kuugyuakBISFA30 126 216

126 S.
2023
Bulletin of the International String Figure Association, Vol. 30, 126-216, CLAASSEN
A String Figure Collection from

Kuugyuak (Perry River),
Nunavut, Canada
by
S C , Best, Netherlands
ABSTRACT
In 1997 several original inhabitants returned to Kuugyuak (Perry River), a
settlement that was abandoned in 1967. They spontaneously started to make
and share string figures, which was caught on video tape. The current paper
describes 41 out of the 43 string figures and tricks that were shown. The
construction of eight figures has not been recorded before, and eleven figures
were hitherto not known to be present in the Inuinnait region. It was not
possible to identify and transcribe the construction of two of the figures. One
of the noteworthy features is the use of the foot in the construction and display
of three figures, which is not common for string figures from the Arctic.
INTRODUCTION
In 1997 the Kitikmeot Heritage Society, an Inuit-led charitable organization
that focuses on the priorities of Inuinnait1, organized a land camp at which
original inhabitants of Kuukyuak (Perry River) went back to their homeland.
Their memories, their stories, and also their string figure making, were cap-
tured on VHS video tape. Several years later parts of the recordings were pub-
lished on the site of Isuma.tv2, where I encountered them as I was studying the
string figure material on that website. It brought me in contact with Brendan
Griebel, Manager Collections and Archives of the Kitikmeot Heritage Society,
1
https://www.kitikmeotheritage.ca/, accessed 17th of July 2023.
2
http://www.isuma.tv/kitikmeot-heritage/stringgames, accessed 17th of July 2023.
126
A STRING FIGURE COLLECTION FROM KUUGYUAK 127
who kindly supplied me with further background information on the record-

ings, and with the original and complete source material. From 2021 to 2022
we were both also involved in a string figure instruction website based on the
Kuukyuak string figure session3.
Kuugyuak, or Perry River, is situated at the eastern border of the region inhab-
ited by the Inuinnait cultural group (the group is sometimes referred to as Cop-
per Inuit/Eskimo; see Damas 1984) in the Nunavut area of Canada. Their east-
ern neighbours are the Netsilik, in the west they have the Inuvialuit
(Mackenzie Inuit) as neigbours.
In 1926 the Hudson’s Bay Company (HBC) established a trading post at the
mouth of Perry River, where goods could be obtained in exchange for white
fox pelts. In the decades that followed, the people that were living in the area
grew more and more accustomed to the security the supplies of the Company
gave. But in the spring of 1967 the trading post closed, and the people sudden-
ly became completely dependent on their own resources and surviving skills,
to which they were not accustomed anymore for decades. The HBC manager
had left a small box with some basic supplies for each of the families with
some food (a one month supply), motor gas and gas for the stove, but the peo-
ple left Perry River and the place was abandoned. Some went to Cambridge
Bay, but most of the people (five extended families, some 60 people) set off
for Gjoa Haven4. In late spring the snow was already too soft for heavy loads,
but it still allowed for travel by dog team. The sleds were loaded with boats
that would be needed when the ice began to melt, and the boats themselves
were filled with all they could hold, including young children. Several children
were among the group heading to Gjoa Haven, and two women were pregnant.
After a long, five-month journey the group finally reached the DEW-Line
(Distant Early Warning-Line) station on King William Island and later on con-
tinued to Gjoa Haven. Kuugyuak has not been inhabited on a regular basis
since then.
At the beginning of the 20th Century the Inuinnait consisted of some 800
people; nowadays most Inuinnait live in the villages of Sachs Harbour, Ulu-
khaktok, Kugluktuk, Bathurst Inlet and Cambridge Bay (McGhee 2010).
3
https://inuinnaqtun.kinsta.cloud/collection/string-figure-tutorials/, accessed 23rd
of September 2023
4
This information is based on the website dedicated to Perry River and the people
who lived there <https://www.tunngavik.com/initiative_pages/perry-river/>, accessed
3rd of July 2023.
128 S. CLAASSEN
Previous Inuinnait string figure collections

Two previous collections of Inuinnait string figures exist (a, b); a further col-
lection of mounted figures contains at least two string figures from the Inu-
innait territory (c):
a. Jenness
Canadian ethnologist Diamond Jenness (Jenness 1924) collected 169 string
figures/series and tricks, including names, chants and construction methods,
between 1913 and 1916 from various groups in the Arctic. 84 string figures
from the Inuinnait area were collected when the southern party of the Canadian
Arctic Expedition had its headquarters at Bernard Harbor from 1914-1916
(Jenness 1924:9)5.
Jenness noted the total absence of chants accompanying the string figures in
the Coronation Gulf area (1924:190).
b. Rasmussen
Greenlandic/Danish explorer Knud Rasmussen collected 57 mounted string
figures (some doubles) in the eastern part of Coronation Gulf during the Fifth
Thule Expedition (1921-1924). The original mounted figures are in the collec-
tion of Nationalmuseet, Copenhagen, Denmark6. The figures were made by
Netsit, Tatilgak, Qerdluajoq and Itigartoq, all belonging to the Uming-
maktormiut group. No construction methods were recorded. Rasmussen pub-
lished his figures mostly as drawings, but some (figures 17-21) as photographs
of the mounted figures (Rasmussen 1932:271-288).
c. Stefánsson collection
Canadian ethnologist Vilhjalmur Stefánsson collected 50 mounted string fig-
ures on a large piece of skin from the Mackenzie River to Coronation Gulf
during the Vilhjalmur Stefánsson Museum Expedition 1912-1918. The figures,
along with names and often with interpretation of the figures, are collected on
one large piece of skin, which is in the collection of the American Museum of
Natural History, New York City, USA7. Some of the figures are doubles. No
construction methods were recorded. The collection has not been published
yet. Céline Petit kindly provided us with high quality photographs of the fig-
ures and with her interpretation of the names and figures.
5
The following Jenness string figures were found in the Copper area: 1, 4, 9, 11-
13, 15, 17, 18, 21, 23, 24, 26-33, 35-38, 42-46, 52-58, 66-73, 76, 78, 82, 83, 88, 90, 93-
95, 97-100, 103, 104, 106, 114, 115, 117, 118, 120-123, 127-130, 132, 133, 137, 139,
140, 142, 145, 147, 148, 151, 152, 156. This contradicts his statement (1924:189) that
he found 83 figures from the Copper Eskimos. In his footnote 3 he mentions figure 144,
but this has not been found in the Copper area (figure 145 is). From his counting he has
omitted figures 45, 133 and 156, which, in the text, he describes as found in the Copper
area.
6
Pu.93 Snorefigur.
7
Catalog No: 60.1/ 3588.
Most of the mounted figures have the name of the person who made the figure
(and some also the date) written next to the figure. Four different string figure
makers can be identified, all of them belonging to the Inuvialuit (Mackenzie
Inuit) cultural group, not to the Inuinnait:
• Ituaryuk (on the mounted figures spelled as Ituayuk) was the father of
Alingnak (Stefánsson 1913:364)8.
• Guninana was the wife of Alingnak (Stefánsson 1913:362)9.
• Palaiyak was the 18-year old adoptive son of Ilavinirk and his wife Mama-
yauk (Stefánsson 1913:131)10.
• Nogasak was the 9-year old daughter of Ilavinirk and Mamayauk
(Stefánsson 1913:131; a photograph of Palaiyak and Nogasak can be seen
on the page opposite Stefánsson 1913:268).
Two of the string figures in this collection (that have no name of the maker)
are indicated to be collected from Coronation Gulf, which belongs to the terri-
tory inhabited by the Inuinnait.
THE STRING FIGURES AT KUUGYUAK IN 1997

The filmed string figure session is preserved on two digitized video files in the
Kitikmeot (KM) Heritage Society archives, which serves as the material for the
present collection.
• Film 39. 01:02:41, Color, sound
• Film 40. 01:02:39, Color, sound
The Society has published most of the string figure footage on YouTube
(distributed over two videos)11.
The string figures are presented below in the order in which they are made in
the two films. Some figures and constructions are clearly related to each other
and often occur in sequence (such as various ways to make a particular figure,
or figures that involve the foot in their construction). Often the name and inter-
pretation of a figure is given in the film. Céline Petit kindly provided many
names and translations. When an Inuinnaqtun name of a string figure and its
English translation are placed between brackets, this indicates that the name of
this figure at Kuugyuak is not certain.
8<
https://www.historymuseum.ca/cmc/exhibitions/hist/cae/
peo614e.html#iyituaryuk>, accessed 20th of July 2023.
9<
peo614e.html#guininanna>, accessed 20th of July 2023.
10<
peo624e.html#palaiyak>, accessed 20th of July 2023.
11
String Games, <https://www.youtube.com/watch?v=63n4EWs0L10>;
String figure making at Kuukyuak, <https://www.youtube.com/watch?
v=TIWYszlL0HE>, accessed 20th of July 2023.
130 S. CLAASSEN
The following people are making the following string figures (indicated by
numbers given to the figures in the present paper) on the film:
• Peter Apiana (PA)12: KM 04, 05, 06, 09, 10, 11, 12, 13, 14, 15, 16, 18, 19,
20, 24, 26, 28, 29, 30, 31, 32, 35, 36, 37, 38, 39, 40, 41, 42, 43
• Susie Apiana (SA): KM 01, 02, 03, 07, 08, 32
• Eva Nakoyak (EN): KM 02
• Martha Angulalik (MA): KM 04, 23
• Sarah Ullikattaq (SU)13: KM 09, 21, 22, 25, 27, 28, 33, 34, 40
• Donald Kogvik (DK): KM 22, 37
Peter Apiana makes by far the most (30) string figures and tricks at Kuugyuak.
It is remembered that he was always asking questions about how to do things,
because he was never raised by parents who could teach him properly. Susie
Apiana was his wife.
Instruction videos for most of the figures are available on YouTube. Links to
these videos can be found in Appendix I, along with links to the original source
material on YouTube.
The construction methods follow the nomenclature that is explained in the No-
menclature section at the end of this Volume. In some cases not the complete
construction of a figure has been filmed; then, where possible, reconstructions
for the missing movements have been devised. These reconstructed move-
ments are then placed between square brackets [ ].
Each description of a figure and its construction method is followed by an
indication whether the figure occurs in the Arctic overview collection of Pater-
son (1949). Further comparative information can be found in Table 1, which
lists occurrences in the Inuinnait collections of Jenness, Rasmussen and Stef-
ánsson described above; when the occurrence in one of these collections is not
attested for the Inuinnait region, this is indicated by placing the reference be-
tween brackets.
If a string figure is not found in Paterson, references to other string figure
collections that contain construction methods are given, when these could be
found (Mary-Rousselière 1969; Elbaum & Sherman 2013); in chronological
order (thus first the occurrence in Mary-Rousselière is given, and, if it is not in
12
Late Peter Apiana was born at Ellice River in 1932. When his parents died in
1949, he moved to Perry River, and later returned to Ellice River with his wife Susie.
They had four children, <https://www.tunngavik.com/initiative_pages/perry-river/
transcripts/peter-apiana/>, accessed 3rd of July 2023. Peter Apiana, interviewed by
David Pelly in 2003.
13
Late Sarah Ullikattaq was also born at Ellice River. Her father was Bobby Ma-
tumiaq, her mother Mary Aputainaq <https://www.tunngavik.com/initiative_pages/
perry-river/transcripts/sarah-ullikattaq/>, accessed 3rd of July 2023. Sarah Ullikattaq,
interviewed by David Pelly in 2003.
that collection, only then a reference to Elbaum & Sherman 2013 is given)14.
For readability references to the collections of Paterson (1949), Jenness (1924),
Rasmussen (1932), and Mary-Rousselière (1969) use the string figure # in the
collection instead of page numbers15. Original names are here represented in a
simplified nomenclature; for the original transcription the reader is referred to
the original collections. Paterson does not have original construction methods
and/or names of string figures for the Inuinnait area, but is dependent on Jen-
ness and Rasmussen. Paterson did not include string tricks.
At some moments in the film footage Peter Apiana gives contextual infor-
mation while making the string figures. He talks in Inuinnaqtun, and one of the
observers at times translates (part of) what Peter says into English. Peter
Apiana says that some of the string games have stories, which are told as “they
go along”, but he does not know these stories anymore16. Years ago, when Pe-
ter was growing up, people would gather during the winters in one area, and
they would celebrate by having string games. String games were used to event/
stage some of the things that the people experienced17.
KM 01. Kimmiun itka (“ dog’s anus”)

Made by Susie Apiana
Fig. 1 - KM 01 Kimmiun itka
14
This means that when a figure occurs in Paterson, we give no further references
to other collections such as Mary-Rousselière, as these can be easily retrieved.
15
In the original publication of Jenness 1924, figures have Roman numerals. For
readability these are here converted to standard numerals.
16
Film 40, 00:06:13.
17
Film 40, 00:11:30.
132 S. CLAASSEN
1. [Hold LH with palm pointing towards the right, fingers pointing upwards.
Place the string loop over L1 and L5, and allow the rest of the loop to
hang down as a pending loop along the palm of the LH.
2. With RH from below (= from the left towards the right) enter the pending
loop then with R123 grasp L palmar string and pull this string down
through the pending loop, which slips off the RH. Do not fully extend, but
allow a distance of some 15 cms between the L palm and the string that
used to belong to the pending loop. Remove RH from the figure. A new
pending loop is formed.]
3. With RH from below (= from the left towards the right) enter the pending
loop and bring RH over intermediate strings to the LH. With R1 from the
near side hook L1f and with R23 from the far side hook L5n. Bring tips of
R1 and R23 together, holding their strings, and pull these strings to the
right through the pending loop, which slips off the RH. With R45 join R23
in holding the strings, which are now held as in a fist. Remove R1 from
the figure. Do not extend fully, but allow the triangular space to be of a
couple of square centimeters between the hands.
4. Display with L palm pointing towards the right, L1 and L5 pointing up-
wards, the RH fingers in a fist (fig. 1).
Remark:
• Movements 1 and 2 are not on the film footage and have been reconstruct-
ed.
This is Paterson #34.
KM 02. <two player take-over series>

Performed by Eva Nakoyak and Susie Apiana
Two players, A and B are sitting opposite each other.

