts. The first sec::t:icI'I is in four verses with syllables used exclusively
in the first two verses and then syllables and text combined in the third andfourth verse. A spcI'ldaic aooompanying beat and a sec:xndary singer are added
during the first verse; there are five foond!!tion tales. The second segmentof the Balg is shorter and in two verses. Thrugh the beat is still spondaic
it is in a quicker tempo; the foundation tones remain the same as in thefirst section of the song.

hereditary Haida sang, Mrs. Kelly's performance is nonetheless indicative ofseveral spects of Haida performance styles, especially the use of rubato
rhythms and a certain residual lIIic!:'<Xonality. The syllables AH LA are found,
as is Mrs. Kelly's own characteristic augmentation of the cadentilll notes in
the manner of "Amen" cadences in Protestant hymnody.
TRANS CRIPTIONFOUNDATION TONESK2 Raida King Son~,)SYLLABLES

MA LI YAAH HEI JO
AH HEI OH

1~~V J 1 I J J '1 J , J , J

TRANSCRIPTION (first part)

L19 (Part I)l(~ ill" 1122

r r r .J Ef

r j

1

*

2nd s1n~er

i ,,----,
en'ters

F

(t!t

o

I J I e'I

,I I I 1~...

I J I ..
-#-

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Side II, Band 3
K 3 LOVE SONG. sung by MRS. PETER KELLY

Verse J & 4

r tJ.vspondaic bea t be ~ ins

L

]

1

K 3 is a second LeNe Song and belonged to Mrs. Kelly's husband's father. It
has a clear three phrass structure and five frundation tones. Listeners willnote a close relationship between accompanying beat and melodic rhythm (archaracteristic not previously encountered in hereditary Pacific Northwest
Indian music). Listeners will also note Mrs. Kelly's augmentation of cadence
notes. Syllables are used, though as Mrs. Kelly notes, there is "lots oftext".
FOUNDATION TONES

4th verSe only I
cadence augmentation

SYLLABLES
Side I, Band 11
L 19 !!!JMMINGBIRD SONG (Nootka). sung by FRED LOUIS and ELLA THOMPSON
The "HUmmingbird Sang" is a Nootka Balg which was given in exchange for thepreceding Haida sang. While it has five foundation tones, it reveals manyother characteristics which distinguish it from the Haida songs on theserecordings: listeners will note a pronounced downward melodic contour; atendency towards trochaic rather than spondaic beat patterns; very elaborate
vocal embellishments; and, perhaps most typically Nootkan, a modified ternary
form.
There are two repetitions of an initial A section composed of two longphrases followed by two repetitions of a B section comprised of four shorterphrases and an incomplete third repetition of the B section (where only the
first three of the phrases are presented). The song concludes with a single
presentation of the A section.

AH LEI EY AH LA

TRANSCRIPTIONKJ Haida Lov. ScM

l~ t d d FJt £il L~J d ~J d t~tt

soondaic l'

&..I

beats

(f b~

+

Side II, Band 4
K 4 LOVE SONG. sung by MRS. PETER KELLY

A;A
B;B;B (incomplete)A

Mrs. Kelly's third LeNe Song shows several similarities to K 3, including aclear phrass structure, five foundation tones and cadential augmentation.
As well there is a close relationship between the melody and the a=mpanying
beat. (Though the transcription is in no fixed metre, it would not be
misleading to present this sang in 6/8 time.) Unlike K 3, however, K 4 uses
the syllables AH LA more extensively and also demonstrates considerable
microtonal embellishment of the sustained upper Dbs.

FOUNDATION TONESFOUNDATION TONESSIDE TWOSONGS AND DIALOGUES OF MRS. PETER KELLY
In the recording sessions with Mrs. Peter Kelly of Skidegate made in 1974,
seven Ba'lgs (coded with K) were performed including feur Haida Love Songs, a
LeNe Sang in the Chinook jargan, a Tsimishian song and the so-called "Haida

King Song". Mrs. Kelly provided repeat performances of three songs andthose, as well as Mrs. Kelly's comments, will be heard.
Side II, Band 1
K 11K lA LOVE SONG. sung by MRS. PETER KELLY

Y.4 :!aida Love Son~

Mrs. Kelly refers to this song as an "old timer"; it uses five foundation~ and the characteristic syllables AH LA.
Two performances of the song
are heard.
FOUNDATION TONESTRANSCRIPTION(~ IP 4(~i-t: t>r ~ps.Jndaic
beats

t
6

&J t,~ b( I.r. ~G
t if'

t

fRJC)aU ~J 1J

l'

l'

t

Side II, Band 6
K 5/K 5A TSIMSHIAN SONG. sung by MRS. PETER KELLY

FOUNDATION TONESAn anomaly within Mrs. Kelly's repertoire, K 5 is a song from the Tsimshiantradition. While we cannoc hope to establish valid distinctions between the

Haida and Tsimshian musical styles and performance idioms from a single
example, it is d::>vials that this song uses a much more restricted series offoondation tones, repeated parlando notes and a faster accompanying beat.
Two performances are heard.

TRANSCRIPTIONFD2;FOUNDATION TONES

Ii ••

PI

JI
i! '
TRANSCRIPTION

.-

,
($

I

&i + ~ 1 rJ 1 --n..... ~J n

+-+

+)<

-9 I +q d D
)<

~I'-

This three verse song demonstrates an especially interesting formal plan:each verse consists of two clearly recognizable components, A and B. The A
sections begin with a descending arpeggio figure followed by a reciting
pfrch; there are three varied forms of this A phrase, each with a different
concluding reciting pitch: high Ab in the first presentation, low Bb in thesecond and F in the third. The B sectioo is lower in pitch and is repeatedin the first two verses. This repetition of the B section is omitted in the
final verse. Note the range of a seventh in the arpeggio figure ueed in the
A sections. There are frur foundation tones and the characteristic use of
the AH LA syllables.

