362-75<BR> Yuma gourd rattle; gnagl or gnahl (TK); ekna'tl (Forde 1931:130), axma', (Densmore 1932:25); wood, squash, paint, cotton, resin; l. 31 cm., w. 13 cm.; ca. 1880.<BR> The sound compartment of this specimen consists of a hollowed out dried squash; with arrow weed or mesquite resin this is attached to a wooden handle that has a cotton wrist string at the end. Many rattles were pierced with rows of little holes to strengthen the sound emitted. However, it seems that those used by shamans in curing rituals had circular or other patterns of holes, such as this one. In addition to four lateral double lines, several panels of holes are pierced around the circumference, and the top exhibits a circular pattern. Some rattles are painted, the upper part black, the lower section red, or red with black stripes. This specimen is painted black, and the designs are made by scraping through the paint. Some very early rattles were made of clay (Herzog 1928:189; Forde 1931:130-131; Densmore 1932: 25, plates 23-24; Spier 1933:235, plate XII; Trippel 1984:174, fig. 2; cf. Spier 1955:8-9, fig. 2e).<BR> Ethnomusicologist George Herzog (1928) found Yuman music unique because of its stylistic integration and certain specific features that set it apart from other tribal ethnic or regional styles in Native North America. The latter includes the use of conventionalized movements of the hand in rattling, a feature that he compares to the symbolic movements and gestures in the ceremonialism of other Southwestern Indian peoples.<BR> (Hovens 2008-09)<BR> <BR> Rammelaar van een kalebasschaal, die aan een houten steel (waar- aan een katoenen lus) bevestigd is.