1. Player A: Position 1.
2. Player A: With L123, over intermediate strings, grasp R5f, pass it along R
palm, around R1 to dorsal side of R1, between R1 and R2 to palmar side
of RH, along R palm between R4 and R5 to dorsal side of R5 and around
R5 to palmar side of RH. Release grip of L123.
3. Player A: Movement 2 with R123 on LH.
4. Player A: With R2 pick up the L palmar string running from L1n to L5f.
5. Player A: With L2 from above enter R2 loop, then from below pick up R
palmar string running from R1n to R5f.
6. Player A: Extend, palms facing each other, fingers pointing upwards, LH
farthest away from the body, RH closest to the body [Stage 1] (fig. 2).
Present the figure to player B.
Fig. 2 - KM 02 Stage 1, taken off Fig. 3 - KM 02 Stage 2, taken off the

the hands as seen from above by hands as seen from above by the player
the player holding the figure holding the figure
7. Player B: With L12 from the left side pinch the crossing of A’s 2f and non
-TV 5f, L2 passing from above into the triangular space formed by A’s
R2f and non-TV R5f, and L1 from above into the triangular space formed
by A’s L2f and non-TV L5f. With R12 from the right side pinch the cross-
ing of A’s 2n and non-TV 1n, R2 passing from above into the triangular
space formed by A’s R2n and non-TV R1n, and R1 from above into the
triangular space formed by A’s L2n and non-TV L1n.
8. Player B: Separate hands, passing L12 over A’s TV 5f and R12 over A’s
TV 1n, then down with tips of 12 towards each other under A’s TV 5f and
TV 1n respectively, then turn tips of 12 upwards and pass 12 from below
into A’s 2 loop.
9. Player A: Remove hands from the figure.
10. Player B: Separate 12 of each hand and separate hands [Stage 2]. Present
the figure to player A, LH farthest away from the body, RH closest to the
body (fig. 3).
11. Player A: Pass R2 from above in B’s R1 loop and R1 from above in B’s
L1 loop then bring them together pinching the crossing of B’s 1n-2n. Pass
L2 from above in B’s R2 loop and L1 from above in B’s L2 loop then
bring them together pinching the crossing of B’s 1f-2f.
12. With tips of 12 pointing towards the floor lift hands, then move hands
away from each other, RH passing over B’s TV 1n and LH over B’s TV
134 S. CLAASSEN
2f, down and towards each other under B’s TV 1n and TV 2f respectively,
then turn tips of 12 upwards and pass 12 upwards in the center of B’s fig-
ure.
13. Player B: Remove hands from the figure.
14. Player A: Separate 12 of each hand and separate hands, palms facing each
other, 1 and 2 pointing upwards. Present the figure to player B, LH far-
thest away from the body, RH closest to the body. [Stage 3] (fig. 4).
Fig. 4 - KM 02 Stage 3, taken off the Fig. 5 - KM 02 Stage 4, taken off the
hands as seen from above by the hands as seen from above by the player
player holding the figure holding the figure
15. Player B: Pass RH, palm pointing away from the floor, from A’s near side,
over A’s 1 loop, and catch A’s 2n in the crook of R5; pull it over A’s dou-
ble 1n towards A’s near side. Pass LH, palm pointing away from the floor,
from A’s far side over A’s double 2f, from above in B’s R5 loop, then
from A’s far side catch A’s 1f in the crook of L5, and pull it over A’s dou-
ble 2f towards A’s far side. Keeping 5 crooked, pass R12 from above (=
towards the floor) in R5 loop close to R5, then towards A’s far side under
A’s double 1n and up; simultaneously pass L12 from above (= towards the
floor) in L5 loop close to L5, then towards A’s near side under A’s double
2f and up.
16. Player A: Release all strings.
17. Player B: Separate 12 of each hand and extend, 1 and 2 pointing upwards,
5 crooked. Present the figure to player A, LH farthest away from the body,
RH closest to the body [Stage 4] (fig. 5).
18. Player A: At B’s near side of the figure there is a near crossing of the L5f-
R1n and the R5f-L1n-string, and at B’s far side a far crossing of the L5n-
R2f and the R5n-L2f string. Keeping 12 in a horizontal plane, with R12,
from B’s near side, pinch B’s near crossing and with L12, from B’s far
side, pinch B’s far crossing. Move hands away from the center of B’s fig-
ure and up, then with 12 from above enter B’s 12 loop.
19. Player B: Release all strings.
20. Player A: Spread 1 and 2 of each hand and extend with palms pointing
away from each other, 1 and 2 pointing towards the floor. Present the fig-
ure to player B, LH farthest away from the body, RH closest to the body.
[Stage 5] (fig. 6).
Fig. 6 - KM 02 Stage 5, taken off the Fig. 7 - KM 02 Stage 6, taken off the hands
hands as seen from above by the player as seen from above by the player holding
holding the figure the figure
21. Player B: Bring RH towards A’s near side of the figure, then with R2 from
below (= towards the floor) enter A’s R1 loop and with R1 from below (=
towards the floor) enter A’s L1 loop. Bring tips of R1 and R2 together,
pinching the crossing of A’s R1n-L2n and A’s L1n-R2n. Simultaneously
bring LH towards A’s far side of the figure, then with L2 from below (=
towards the floor) enter A’s R2 loop and with L1 from below (= towards
136 S. CLAASSEN
the floor) enter A’s L2 loop. Bring tips of L1 and L2 together, pinching
the crossing of A’s R2f-L1f and A’s L2f-R1f.
22. Player B: Bring hands away from each other (keeping each 12 with their
pinched string pointing towards the floor) over A’s TV strings, then down
towards each other under A’s TV strings and up in the center of A’s fig-
ure.
23. Player A: Release all strings.
24. Player B: Separate 1 and 2 of each hand and extend with palms pointing
towards each other, 1 and 2 pointing upwards. Present the figure to player
A, LH farthest away from the body, RH closest to the body [Stage 6] (fig.
7).
25. Player A: Bring RH to B’s near side of the figure then with R2 from above
enter B’s R1 loop and with R1 from above enter B’s L1 loop. Bring LH to
B’s far side of the figure then with L2 from above enter B’s R2 loop and
with L1 from above enter B’s L2 loop. On each hand, under B’s figure,
bring tips of 1 and 2 together until they touch, then turn hands towards
each other and up.
26. Player B: Release all strings.
27. Player A: Each 12 holds a small hanging loop. With 1, from above, re-
move 2 loop.
28. Player A: With 345 from below enter double 1 loop and hook down dou-
ble 1n, closing 345 to the palm.
29. Player A: Release double 1 loop, with 1 from above (= away from the
body) share double 345 loop and enlarge this loop, raising 1. Extend, fist-
ed palms pointing towards each other (fig. 8).
Fig. 8 - KM 02 final figure

30. Player B: In A’s figure an upside-down double-walled triangle can be

seen. With R2, towards A, enter this triangle.
31. Player A: Catch B’s R2 diminishing the size of the triangle by turning
hands around the wrist bringing 1 towards each other.
32. Player B: At the apex of the upside-down triangle A’s R1345f strings pass
between A’s L1345f. Turn R2 from A’s near side towards A’s LH down
between A’s L1345f, then towards A’s RH away from A through A’s
R1345 loop and up. B’s R2 is now free.
33. Player A: enlarge the triangle by turning hands around the wrist bringing 5
towards each other.
34. Repeat movements 30-33 several times, also exchanging roles of players,
whereby the figure is taken over by the other player.
Remarks:
• Movements 7-8. These movements are difficult to discern on the film foot-
age, but are likely because of the general outline of the movements that
can be seen and because of the shape of the figure appearing at movement
10.
• Movement 34. After Player B has played the game of freeing R2 four
times, she takes over A’s figure so that A can play the game also. A plays
the game two times. Since B takes over A’s figure sitting opposite A, in
movement 32 L and R have to be exchanged when A plays the game. A
then takes over B’s figure once again (sitting opposite B) and B plays the
game one last time (acting according to movement 32).
The series is basically the same as the common Cat’s Cradle two player take-
over series (a classic description is given in Jayne 1906:324-335). The series
itself was also seen in South-West Alaska, where it was made by Carley Foster
(Claassen 2016:196-201, Foster 29b). There the series ends with a different
figure, and the opening figure (after movement 6 above) is, though identical,
constructed somewhat differently. A similar series was also found in East
Greenland (Victor 1940:183-196, nr. 24 & 25); there the opening figures are
different, and the series ends in different figures.
The series itself is not given in Paterson’s collection. The final figure (after
movement 29 above) is actually the same as Paterson #17, but making it as part
of the Cat’s Cradle series has not been described before. The final figure is also
made separately later on in the film (KM 17 Qaniriuq (“the mouth”)).
KM 03. Napirraqtuq (“caught in a lasso”)

Made by Susie Apiana.
138 S. CLAASSEN
Fig. 9 - KM 03 Napirraqtuq
1. Hold LH with its palm facing the body, fingers pointing towards the right,
and place a string loop over L12345, so that a pending loop hangs down
from the LH. There is a near (palmar) and a far (dorsal) pending string.
2. Pass R2 under near pending string, then over far pending string between
L1 and L2, and hook up far pending string, passing R2 down, towards the
body under near pending string and up (introducing a half twist in the
newly formed R2 loop. With tips pointing towards each other transfer R2
loop to L2. With help of the RH pull far pending string tight towards the
floor.
3. Movement 2 between L2 and L3 and transferring R2 loop to L3.
4. Movement 2 between L3 and L4 and transferring R2 loop to L4.
5. Movement 2 between L4 and L5 and transferring R2 loop to L5 (fig. 9).
6. Release L1 loop.
7. With RH slowly pull near pending string down towards the floor. The
string loop comes off the LH.
This is Jenness’ Strick Trick 3. It is not in Paterson, as he did not record any
string tricks.
KM 04
Made by Peter Apiana and by Marga Angulalik
The instructions describe the construction by Peter Apiana; Marga Angulalik

only shows the final shape and performs the release on the film footage.
1. Place the string loop on L1 to create a hanging loop. Grasp the two strings
of the hanging loop with R345, about 15 cms from the LH, closing them to
the R palm. With R12 from above enter the L1 loop and stretch them apart
to separate L1n and L1f.
2. Turn RH a half turn clockwise, then with L5 hook up R1f.

3. Turn RH a half turn anti-clockwise, then with L2, from the far side, hook
up R2n.
4. Turn RH a half turn clockwise, then with L4 hook up R1f.
5. Turn RH a half turn anti-clockwise, then with L3, from the far side, hook
up R2n.
6. Turn RH half a turn clockwise and with L4 pick up R1f.
7. Turn RH half a turn anti-clockwise and with L2 pick up R2n.
8. Turn RH half a turn clockwise and with L5 pick up R1f.
9. Turn RH half a turn anti-clockwise and with L1 pick up R2n.
10. Remove RH from the figure and allow its loop to hang down from the LH
palm (fig. 10).
11. With help of the RH remove L3 loop.
12. With RH pull pending loop. The loop comes off the LH completely.
Fig. 10 - KM 04
Whereas both Peter Apiana and Marga Angulalik in movement 12 pull the long
pending loop, David Nicolai from Alaska18 showed me recently that pulling the
small loop that is tight around L1 makes the string come off the hand more
18
David and I met in Amsterdam, the Netherlands in June 2023.
140 S. CLAASSEN
easily. It is the same trick as Jenness’ String Trick 4; it is not in Paterson’s col-
lection, as he did not include string tricks.
KM 05
Made by Peter Apiana
Fig. 11 - KM 05
1. Place an untwisted string loop on L1 and with R2345 from above enter the
other end of the loop, pressing the continuation of L1n between R1 and
R2.
2. Bring RH towards the body and to the left then away from the body under
L1 loop and up, so that the L1 loop runs along dorsal side of R wrist. With
L12345 from above (= away from the body) enter R2345 loop. Return RH
towards the body under L1 loop and to the right.
3. With R12 pointing towards the floor pass the string pressed between R12
(a continuation of a L near wrist string) once around the LH in a clockwise
direction (when looking towards finger tips of LH); gently pull tight.
4. Movements 2-3, replacing L1 loop with L near and far wrist strings in
movement 2.
5. Remove R1234 from the RH loop (keeping R5 in the loop), then with help
of R12 release L1 loop.
6. With R234 from below enter R5 loop and with R1 from above share
R2345 loop (fig. 11). Pull RH loop towards the right. The LH is freed
from all its strings.
Remark:
• Movements 1-3. In the first recording these movements are not on the
film.
This is Jenness’ String Trick 7.
KM 06
Fig. 12 - KM 06, final figure
1. Hold the string of the string loop with tips of 123 of each hand, allowing a
piece of approximately 15 cm string to be between the hands. Make a
small upstanding loop by bringing R123 away from the body and to the
left. With L123 grasp the crossing of the two strings that form the small
loop (L1 over, L23 under the crossing) (fig. 13) and release grip of R123.
With L5 hook the L string of the pending loop, closing L5 to the palm.
2. With R123 grasp the string running from the crossing towards the right at
approximately 15 cm from the crossing, and make a small upstanding loop
by bringing R123 towards the body and to the left. Add the crossing of the
two strings making the new small loop to the crossing already held with
L123 (fig. 14), releasing grip of R123.
142 S. CLAASSEN
Fig. 13 - KM 06 during movement 1

3. L123 now hold two adjacent small loops, one on the left and one on the
right. A long pending loop hangs down from the LH. Pass R2, at a point
some 20 cm to the right of the LH, over the right string of the pending
loop then towards the body under this string and up, forming a R2 loop
(fig. 15). With R345 hook down both strings of the R2 loop, closing R345
to the palm. Gently remove R2 from its loop. A small R lozenge is held by
crooked R345. With R12 hold the R lozenge at the point where it proceeds
from R345.

144 S. CLAASSEN
4. With R palm pointing away from the floor turn hand so that R12 is closest
to the LH. From right to left pass the R lozenge from below through the R
small loop then from above through the L small loop until it protrudes
towards the left from the L small loop, making sure no twist is introduced
in the R lozenge (fig. 16).
5. Gently release L2 from its grip (L13 continue holding the crossings of the
small loops), then with L2 from above enter the R lozenge where it pro-
trudes from the left side of the L small loop (fig. 17). At the right side,
closest to the body, a R body-side small loop is formed (the other R small
loop is now referred to as the R far side small loop). Adjust grip of L13 to
add the near (closest to the body) string of this loop to the crossings al-
ready held with L123 (fig. 18). Remove RH from the figure.
6. Hold RH with palm pointing away from the floor, then bring palm of RH
from the left under the pending loop (hanging down from the LH) to the
right, until some 3 cm of the pending loop protrude to the right of the RH;
make sure no twist is introduced in strings passing along the R palm. With
R2345 hook down both strings passing along R palm, closing R2345 to
the palm. A small R lozenge is formed protruding from the right side of
the RH. Press R1 against the side of R2 to hold this lozenge.
7. Turn RH a half twist around the wrist in an anti-clockwise direction (when

looking away from R forearm) so that the R lozenge now points towards
the left. Pass the R lozenge from below through the R body-side small loop
(marked “a” in fig. 18), then towards the far side over all intermediate
strings down into the R far side small loop (marked “b” in fig. 18) and
away from the body. Release strings held by RH, then with R2 at the far
side of the figure from below enter former R lozenge, and return to the
right, with R345 from below sharing R2 loop and turning R2345 towards
the body, down and away from the body until fingers point away from the
body (thus introducing a ¾ twist in the loop in a clockwise direction when
looking towards tips of R2345). Turn R2345 within its loop a half turn in a
clockwise direction (when looking away from R forearm). Raise R2 to
enlarge the loop.
8. Release grip of L13 and give L2 loop a whole twist clockwise (L1 assists
by temporarily passing under L2 loop then touching tip of L2 to prevent
the loop to slip off L2).
9. Extend, 2 pointing away and up, L5 being crooked, R345 pointing away
from the body (fig. 12). If necessary adjust the figure with L1 and L3.
Remarks:
• The first making of Peter Apiana is not on the YouTube videos of the Per-
ry River meeting, but the second making is.
• Movement 7. In the original film, during this movement the loop held by
L2 temporarily slips off the finger, which is restored afterward.
146 S. CLAASSEN
The construction of this figure has probably not been recorded before.
The video then shows a long interview with Peter and Susie Apiana19. After
this, the string figure making continues with KM 07.
KM 07. Tuutannguaq
Fig. 19 - KM 07 Tuutannguaq
1. [Opening A.
2. Pass 1 over 1f and under all intermediate strings to the far side of 5f, pick
up 5f then return 1 under 5n to the near side of 5n.
3. Pass 1 away from the body over 5n, down under all intermediate strings
towards the body and up.
4. Release 2 loop and extend, palms facing each other, 1 pointing upwards, 5
pointing towards the floor (fig. 19).]
Remark:
• Only the final figure is on the film. The construction method has been
reconstructed from other recordings of this figure.
This is Paterson #42a.
KM 08. Tiriganniaq (“fox”)