<':"

~

-+

bJI~JJ' b,I Jt:flli•I j - - 5,1J'
b --Side III, Band 3
FO 3 MARRIAGE SONG, sung by MRS. FLORENCE DAVIDSON

K5 Tsimshian Son~!

~)'

, 1 s t verse ~--- -#-

7<

I

)<

)<.

+-

J.

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y.,

FOUNDATION TONESSide II, Band 7
K 2 LOVE SONG, sung by MRS. nUR K!,;LLJ,'
The last of Mrs. Kelly's frur Love Songs is in a single extended verse. It
begins with solo voice joined shortly thereafter with a spondaic beatpattern. It is interesting to note that the beat begins with two longspondaic beats followed by thirty short spondaic beats; there are then two
more long beats followed by fifteen short beats. There are five foundation
tones and the cadential syllables AH LA are used.

TRANSCRIPTION
FDJ (J verses) Marriage Son~

If &Iv] J J \,N dn 'FOUNDATION TONES

oj

bE) J

dj f11 Q' h@ Jd.} n

Side II, Band 8
K 7/K 7A CHINOOK LOVE SONG, sung by MRS. PETER KELLJ,'
Side III, Band 4
FD 4 CHILDREN'S SONG, sung by MRS. FLORENCE DAVIDSON

The final song in the repertoire of Mrs. Peter Kelly reveals many
similarities to OCher examples, especially the use of five foundation tones.
Chinook, the language of the song text, is a widely used jargon whichCXI11b:ines elements from many languages spoken and understood by the natives of
the Pacific Northwest. It is performed twice.

The Children's Song FD 4 is in two verses of three phrases each (Mrs.
Davidson begins the song with an incomplete performance of an initialverse). When Mrs. Davidson begins the song CHer again, she adds a spondaic
beat pattern which is occasionally altered to match the rhythm of the
melody. The melodic contoo.r is downward and there are five foundation tones
with considerable microtonality.

FOUNDATION TONESFOUNDATION TONESSIDE THREESYLLABLES:SONGS AND DIALOGUES OF MRS, FLORENCE DAVIDSONA LASide III, Band 5
FD 5 NEYLAND'S PRID!,; SONG, sung by MRS. FLORENCE DAVIDSON

Like the repertoire of Mrs. Kelly, Mrs. Davidson's songs (coded with FD) arerather short. Unlike Mrs. Kelly, Mrs. Davidson's singing style is more
microtonally oriented and her songs demonstrate a greater variety of rhythmic
idioms and foundation tone formulae. In essence, Mrs. Davidson's songs use
restricted materials but the use of the musical resources ischaracteristically artful and effective.

In this old song in two verses, Mrs. Davidson demonstrates pronounced
mi.crotonalfry bOCh in microtonally altered intervals and in a microtonallylower presentation of the second verse. Her characteristic high voice/low
voice distinction is also notable.

Side III, Band 1
FD 1 CELEBRATION SONG, sung by MRS. FLORENCE DAVIDSONFOUNDATION TONES

FD 1 is in three verses with a short introduction. There is a marked
distinction in this song between high and low voice qualities; the use of thelower voice tends to emphasize cadences and syllables are usually presented
at the lower pitch levels. There is pronounced microtonality and thecharacteristic syllables AH LA are present. There are five foundation tones.
TRANS CRIPTION,FOUND,ATION TONES.
,dSide III, Band 2
FO UFO 2A LULLABY SONG, sung by MRS. FLORENCE DAVIDSON;1

FD 2 is in two verses with a dooble binary AABB structure. Mrs. Davidson's
unique tone production and distinctive upper and lower voice qualities areagain apparen~ There is a triadic series of three foundation tones and aparticularly arresting rhythmic flexibility in the melody. There is little
text but the syllables AH LA occur extensively.

(~
7

C>

I ,I

"

1'4 ! J :1:+8-+-.#-..g...

} J

II

processes. The structure was repeated almost identically in the second
performance though at higher pitch levels. The only distinction jn thesecond performance was the inclusion of a second A:a segment in the body ofthe song:

SIDE FOURSide IV, Band 1
FD 6 WEUDME DANCE FOR EDENSHAW'S rorLATCH. rung by MRS. FLORENCE DAVIDSON
FD 6 represents the climax of Mrs. Davidson's repertoire, a Welcome DanceSong which was performed at the Potlatch of his distinguished father, thecarver Charles Edenshaw. (Charles Edenshaw was the owner of ten names
legitimized through Potlatches.) Unlike the other hereditary songs in her
repertoire, this song, given in two different performances, represents an
example of an authentic hereditary song for use in a ceremonial context. It
is distinct in several ways: it uses a very small range; few foundation
tones; and, most obv:i.co.sly, is composed of extensively repeated short phrase
fragments.

A:a; A:a; A:a (extended); A:c; B; A:aThis pattern was then repeated exactly
version of the song.
FOUNDATION TONES

When the form of the composition is analyzed, its overall structure isconsiderably dsifferent to the ctller songs of Mrs. Davidson. There are three
sections: an introduction; the body of the song with six repetitions; and ashort coda. These three parts are composed of interrelated units.

SYLLABLES

I(f

] rl

4+0yf.~o.P

YA HO

FD 6A YA HO

j Q ! J

)

J PJ

YA HO

TRANSCRIPTION

FD 6 vlelcome Dance for Sdenshaw' 5 Potlach
Introd',ct;"on

I~ J 4 1

as it was in the previous

1~A ,If'HO

;A

j

j

1
F Ho

;> 1

~

~7HO

Side IV, Band 4
FD 7 TSIMSHIAN SONG. sung by MRS. FLORENCE PAVIDSON..I

J

Lll<e Mrs. Kelly, Mrs. Davidson was able to sing a single Tsimshian song givenby the Tsimshian pec:ple to the Haida of Massett. The song is in two verses
with an AB binary form; there are three foundation tones.

