After the disappearance of the excited headdress dancer and the sounding of the Tlasula horns announcing his imminent appearance, the attendants usher in a dancer, or group of dancers, whose function it is to display the inherited privilege toward which the entire Tlasula dance is focused. Some dances, such as the Gyidakhanis, feature groups of dancers and are re-enactments of mythical incidents or dances acquired from supernatural contact by an ancestor. (Holm, Crooked Beak of Heaven, 1972)

The personified sun is usually shown in Kwakwaka'wakw art as a human figure with a hooked beak-like nose and a corona of decorated rays surrounding the face. This sun mask in the Burke collection was done by Jack James, a Kwakwaka'wakw carver from Alert Bay.

The paint is green, black, and red.

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

Galokwudzuis, Crooked Beak of the Sky, is one of a household of monster birds and creatures, associates of the Man-eater Bahkwbakwalanooksiwey, the motivator of the major dances of the Tseyka, the winter ceremonial of the Kwakwaka'wakw. Of these dances, the first is the Hamatsa, impersonator of Man-eater himself. The Tseyka dances come from ancestors' fabled experiences with the creatures of the supernatural world, and the public dramatizations of those encounters are among the most prestigious ceremonial acts. (Holm, Spirit and Ancestor, 1987)