1. Opening A.
2. Pass L34 from above in L5 loop then pass them towards the body under
L2 loop and from the far side pinch L1f between L34, L3 passing over, L4
19
Film 39, 00:05:13 – 00:52:15.
under L1f. Return L34, passing L34 down, away from the body under 2
loop through L5 loop and up. Separate L34.
3. Pass R3 from below in R2 loop then over R2n, and from the far side pinch
R1f between R23, R2 passing over, R3 under R1f. Return R23, passing
R23 away from the body through R2 loop (which slips off) and away from
the body.
4. Turn palms outwards, allowing 1 loop to slip off 1 and releasing 5 loop.
5. With R3 from above (= towards the body) enter the loop running from
R23 to the LH, at the same time releasing grip of R23; keep R3 pointing
towards the body. Separate hands, then with R1 from above (= away from
the body) share R3 loop and lift R3n to enlarge the loop.
6. Extend, palms facing each other, R1 and L23 pointing away from the
body, R3 pointing towards the body (fig. 20).
Fig. 20 - KM 08 Tiriganniaq
This is Mary-Rousselière 1969:19, nr. 14c Teriganiarjuk oqitartorjuk (“The

fox obtained in a fast way”); the figure is not in Paterson’s collection.
KM 09. Taliriuk (“two arms”)

Made by Peter Apiana and Sarah Ullikattaq
1. Opening A.
2. With 1, over intermediate strings, pick up 5n.
3. Pass 2345 from above in double 1 loop, hooking down intermediate
strings and closing 2345 to the palm.
148 S. CLAASSEN
4. Slightly raise 2 and bring it between upper and lower 1n to the near side of
the figure. Pinch lower (TV) 1n between tips of 23, then turn 23 away
from the body under upper 1n and up over intermediate strings, at the
same time straightening 45.
5. Remove 1 from the figure.
6. With 1 from below remove double 2 loop.
7. With 2 from above remove 5 loop.
8. Pass 5 from below in double 1 loop close to 1, then from below in 2 loop,
and hook down 2n through double 1 loop, closing 5 to the palm.
9. With 3 from below share 2 loop close to 2, then pass 23 towards the body
over all intermediate strings and trap upper 1n (a TV string) between the
tips of 23 (2 passing over, 3 passing under upper 1n). Return by rotating
23 down, away from the body through the 2 loop (which slips off 2) and
up to create a new 2 loop. Remove upper 1 loop and separate 2 and 3 of
each hand.
10. R Katilluik (With R1 from below share L1 loop. Remove L1 from the fig-
ure then with L1 from below share double R1 loop. With 1 pick up 2n
close to 2, then Navajo 1 by bending 1 towards each other over upper 1n,
down towards the body under middle and lower 1n and up. Release 2
loop).
11. Extend, palms facing each other, 1 pointing upwards, 5 being crooked.
With tips of 23 adjust the figure so that the two halves of the figure sepa-
rate in the middle and move in the direction of the hands (fig. 21).
Fig. 21 - KM 09 Taliriuk
Peter Apiana’s construction is on the film footage. Sarah Ullikattaq only shows
the final figure.

KM 10. Aksariuk (“two brown bears”)

Fig. 22 - KM 10 Aksariuk
1. Opening A.
2. With 1 from below remove 2 loop.
4. Pass 5, under 2 loop, from below in lower 1 loop, upwards at the far side
of upper 1f and from below in 2 loop, then hook down 2n (through lower 1
loop), closing 5 to the palm.
5. With 3 from below share 2 loop, then pass 23 over upper 1 loop and pinch
lower (TV) 1n between tips of 23 (2 at its near, 3 at its far side). Pass 23
away from the body over upper 1 loop and through 23 loop (which slips
off) and up. Separate 2 and 3.
6. Allow the lower 1 loop to slip over upper 1 loop and off 1.
7. With R1 from below share L1 loop. Remove L1 from the figure then with
L1 from below share double R1 loop.
8. Pass 2 between upper and lower 1f and bring along the original 2 loop so
that it is at the near side of upper and lower 1f, then pass 2 under double
1n to the near side of the figure. Straighten 2 and release double 1 loop.
9. With 1 pick up upper 2n.
10. Remove 2 from the figure and extend, palms facing each other, 1 pointing
away from the body, 5 being crooked (fig. 22).
Movement 7-8 are a shortcut for the usual movements (Jenness #1, method 1
(Alaska)):
7’. With R1 from below remove L1 loop; with L1 from below share double
R1 loop; with 1 pick up 2n; Navajo 1; remove 2 from the figure. With 2
from below remove 1 loop.
150 S. CLAASSEN
8’. Hold hands with palms facing each other, 2 pointing upwards, 5 being
crooked. At the near side of the figure two diamonds can be discerned,
strung up between TV 2n and TV 5f. With L1 pick up lower left side of left
diamond; simultaneously with R1 pick up lower right side of right diamond.
With 2 from above remove 1 loop and allow this loop to slip over original 2
loop to become a lower 2 loop.
This is Paterson #8. Diamond Jenness describes two closely related construc-
tion methods for this figure (Jenness #1), but neither matches Peter Apiana’s
construction method exactly; his shortcut movements have probably not been
recorded before. The construction is closely related to that of KM 11 below.
KM 11. Aksariuk hitilik (“a brown bear and its den”)

Fig. 23 - KM 11 Aksariuk hitilik
1. Opening A.
4. Pass 5, under 2 loop, from below in lower 1 loop, upwards at the far side
of upper 1f and from below in 2 loop, then hook down 2n (through lower 1
loop), closing 5 to the palm.
5. With 3 from below share 2 loop, then pass 23 over upper 1 loop and pinch
lower (TV) 1n between tips of 23 (2 at its near, 3 at its far side). Pass 23
away from the body over upper 1 loop and through 23 loop (which slips
off) and up. Separate 2 and 3.
6. Allow the lower 1 loop to slip over upper 1 loop and off 1.
7. With R1 from above share L1 loop. Remove L1 from the figure then with
L1 from below share double R1 loop.
Fig. 24 - KM 11 after movement 7,

detail of RH holding strings
8. The continuation of lower R1f passes (at R1) over upper R1f then contin-
ues to cross TV 2n. Pass R2 towards the body between the continuation of
lower R1f (the upper string, indicated by the black arrow in fig. 24) and
the continuation of upper R1f (the lower string, indicated by the white
arrow in fig. 24), and bring along the original R2 loop so that it is at the
near side of upper and lower R1f, then pass R2 under double R1n to the
near side of the figure and up. Simultaneously pass L2 between upper and
lower L1f, bring along the original L2 loop so that it is at the near side of
upper and lower L1f, then pass L2 under double L1n to the near side of the
figure and up. Remove 1 from the figure.
10. Remove 2 from the figure and extend, palms facing each other, 1 pointing
away from the body, 5 being crooked (fig. 23).
Remark:
• Movement 9. After this movement it appears as if the 5 loops have inci-
dentally slipped off, and Peter picks them up again. This takes some rear-
rangement.
This is Paterson #24. The mounted final figure is in Stefánsson’s collection

(Aklak sitilik (“the bear and the den”)), which was recorded at Coronation Gulf
in 1911 and only afterward (in 1912) named by Ituaryuk; Stefánsson’s name is
thus not Inuinnait.
152 S. CLAASSEN
The figure is closely related to KM 10 above, and also here Peter Apiana
uses a (related) “shortcut” (movements 7-8) .
KM 12. <no final figure reached>
Peter Apiana now (three times) tries to make a further figure (probably Pater-
son #26, fig. 25) but he does not achieve a correct final figure. He says that he
at this moment cannot make the figure, and that string figures are easy to for-
get.
Fig. 25 - KM 12, possible intended figure (Paterson #26)
KM 13. Maqitturiuk (“one who carries a kayak on his head or shoulders”)

1. Opening A.
2. Pass 2 away from the body, over all strings, around 5f, then towards the
body under all intermediate strings, and insert 2 from below into 1 loop.
Hook up 1n with 2 by retracing its path.
3. Release 1 loop.
4. Pass 1 from above through lower 2 loop hooking lower 2n, then under all
remaining strings, and pick up 5f. Return through lower 2 loop.
5. Hook 1 over upper 2n (a TV string) and pull down this string as far as pos-
sible; the existing 1 loop slips off. Pass 1 away from the body, still holding
down upper 2n, under all strings except 5n, then, bending 1 toward the
center of the figure, pick up 5n and pull this string through 1 loop, which
slips off.
6. Pass 1 away from the body below all strings and pick up the lower TV
string (originating in upper 2n), drawing this string through the 1 loop,
which slips off in the process. 1 points up, and other fingers point down,
palms toward the body. Turn hands so 1 points down, other fingers point
up, and palms face away.
7. Release 2 loops, and extend, fingers pointing away from the body, 1 point-
ing upward (fig. 26).
Fig. 26 - KM 13 Maqitturiuk
This is Paterson #44. Céline Petit noted that in the video, when Peter Apiana
displays the final figure (which for him shows a man carrying a kayak on his
shoulders), one of the elders present mentions the name Katausiligjuk
(referring to the presence of a katak, a doorway of a house), which is related to
the name under which the figure is known in the eastern Arctic (The Entrance
to a Tent); in the western Arctic the figure represents a man carrying a kayak
on his head (see Paterson 1949:32).
Now several ways to make Ukaliriuk (“hare”) are shown. Peter Apiana first
makes KM 08 above, but does not really display the final figure, then he makes
KM 06, and continues further with KM 14.
KM 14. Ukaliriuk, Ukaliq (“hare”)

1. Place a string loop over the L foot and place the other side of the untwisted
loop over R2345, fingers pointing away from the floor.
2. Press the parallel strings running between the RH and the L foot between
L12 at a point 2/3 of the way from the foot, L1 passing over, L2 under the
strings, L1 and L2 pointing towards the right.
3. With R1 from below share R2345 loop. Keeping tension in the strings
bring RH over the figure towards the L foot until RH fingers point towards
the floor, pass R1 from above at the left of the L parallel string and R2345
from above at the right of the R parallel string, then grasp the L and R
parallel string in the bend of R1 and R2345 respectively.
4. Bring RH upwards and towards the right through the original RH loop
which slips off, and turn RH so that its palm points towards the left, R1
pointing towards the floor, R2345 being crooked. R1 and R2345 each hold
a string in their bend. Bring LH towards the left and turn hand so that L
palm points towards the right, L1 pointing away from the body.
154 S. CLAASSEN
5. Straighten R23 and pass R2 over the figure from above in double L1 loop
close to L1. Enlarge double L1 loop by bringing crooked R2 to the right.
6. Turn LH so that its

palm points away from
the floor. Pass L5 from
below in double L1
loop (fig. 27) then to-
wards the right over the
figure and under R2n
only, and hook R2n in
its bend, and return
with this string through
double L1 loop. Re-
move R2 and R345
from the figure.
7. Bring LH over RH to
the right, LH palm
pointing towards the
floor, RH palm point-
ing away from the
floor. Release double
L1 loop and extend, R1
pointing upwards, L5
pointing towards the
floor (fig. 28). Fig. 28 - KM 14 Ukaliriuk as seen by an observer
facing the maker
This construction method has probably not been recorded before. It is closely
related to that of KM 18.
KM 15. Ukaliq (“hare”)

Fig. 29 - KM 15 Ukaliq, LH side
1. Hold both strings of the loop between the sides of L1 and L2 so that some
10 cm of the loop fall down on the near side of L1, forming a hanging
loop.
2. With R1 and R2, towards the floor, enter the hanging loop. With R1 from
the below side pick up the lower L1f string and with R2 from above hook
up the upper L1f string, bringing them through the hanging loop. Do not
extend hands completely, just bring RH some 7 cms away from LH.
3. With R345, from the right, grasp the two strings at the other end of the
loop at a point below the hanging loop; close R345 to the palm.
4. Rotate L1 away from the body, down, towards the body under all interme-
diate strings and up.
5. Pass L5 towards the body over all strings, then with L5 hook R1n, return
over intermediate strings to the far side of the figure and close L5 to the
palm.
6. With L2 from below share double L1 loop, then bring tips of L12 and R2
together. With L12 from above pinch R2f, L1 at its near, L2 at its far side.
7. Remove R2 from the figure, then with L12 pull the string they hold to the
left through the double L12 loop, which slips off.
8. Release R1 loop and extend, bringing RH some 20 cm to the right, keep-
ing tension in the strings by allowing the loop grasped with R345 to slip in
156 S. CLAASSEN
its grip. With R23 towards the body separate framing strings. With R1
from above (= away from the body) share R23 loop to enlarge it (fig. 29).
KM 16. Tiriariuq (“the weasel”)

1. Opening A.
2. With tips of 2 pointing towards each other exchange 2 loops, R through L.
3. With L1 from above remove L2 loop.
4. With L1 pick up L5n.
5. With L234, pass under oblique double 1f [then over oblique double 1n,
trap TV 1n between the tips of L2 and L3 (L2 above and L3 below), return
L234 by rotating down, away and up to create an L2 loop.
6. Release L1, R1 and R5 loops.
7. With R345 hook down R2f to enlarge its loop (fig. 30)].
Fig. 30 - KM 16 Tiriariuq
Remark:
• Part of the construction (from halfway movement 5 to the final display) is
out of view of the camera; these movements have been reconstructed.
The figure is not in Paterson’s collection, but it can be found in Mary-

Rousselière’s collection (#48f Qabvigjuk nevralayorjuk ayararealik (“the wol-
verine on its back by method of held strings”)).
KM 17. Qaniriuq (“the mouth”)
Only the final figure (the same as can be seen in fig. 8 above) and the game
(movements 30-33 of KM 02 above) are shown in the middle of Peter Apiana’s
construction of KM 16. It is not possible to identify the people who make the
figure.
This is Paterson #17, but the construction method is not shown on the film.
KM 18. Tiriganniaq (“the fox”)

the sides of L12 at a point 2/3 of the way from the foot, L1 passing over,
L2 under the strings, L1 and L2 pointing towards the right.
from above at the right of the R parallel string (fig. 31), then grasp the L
and R parallel string in the bend of R1 and R2345 respectively.
4. Bring RH upwards and towards the right through the original RH loop,
which slips off, and turn RH so that its palm points towards the left, R1
pointing towards the floor, R2345 being crooked. R1 and R2345 each hold
a string in their bend. Bring LH towards the left and turn hand so that L
palm points towards the right, L1 pointing away from the body.
158 S. CLAASSEN
5. Straighten R23 and pass them, under intermediate strings, at the near side
of upper L1f from above in double L1 loop close to L1. Enlarge double L1
loop by bringing crooked R23 to the right (indicated by “b” in fig. 32).
Fig. 33 - KM 18 Tiriganniaq
6. Turn LH so that its palm points away from the floor. Pass L5 from below
in double L1 loop (fig. 32), then pass L5 over the figure from above be-
tween parallel strings at the foot-side of the point where the parallel
strings are crossed by the strings originating in upper L1f, and hook R
parallel string in its bend (indicated by “a” in fig. 32). Return L5 through
double L1 loop, close L5 to the palm, and remove R23 from the figure.
7. Bring LH over RH to the right, LH palm pointing towards the floor, RH
palm pointing away from the floor. Release R45 and double L1 loop and
extend, L5 pointing towards the floor, R1 pointing upwards (fig. 33).
The construction method is almost identical to that of KM 14. From Peter