I 11±~.J;~A~;> ,Body (reoeat 6 times),')

FOUNDATION TONES

J

I!ll $1. ~1 F }4 i J~Jj
I 5 1== 1== JJ j I 2 i. ~ ~ "I ! 2.1

i' 90dy (re~~t ~timeS)I;»

ext. 4th & 5th
vjr 5 e on1y

Coda

FnB

TRANSCRIPTION

verSe 5Jl +J 4 '/ II #11 i1 t 4 ; 4~~e;:!",~hian Son~h;fr~>~':~~~~~~~~ ~~ .$ t ,)' d
FD

I

II

p I

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verSe 2i~:~c;,.~~~Ti~N~:b;
A:c; A:c (extension); B; A:b
BODY:~~~~~~JJ"~b~1~~I>.~b9b~~~~~~j~i~bSJ~'~~~~~~~~~~~~~~~~~~~~~~

A:a; A:a (extension); A:c; B; A:a (repeat six times)
CODA:
A:a; A:a (extension); A:c::dUSide IV, Band 3
FD 6A WEUDME DANCE FUR EDENSHAW'S rorLATCH. sun::J by MRS. FLORENCE DAVIDSON
It was particularly fortunate to be able to record a second performance of
this complicated song to better study its structure and compositiony
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Bi--- - - - - ONE /'EI\IOD --'J..o..l.i'-l...Sc£SiS!tlll'--_--i9Eagle and Raven is a good combination.
FD:
Urn hurn.
They ' re both eagles, that ' s why he sung for them.

IH: So that they shouldn't get married?
FO: No .
IH: So that they should get an eagle and a raven? Must be anold song .
FD: Yes . Real old songs.
IH: They're the most beautiful , the real old songs .
FO:

Yes.

I know so much but since my husband died I don 't singthem anymore . I forgot.
knew all of it.
IH:

Is that so!

FD:

Yeh , I forgot it.

Close to 50 songs I used to sing, I
My sister tried to make me sing .

Mylate sister.
I can't.
If you want me to start crying I could
sing, I said to her.
I'm used to it now.
IH:
This is a children's song?

FD:

Kids used to sing it all.

...

She sings - FD4.

IH:
That ' s nice.
What does AH LA mean?
FO:"I'm scared for the evening.
I'm scared for the evening
to come."

IH:

Oh , I see .

FD:
IH:

"I don ' t know, because my sweetheart ."So this is not a children's song!

FD:
IH:

Yes, kids used to sing it all the time.
Well, how old were the kids? If they had a sweetheart they

That's all.

were not such small kids anymore!
FD:
That ' s what it meant.
I guess it ' s for grown ups, but

kids used to sing it all the time.

MRS. FLORENCE DAVIDSON

IH:
FD:
FD:

HAIDA

I don 't know , I'll

think of the tune.
I'll think for a while dear . She sings FD5.
IH: What kind of song is that?
FD: A long time ago they died. When they got real old two
years back they once came from boarding school and they used
to read the bible lesson in church. The boys belonged to his

1979
IH: Mrs. Florence Davidson, the wife of the famous carver
Robert Davidson, is going to sing some of her Haida songs.

Oh, I see . And who made that song?
I don't know !
I know another one , Richard Naylands.

Whatkind of songs would you like to sing for us?
FD: They sing this song for my uncle. He went to West coast
was with him, and his only son.
And he went there, Mathew
Yeomans on the boat and he and his son was coming from, they'recoming back for some more groceries and they tipped over, youknow . My husband's step father, he was singing for him; he madethis song for him~ I'll sing it for you.

relative you know, he called them , just like he sing it justlike that it was his own children.
I don ' t know which way
shall I turn around to show off with them, that's what he saidin the song.
I look around to see who admires them , that's
what he said. They were so proud of them because they learn
and they used them in church , you know , that's why he was proudof them.
That's when he make this song, same man Richard .
IH:
Yes, the songmaker.

She sings - FDI.

FD :

IH:
This is very beautiful.
Is that a mourning song?
FD:
No.
He told him to have something doing, celebrate, youknow what I mean because he got savedfrorn drowning, get lostyou know.

IH:
But it is a Haida song , it is not a church song. And AH LA ,it says again AH LA no? Didn I t it say AH LA again in there?
That is again? Wasn't there a word AH LA in there?
FO:
It ' s just the music.
IH:
Oh that is a musical? A musical word?
FD: Yes. Everything was YAAH LA in our Haida song. YA AH LA .
IH: Oh, that is the syllable? AH LA.

to bring groceries ... someone was working there, a white man,and he brought this food to him.

And this friend Mathew Yeomans

IH: Oh, I understand.
FD: West coast it's really bad place. He and ... Mathew Yeomans
got hold of him, he jumped in for him. My uncle's old , that's
why he went to get him . And he put him here, he make him grab
the beat. And pull himself up. He say you go back and get myson too. Try your best to get a hold of him. So he went to get
him too and he drag him to the boat and he . ...
IH:
FO:He saved his life.
That's right.
He wants him to celebrate, invite people andYes, he told him to celebrate , that's the words ... .

IH:
FD:

That is now a quite an old song?
Yes.

IH:

Howald was your uncle then?

1H:
Yes.
That was a very beautiful song.
You were wonderful!

That is good to know.

EA AH LA.
And you don'tFD:

You know my hands , my poor hands .

IH:
FD:

Oh I see.
You should know the time .

IH:

How old are you may I ask?
Now? 82 .
IH:
Really - you don ' t look it . That's wonderful.
have such a beautiful, such a sweet voice .
see this?

Iii:
FD:

Didn't it sound good.

My throat.

That's beautiful.
That's Dancing Song.

It's Lullaby Song.

You want it again?

And you

FD: Thank you dear.
I try my best. I used to sing all thetime but after I get sick my throat got spoiled. My eyes. You

1H:
You were fine.
FD:
You know Richard, his name was Richard Naylands, my husband's
step father.
He was composer .
She sings - FD2.

IH:
FD:

That is interesting.

FD :FD: It wouldn ' t be like this if you get lost sure you have tocelebrate.

dancing.

IH:

ago , she was 92 when she died.
So that song is telling him to celebrate?

