The string is cotton.

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)

Throughout the masking area of the Northwest Coast, the dramatic effect of opening jaws and other moving parts on masks was recognized. Of all the tribes using masks, however, the Kwakwaka'wakw carried articulation to its highest development. This small thunderbird forehead mask uses two variations on the theme. The lower mandible is hinged to allow it to open and close, and the crest of wooden feathers between the ears can be spread like a fan or dropped back to lie flat on the head. Strings control movement of these parts. (Holm, Crooked Beak of Heaven, 1972)

The dye is red.

The paint is red, black, and green.

To residents of the Northwest Coast, and particularly those in the habit of travelling the waterways of the area in small boats, no native creature is more impressive than the killer whale. It is small wonder that native mythology and art are full of references to him. This killer whale back mask has the ability of transforming itself from a single- to a double-finned creature by the manipulation of strings located inside the mask. (Holm, Crooked Beak of Heaven, 1972)

This well-finished hamatsa whistle depends for its decoration upon a single color change from the natural wood mouthpiece to dark brown or black painting over the remaining surface, and sensitive shifts from sharp to rounded corners of its square cross section. The three pieces of hardwood, perhaps yew, are fastened together with four tight bindings of commercial seine twine (one of which is missing), which themselves become a part of the decoration. (Holm, Crooked Beak of Heaven, 1972)