Apiana’s verbal comment it seems that he was actually trying to make Tiriar-
iuq (“the weasel”) here, but ended up with Tiriganniaq (“the fox”). He then
tries again and makes KM 19, which uses a considerably different construction
method (but makes also use of the foot).
Note that the final figure displays best with a string that has only a little fric-
tion. The construction of this figure has probably not been described before.
KM 19. Tiriariuq (“the weasel”)

Made by Peter Apiana.
L12 at a point 2/3 of the way from the foot, L1 passing over, L2 under the
strings, L1 and L2 pointing towards the right.
from above at the right of the R parallel string, then grasp the L and R
parallel string in the bend of R1 and R2345 respectively.
4. Remove LH from the figure and bring RH upwards through the original
RH loop, which slips off.
5. With L2345 from above (= towards the right) take over double strings held
by RH, and remove RH from the figure. Place L1 on the near side of L2
between the two L2345n strings to separate them (fig. 34).
6. A string loop originating in L2345f crosses the two parallel strings. Pass
R1 from the right and from below (away from the floor) up between paral-
lel strings close to the L foot and from the far side hook the string segment
of the string loop running at the upper side of the parallel strings (“a” in
fig. 34); pass R2 from right to left under the parallel strings to the left side
of the L parallel string at the foot-side of the figure and from the left and
from the near side hook the L string of the string loop (“b” in fig. 34) in its
bend. Bring tips of R1 and R2 together until they touch, and return RH
towards the right under the R parallel string up towards the body.
160 S. CLAASSEN
Fig. 34 - KM 19 after movement 5
7. A double R12 loop runs from the tips of R12 towards the figure (marked
“x” in fig. 35). Turn LH until its palm points away from the floor.
Straighten L3 and with L3 from above remove double R12 loop then close
L3 to the palm (fig. 36).
8. Hold LH with its palm pointing away from the floor. Along the dorsal
base of L3 two L3 dorsal string segments can be distinguished (indicated
by the white arrow in fig. 36). Pass R23 from below (away from the floor)
along the L dorsal side behind the two L3 dorsal string segments then up-
wards over all intermediate strings, then with R23 from above pinch upper
L2345n (indicated by the grey arrow in fig. 36) (R2 passing at the near, R3
passing at the far side of L2345n), then bring R23 down towards the right
between the L dorsal string segment and the LH dorsal side, until R23
point towards the floor. Remove L345 from the figure but keep L1 against
near side of L2, holding a string loop.
9. Bring hands away from each other and extend, LH palm pointing away
from the floor, R23 pointing towards the floor. With L2345 from below
(away from the floor) remove the loop held between L1 and L2. Separate
R23 then with R3 from below (= towards the floor) share R2 loop (fig.
37). If necessary, use the other fingers to improve the extension.
The construction of this figure has probably not been described before.
162 S. CLAASSEN
KM 20. Tiriariuq, Tiriariuktauq (“the weasel”)

1. Hold about one quarter of string segment of an untwisted string loop be-
tween 123 of each hand, so that a pending loop hangs down between the
hands. Toss the pending loop away from the body, then towards the body
over the string segment. There are now three hanging loops in the string.
The middle loop is slightly larger than the left and right loop.
2. With 2345 towards the body enter the loop held with 123, simultaneously
releasing grip of 123. Bring RH away from the LH and drape middle loop
over L thigh. Press middle loop between thighs.
3. Straighten L2, then with L2 from below remove R2345 loop.
Fig. 39 - KM 20 after movement 3, here presented on a flat surface
4. Below the LH, hanging down from L2, an 8-like structure can be distin-
guished. With R2 hook the crossing of the 8-like structure by passing to-
wards the left entering lower half of 8-like structure (space marked “a” in
fig. 39) then towards the right entering upper half of 8-like structure
(space marked “b” in fig. 39) and returning to the right.
5. With L1 from above remove loops held by L2, release grip of L345, then
with L1 away and to the right enter middle loop, releasing grip of thighs.
6. With R3 from below share R2 loop and extend, L1 pointing upwards, R23
pointing towards the floor. Twist hands to and fro around the wrists to
adjust the figure until a hourglass-shaped figure appears between two TV
strings.
7. With L5 from below enter L1 loops, press both oblique L1f away under
TV L1f and hook down (upper) TV L1f, closing L5 to the palm.
8. Pass L23 from above into L1 loops, pick up double oblique (middle and
lower) L1n, carrying those oblique strings away, under (upper) TV L1n
and up; between the fingertips of L2 and L3 trap TV L1n then rotate away
from the body and up through the L1 loops.
9. Remove L1 from the figure (fig. 40). A double-walled diamond can be
seen in the left half of the figure. At the right point of the diamond the
upper right and lower right sides of the diamond are connected by a con-
necting string segment originating in R23n and R23f (indicated by the
arrow in the above photograph). Pass L1 from below in L2 loop close to
L2, move it to the right along the near side of the connecting string seg-
ment, then from the right with L1 hook the connecting string segment
(exactly between the upper right and lower right sides of the diamond) in
its bend; return L1 through L2 loop.
10. With R1, at the near side of the figure, from below remove L1 loop. Re-
move R23 from the figure.
164 S. CLAASSEN
11. Return R1, and upon returning introduce a ¾ twist in its loop in a clock-
wise direction (when looking at tip of R1) by turning R1 towards the body,
down and away from the body.
12. With R2345 from above share R1 loop to enlarge it. Extend, L2 pointing
away from the body and up, L5 being crooked (fig. 38).
The construction method is (except for small details) identical to that of Mary-
Rousselière #48d Qabvigjuk nalugialik (“the wolverine by the ‘launched’
method”) (see Elbaum & Sherman 2013:213-214 where Mary-Rousselière’s
construction method is explained in English).
Then the film shows Peter Apiana performing initial movements of the con-
struction of a further figure but no final figure is reached, and it has been im-
possible to identify the intended figure (it might be a different construction
method to make The Weasel).
Throughout the filming of the construction of KM 21 below, we see21 Peter

Apiana turning the intermediate figure of KM 20 after movement 6 over (far
side becomes near side), so that in the final figure The Weasel is close to the
RH. This is done in the following way:
a. Hold the intermediate figure after movement 6 with crooked 345 of each
hand, palms facing the body.
b. Bring R1 along the body side of the figure to the left, then with R1 from
the left and from below (towards the body) remove triple L345 palmar
strings and bring R1 upwards.
20
Film 39, 01:00:41.
21
Film 39, 01:01:32.
c. Pass L1 along the far side of the figure to the right then with L1 from be-
low (towards the body) remove double R345 loop.
d. With L23 from above remove double L1 loop, and keep crooked L12
pointing towards the floor.
It is now possible to continue to the final figure, performing similar move-
ments to movements 7-12 of KM 20 above, with L and R exchanged.
KM 21 (Kayak)
Made by Sarah Ullikattaq
Fig. 41 - KM 21
1. Opening A.
2. Pass 1 under 2 loop then with 1 from the far side and from above remove
2 loop.
4. Pass 5 from below in lower and middle 1 loop then up to the far side of
upper 1f, and hook down upper 1f through middle and lower 1 loop.
5. With 2 from above remove upper and middle 1 loop.
6. With help of tips of R12 twist L1n once in an anti-clockwise direction
(when looking at tip of L1) around L1, so that a tight loop around L1 is
formed. Remove R1 from the figure then with R1 from below share dou-
ble L1 loop.
7. With 1 pick up double 2f, then Navajo 1 by turning tips of 1 towards each
other over double upper 1n, down towards the body under double lower 1n
and up. Remove 2 from the figure.
8. Two small vertical lozenges depend on one of the TV 1n each. With 2
from the far side pick up the 1n on which the vertical lozenge closest to
the LH depends. Allow this 1n to slip off 1, maintaining the other 1n.
166 S. CLAASSEN
9. Display separating 1 and 2 on each hand, 5 being crooked (fig. 41).
This is Paterson #51. In the film some observers mention the name Kayak in
relation to this figure.
KM 22.
Made by Sarah Ullikattaq and Donald Kogvik.
Fig. 42 - KM 22
1. Position 1.
2. Pass R1 from above behind L palmar string and hook it up, passing R1
towards the body over TV 1n and up.
3. Pass L1 from above behind R palmar string and hook it up, passing L1
towards the body over R1 loop and up.
5. Pass 5, under 2 loop, from below in double 1 loop close to 1, and hook
down TV 2n through double 1 loop, closing 5 to the palm.
6. With 3 from below share 2 loop, pass 23 towards the body over intermedi-
ate strings and pinch TV 1n between tips of 23, 2 passing over, 3 under
TV 1n. Turn 23 down away from the body over upper 1 loop through 2
loop (which slips off 23) and up, then separate 23.
7. Allow lower 1n (that continues to 2f on the same hand) to pass over upper
1n and off 1.
8. With R1 from below remove L1 loop, then with L1 from below share dou-
ble R1 loop. With 1 pick up 2n, then Navajo 1, passing tips of 1 towards
each other over upper 1n, then down towards the body under middle and
lower 1n and up.
9. Release 2 loop and extend, palms facing each other, 1 pointing up and
away, 5 being crooked (fig. 42).
KM 23. Kayak
Made by Martha Angulalik
Fig. 43 - KM 23 Kayak
1. [Opening A.]
2. With 1, under 2n, pick up 2f and return under 2n.
3. Release 2 loop.
4. With 1 from below remove 5 loop, and keep loops on 1 well separated.
5. With 5 from below enter lower and middle 1 loop, then pass 5 to the far
side of upper (TV) 1f, and hook down upper 1f through middle and lower
1 loop, closing 5 to the palm.
6. Pass 23 towards the body, over triple 1f, over upper and middle 1n, then
pinch TV lower 1n between 23, 2 passing at the near, 3 at the far side. Pass
23 to the far side over middle and upper 1n, then with 2 pick up middle
and upper 1n, raising 2 and lifting middle and upper 1n off 1. Make sure to
maintain the lower 1n on 1 (should it have dropped off 1, pick it up again).
Remove 3 from the figure.
ble R1 loop. Pass 1 over all intermediate strings under double 2f and pick
up double 2f, then return, and Navajo 1 by bending tips of 1 towards each
other over double upper 1n, towards the body under double lower 1n and
up. Release double 2 loop.
8. On each of the double 1n is, in the middle between the hands, a vertical
lozenge. Pass 2 towards the body between double 1n separating them into
parallel strings with a vertical lozenge on each. With 2 lift the string on its
back off of 1. There should now be a vertical lozenge on 1n and 2f.
168 S. CLAASSEN
9. Extend, separating 1 and 2 of each hand, 5 being crooked (fig. 43).
Remarks:
• Movement 1 is not on the film; it has been reconstructed.
• The construction of this figure is filmed from the side; therefore some con-
struction details are difficult to discern.
This is Paterson #33, but without the intermediate figure (made as in North-
West Greenland (Claassen 2015:67-69, Adler 3 Kayak). Some of the observers
mention the name Kayak when the figure is displayed.
KM 24. The sun in a cloudy sky

Fig. 44 - KM 24 The sun in a cloudy sky
Only the final figure is on the film footage. It is Paterson #95 (Jenness #129),
except that there is an additional movement to account for the final extension:
Close to each hand an upside-down triangle can be distinguished, its apex
crossing one of the 5f (here called the apex-5f). Pass 1, away from the
body, under the apex-5f and over the other 5f, pressing down this other 5f.
Remove 5 from the figure and extend, palms pointing away from the
body, 2 pointing up and away, 1 pointing down and away.
The mounted final figure is also in the collection of Stefánsson (Irittji hiniligit
(“sun on mountains”)). Emily Angulalik (sister of Martha Angulalik) made the
figure at Cambridge Bay in June 2021, as can be seen in a photograph from
that evening (personal collection); we have followed her in naming the figure.
KM 25. Tubag
Fig. 45 - KM 25 Tubag
1. Position 1.
2. Pass 1 away from the body over 5f, down, towards the body under all in-
termediate strings and up, hooking up 5f, allowing the original 1n to slip
off 1. There is now a TV 1f and a TV 5n.
3. With R2 pick up L palmar string between L1f and L5n. With L2 from
above enter R2 loop, then pick up R palmar string between R1f and R5n.
Return through R2 loop.
4. With 1 from below remove 2 loop and keep loops well-separated.
5. With 1 from below remove 5 loop and keep loops well-separated.
6. With 5 from below enter lower 1 loop, then pass 5 at the far side of middle
and upper 1f, and hook down upper and middle 1f through lower 1 loop,
closing 5 to the palm.
7. Pass 23 from above in 1 loops between middle and lower 1n, raise 2 slight-
ly behind upper 1n then trap upper 1n between the tips of 23; return by
rotating 23 down, away from the body and up to create a new 2 loop. Sep-
arate 2 and 3.
8. Extend with palms pointing away from the body, 2 pointing up. Allow
upper and middle 1n to slip off 1.
9. With R1 from below remove L1 loop; with L1 from below share double
R1 loop. With 1 pick up 2n then Navajo 1 by turning tips of 1 towards
each other over upper 1n, down towards the body under middle and lower
1n and up; release 2 loop.
10. With 2 from below remove 1 loop (fig. 46).
170 S. CLAASSEN
11. In the figure a single-walled upside-down triangle can be discerned; its

base runs close and parallel to TV 2n; its apex touches the apex of a lower
triangle which has double 5f as its base (this lower triangle is indicated by
“a” in fig. 46). With R1 from the near side enter the lower triangle, then
pick up both strings of the apex and the base of the upside-down triangle
(indicated by “b” in fig. 46). With L1 from below share R1 loops.
12. With 1 pick up 2n close to 2 then Navajo 1 by turning tips of 1 towards
each other over upper 1n, down towards the body under triple lower 1n
and up. Release 2 loop.

13. Identify the string segments indicated by the arrows in fig. 47. Pass 2 over
the figure towards 5 over respective arrow string segment and hook up this
arrow string segment, turning 2 towards the body and up.
14. With 3 from below share 2 loop, then pinch TV 1n, close to 1, between
tips of 23, 2 passing over, 3 under the string. Turn 23 down, away from the
body through original 2 loop and up, then separate 23. Remove 1 from the
figure (fig. 48).
15. Between two more or less vertical string segments strung up between TV
2n and TV double 5f a short horizontal string segment can be discerned
(indicated by “x” in fig. 48). Pass R1 away from the body between the two
vertical string segments, pick up horizontal string segment and return be-
tween the vertical string segments. With L1 from below share R1 loop,
then with 1 pick up 2n close to 2, then Navajo 1 by turning tips of 1 to-
wards each other over upper 1n, down towards the body under lower 1n
and up. Release 2 loop.
16. Extend, palms facing each other, 1 pointing away and up, 5 being crooked.
If necessary, improve extension with 23 at the far side of the figure (fig.
45).
This is Paterson #2022. Sarah Ullikattaq and some of the observers mention the
name Tubag when the final figure is displayed.
22
The drawing of Paterson #20a, which appears to be an original drawing,
possibly contains some mistakes, as it differs slightly from that of Jenness #78 (Jenness
1924:91, drawing 107).
172 S. CLAASSEN
KM 26. Two dogs and packs <unidentified>

Peter Apiana shows the last movements and the final shape of a figure we have
not been able to identify. The mounted final figure is, however, also in the col-
lection of Stefánsson (Miuxitak – tatiyuk (“Two dogs and packs”)), and Peter
Apiana appears to mention the same name when displaying the figure, and an
observer can be heard saying Two dogs and packs are on a journey.
Fig. 49 - Peter Apiana displaying KM 26 Two dogs and packs

Still from Film 40
KM 27. Ptarmigan
Fig. 50 - KM 27 during movement 6 Musk Ox (?)