FD:

FD:

Yes .
Through all the songs? EA AH LA?
Yes. That is what they say through all the songs.

IH:
Well , I wouldn't dare to interfere with the master singer.
It is always even , even time .
FO:
I don ' t think I could remember any more.
Break.
No , crying
song I don 't know .
Six years ago she died in 1-1.ay, past six years

He wants him to do something to celebrate because they're

still living.
IH: Oh I see.

FO:
IH:
FD:

beat time with that?
FD: Yes , they beat drum with it.
IH : What kind of a beat?

have big doings. They have big doings for the village, you know,
invite everybody.
IH: Is it a Potlach Song? It's a Potlach Song?
FD: I don't know how that would call it.
IH: A thank you song?
FD : He was thankful.
IH: I beg your pardon?
FD:

Yes.

They use it forOnce more. She sings - FD2A .

Yes .
It is all healed up.

When it start maybe it ' s no that whatarthritis.
IH:
That would be beautiful, your own song.
FD:
No, I can ' t. Too bad.
My husband used to like singing .
That's what.
That is one story about what he sing , Haida song .
I didn't know they meant Royal families country , something likethat , and I used to like it so much I forgot it .
She sings -

FD6 .

IH:
FD:

It's a lullaby, to put a child to sleep?
Yes.

IH:
FD:

That's beautiful .
What kind of a song is this?
It's a welcome dance song . When a used feather.

IH:

It ' s very lovely.

I will sing

IH:
FD:

The feathers?
In their hat.

IH:

Welcome to a potlach or what?

FD:
That .
Two Eagles , you know, Raven, and raven and eagle
they're supposed to be friends with each other not the same,

PD:
IH:
FD:

You know they made potlach for my dad 10 times .
Is that so?
And they used to make them dance this dance and they used

What was the name?

FD: They call it YAT GUNG, lullaby, YAT GUNG.
another one.
She sings - FD3.
IH: What kind of a song was that?

both eagle in olden days they marry they decide, they used toto sing.
He owns a song .
IH:Your dad.
What was the name of your father .

think low of them, eagle and eagle, raven and raven.
Were notin very good.
They're not supposed to marry.
That those
couple were going together and they're both eagles that's
when Richard Naylands sing for them.

IH:

So that was eagle and raven.

shouldn't marry .

FO: Charlie Edenshaw .
Iii: Oh my God. Oh that is beautiful . Hats off! That is something . So that was a song for Charlie Edenshaw? Charlie Eden -Oh yes I know that they

shaw was your father?
FD:Yes.
My sisters , my younger sister in Ketchikan , she has
been away for 50 years now .
Everywhere I go she phones me .
She
From Ketchikan , Seattle, every night she used to phone me.
used to phone on Sunday night too.
IH:
Yes, isn't that wonderful.
FD : She wants to know how I am doing.

What does it say in there, in the song?

FD:

I don't know the name for that, I forgot it .

IH:

Eagle and Raven song, that's all right!

It's a very beau-

tiful song.
FD: He call them my children. They enjoy each other's company.
That's all and enjoy so much like that anyway.
1H:
I can imagine.
FD:
He put themselves in that.
Enjoy each other's company
very much too.
That's what he said.

IH:

That's what it said in that song.

11"

Iii:
FD:

That is a beautiful song . I am very happy to hear it.
They always worry about me. They are the ones gave me

American money to go to the occupancy.

IH:

So that they should know

10

Oh I see.

And you did go?

In November.

FO:

Yes.

Just got my dad's work yet.

Gold bracelet.

IH:
Davidson is going to sing some Haida songs for us.
remember some?
FD:
Not any more dear.
I couldn't think of others.

Do youIH: Do you think you could translate the songs to me you sangyesterday for me?
FO: Yes. The first song I sang was I don't like the - the firststart off I don't like it because of my throat.
I could saythat one if I knew which one.
IH:

The first one was, well never mind, you can start with any

one of them.
I will find them.
FO: Too bad I lose track of all of it.
IH: The last one was the beautiful song from your father.

The

dancing one.

FO: You know when they make potlach they invite different villages and they come in and when they dance for them and theydance this welcome dance for the chief from the other village,
for so and so too, there is one there that they think a lotof.
The one who has the welcome dance.
You know they have
bit hats, you know.

IH: Headdress? What kind of headdress?
did your father have?
FD:

What kind of headdress

They have the crest on the front and all around, you know,

like this.

It's like this all around your head, and filled with

'"
...~

down, eagle down, because it's faster than other down, it

OJ

flies, so when they put it in when they did this even if you
are doing it like this the ...
IH: Oh, the down flies away.
FO: Yes.
IH: But then you have to fill it always again.
FD:

Yes, when it's finished you have to put some more in.

IH:

Oh I see, so they re-fill the down always.

lI/)

:::;
...J

:::>

The beginning 01 Mankind by George MlnakerFD:
Old man went to Alaska, a real old man.
He used to.
His name was ADAMTAYA.
And in olden days a long time ago they

have lots of big hats with big feathers on.

FO:

see him from way up north in Alaska.
They tell each others
someone's going to dance for all the people there, so all thearound, and they don't know what's going on.
They fill this up.
They used to dance and kind of keep it, you know, so they don't
finish it so quick but this man used to when it's time to doFD:this he shook his head and he used to do this real har0, andBut did he do it only for

the white ladies? He always did it or only for the white ladies?
FO:
There were lots of Indians too, but they were sitting
around and the white ladies were just standing up near him and

IH:
FD:

it all went to them just like it was glued on them.
IH:

Was it a joke or was it a ceremony?

FO:

No he thought he was going to do something really good forNo, no it's from the water, not ...

IH: Oh.
FO:
I forget the name of it.
IH: An otter?
FO: No.
IH: In the water? A killer whale?
FO: No, not the killer whale. The Nass River when they kill it
they ...

it would all go on the white ladies and they would scream,
they don't like it so they start screaming.
IH:
They didn't know it was coming?

No.
They didn't know it was coming?

