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)

The paint is black and red.

Shell and beaver tooth knives were probably the aboriginal prototypes of the crooked knife of historic times. Knives with long handles and upward-curved blades meant to be drawn toward the carver were used over a good part of North America. The version of this man's knife common to the Northwest Coast typically has a short, double-edged blade with a gradually increasing curve mounted on the underside of a slim handle. (Holm, Crooked Beak of Heaven, 1972)

The presence of supernatural power is expressed in some of the Tseyka performances by the sound of whistles. The hamatsa in particular is known by his whistles, which his attendants blow whenever the power of Bakhbakwalanooksiwey becomes strong in him. His first approach to the village after his long absence, supposedly at the house of the cannibal spirit, is heralded by the eerie sound. Whistles are held secret and are never intended to be seen in use. (Holm, Crooked Beak of Heaven, 1972)

The dye is red.