1. [Position 1.
2. Pass R2 from above behind L palmar string and hook it up, turning R2
away from the body over L5f and up.
3. With L2 from below share R2 loop and release 5 loop. Extend.
4. With 345 from below share 2 loop and hook down 2n, closing 2345 to the
palm.
5. Slightly raise 2 and pass it from below in 1 loop, then with 2 hook up (TV)
1n, turning 2 down, away under 1f and through 345 loop and up.
6. Remove 345 from the figure and turn 1 over 1n down under 2 loop so that
it points away from the body (fig. 50), then with 5 from above (= towards
the body) remove 1 loop, and close 5 to the palm.
7. In the upper half of the figure two triangles can be seen, each close to one
hand. With 1, from below, pick up the base of respective triangle.]
ble R1 loop. With 1 pick up 2n, then Navajo 1 by turning tips of 1 towards
each other over upper 1n, down towards the body under middle and lower
1n and up. Release 2 loop.
9. Extend, palms pointing towards each other, 1 pointing up and away, 5
being crooked.
10. Turn the figure over 90 degrees in an anti-clockwise direction (respective
to the maker) in the following way: With R34 from below (= towards the
body) remove R5 loop, closing R34 to the palm, then with R5 from below
(= towards the body) remove L5 loop, closing R5 to the palm. With L5
from above (= towards the body) remove L1 loop, closing L5 to the palm,
with L2 from below remove R1 loop, and with R2 from above (= away
from the body) remove R34 loop.
11. Extend with palms pointing towards each other, 2 pointing away and up, 5
being crooked (fig. 51).

174 S. CLAASSEN
12. With R1 from below pick up the two string segments indicated by the
black arrows in fig. 51), then with L1 from below share double R1 loop.
13. With 1 pick up 2n, then Navajo 1 by turning tips of 1 towards each other
over upper 1n, down towards the body under middle and lower 1n and up.
14. Release 2 loop, then with 2 from below remove 1 loop.
16. A T-like structure, turned on its side, can be seen closest to the LH. Its
trunk consists of four strings, of which two trunk strings are closest to the
body (indicated by black arrows in fig. 52). With L1 from below pick up
these two trunk strings, then with R1 from below share double L1 loop.
17. With 1 pick up 2n, then Navajo 1 by turning tips of 1 towards each other
Release 2 loop.
being crooked.
19. With L34 from below (= towards the body) share L5 loop, closing L34
along L5 to the palm, and with R234 from below share R5 loop. With
L345 from below remove L1 loop and with R2345 from below remove R1
loop (fig. 53). Insert L1 from above (= away from the body) in double
L345 loop and R1 from above (= away from the body) in double R2345
loop, and raise 1 to enlarge the loop.
20. Close to the LH a somewhat double-walled triangular structure can be

distinguished. Pass L2 from the far side into the triangular structure and
keep it pointing towards the body, remove L1 from the figure, then press
both strings of the upper side of the triangular structure between L1 and
L2. Remove L345 from the figure. Bring RH to the right and turn it
around the wrist in an anti-clockwise direction (when looking along R
forearm), until the continuation of R2345f becomes free. Swing the free
end with the RH.
Remark:
• The first part of the construction (movements 1-7) is not on the film and
has been reconstructed.
This series is listed under Paterson #35, but the instructions given there, after
identical first movements, lead to a completely different figure (The Whale
Blowing). It is constructed as Jenness #89 (1924:104-108 The Bow)23. The
figure after movement 6 was probably shown as “Musk Ox” by Noah Kuptana
on 24th of June 2021 (personal collection; string crossing in that photograph
cannot be distinguished clearly, so interpretation of the figure remains unclear).
When the figure after movement 14 appears an observer appears to be say-
ing: “Walking on <undiscernable> with no shoes”. After the last figure he
says: Ptarmigan.
KM 28. Shoulders
Made by Sarah Ullikattaq and by Peter Apiana (only his final figure is shown).
23
It is not clear to me why Paterson does not list Jenness #89 as a separate figure,
as the continuation of that series is completely different from that of The Whale Blow-
ing.
176 S. CLAASSEN
Fig. 54 - KM 28 Shoulders
1. Opening A.
2. With 2 hook 5n and 2f towards the body under 2n, release 5 loop, then
touch the tip of 2 against the tip of 1 and transfer both 2 loops to 1.
3. Pass 5 from below in triple 1 loop. One of the 1f is a TV string (usually
the middle 1f). Pass 5 away from the body over both non-TV 1f and under
TV 1f, then hook down TV 1f through the other 1 loops, closing 5 to the
palm.
4. With 2 from above remove upper and middle 1 loop, keeping lower 1 loop
on 1.
5. With help of tips of R12 twist L1n once in an anti-clockwise direction
(when looking at tip of L1) around L1, so that a tight loop around L1 is
formed. Remove R1 from the figure then with R1 from below share dou-
ble L1 loop.
6. With 1 pick up double 2f, then Navajo 1 by turning tips of 1 towards each
other over double upper 1n, down towards the body under double lower 1n
and up. Remove 2 from the figure.
7. Two vertical lozenges depend on the two TV 1n. With help of 23 at the far
side of the figure separate the two vertical lozenges so that one of each is
close to a hand.
8. With 2 from the far side pick up the upper 1n and allow it to slip off 1.
9. Display separating 1 and 2 on each hand, 5 being crooked (fig. 54).
Remark:
• Movement 7. Peter Upiana’s final figure suggests that he with 2 has
hooked up the upper 1n instead of picked up.
This is Paterson #47. The name given here is based on Sarah Ullikattaq’s ex-
planation.
In between Peter Apiana’s display of KM 28 and Sarah Ullikattaq’s making of

KM 28, Peter Apiana makes KM 29 (see below)
KM 29. Qunarjuk
Fig. 55 - KM 29 Qunarjuk
1. Position 1.
2. Pass R2 from above behind L palmar string and hook it up, passing R2
down, away from the body over TV 5f and up.
3. With L2 from below share R2 loop and release 5 loop. Extend.
4. With 5, under 2 loop and over 1f, pick up TV 1n, then pass 5 from below
in 2 loop and hook down 2n, closing 5 to the palm (the 1n just picked up
slips off 5).
5. With L3 from below share L2 loop, then with tips of L23 from the far side
and from below pinch R2f (L3 passing at the near, L2 at the far side of
R2f).
6. Turn R2 down away out of its loop and up, hooking up the original L2f,
and turn L23 down away out of the original L2 loop and up, then separate
L2 and L3 (L2 has now hooked up original R2f).
7. With 1, under 2n, pick up 2f, then remove 2 from the figure.
8. With 1, over double 1f, from above (= away from the floor, since 5 is
crooked) remove 5 loop.
9. Pass 5 from below in triple 1 loop close to 1, enlarge it, so that a TV 1f
string becomes visible. Pass 5 away from the body over both non-TV 1f
strings and under TV 1f, then hook down TV 1f through other 1 loops,
closing 5 to the palm.
10. Note that one of the three 1n runs towards 1n of the other hand (usually the
lower 1n). With 2, over intermediate strings, pick up this 1n, lift it over the
other 1n and off 1.
178 S. CLAASSEN
11. Remove 1 from the figure, then with 1 from above (= away from the body)
remove 2 loop.
This is Paterson #27. Peter Apiana appears to be mentioning the figure’s name
Qunarjuk, which is afterwards translated by one of the observers as “a person’s
<undiscernable>”.
We see Sarah Ullikattaq displaying the final figure of KM 0924.
KM 30
Fig. 56 - KM 30
1. Opening A.
2. Pass 23 towards the body over all intermediate strings and trap 1n between
the tips of 23 (2 passing over, 3 passing under 1n). Return by rotating 23
down, away from the body over all intermediate strings and up to create an
upper 2 loop. Release 1 loop and separate 2 and 3.
3. Pass 1 under 2 loops from below in 5 loop, and pick up 5n and lower 2f;
return under 2 loops.
4. With 1, over 2 loops, pick up 5f and return over 2 loops.
5. With 1 pick up upper 2n, then Navajo 1 by turning tips of 1 towards each
other over upper 1n, down under triple lower 1n and up.
6. Release 5 loop and extend (fig. 57).
24
Film 40, 00:08:03.
7. At the lower side of the figure, close to each hand a triangular shape can
be discerned with a base running from upper 2f to 1n, and the sides pass
under 2 loops and 1 loop. At the upper side of the figure is a near horizon-
tal string which is a continuation of the string segment crossing the 1 loop.
Pass 5 under all intermediate strings from below into its respective trian-
gular shape then to the far side of the near horizontal string, and hook
down this near horizontal string (indicated by the arrows in fig. 57)
through the triangular shape, closing 5 to the palm.

180 S. CLAASSEN
8. Pass R12, from above, into upper L2 loop, and grasp lower L2n, then re-
move lower L2 loop off L2 (through upper L2 loop). Pass L2 towards the
body into the loop held by the tips of R12 then release the grip of R12.
9. Movement 8 with L12 on RH.
10. With 3 from below share double 2 loop. Pass 23 to the near side and pinch
TV 1n between them at a point close to 1, 2 passing over, 3 under the
string, then pass 23 down, away from the body through double 23 loop and
up. Separate 2 and 3.
11. Remove 1 from the figure and display, palms pointing towards each other,
2 pointing upwards, 5 being crooked (fig. 58).
12. Each 2 loop is, at its near (lower) side, closed by three crossing string seg-
ments. The lowest of these crossing string segments is a continuation of 5n
of the same hand (indicated by the arrows in fig. 58). With 1 pick up re-
spective lowest crossing string segment.
13. Pass 2 from above in 1 loop until its loop is below the original 1 loop.
Raise 2 and remove 1 from the figure, then with 1 pick up upper 2n. Re-
move 2 from the figure.
14. Display with palms pointing towards each other, 1 pointing away and up,
5 being crooked (fig. 56).
Remarks:
• Movements 1-3, 6-7 are out of the camera view on the video. They have
been reconstructed.
• Movement 8-9. The details of these movements are not clearly visible;
Peter Apiana appears to use slightly different movements here, but the
final string configuration after the movements is the same.
This is a close variation of Paterson #3, which has probably not been described
before.
Peter Apiana again performs trick KM 0525, then makes KM 31.
KM 31
1. Hold LH with palm pointing towards the floor, fingers pointing to the
right.
2. With help of R123 take a string loop and place it from the far to the near
side over the dorsal side of L wrist, so that a near lozenge and a far loz-
enge (of approximately equal size) hang down from the near side and the
far side of the LH.
25
Film 40, 00:12:20.
3. With R123, from the far side, enter far lozenge, grasp near lozenge and
pull it through the far lozenge, then bring R123 under the LH towards the
body and up above the LH. Make sure that the point where the R123 loop
passes through the former far lozenge is on the dorsal side of the LH.
4. With R123 place its loop, from LH dorsal side and from above, over L3
then towards the floor.
5. Pass R123 loop between L1 and L2 to the near side of L1, then down
away from the body under LH, then upwards over L3 to the dorsal side of
the LH, placing R123 loop over L3 (fig. 59). Make sure that the continua-
tion of the string segment that passes along the palmar side of L3n towards
L1f (“a” in fig. 59) becomes an (upper) L3n string (“b” in fig. 59), and
the continuation of the string segment that passes along the palmar side of
L3f towards L1f (“x” in fig. 59) becomes an (upper) L3f string (“y” in fig.
59).
6. On the dorsal side of the LH wrist the far double wrist strings pass be-
tween the near double wrist strings then run towards L3. Pass both strings
of the R123 loop from above between the double near wrist strings at the
same place where the far double wrist strings pass between them. Pull
tight, bringing R123 to the left.
7. With help of the RH remove double L1 loop (fig. 60).
8. Bring R123 upwards and LH downwards. The string loop comes off the
LH.
This string trick is in a collection from Rankin Inlet (Elbaum & Sherman
2013:201). It was also found in the Faroe Islands (Sverrisson & Claassen
182 S. CLAASSEN
Fig. 60 - KM 31
2010:29-31, nr. 8 At kippa kráku). It is not in the collection of Paterson, as he

does not give string tricks.
KM 32
Made by Peter Apiana with Susie Apiana as the second player (B).
There are two players, positioned opposite each other, one of them (Player B)
is passive, holding one end of the string loop. The instructions below describe
the movements for the active player (Player A).
1. Place one end of the string loop on B’s R2 and allow it to hang down from
the far side of Player B. With help of the RH turn the rightmost string of
the loop once in a clockwise direction (when looking at tip of B’s R2).
Now hold the other end with the RH, RH passing through the loop away
from the floor, making sure there is no twist in the string loop.
2. Place L2, pointing towards the right, over B’s R2 loop on two-thirds’
string length (measured from B’s RH). Bring RH up over L2 to the left,
and with R12 grasp both strings of the loop coming from B’s R2 (R1 pass-
ing over, R2 under the strings), and with R345 grasp the right string only,
closing it to the palm. Keep both strings well separated. Drop the original
RH loop onto the string running from the RH to B’s R2.
3. Bring L2 (still pointing to the right) down, away from the body to the left
of B’s R2 loop under the strings running from L2 to the RH and then up,
so that L2 now is to the left of (respective to player A) and above B’s R2
loop, L2 pointing upwards. Loops on L2 must be maintained (fig. 61).
4. With L45 from the far side hook down lower L2f and upper L2n after it
has passed under lower L2n (fig. 62). The point where they cross is indi-
cated by the arrow in fig. 61. Gently remove L2 from the figure.
5. Hold LH with its palm pointing upwards. L45 are crooked and hold two
loops that run to the RH. With tips of L12 grasp double L45f and remove
L45 from the figure (fig. 63).
184 S. CLAASSEN
6. Bring L12 over the figure over B’s R2 to drop their double loop there (fig.
64).
7. Release the string held by the tips of R12, then pull the R345 loop to the
right. The string loop comes off B’s R2.
Remark:
• Movement 4 is difficult to discern on the video.
The string trick has not been described from the Arctic previously, but is close-
ly related to a trick in the Ashley Book of Knots (Ashley 1944:421, #2604 Cut-
ting off the Chair Knob”; see also Storer 1988:292-293, trick V.B.10).
Note that the construction of this trick is related to two string figures made
with the foot (KM 14 and 18). It is well possible that the current trick served as
inspiration for Peter Apiana to invent these two hitherto unknown string fig-
ures.
KM 33
Most of the construction (except for movement 3-4 in Wirt et al. 2009, L & R
exchanged) is not on film, but based on the visible final movements and final
figure this must be Paterson #32.
Fig. 65 - KM 33
KM 34
1. Hold hands with palms facing each other, fingers pointing away from the
body. Place an untwisted loop over 1 so that there is a short TV 1n, and
allow 1f to hang down between the hands. Close 5 to the palm over the
palmar string segment.
2. Bring 2 towards the body over 1n, then with 2 hook up 1n by turning 2
down, away from the body and up.
3. With R1 pick up L1n – L2f string segment. With L1, under R1f – L2f
string segment, pick up R1n – R2f string segment close to R1 (making
sure to keep the original L1n on L1).
4. Extend to absorb the slack as 5 is removed from the figure.
5. Pass 5 from below in lower 1 loop only, picking up TV 1f.
6. Pass L5 (under L2 loop) to the far side of L2f and with L5 hook down L2f
through the original L5 loop, closing L5 to the palm. Simultaneously pass
R5 to far side of upper R1f and hook down upper R1f through lower R1
loop, closing R5 to the palm.
7. There are two loops on 1. With 1 hook the 1f that passes obliquely toward
the middle of the figure while allowing the other 1 loop to slip off 1. Up-
right 1.
186 S. CLAASSEN
8. Extend the figure, palms facing each other, 1 pointing upwards, 2 pointing
away from the body, 5 being crooked.
9. With 2 from above remove 1 loop, allowing the original 1 loop to slip over
original 2 loop to become a lower 2 loop.
11. Release 2 loops.
13. With L1 from the near side and from the left pick up the string segment
crossing the L5 loop at the near side of the figure, then with R1 from be-
low share L1 loop.
14. With 1 pick up 2n, then bend tips of 1 towards each other over upper 1n,
down and towards the body under lower 1n and up. Remove 2 from the
figure.
16. Pass L2 from below (= towards the body) into L5 loop, then from below in
L1 loop, and hook up L1n by passing L2 towards the body over L1n,
down, away from the body through L5 loop and up.
17. Release L1 and L5 loop, then with L345 from above share L2 loop and
pull down L2f, closing L345 to the palm. Gently extend, palms facing
each other, L2 pointing away from the body, R1 pointing up and away,
L345 and R5 being crooked (fig. 67).