They call it you know the custom

FO: What do you call that fish?
IH: The headdress.
FO: No, they got this big fish from the whiskers, real long
like to have it all around.
IH: With the whiskers? Not a grizzly bear?

white ladies they want to be at the front you know standing

FO:
IH:

Just what do you call.

wood carved on the front and ...
IH:
What crest was it, what did he have, a raven?

They all come to

The salmon?
I don't know dear.

1'11 find out sometime.

Robert and tell him to tell you.
KLEE.

I'll ask

In our language we call it

You know it's just like seal, you know, but it big

one go on the rocks, and my grandfather Albert Edward Edenshaw

them .
You know our men of course.
IH:
Of course, yes.
FD:
What dance was he dancing?
IH:
That was a welcome dance.
Dh that was a welcome.
FO:
They dance like this . Men dance, kind of jumping, buthave it.

IH: Albert Edward Edenshaw was your grandfather?
FO: Yes. And my dad was Albert Edward Edenshaw's nephew, so
my dad was taking his place.

ladies do this, they put their heel up.
IH: They lift their heel, only the heel. And the men are
jumping? So the ladies stay put with the forehead but only lift
up the heel.
Do you know the welcome song?
FO: Some you respect you dance like that for them.

IH:
I see, as chief? And that famous carver was your dad?
FO:Yes.
My dad was sick all winter when he was 14, you know,
and his mother used to have an iron pot you know and she used tohave big you know, you see those bottles in museums, that was

IH:
FD:
IH :

bones, strong ones, and some look like lard you know the ones,
the family knows how to handle food,they're the ones make it

full of grease, OOLleHAN grease.

Do you know a welcome song?
Yes, that's the one I sang yesterday.
And what is the meaning of the words?

really white.

11"

11

She got all kinds of you know

They're really careful with it.

His mother put

was 18 he drowned and I used to stick with my dad all the time.
When heoutside you know they keep winter food in

the COLleRAN grease in big box and she let him eat that , nothingelsei

Seaweed and the grease, she put little bit of water andfill it up with grease and used to made him eat it . Nothingelse.
IH: And did it help him.
FD: Yes . And . ..
IH:
She was a medical woman?
FD: She must have tried to get TB I guess and when in May he
got up and he wants to walk . He was walking towards the creek
and something came up and it was a really big thing came up
and he just spit it in the water and it floated down there afterthat he didn't get sick any more . Something that made him sickcarne up from his throat , his stomach or somewhere and hegot cured.
He didn ' t even catch cold when he was so old, he
was over 90 when he died. He died 1920 , in September.
IH: And his mother, your grandmother, was she a medicine
woman?
FD : No . His dad used to make, built canoe and he used tocarve too, and when he took a walk and found a slate and hecarved little pole . That's how he started carving .
IH : The grandfather?
FD : He was the first one. Nobody did that he one start carving
in Skidegate . Yes.
IH : So he was the first one to start carving?
FD: Yes.
IH : Your grandfather , the father of Edenshaw .
FD: Yes . While he was there before he came to Massett he makereally big bracelet, his first work in Toronto .
IH:
In Toronto?
FO:
Yes , only three years ago when we go in Toronto Museum ,the new one , and Robert took me there to see my dad ' s work ,little pole and the white bracelet , four dollars me l t together.
IH: Yes, that must be a big piece .
FD:
Yes a real big one, they don't let you touch it, it ' sagainst the law to touch it . Then asked me if I need rest,
they took me down the basement to the places like this andthey took me to bed.
IH: They treated you like an old lady , but you don ' t look
like an old lady.
FD: And they brought those two for me so I could hold it .
They were so nice, a couple start buying Indian stuff and they
are the ones the government buy it for them and the other ones
for . . .
IH: What year was it?
FD :I forget, you know , you must know it .
West Coast Carvers ,they invite me and Robert. Themail strike was on so they justphoned me from Ottawa.
They paid my fare, return tickets andI get $50 a day.
IH:
Is that 50? That was wonderful .
That was a nice thing .
Because my dad's work is allover the world .
FD:
IH: Edenshaw he is the top. No wonder that your son andgrandson are so gifted. They have it from your father.
FD: Yes , I have to stick to my dad. The only boy he when hethere, my dad would carve in there .
there.

IH:

That song was so beautiful.

me.

Do sing it again.

They got camp stuff inThat you sang yesterday for

FD: It not belongs to Haidas .
I don ' t know if it's right ornot. That's how they sing it at home . She sings - FD7 . Theygave it to Massett people you know. The Tsimshian .
IH: Oh the Tsimshian gave it to the Massett .
FD :
IH:

Yes, that's why they used to use it in olden days.
And that is what kind of a song , a welcome song?

FD :

Yes.

IH:
FO:

What does it say , what does it mean?
I don't know, it's different language .

of it.
IH:
It ' s very lovely .
FO:
IH:

I don ' t know any

I love that one from your dad so much.

Do you want me to sing it again?
Yes please, it's very beautiful .

She sings - FD6A.
IH:
FO:

What means Ya Who?
I don't know.
No words in it.

IH:

Only syllables?

FD:

Yes , just to sing.

IH:
FD:

And how do you call this song?
SAAGA SA LI AY .

IH:
FD:

What does it mean?
The welcome dance.

