This whistle is unusual in that it combines two completely different sound-producing mechanisms. Whistles widely varying in size and pitch as well as in tone quality were used to represent the presence of certain spirit motivators of the Winter Ceremonial. This whistle belongs to the Tseyka version of the Bukwus (Man of the Ground). (Holm, Crooked Beak of Heaven, 1972)

This broad-bowled ladle appears to be of sheep horn. The bowl and shank of the handle have been worked very thin and shaped by steaming and bending. The finial of the handle is left with its natural curve and carved to represent a bear-like creature and a bird. Both have eyes of abalone shell. (Holm, Crooked Beak of Heaven, 1972)

The paint is white, black, red, yellow, and blue.

This carving may have been salvaged from a feast dish. The lower surfaces of old dishes are often rotten and riddled by insects as a result of the custom of storing them on the ground under the houses, which, in the years since the abandonment of the traditional native house, have been frame houses raised on short pilings. The head may have been cut from an old dish that had lost its function through the rotting of the bottom. (Holm, Crooked Beak of Heaven, 1972)

The paint is black, red, green, and yellow.

The paint is black.

The echo is conceived as a human-like being with the ability to imitate the sound or voice of any creature. In the mask this is represented by mouths of many kinds which can be fitted to the mouth of the mask itself. There are four mouths with this echo mask: bear, raven, frog, and sea anemone. (Holm, Crooked Beak of Heaven, 1972)