KM 35
Fig. 68 - KM 35
1. Place a string loop on L15 and R1.

2. With R2 from above remove R1 loop, then, with tips of R2 and L3 point-
ing towards each other, bring over R2 loop to L3.
3. [With tips of R123 over all intermediate strings grasp L5f, draw it towards
the body along the LH palm over L3 loop towards L1n, twist it around
dorsal side of L1 (making sure it becomes and remains upper L1n) and
188 S. CLAASSEN
between L1 and L2, pass it away from the body along palmar side of L234
over L3 loop, then between L4 and L5 and around dorsal side of L5 to-
wards L5f. Release grip of R123 (fig. 69).
4. There are three L palmar strings, two upper palmar strings running over,
one lower palmar string running under L3 loop. With tips of R123 from
above enter L3 loop, then grasp lower palmar string at a point between the
two upper palmar strings (indicated by “x” in fig. 69),] draw up this string
and place it over tip of L3. Release grip of R123.
5. Bring RH towards dorsal side of LH. With R3 from below hook double L3
loop (keeping these loops well separated), remove L3 and L5 from the
figure, rotate R3 towards the body and up, then with R1, from below, re-
move double R3 loop. With 2345 from above hook double 1f, then rotate
hands so knuckles point away from the body with 1 at the top.
6. Separate hands to absorb the slack. Remove 2 from the figure.
7. There are two 1n strings. Pass 2 towards the body over upper 1n and hook
it up, turning 2 down, away from the body over lower 1n and up. Allow
upper 1n to slip off 1.
8. Alternately raise 1 towards the body, at the same time lowering 2, then
raise 2 away from the body, at the same time lowering 1 (fig. 68).
Remarks:
• Movement 1-3. Peter Apiana attempts to make the opening configuration a
couple of times before arriving at the correct one from which he can con-
tinue.
• Movement 3-4. Part of these movements are not on the film and have been
reconstructed.
• Movement 5-7. The instructions in these movements are an approximation
of what Peter Apiana actually does here to find the correct 1n to hook up
with 2.
KM 36. Nannuk (“polar bear”)

1. [Position 1.
2. Pass R1 over L5f and hook it up, passing R1 towards the body (over L1n)
and up.
3. With L1, over L5f, pick up R5f and return.
4. Release 5 loop.]
5. Pass 5 from below in double 1 loop, then pass it away from the body over
the 1f that runs to 1n on the other hand, under TV 1f and up, then with 5
hook down TV 1f, closing 5 to the palm.
6. Pass 23 from above in 1 loops, towards the body under upper (non-TV)
1n, then pinch lower (TV) 1n between tips of 23 (2 passing over, 3 under
the string); turn 23 down away from the body under upper 1n and up, then
separate 2 and 3.
7. Remove 1 from the figure and extend, palms pointing towards each other,
2 pointing away and up, 5 being crooked. A two-diamond figure is
formed.
8. With R1, from the center, pick up upper right side of right diamond, and
with L1, from the center, pick up upper left side of left diamond.
ble R1 loop. With 1 pick up 2n close to 2, then Navajo 1 by bending 1
Remove 2 from the figure (fig. 70).
10. Hold figure with palms facing each other, 1 pointing away and up, 5 being
crooked. With R2, from the far side and from below, hook up the two
strings marked "a" in fig. 70, then pass R2 from above through R1 loop,
along the near side of the figure from above behind string marked “b” in
fig. 70, hook this string marked “b” in its bend and return through R1 loop
and under strings marked “a”.
11. Pass R2 with its loop from above through R1 loop so that its loop is below
original R1 loop, gently release L5 then pass L5 under L1 loop at the near
side of the figure towards R2 and with L5 (its tip pointing towards tip of
190 S. CLAASSEN
R2) from above remove R2 loop, closing L5 to the palm. Return R2.
13. Dissolve the figure by entering 2 from above in 1 loop in the middle be-
tween the hands (between the “legs” of the upside down animal), remov-
ing 1 and 5 from the figure and separating hands.
Fig. 71 - KM 36 Nannuk
Remark:
• Movements 1-4 are not on the film footage and have been reconstructed.
This is Paterson #16. The figure is constructed as Jenness #137, except that
there the figure is displayed upside down (after movement 12 above, turn 1
down towards the body over 1n so that they point towards the floor, at the
same bring 5 away from the body and up).
Two mounted figures in Stefánsson’s collection (both displayed as in Jen-

ness #137) are almost identically constructed (Nannuk/Nanuq (“polar bear”)).
The figure with the name Nanuq was made in April 1912 by Ituayuk. Detailed
study of the mounted figure reveals that in its construction, at the point cf.
movement 10 above, R2 has passed only in front of the upper string (close to
the RH) of the two strings marked “a” (its continuation crossing TV 5f).
The figure appears to be also in the collection of Rasmussen (#28, Nan-
ershuk (“the white bear”)) where it is displayed as Jenness #137, but shown
with its far side facing the reader. Rasmussen’s drawing contains mistakes, as
it suggests that it is made out of two string loops, which is very unlikely. Note
that Mary-Rousselière identifies Rasmussen #28 as his variant 6’, in which at
the point cf. movement 10 above R2 only passes in front of the lower string of
the two strings marked “a” (indicated by Mary-Rousselière as le fil transversal
(“the transversal string”)); the resulting figure, however, does not match that of
Rasmussen #28.
Peter Apiana calls the final figure Nannuk.
KM 37. Qugyuk
Made by Donald Kugvik and Peter Apiana (only his final figure is on the film)
Fig. 72 - KM 37 Qugyuk
1. Position 1.
2. [Pass R1 over L5f and hook it up, turning R1 down, towards the body and
up; return R1.
3. With L1, over L5f, pick up R5f and return.
4. Release 5 loop.
5. Pass 5 from below in double 1 loop, then pass it away from the body over
the 1f that runs to 1n on the other hand, under TV 1f and up, then with 5
hook down TV 1f, closing 5 to the palm.
6. Pass 23 from above in 1 loops, towards the body under upper (non-TV)
1n, then pinch lower (TV) 1n between tips of 23 (2 passing over, 3 under
192 S. CLAASSEN
the string); turn 23 down away from the body under upper 1n and up, then
separate 2 and 3.
2 pointing away and up, 5 being crooked. A two-diamond figure is
formed.
8. Between the left and right diamond two triangular structures can be seen, a
lower triangle which has TV 5f as its base, and an upper upside-down
triangle which has TV 2n as its base. Pass 1, away from the body, in the
lower triangle, up then back towards the body through the upper upside-
down triangle, picking up both strings of the connecting point of the apex-
es of the two triangular structures.
9. With 1 pick up 2n close to 2, then Navajo 1 by bending 1 over upper 1n,
down towards the body under middle and lower 1n and up. Remove 2
from the figure.]
10. In the middle between TV 1n and TV 5f framing strings an x-like structure
can be seen. Pass 23 from above (= towards the body) between the upper
and lower arms of the respective side of the x-like structure, then up, pinch
TV 1n between tips of 23 (2 passing over, 3 under the string), then turn 23
down, away from the body between the arms of the x-like structure and
up. Separate 2 and 3 and remove 1 from the figure (fig. 73).
11. Pass R1 from below in R2 loop close to R2, then hook up the two string
segments closing the R2 loop (indicated by “x” in fig 73), passing R1
down, towards the body over TV R5f and up.
12. With L1 from below share double R1 loop. With 1 pick up 2n, then Nava-
jo 1 by turning tips of 1 towards each other over upper 1n, down towards
the body under middle and lower 1n and up.
13. Release 2 loop and extend, palms pointing towards the body, 1 pointing
upwards and away, 5 being crooked (fig. 74).
14. At the far side of the figure a double horizontal string segment can be
seen, running parallel to the 1n and 5f framing strings (indicated by “x” in
fig. 74). Observe that the TV 5f framing string is crossed by string seg-
ments at two places. With R2, at the far side of the figure, hook double
horizontal string segment towards R1, then pass R2, from above through
R1 loop, then pass it behind TV 5f at a point between the points where it is
crossed by string segments (indicated by “z” in fig. 74). Hook up TV 5f
and return through R1 loop and under the double horizontal string seg-
ment.
15. Pass R2 with its loop from above through R1 loop until the R2 loop is
below the R1 loop, gently release L5 loop then with L5 under L1 loop, its
tip pointing to the tip of R2, remove R2 loop, returning L5 and closing it
to the palm.
16. Extend, palms pointing towards the body, 1 pointing upwards and away, 5
being crooked (fig. 72). If necessary, adjust the figure with 23 at the far
side of the figure to improve the extension.
Remark:
• Movements 2-9 are not on the film and have been reconstructed.
This is Paterson #46. The figure appears to be also in the collection of Rasmus-
sen (#3, qugjughuk (“the swan”)), although the string crossings in the figure
suggest a slightly different construction method26. Peter Apiana calls this fig-
ure Qugyuk.
26
Paterson includes Rasmussen #3 under his #46.
194 S. CLAASSEN
KM 38. Akulugyuk (“old man”)

Fig. 75 - KM 38 Akulugyuk (“old man”)
1. [Perform KM 37, movements 1-10.]

2. In the left half of the figure a somewhat distorted diamond can be seen,
strung up between TV 2n and TV 5f. Pass L1 from below in L2 loop close
to L2, then rotate away, down and up over TV 5f, hooking up the upper
left side and the lower right side of the distorted diamond (indicated by
“y” in fig. 73).
3. With R1 from below share double L1 loop, with 1 pick up 2n, then Navajo
1 by turning tips of 1 towards each other over upper 1n, down towards the
body under middle and lower 1n and up.
4. Perform KM 37, movement 13 (fig. 76)

5. Perform KM 37, movements 14-16 (fig. 75).

6. Wave hands, so that the lozenge that hangs down from the TV 5f disap-
pears, and the figure dissolves.
Remark:
• Movement 1. The first part of the construction is not on the film and has
been reconstructed.
This is Paterson #75. Peter Apiana names the figure Akulugyuk. The translator
explains this as another term for an old man (old vocabulary).
KM 39. A brown bear and an arm

Fig. 77 - KM 39 A brown bear and an arm
1. Opening A.
2. With L1 from below remove L2 loop, and with R1, over R2 loop, pick up
R5n.
3. Pass R2345 from above in double R1 loop, hooking down intermediate
strings and closing R2345 to the palm.
4. Slightly raise R2 and bring it between upper and lower R1n to the near
side of the figure. Pinch lower (TV) R1n between tips of R23, then turn
R23 away from the body under upper R1n and up over intermediate
strings, at the same time straightening R45.
5. Remove R1 from the figure.
6. With R1 from below remove double R2 loop.
8. Pass R5 from below in double R1 loop close to R1, then from below in R2
loop, and hook down R2n through double R1 loop, closing R5 to the palm.
Simultaneously pass L5 from below in lower L1 loop only, then to the far
side of upper L1f and from below in L2 loop and hook down L2n through
lower L1 loop, closing L5 to the palm.
196 S. CLAASSEN
9. With 3 from below share 2 loop, then pinch the TV lower L1n – upper
R1n between tips of 23 (2 passing over, 3 under the string), and bring 23
with their string down, away from the body through 2 loop and up. Sepa-
rate 23, and allow the former TV lower L1n – upper R1n to slip off 1
(lower L1n passes over upper L1n to achieve this).
10. With R1 pick up the continuation of L1n that (partly) closes off the R1
loop. Remove L1 from the figure, then with L1 from below share double
R1 loop.
11. Gently remove R1 from the figure, then pass R1 from above through dou-
ble L1 loop, then, under intermediate strings, from above in R5 loop, and
pick up R5f through double L1 loop, passing R1 towards the body and up.
12. Release R5 loop, bring R1 down under the figure until its tip touches the
tip of R5, and with R5 from above remove R1 loop, closing R5 to the palm
and returning R1.
13. There are two loops on L1; one of them (usually the upper L1 loop) is
formed by the continuation of R2f and R5n and thus runs towards the RH.
Allow this loop to slip off L1 but keep the other L1 loop.
14. Pass L2 from above in L1 loop until its original loop is below L1 loop.
Straighten L2 and remove L1 from the figure. With L1 pick up upper L2n
and remove L2 from the figure.
15. With R1 from below remove R2 loop and display, palms pointing towards
each other, 1 pointing away and up, 5 being crooked (fig. 77).
Remarks:
• The construction of this figure is difficult to see in the video.
• Movement 10-14. These movements are extremely difficult to discern on
the video. They have been transcribed from the construction of apparently
the same figure (previously unsolved) in a film from the Inuit Broadcast-
ing Corporation27. It is possible that Peter Apiana uses slightly different
movements (perhaps related to his shortcut way of making Two Brown
Bears) to achieve the final figure, as the general look of his movements
does not completely match the transcript given here.
The construction of this figure has probably not been described before. The
translator explains that there is an animal at each corner, on the left hand side
(as seen by the observer) there’s a brown bear, and on the right hand side there
is an arm.
27
The film was formerly accessible at www.isuma.tv: <http://www.isuma.tv/ibc-3-
0/07599ri-ili-92-12-inuk>, accessed 8th of September 2018. The figure appeared at
14:53 in the film; the film was probably shot at Igloolik.
KM 40 <unidentified>
Peter Apiana (fig. 78) and Sarah Ullikattaq (fig. 79) show what appears to be
the same figure. Only the final movements of Sarah Ullikattaq’s construction
can be seen on the film. We have not been able to identify this figure.
Fig. 78 - KM 40 displayed by Peter Apiana (still from Film 40)
Fig. 79 - KM 40 displayed by Susie Ullikattaq (still from Film 40)
KM 41. An old man writing his son-in-law