IH: That's a beautiful welcome.
I would come if I would be
invited like that.
FD : Yes . That ' s for you .
IH: Your father taught you the songs?
FO :No, an old lady in Skidegate taught me the songs, because

when my dad was there they made potlach for him the last time
and they sing it when he was dancing the welcome dance, that ' s

when they sing it for him when he dance , that was the 10th .
IH:
And you didn't get any songs from your mother?
FD:
No , they forget you know .
During my mother ' s time themissionaries were so strong, they make them get rid of every-

thing.
IH:
Even the songs?
FD:
Yes , even the poles - they make them cut them down andburn it.
I got 1983 picture, it was a poles were like this in
the village and when the minister missionary came to l-1assettthey make him cut it all down . They don ' t pray to it , youknow , they just go by it so the next generation who they belong
to, that ' s all just 'like keeping a book. Just like a history.
Yes , just like family tree.
;
IH:
Yes, that is a crime.
And so they didn ' t let them sing
any songs?
FD:
No , my mother used to weave all the time and sing justhymns while she was weaving.
She would weave away and singhymns.
IH: What a pity.
FO:
I ' ll try to think of one.
can ' t think of it now.
When
my hands was like this , I'm so busy with everything , and it

hurts so much.
It was in the middle of April that it started.
IH: Will you repeat what you said now.
FD : Too bad. My husband and I didn't know you. He died in' 69 you know.
He was good singer and he knew so much songs.
He used to sing.
When he starts singing no end to it.
Where
we were camping, we smoke fish , go there in May and he got his
bed and mine is across him .
IILet' s sing Haida song" I said.
And he start singing, we sing together , nice shiny day , wecan't work outside so we just resting.
IH : Too bad you didn't know me, you would have sung for me.

left, lewis Collison, Skidegate Mission, B.C., 1963
Centre, Halda Carving, Rufus Moody, Skldegate Mission, B.C.
(,..nte Raven at centre of pole).. ,It, Patrick S. McGuire, Skldegate, B.C., January, 1964

12

IH: What kind of a song were you taught?
K: Well, they don't sing they just talk .

MRS. PETER KELLY

1974

So when I.

IH: Mrs. Peter Kelly is going to talk and sing to us some of her
Haida Songs. From whom did you get these songs Mrs. Kelly? From

IH:

IH: Ye s.
K: Mrs. Kelly Sings - Kl.
IH: What kind of a song is that?
That is a love song.

It is a love song.

IH:
I thought the Haida had many songs .
K: Well , they might have, but not when I am telling you thissince they make these songs, so I don't know who they are.
IH:
Do you know what it tells, what it means?
K:
Yes.
I'm go ing to give you the meaning in English.
I amgoing to say a few words on that.
I'm feeling something very very
bad now.
It is not a good thing.
It's like sickness.
I'm going
to repeat it again.
It's like sickness.
That is how I feel when I

love somebody and I am singing that song for the one I love.
IH: Sing it again.
K: Mrs. Kelly sings - KIA.
IH: That is very beautiful. Do you know any other old timers.
There is another o ne.

This is a Haida King they call this one.

Mrs. Ke lly sings - K2.
IH: You don't clap your hands or you don't make any rhythms.
R: NO, no. We don't.
It's respec ted .
IH: What do you mean?
K:
It is not a thing that you play with. It is a very serious
thing, so they don't clap with this. Only some things that they
don't respect clap for it, they clap for it.
IH: Oh I understand, so actually you don't beat the drum .. ..
K: Oh yes, they beat the drum you know.
IH: That is what I mean the rhythm.
K: They just beat the drum, that is what it is for .
IH: What is the rhythm of the drum beat. How do you beat it?
K: Beat with a drum.
IH: Just like that. For instance if you think of stick you canbeat it. It would help wouldn't it.
K:
If the singing is quick the beat is quick you see. Then there
is another one .
IH: You can help with something and then we have the rhythm
together.
K: Yes.
IH: The second was the Haida King.
K:

Yes, the second was the Haida King.

And did they sing any songs for you?

K:No .
They don ' t sing songs you know .
No songs were very
very scarce , because they did not have the brain to music you
know ...

IH: Who made that song?
K: I don't know it is an old timer. They all dead. I don't know
It is maybe about pretty near a hundred years
who they were.

K:

The day you get a bath , and then they call all yourfriends in, your girlfriends in, and they set the table and forthe first time you eat a meal with your friends .
And that is
the law when I was a girl .

whom did you get your songs?
K:
Do you want me to sing?

K:

story.
You see .
Nobody sings or they talk very little, because
they want a girl to be a good wife , a good mother and a good
woman after she becomes a woman.
Now that is the character .
I remember I went to see a girl, she was in bed , she was afriend of mine, and I remember she put a cloth on her bed andshe was making a collar for a man ' s.

IH: Oh that was about 1910?
K: Oh that was way before that.

It was 1904 or 05.

K:

1890.

I'm 84.

IH: Wonderful, you look marvelous .
K: And that's the time you form .
And then when you get up in
the morning you spit on the road and every time you stamp on it ,anybody that walks, if you want to say bad words you stamp on
it and you don ' t say it.
That is what they believe in.
Andthey don't want anybody to stay in bed in the morning.
Get upin the morning , first thing in the morning.
They said that if

all the bad things coming out of people will go into your mind.... that is the story .
IH: As you were a little child did your mother sing any songs
to you?
K: No , no I don ' t think so .... you see when I became conscious
it was missionaries . My mother and father were Christian people

and they don't sing any more the old songs .
passed away .

IH:
And these o l d songs which belonged to a certain person.
Do
you know any of these songs?
K:
Well, I don't know, you know when I am alone it comes poppingout of my mind.
Just now.
You see I don't sing Haida anymore.
This other love song it was my husband's father wrote this song.
Just a minute I haven't got it yet. Oh yes that is the one.
Is
it ready now?

IH:

Yes.
This is a love song o n e of the Haida men for his auntie.

IH: And it belonged t o your husband's . .. ..
K: My husband's father I think. Or somebody.

I heard it was hisfather, but I am not sure you see. Mrs. Kelly sings - K3.
IH:
That's a ll ? Wha t does it mean?
K:
I put you away f rom my mind. I put you away from my mind, but

7an 't f?rget you.

Oh , my I love you my auntie .

I

It's such a short one you know.
It is very
lrnpress1ve.
It's a natural and it just come out from my mind.
There is another one.
Mrs. Kelly sings - K4 .

K:
Instead of saying AVIER it is a brother-in-law with that wordin it you see. KLE NASS is brother-in-law. Somebody is fallingin love with a brother-in-law, and that is where the song was
created .

IH: How o ld would the song be?
K: Oh it is old . It is over a hundred years old anyway.

And

there is another one.
IH:
Now it's on.
That is an old story?

K:

About when a girl ge ts into womanhood.

Have you heard thatfrom the Haidas?

IH: No .
K:
I was just telling my friend here this morning when I became
a woman when I was 14.
They had a law, that has to go by whena girl changes her life and is not a gir l anymore. At 14 she is
not a girl anymore .
She is a woman adult you see.
Some of thegirls they go without food ten days.
In their room, nobody sees
them, nobody talks to them.
And you have to stay in there.
Nofood , nobody in there.
Just go out at night , nobody sees you.
You sit in there and you think of good things and you sew or

weave or do anything that you want to do .

So they tell you that

it is character that they are forming during that time.
Now
that's the word.
It is character changing from girlhood to womanhood , and that is going to stay with you.
And you are not supposed to talk when you are under that condition .
Because if you
don't .. . they don ' t want Haida women to talk too much. Womentalk too much .

I know white people talk a lot you know.

Butthe¥ must be quiet and say nice things and act according tothe~r way of the olden days, and they tell you to do it.

IH:
K:

Left, carving by Claude Davidson, Haida, B.C., 1974
Right, carved by Robert Davidson, Haida

And are they taught the songs then?

Yes ...

13

The old things have

My father was a local preacher, and he had a lot

This is ....

K:

Then I

said to her what are you making.
She said I am trying to makea collar for a man's shirt .
So I saw her cut it out and sew itin her hand, very very fine hand sewing.
And that was what she
wanted to be a sewer. Another girl wanted to be a basket weaver.
Another wanted to crochet wanted to knit in those days you see .
Before the olden times I don't know what they did , but during
my time.
So that's what I .. ...
IH: When were you born?

IH: What do yo u mean by the Haida King?
K: Well they call it Haida King. It is so popu lar that they giveit the name Haida King.
IH: And everybody could sing it?
K: Oh yes. They danced with it, but they have a big orchestra
playing this, and the saxophone and everybody . Oh it was justbeautiful.
IH: Oh that was a little half modern half .....
K: Yes, it's in a big hall.
They have a big dance the~e andthey p layed Haida King. Everybody came , came and danced and justenjoyed it.

when I l ay down I think of you .

They don 't talk to

the girl.
When I became a woman I was four days without foodand I stayed in a room.
Nobody talks to me, just my mother .
"Are you hungry?"I said:"Yes.""Well
And my mother said:
that is all right it is four days now , you're doing very well."Good family people sometimes go for ten days po water , nothing .

HAIDA

of totem poles in front of his house, and he cut them down andburned them.

Oh, beautiful ones , oh , they were that big.

three years .
If we had stayed longer I would have learned theTsimshian language too. They are different.
IH: What kind of a song is that?

Someof them I saw in the front of our house and they cut it down
and make wood out of it , burned them.
IH: What a shame. Does it hurt you?

K:
"What is the matter with you mother, are you mad at me, I
love you mother" and that is it.

K:
The missionaries fault I think.
The missionaries , but they
don ' t worship him .
It ' s just their clan, that is their pride

IH:
IH:

They are not so long as the other songs . . ..
Remember that last song you sang .
It didn ' t come on.

of having that.

K:

Do you want it now?

IH:
That was a great crime.
K:
Yes , yes it was .

IH:

Yes.

IH : A cultural crime.
K: Yes.
IH: Yes that is how I feel about it .
K:
I think it was wrong you know . So that what.
IH: And with al l these totems came songs you know.

going to check. Just a moment .
K:
Mrs . Kelly sings - K6 .
IH: That is a very nice one. And that is t he one where you

Well just a moment so I will c h eck before so that

I don't have you si ng it and I

were exp l aining befor e.

And youK:

have n' ~got it right.

You exp l ained t h e I ndian, what it mean t .

Jedoway place is a nice place .

I heard t h e news about

don ' t remember having heard anybody sing these songs anymore.

Jedoway.

K: No. You see there is lots of it at Skidegate. If you go up
to Skidegate you hear them .. ..
IH : The songs, the old totem songs.
K: My brother-in- law has one of these and you get lots of songsout of it , but you have to pay. That is the worst part of it
you know .
If you off them something they will give it to you.
If you don ' t .. . .
IH : No you see the thing is I want to preserve them ... .
K: Yes, they don ' t think of the preserving you see . They wantto keep it for themselves.
Haida people aren ' t going to live

to think of you and I want you to come home.

forever I

K:

K: No just a minute .. . What did you say?
IH: Hamatsa .
Harnatsa, no that is not the way to pronounce it .

IH:

That is the Kwakiutl way to pronounce it, but I wanted toknow how the Haida pronounce it.
K: Well I forget all these things . It is a long time since I
seen with the Haida people. So I don ' t know very much.
I canknow the words, but it is hard for me to talk to them. And
that is the only thing I can do not.
The secret society , your father was part of t he secret

It was too long.

IH :It was made for the Chinook .

K:Yes , it was made for the Chinook.

He never learned

were in Nanaimo for 16 years and I was too busy with my chi l drenand church work and I didn ' t have t ime to learn their language.

My name is KWE

K:

It is a different language all together.

IH:

But your Indian name was again?

K: KWIE AUJAT .... . means white cloud lady .
IH: And your mother and father?
K: JE A SUNGA GHA .. ... we put our barometer in her, not baro meter . You go by the weat her by this lady ... that is it.
IH: And your father was?
K:
yes .. ..

Oh I see the weather .
I was teaching

IH:
You said he was a secret society man , that he belonged toa secret society.

Haida in Victoria you know .

Did you.

K:
And then they want me to say a word and then a sentence, but
the noun is always in the end not in the first.
In the Haida

K:

Yes.

IH :

He was a chief?

K: Oh yes , he was a chief from way back.
IH: What was the name of the chief?
K: KLEE AUS. And my husband got that name too .

language.
IH:
It is too bad that they didn ' t teach you the songs or thatyou didn't hear ... .
K: Yes that's right.

He taken t hename from my father , because they are in the same clan.
IH:
What was it? What clan was it? Raven or what?