1. Position 1.
2. With R1 pick up L palmar string; with L1, over R1 loop, pick up R palmar
string.
3. With 2, from above, remove 5 loop.
4. Pass 5, under 2 loop, from below in both 1 loops close to 1, pick up the 1f
198 S. CLAASSEN
that runs to 1n on the other hand, and slightly return, passing it under the
other 1f, then with 5 from below enter 2 loop, and hook down (TV) 2n,
closing 5 to the palm, allowing the 1f just picked up to slip off 5.
5. With 3 from below share 2 loop close to 2, then pass 23 towards the body
over all intermediate strings and trap lower 1n (a TV string) between the
tips of 23 (2 passing over, 3 passing under upper 1n). Return by rotating
23 down, away from the body through the 2 loop (which slips off 2) and
up to create a new 2 loop. Allow the lower 1 loop to pass over upper 1
loop and off 1, and separate 2 and 3 of each hand.
ble R1 loop. With 1 pick up 2n, then Navajo 1 by bending tips of 1 to-
wards each other over upper 1n, down under middle and lower 1n and up.
Release 2 loop, then with 2 from below remove 1 loop.
7. Hold hands with palms facing each other, 2 pointing away and up, 5 being
crooked. Two diamonds can be discerned in the figure. With R1 towards
the center pick up right lower side of the R diamond and with L1 towards
the center pick up left lower side of the L diamond.
8. Pass 2 from above in 1 loop until original 2 loop is below 1 loop, then
straighten 2 and remove 1 from the figure. With 1 pick up upper 2n and
remove 2 from the figure.
9. Extend, palms facing each other, 1 pointing away and up, 5 being crooked.
A figure that is slightly asymmetric close to the hands appears.
10. Pass R4 from the far side towards the right in the space marked “x” in fig.
80, gently release R5 loop, and extend until R5 loop escapes from hooked
R4 loop, then R5, from the far side, recaptures the released R5 loop, and
hooks it to the R palm. Release R4 loop and extend. The figure separates
in the middle (fig. 81).
Fig. 81 - KM 41 An old man writing his son-in-law
This is Mary-Rousselière #95 Ningaoqulugek (“the son in law with his father
in law”). Peter Apiana in the film mentions a name in Inuinnaqtun and appears
to be reciting a chant. The name resembles Mary-Rousselière’s name (we have
not been able to transcribe it correctly). The translator explains the figure as an
old man who is writing his son in law, to get the work/job done.
KM 42
1. [KM 43, movements 1-7. There are now two 2 loops having near strings
that are parallel and whose far strings cross (upper L2f-lower R2f segment
passes at the far side of lower L2f-upper R2f segment). If necessary modi-
fy the string configuration until it fits the description.
2. With R5 hook down upper R2f, closing R5 to the palm. Pass L5 from the
far side between the L2f strings close to L2 and hook down lower L2f,
closing L5 to the palm.
200 S. CLAASSEN
3. Pass 1 between upper and lower 2n, then with L1 pick up upper L2f close
to L2 and with R1 pick up lower R2f close to R2. Return between upper
and lower 2n.
4. With 4 from below share 5 loop, closing 4 to the palm. Pass 3 under upper
and lower 2n and pick up lower 2n, return 3 under upper 2n then hook
down upper 2n, closing 3 to the palm and allowing the lower 2n just
picked up to slip off 3.
5. Pass 1 over lower 2n and hook the portion of lower 2n that passes over the
dorsal side of hooked 3.
6. Gently release 3 loop, then with 3 from below share 45 loop, keeping 3
crooked.
7. Keeping tension in the figure, turn palms of hands towards each other and
with 2 from below (= towards the floor) enter 345 loop. Turn palms down
then away from the body, until palms point away from the body, 2345
pointing upwards, 1 pointing towards the floor (fig. 82).]
8. Remove 1 and 345 from the figure and extend. Two loops on 2 remain,
with the upper and lower 2n parallel and upper and lower 2f crossing (this
is the same string configuration as appearing after movement 1).
9. With R1, between upper and lower R2n and under upper R2f, pick up low-
er R2f, and with L1, between upper and lower L2n, pick up upper L2f.
10. With R5 over upper R2f pick up lower R2n, and with L5, over lower L2f,
pick up lower L2n. Straighten 5 then with 5 hook down (TV) upper 2n
through 5 loop, which slips off (fig. 83).
Remark:
• Only movements 8-10 are on the film; other movements have been recon-
structed from the construction of KM 43 below, which is closely related.
The figure is closely related to Paterson 36, especially Jenness #127 The Sleep-
er, up to Jenness’s fig. 191. Opening movements differ considerably from
those in Jenness. Peter Apiana’s construction method is almost identical to that
of the same figure from Alaska (Foster #28 (Claassen 2016:190-191), move-
ments 1-9, except for small details in the opening movements).
Note that the string configuration after movement 1 is the same as that result-
ing from the Oceanic Murray Opening (see Campbell et al. 2020:120-129, Ap-
pendix I where several sequences of related figures, suggesting improvisation,
are described, starting from this Murray Opening)
KM 43
1. Hold LH with palm facing the body, fingers pointing towards the right,
place a string loop over L345, and allow the string loop to hang down
from the LH. Close L345 to the palm.
2. With R345 grasp L345 dorsal string some 20 cms below the LH (R345
entering from the far side and from below) and close R345 to the palm.
3. With help of R12 allow the L345 dorsal string to pass between L2 and L1
then along dorsal side of L1 and down, forming a LH palmar lozenge
along the LH palm of about 10 cms long.
4. Pass R2 away from the body under R345n then towards the left into the
LH palmar lozenge, away from the body and up, picking up L345n.
5. Pass R1 from below in lower R2 loop only, and pick up lower R2n.
6. Pass L2 towards the body over all intermediate strings, then pass L2 under
R1n and from below in (upper) R2 loop.
7. Remove R1, L1 and 345 from the figure and gently extend, 2 pointing
upwards. There are now two 2 loops having near strings that are parallel
and whose far strings cross (upper L2f-lower R2f segment passes at the far
side of lower L2f-upper R2f segment) (fig. 84). If necessary modify the
string configuration until it fits the description.

202 S. CLAASSEN
8. Pass 1 between upper and lower 2n, then with L1 pick up upper L2f and
with R1 pick up lower R2f; return through upper and lower 2n.
9. With R5 hook down upper R2f close to R2, and with L5 hook down lower
L2f close to L2.
10. With 4, under upper 2n, pick up lower 2n, raise 4 to the far side of upper
2n, then with 4 hook down upper 2n under lower 2n. With 3 from below
(= from the same side as 4) share 4 loop and keep 34 crooked. Gently re-
lease 5 loop so that its loop passes to the near side of 34, then with 5 from
below (= from the same side as 34) share 34 loop, closing 5 (with 34) to
the palm (fig. 85).
Fig. 85 - KM 43 after movement 10; here 4 and 3 are

temporarily removed from the shared 345 loop
11. Pass 3 from the far side into the space marked “x” in fig. 85, then pass 3
upwards at the near side of the figure then up behind TV 1n, and hook up
TV 1n, passing 3 down, away from the body through space “x” and up.
2 and 3 pointing upwards, 5 being crooked (fig. 86).
13. Remove 3 from the figure and extend. You have the same figure as after
movement 10.
14. Remove 1 and 5 from the figure and extend. You have the same string
configuration as after movement 7.
Remark:
• The construction and the final figure are not clearly shown.
The construction is a small variant of KM 42 above; this exact sequence has

probably not been recorded before.
Fig. 86 - KM 43 after movement 12.
CONCLUDING REMARKS
The construction of eight of the string figures in the present collection have not
been recorded before (KM 02 (last figure only), 06, 14, 18, 19, 30, 39, 43). Yet
KM 18 and 19 are closely related, to each other, and KM 43 is a small variant
of KM 42. KM 32 has been recorded before, but not in the Arctic.
The construction of several figures was known before, but not described for
the Inuinnait region (KM 11, 23, 27, 35, 42 are in Jenness’ collection not de-
scribed for the Inuinnait, KM 08, 16, 20 and 41 are in Mary-Rousselière’s col-
lection though not in Jenness, and KM 31 is only in Elbaum & Sherman 2013).
Two figures remain for now unidentified, and we have not been able to
solve their construction method (KM 26 & 40).
The collection contains three string figures (KM 14, 18 and 19) which use
the foot in the construction, all of them hitherto undescribed, and all were
made by Peter Apiana. String figures using the foot are very rare in Arctic col-
lections. Diamond Jenness only describes two (different) figures using the foot
out of a total of 169 different string figures and tricks (#153 and #154, of
which #154 was recorded also in the Inuinnait region). Whether using the foot
is something Peter Apiana has explored in particular, or whether using the foot
is more common among Inuinnait string figure makers remains to be explored.
In the construction of KM 10 & 11 Peter Apiana uses a movement we called
a “smart move” in KM 10 & 11 (movements 7-8), which serves as a shortcut
method in the construction; we have not found this “smart move” before, and it
could be his own invention/discovery.
204 S. CLAASSEN
Table 1 shows that the names and interpretations the figures obtain at Kuug-
yuak mostly match that of other areas in the Inuinnait region. KM 17, however
has a different name in other Inuinnait recordings (Innuinait: The Mouth versus
Rasmussen & Jenness: Anus). The Kuugyuak name corresponds, however, to
the name the figure receives further to the East (Cape York and Craig Harbour;
see Paterson 1949:20).
ACKNOWLEDGEMENTS
I would like to thank the following people for their help with the present paper:
• The Elders who displayed their string figure making to the camera at
Kuugyuak in 1997.
• The Elders of Cambridge Bay for their permission to publish this collec-
tion of string figures from Kuugyuak along with stills from the original
videos, and for their additional information and comments.
• Brendan Griebel & Kitikmeot Heritage Society for providing me with the
archived video recordings, providing additional information and for facili-
tating contact with the Elders of Cambridge Bay.
• Céline Petit for granting access to her collection of photographs of the
Stefánsson collection and for her help with the Innuinaktun names and
transcription of the spoken texts.
• Joseph D’Antoni and Mark Sherman for proofreading the instructions and
the paper, and for suggesting improvements and clarifications.
Without them this paper would not have existed. All mistakes and shortcom-
ings are my full responsibility.
Table 1. Comparative overview
KM # and Paterson (P) Jenness 1924 Stefánsson, Rasmussen

name #/ Mary- # and name name 1932 # and
Rousselière name
(MR) # and
name / El-
baum &
Sherman
(ES) name
01, Kimmiun P34 145, Kimmiun itka -
itka (“ dog’s Qimimitqa (“a (“dog’s anus).
anus”) dog's anus”)
02 (P17 but not - - -

as final figure
of Cat’s Cra-
dle series)
03, Na- - String Trick 3 - -
pirraqtuq
(“caught in a
lasso”)
04 - String Trick 4 - -
05 - String Trick 7 - -
06 - - -
07, Tuutan- P42 23, Tuaetuae- - -

nguaq naetciak (“two
small stones”)
08, Tiri- (MR14c, - - -
ganniaq Teriganiarjuk
(“fox”) oqitartorjuk
(“The fox
obtained in a
fast way”))
09, Taliriuk P1 31, Taeligyoq (Talirkyuk (“2 10, Talerjok
(“two arms”) (“the arms”) Arms”) made (“the arms”)
by Guninana,
April 1912)
206 S. CLAASSEN
Table 1 - Part 2
KM # Paterson (P) Jenness 1924 Stefánsson, Rasmussen

and #/ Mary- # and name name 1932 # and
name Rousselière name
(MR) # and
name / El-
baum & Sher-
man (ES)
name
10, P8 1, Akagyuk (2 Aktluryūk 14, Aggarhuit
Aksariuk (“the two (“two brown (“the little black
(“two brown bears”) bears”), made bears”)
brown by Nogasak,
bears”) 23 December
1911)
11, P24 (3, A brown Aklak sitilik -
Aksariuk bear issuing from Corona-
hitilik (“a from a cave) tion Gulf
brown (1911), named
bear and by Ituaryuk in
its den”) 1912)
12 P26 68, - 55, Avinaitait

Avinaetciaek (“the lem-
hitaklu (“two mings”)
lemmings and
their two bur-
rows”)
13, P44 32, Maqaqtoq (Makiklaġyuk 7, Maqithershuk
Maqit- (“a man carry- (“man in kay- (“a man carry-
turiuk ing a kayak”) ak”). The line ing his kayak on
(“one drawn through his head”)
who the text of the
carries a translation
kayak on suggests that it
his head is incorrect)
or shoul-
ders”)
14, - - - -
Ukaliri-
uk,
Ukaliq
(“hare”)
15, , P2 26, Ukaliq Okallirk 35, Ukalershuk
Ukaliq (“the rabbit”) (“the hare”)
(“hare”)
Table 1 - Part 3

(MR) # and
name / El-
baum & Sher-
man (ES)
name
16, Tiri- (MR48f, Qab- - (Kapvik -
ariuq vigjuk nev- (“wolverine”)
(“the ralayorjuk made by Pal-
weasel”) ayararealik aiyak, 23 De-
(“the wolver- cember 1911)
ine on its back
by method of
held strings”))
17, P17 15, Itiq - 26, Itershuk
Qaniri- (“anus”) (“anus”)
uq (“the
mouth”)
18, Tiri- - - - -
ganniaq
(“the
fox”)
19, Tiri- - - - -
ariuq
(“the
weasel”)
20, Tiri- (MR48d, Qab- - - -
ariuq, vigjuk nalugi-
Tiriar- alik (“the wol-
iuktauq verine by the
(“the ‘launched’
weasel”) method”))
21 P51 38, Tu- (Iliviatciak -
limaetciaek (“wooden
(“two small plate”), made by
ribs”) Guninana, April
1912)
22 P37 148, Haekijit - 33, Hakerjuk,
(“the breast (“the snow
bone and ribs knife”)
of a caribou”)
208 S. CLAASSEN
Table 1 - Part 4

(MR) # and
name / El-
baum & Sher-
man (ES)
name
23, Kay- P33 (48, The kay- - -
ak ak)
24, The P95 129, The sun (Irittji hiniligit -
sun in a between the (“sun on moun-
cloudy mountains tains”), made by
sky Ituaryuk, April
1912)
25, P20 78, Tubagyuik - 39, Tuaiciaq
Tubag (“two men (“the ice floe”).
(?) sealing”) (first Upside down
figure only)
26, Two - - Miuxitak – tati- -
dogs and yuk (“Two dogs
packs and packs”)
27, P35 (89, The bow) - -
Walking
on
<undisc
ernable>
with no
shoes /
Ptarmi-
gan
28, P47 37, Keacik - -
Shoul- (“the scapu-
ders lae”)
29, P27 94, Qonaq Koñak 41, Qunarjok
Qunar- <not translat- <meaning of (“the neck
juk (?) ed> name unknown> bands”)
30 - - - -
31 (ES Tikini - - -
nakapaa
(“cutting off
one finger”))
32 - - - -
Table 1 - Part 5

(MR) # and
name / El-
baum & Sher-
man (ES)
name
33 P32 (119, Bimytexsinak 9, Pertursheraq
Piqtoqcigaq (“porcupine”)
(“the lynx”))
34 P21 142, Ämaligjuk 11, Amaligjuik

(“a brown bear (“the amaut
carrying a troll”)
pack”)
35 P202 (149, The Wol-

verine)
36, Nan- P16 137, Naeneq (Nannuk, nanuk 28, Nanershuk

nuk (“polar bear”) (“Polar bear”). (“the white
Nanuq, made by bear”)
Ituaryuk, April
1912). Variant
construction.
37, Qug- P46 139, Qugguk (Kogyuk 3, Qugjughuk
yuk or Qugyuk (“swan”), made (“the swan”).
(“the whistling by Ituaryuk, Construction
swan”) April 1912) must be slightly
different or
drawing con-
tains mistakes.
38, Aku- P75 140, Akulug- - 27, Akulugshuk
lugyuk yuk (<a man’s (reproduction of
(“old name>) a man long
man”) dead)
39, A - - - -
brown
bear and
an arm
210 S. CLAASSEN
Table 1 - Part 6

and # / Mary- # and name name 1932 # and
name Rousslière name
(MR) # and
name / El-
baum & Sher-
man (ES)
name
40 <unidentified> - - -
41, An (MR95, Ning- - - -

old man aoqulugek
writing (“the son in
his son law with his
in law father in law”))
42 P36 (27 The man (Iñitkak, made -
asleep) by Guninana,
April 1912)
43 <related to
P36>
Shaded entries in the table mark string figures not recorded before or not
recorded before in the Inuinnait region.
LITERATURE CITED
Ashley, C.W. (1944) The Ashley book of knots. Garden City, New York: Doran and Co.
Campbell, A.P., Claassen, S., Green, J., Dobson, V.P. (2020) “Playing with the long
strings: a structural analysis of Arandic string figures.” Bulletin of the International
String Figure Association 27:30-136.
Claassen, S. (2015) “Some Inughuit String Figures (Northwest Greenland) as Filmed by
Christian Adler in 1974.” Bulletin of the International String Figure Association
22:58-115.
Claassen, S. (2016) “Yup’ik String Figures as made by Carley Foster from Eek, Alas-
ka.” Bulletin of the International String Figure Association 23:128-213.
Damas, D. (1984) Copper Eskimo. Handbook of North American Indians. Volume 5,
pp. 397-414.
Elbaum, K. and Sherman, M. (2013) “Some String Figures and Tricks from Rankin
Inlet.” Bulletin of the International String Figure Association 20:188-224.
Jayne, C.F. (1906) String figures. New York: Charles Scribner’s Sons. [Also titled:
String figures and how to make them. New York: Dover (1962)]
Jenness, D. (1924) “Eskimo String Figures.” Report of the Canadian Arctic Expedition,
1913-1918, Vol. 13, Part B. Ottawa: F.A. Acland. <https://www.historymuseum.ca/
canadaplay/media/pdf/8207-551-REA-11795-IMG2009-0454-0197-Dp1.pdf>, re-
trieved 11th of August 2018.
Mary-Rousselière, G. (1969) “Les jeux de ficelle des Arviligjuarmiut.” Musées Na-
tionaux du Canada, Bulletin No. 233. <http://www.historymuseum.ca/canadaplay/
media/pdf/8207-551-RED-11797-IMG2009-0453-0203-Dp1.pdf>, retrieved 22nd of
October 2016.
McGhee, R. (2010) Inuinnait (Copper Inuit). Online article. <https://
www.thecanadianencyclopedia.ca/en/article/copper-inuit>, retrieved 27th of July
2023.
Paterson, T.T. (1949) “Eskimo String Figures and Their Origin.” Acta Arctica 3:1-98.
Rasmussen, K. (1932) “Intellectual Culture of the Copper Eskimos.” Report of the Fifth
Thule Expedition, 1921-24. 9:271-288.
Stefánsson, V. (1913) My Life with the Eskimo. New York: The MacMillan Company.
Sverrisson, K. and Claassen, S. (2010) “Some string figures from the Faroe Islands.”
Bulletin of the International String Figure Association 17:19-37.
Victor, P.E. (1940) “Jeux d’Enfants et d’Adultes chez les Eskimo d’Angmagssalik: Les
Jeux de Ficelle.” Meddelelser om Grønland 125(7).
Wirt, W., D’Antoni, J., Darsie, R., Read, R.C., Pollock, M., Claassen, S., and Sherman,
M. (2009) “The Arctic String Figure Project Part 2: Jenness’s Eskimo String Fig-
ures.” Bulletin of the International String Figure Association 16:1-297.
APPENDIX I. INDEX TO ORIGINAL FOOTAGE AND INSTRUCTION VIDEOS
212
Table A1 lists makers, the location where the filmed construction can be found in the original source material, and gives
links to the YouTube sources of the original video footage and to the instruction videos for the Kuugyuak figures. All videos
were accessed 25th of August 2023.
Table A1. Links to source videos and instruction videos
KM Maker Film source Link to source on YouTube Link to instruction video on YouTube
#
01 SA Film 39, 00:00:19 https://youtu.be/63n4EWs0L10 https://www.youtube.com/watch?v=mcxcpbvbPaA
02 EN & Film 39, 00:00:27 https://youtu.be/63n4EWs0L10?t=7 <no video>

SA
03 SA Film 39, 00:02:22 https://youtu.be/63n4EWs0L10?t=115 https://www.youtube.com/watch?v=eP0rYQOfmPo
04 PA, Film 39, 00:03:03 https://youtu.be/TIWYszlL0HE?t=207 https://www.youtube.com/watch?v=Ey6exqqcd6U

MA (PA);
Film 40, 00:03:29
(MA)
05 PA Film 39, 00:03:20 & https://youtu.be/63n4EWs0L10?t=150; https://www.youtube.com/watch?v=ViE1WJ3JBRE
00:03:52; https://youtu.be/TIWYszlL0HE?t=733
Video 40, 00:12:20
06 PA Film 39, 00:04:18; <first making not on YouTube video>; https://www.youtube.com/watch?v=2fVy9waPsHo
Film 39, 00:37:17 https://youtu.be/63n4EWs0L10?t=494
07 SA Film 39, 00:52:15 https://youtu.be/63n4EWs0L10?t=193 https://www.youtube.com/watch?v=i9z1PeUvN3E
S. CLAASSEN
08 SA Film 39, 00:52:21 https://youtu.be/63n4EWs0L10?t=198 https://www.youtube.com/watch?v=2kRyxMyxcbM
(SA); (SA);
Film 39, 00:56:58 https://youtu.be/63n4EWs0L10?t=476
(PA) (PA)
09 PA, SU Film 39, 00:52:42 https://youtu.be/63n4EWs0L10?t=221 https://www.youtube.com/watch?v=GFixa0hbcSs
(PA); (PA);
Film 40, 00:08:05 https://youtu.be/TIWYszlL0HE?t=481
(SU) (SU)
10 PA Film 39, 00:53:11 https://youtu.be/63n4EWs0L10?t=249 https://www.youtube.com/watch?v=a5drjbyvg2w
11 PA Film 39, 00:53:36 https://youtu.be/63n4EWs0L10?t=274 https://www.youtube.com/watch?v=bkOaAdzV_Pk
12 PA Film 39, 00:54:29; https://youtu.be/63n4EWs0L10?t=327 https://www.youtube.com/watch?v=CpTZx9GhI0Q

Film 39, 00:55:04;
Film 39: 00:55:20;
Film 39, 00:55:48
13 PA Film 39, 00:55:48 https://youtu.be/63n4EWs0L10?t=426 https://www.youtube.com/watch?=v1kZYDpM2nw
14 PA Film 39, 00:57:51 https://youtu.be/63n4EWs0L10?t=528 https://www.youtube.com/watch?v=wAEO7PIU4_E
15 PA Film 39, 00:58:10 https://youtu.be/63n4EWs0L10?t=548 https://www.youtube.com/watch?v=KcnlyDhyg-Q

A STRING FIGURE COLLECTION FROM KUUGYUAK
16 PA Film 39, 00:58:30 https://youtu.be/63n4EWs0L10?t=568 https://www.youtube.com/watch?v=Jv0Acjs78ZQ
17 ? Film 39: 00:58:44 https://youtu.be/63n4EWs0L10?t=583 <no video>
18 PA Film 39, 00:59:15 https://youtu.be/63n4EWs0L10?t=529 https://www.youtube.com/watch?v=XJMX7_7IQSo

213
214
#
19 PA Film 39, 00:59:38 https://youtu.be/63n4EWs0L10?t=614 https://www.youtube.com/watch?v=Cesh572fwz8
20 PA Film 39, 01:00:15 https://youtu.be/63n4EWs0L10?t=672 https://www.youtube.com/watch?v=LtdH_YRnJzg
21 SU Video 39, 01:00:57 = https://youtu.be/TIWYszlL0HE?t=46 https://www.youtube.com/watch?v=ZIhRhlN007o

Video 40, 00:00:49
22 SU, Video 39, 01:02:10 = https://youtu.be/TIWYszlL0HE?t=1173 https://www.youtube.com/watch?v=ZIhRhlN007o
DK Video 40, 00:01:47
(SU);
Video 40, 00:19:33
(DK)
23 MA Film 40, 00:02:44 https://youtu.be/TIWYszlL0HE?t=162 https://www.youtube.com/watch?v=nZh6TbO2sco
24 PA Film 40, 00:03:05 https://youtu.be/TIWYszlL0HE?t=185 https://www.youtube.com/watch?v=QnuqNNUkzb0
25 SU Film 40, 00:03:37 https://youtu.be/TIWYszlL0HE?t=216 https://www.youtube.com/watch?v=-gs7HJVwkRU
26 PA Film 40, 00:04:18 https://youtu.be/TIWYszlL0HE?t=258 <no video>
27 SU Film 40, 00:04:56 https://youtu.be/TIWYszlL0HE?t=296 https://www.youtube.com/watch?v=kIZwCj_4TxM

S. CLAASSEN
28 PA, SU Film 40, 00:05:59 https://youtu.be/TIWYszlL0HE?t=413 https://www.youtube.com/watch?v=DjNOaMa0Mqo
(PA);
Film 40, 00:06:55
(SU)
29 PA Video 40, 00:06:07 https://youtu.be/TIWYszlL0HE?t=367 https://www.youtube.com/watch?v=qr_gcbu32KY
30 PA Video 40, 00:08:57 https://youtu.be/TIWYszlL0HE?t=537 https://www.youtube.com/watch?v=IZ_oeYLsFvw
31 PA Video 40, 00:12.48; https://youtu.be/TIWYszlL0HE?t=767 https://www.youtube.com/watch?v=aUlUOnyreTg

00:13:16; 00:13:48
32 PA & Video 40, 00:14:43 https://youtu.be/TIWYszlL0HE?t=882 https://www.youtube.com/watch?v=M7vO7YWZuew
SA
33 SU Video 40, 00:15:54 https://youtu.be/TIWYszlL0HE?t=954 https://www.youtube.com/watch?v=fsl1HmKk1-o
34 SU Video 40, 00:16:04 https://youtu.be/TIWYszlL0HE?t=964 https://www.youtube.com/watch?v=zABH3NSyNps
35 PA Video 40, 00:17:05 https://youtu.be/TIWYszlL0HE?t=1024 https://www.youtube.com/watch?v=h6pRP65zJyg
36 PA Video 40, 00:17:40, https://youtu.be/TIWYszlL0HE?t=1060 https://www.youtube.com/watch?v=VplrFlBV7QQ

37 PA, Video 40, 00:18:32 https://youtu.be/TIWYszlL0HE?t=1111 https://www.youtube.com/watch?v=CMpBO_W9FzA
DK (DK); (DK);
A STRING FIGURE COLLECTION FROM KUUGYUAK
Video 40, 00:19:35 https://youtu.be/TIWYszlL0HE?t=1173

(PA) (PA)
38 PA Video 40, 00:18:32 https://youtu.be/TIWYszlL0HE?t=1111 https://www.youtube.com/watch?v=ul4KnoLCp2s
39 PA Video 40, 00:19:58 https://youtu.be/TIWYszlL0HE?t=1196 https://www.youtube.com/watch?v=8SlIMOFvCxU

215
216
#
40 PA, SU Video 40, 00:21:56 https://youtu.be/TIWYszlL0HE?t=1316 <no video>
(SU); (SU);
Video 40, 00:22:20 https://youtu.be/TIWYszlL0HE?t=1340
(PA) (PA)
41 PA Video 40, 00:22:36 https://youtu.be/TIWYszlL0HE?t=1024 https://www.youtube.com/watch?v=g3t2Dnt9lEw
42 PA Video 40, 00:23:42 https://youtu.be/TIWYszlL0HE?t=1419 https://www.youtube.com/watch?v=xWs63QD6F98
43 PA Video 40, 00:24:43 https://youtu.be/TIWYszlL0HE?t=1483 https://www.youtube.com/watch?v=tK9z2TJvx4M
DK = Donald Kogvik; EN= Eva Nakoyak; MA = Martha Angulalik; PA = Peter Apiana; SA = Susie Apiana; SU = Sarah Ulli-
kattaq.
S. CLAASSEN

kuugyuakBISFA30 126 216

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126 S.

A String Figure Collection from

who kindly supplied me with further background information on the record-

Previous Inuinnait string figure collections

THE STRING FIGURES AT KUUGYUAK IN 1997

KM 01. Kimmiun itka (“ dog’s anus”)

Fig. 1 - KM 01 Kimmiun itka

This is Paterson #34.

KM 02. <two player take-over series>

Two players, A and B are sitting opposite each other.

Fig. 2 - KM 02 Stage 1, taken off Fig. 3 - KM 02 Stage 2, taken off the

Fig. 8 - KM 02 final figure

30. Player B: In A’s figure an upside-down double-walled triangle can be

KM 03. Napirraqtuq (“caught in a lasso”)

The instructions describe the construction by Peter Apiana; Marga Angulalik

2. Turn RH a half turn clockwise, then with L5 hook up R1f.

This is Jenness’ String Trick 7.

Fig. 12 - KM 06, final figure

Fig. 13 - KM 06 during movement 1

Fig. 14 - KM 06 during movement 2

Fig. 15 - KM 06 during movement 3

Fig. 16 - KM 06 during movement 4

Fig. 17 - KM 06 during movement 5

Fig. 18 - KM 06 during movement 5

7. Turn RH a half twist around the wrist in an anti-clockwise direction (when

This is Paterson #42a.

KM 08. Tiriganniaq (“fox”)

This is Mary-Rousselière 1969:19, nr. 14c Teriganiarjuk oqitartorjuk (“The

KM 09. Taliriuk (“two arms”)

This is Paterson #1.

KM 10. Aksariuk (“two brown bears”)

KM 11. Aksariuk hitilik (“a brown bear and its den”)

Fig. 23 - KM 11 Aksariuk hitilik

Fig. 24 - KM 11 after movement 7,

This is Paterson #24. The mounted final figure is in Stefánsson’s collection

KM 12. <no final figure reached>

Fig. 25 - KM 12, possible intended figure (Paterson #26)

KM 13. Maqitturiuk (“one who carries a kayak on his head or shoulders”)

KM 14. Ukaliriuk, Ukaliq (“hare”)

Fig. 27 - KM 14 during movement 6

6. Turn LH so that its

KM 15. Ukaliq (“hare”)

Fig. 29 - KM 15 Ukaliq, LH side

This is Paterson #2.

KM 16. Tiriariuq (“the weasel”)

The figure is not in Paterson’s collection, but it can be found in Mary-

KM 17. Qaniriuq (“the mouth”)

KM 18. Tiriganniaq (“the fox”)

Fig. 31 - KM 18 during movement 3

Fig. 32 - KM 18 during movement 6

The construction method is almost identical to that of KM 14. From Peter

KM 19. Tiriariuq (“the weasel”)

Fig. 34 - KM 19 after movement 5

Fig. 35 - KM 19 after movement 6

Fig. 36 - KM 19 after movement 7

KM 20. Tiriariuq, Tiriariuktauq (“the weasel”)

Fig. 39 - KM 20 after movement 3, here presented on a flat surface

Fig. 40 - KM 20 during movement 9

Throughout the filming of the construction of KM 21 below, we see21 Peter

9. Display separating 1 and 2 on each hand, 5 being crooked (fig. 41).

This is Paterson #37.

9. Extend, separating 1 and 2 of each hand, 5 being crooked (fig. 43).

KM 24. The sun in a cloudy sky