IH:
Do you remember any of these old time songs?
K:
No I don't .
I was thinking of one again .
It doesn ' t justcorne to me.
No I don't think I have any more coming to me .
IH:
These love songs you were singing to me, they were madeK: That is the Roseby clan. It is a Roseby Clan . It is thehighest clan in Queen Charlotte Islands.
Roseby Point . .. .
IH: What it mean Roseby?
K: NY I KUN KLEE 0 WAI . . .. NY I KUN is the point where they
were born. That is the name of it , NY I KUN KLEE 0 WAI . It
is the point. It is still up there, near Massett. And my father

out in the wayan Indian would do them ....
K: Well how they feel about their girlfriend.
IH: Yes . But that they had heard already white songs at thatcomes from that clan.
My mother was from Alaska .
She was bornin Alaska, among the Haida tribe there.
And when she was atime.

Oh yes, but I think that these songs were two or three hun-baby, they brought her into Massett. And her mother was killed

dred years old.
That is why it's hard to remember them, because
we don't hear it.
I know these pieces , because sixty seventy
years I never heard it, for maybe all that time.

IH:

I

different languages , but I do a li t t l e bit here and there ,because I never stayed long enough to learn it properly. We

K:
Yes the weather , weather woman or whatever they want to callit.
You see it is hard for me to interpret it because Haida

K:

That is a love song in Ch inook.

here on record.
K: You know he wasn't a linguist at all .

AB JAT, that means White clouds, woman.
My mother ' s meaning
was that you take the barometer from her.
Barometer woman.

IH:

You

IH : But now you said it in Haida . "Th at is interesting . Wel l
you did beautifully , wonderfully .
K: And I am enjoying your company t oo .
IH : I enjoy you very much. I admired very much Dr. Ke l ly,
your husband . He was a wonderfu l man . And I want t o have it

society?

are a little different to understand to English .

I've got another one .

the music you see .

K:
Dh yes , yes.
SCARBRA, no it ' s not Scarbra .
Scarbra isa man that is a doctor . .. .
IH : A medicine man ... .
K:
Yes a medicine man . .. .
IH:
Dh he was a medicine man your father?
K:
NO, no , he was a chief from way back .
IH:
What was his name?
K:
Amos Russ , Amos Russ.
His Indian name is HE DANCED.

IH:

Well that is lovely .
I ' ve done very well ....

didn ' t tell it in Chinook.
IH: No. You spoke in Haida .
K: No I spoke it in Chinook.
IH : In Chinook, well that is good .
K: Anybody that would hear Chin ook t h ey know it is not Haida
you see. Oh they know the difference.
IH: How would it sound i n Haida.
K: You want to speak it in Haida . She says it .
IH: Can you sing it in Haida or o n ly Chinook.
K: No I don't think I can do it . The words are different in

My father was one of them .

My my mother's name was JAB A B sing KWA GU.

IH :
K:

IH: Sad very sad story.
K: That is a love story. Mrs. Kelly sings - K7A .
IH: Very beautiful thank you .

How do you pronounce it, Hamatsa?

IH:

That is the onl yLong time ago I want you .
I love you, but now I don't want you
anymore .
Long time ago I want to love you , but now I don ' twant you anymore.

story about when he used to be in a secret society . ...

K:

I t ' s like sickness to me

I H: Yes, beautifully , thank you very much.
K: Just a short love song . Just a minute I'll tell you .
want in there the love song in Engli s h .
IH : No no you sing it in Chinook .
K: Oh, just a minute . Mrs . Kel l y sings - K7.

IH: Especially if they don ' t write it down .. ..
K: These people, the white people are trying to he l p us topreserve this for maybe 100 years 200 years from now . ...
IH: Forever . . . for always. And if they die t he songs die withhim, because he can ' t write it down .
K:NO , no they can't write it down .
IH: That would be a shame.
K: That ' s the ~ay it is . I remember my father telling me a

IH:

am not havi ng a good time.

way I can explain it.

said .

IH: The Hamatsa . .. .
K: You heard about that?

I

I am n o w

in Victoria when she went there.

She fell down from a ladder,and that is how she died. And her grandmother raised her .
And my mother had ten slaves when she was a girl. And she wasWhat did your husband sing to you Dr . Kelly?

a very quiet, humble woman, not that.
IH :I see what you mean.
What clan was she . . . was it a RavenK:
We didn ' t talk Haida very much .
After we were married after
six years we left Skidegate and we didn ' t talk Haida anymore ,or Wolf?

because we had to talk English to the Tsimshiam people , and you
preached in English and Chinook. A man came all the way fromK:

Raven.

You see my father was a Raven , and the Grizzly Bear.

And my mother was a Raven too .

And they don ' t supposed to

Kansas City to get a lesson in Chinook from me.
For three days.
Then he went back to Kansas again , but he is going to corne backagain next year and take some more lessons from me .
IH:
Do you know any Tsimshian songs?
K:No, no I don ' t .
You see when we became missionaries, they
don ' t want that anymore.
It was hushed up.
The church was
the thing, not mix it up.
IH:
But they were singing between themselves .
But of course
you being the missionary's wife didn't hear so many .. ..

marry, but when the Christianity carne , they throw that away andmy mother and father got married .

K: There is one little one that I learned in Hartly Bay .
Mrs . Kelly sings - K5.
IH: That sounds like a real one ....

IH:

K:

IH: They were happy?
K: Yes .
IH:

Two Ravens?

K:

I might be mistaken mind you.

Interesting .

If anybody hears that Haidaor somebody , I don't know very much about it.
I am just saying
what I used to hear.
My memory is not as good as it used to be
you see.

Well with eighty-four you are doing very very well.

Ha ida Argilli tes from the collec tion ofGeorge and Ida Halpern.

Yes, but that is a Tsimshian one .

IH: Can you give it to me with a beat?
K: Mrs. Kelly sings and beats - K5A.
IH: That is very beautiful .
K: Anybody hear that can know the beat you know from the music .
I think that that is the only one that I learned there after

14

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