Some String Figures from Kuopio, Finland

Bulletin of the International String Figure Association, Vol. 24, 133-163, 2017 SOME STRING FIGURES FROM KUOPIO, FINLAND 133 Some String Figures from Kuopio, Finland U S L Collected by (1941-2015) Introduced and annotated by C , Best, Netherlands ABSTRACT The paper presents eight different traditional string figures and tricks from Kuopio, South-Central Finland, accompanied by comparative notes. The figures were collected in 2011 by Finnish folklorist Ulla Lipponen. Although the collction is relatively small, it is important. One figure, Helpot Verhot, has (as far as is known) not been published before; two further figures were each known from a single other recording. The figures and their names are closely related to other traditional European string figures, suggesting the existence of a distinct European string figure tradition. In an Appendix two further recordings of string figure making, from Finnish videos on Youtube, are presented. INTRODUCTION String figure collections from several Scandinavian countries have been studied and published (Sweden, the Faroe Islands and Denmark). But the string figure tradition of other countries (Finland, Norway, Iceland) is still largely unknown. To add to our knowledge of the Scandinavian string figure tradition, the present paper presents a small but important collection of string figures from Kuopio, South-Central Finland. For the Swedish-speaking part of Finland (small regions in the south and south -west of Finland) information on string figures was included in the eighth volume of Finlands Svenska Folkdiktning edited by Vilhelm Eliel Viktorinus Wessman and posthumously published in 1962 (Wessman 1962)1. And Paul133 134 U. LIPPONEN & S. CLAASSEN Emil Victor visited the Sami-speaking part of Finland for his collection of Sami string figures, which was published posthumously (Victor 1976). Because there was no information on traditional string figures from the Finnish -speaking part of the country, the Finnish Literature Society (Suomalaisen Kirjallisuuden Seura, SKS2) asked folklorist Ulla Lipponen to collect string figures in Kuopio, South-Central Finland3. From March to May 2011 Mrs. Lipponen managed to record videos showing the construction of the figures, shoot photographs of stages in the construction and of the final figures, and she collected traditional names for the figures. Ulla Lipponen was born on the 5th of September 1941 in Kuopio, SouthCentral Finland4. Already as a student she studied contemporary folklore, especially that of children and youngsters. After finishing her studies she began working at the Folklore Archives of the Finnish Literature Society, where she established several field collections, often consisting of sound recordings, transcripts of interviews and video material. These collections formed the basis for several books and booklets on (gender) aspects of children’s and youth culture, both scientific studies and books intended for the general reader. Some of these latter achieved large popularity in Finland: one of her books was reprinted nine times. Mrs. Lipponen had also a special liking for operas and for cave paintings. As a specialist of children’s folklore Mrs. Lipponen was known in Estonia, the Nordic countries, and to some (undeservedly only limited) degree also in other parts of the world. She published mostly in the Finnish language; her bibliography shows only a handful of publications in the English language5. Ulla Lipponen died after a long illness on the 25th of November 2015 in Kuopio. TERMINOLOGY See the Nomenclature section at the end of this volume. THE STRING FIGURE COLLECTION Ulla Lipponen recorded the string figures at three different locations: 1. Ulla’s home with one “Granny’s Hut” hostess (Sirkka Järveläinen, 1st of March 2011) and two personal friends/class-mates (Pirkko-Liisa Karinen and Eila Mäkitalo, 30th of May 2011). 2. “Granny’s Hut” (25th of May 2011), a café in Kuopio maintained by volunteers of cathedral parish, with two hostesses and another lady as informants (Hannele Koivisto, Elvi Parviainen and Virpi Soveri). 3. The pottering club of local Neulamaki congregation (22nd of March 2011), two club members (Hely Hanski and Päivi Korhonen) as informants. SOME STRING FIGURES FROM KUOPIO, FINLAND 135 Ulla had the impression that string figures were common in her own generation and also younger generations. At the “Granny’s Hut” meeting she asked some 70 people whether they knew about string figures; some two-thirds of the people there raised their hand: they knew or had known about string figures. Informants and their repertoire: • Sirkka Järveläinen (1st of March 2011): Kahvikuppi (1), Hissi (6). • Päivi Korhonen (22nd of March 2011): Vispilä (7). • Hely Hanski (22nd of March 2011): Kahvikuppi (1). • Virpi Soveri (25th of May 2011): Taikatemppu (8). • Hannele Koivisto (25th of May 2011): Vispilä (7), Taikatemppu (8), Kalaverkko (3), Verhot (Vaikeat Verhot) (4), Helpot Verhot (5). • Elvi Parviainen (25th of May 2011): Taikatemppu (8). • Pirkko-Liisa Karinen (30th of May 2011): Kahvikuppi (1), Purjevene (2). • Eila Mäkitalo (30th of May 2011): Vispilä (7). All of the informants were women, varying in age from their 50s to their 70s. The material in the collection consists of 12 videos in the digital avi-format (with a total of 5 minutes and 59 seconds in length) and 30 additional digital photographs of final figures and intermediate stages in their construction, in the jpg-format. The video files in the original material are numbered sksak20110001a until sksak20110012a. In the text below these videos will be referred to by the word “Video” and the last two digits in their file name (i.e. sksak20110001a becomes Video 01, sksak20110012a becomes Video 12). The photographs in the original material are numbered krak2011_0006_f until krak2011_0035_f. In the text below these photographs will be referred to by the word “Photograph” followed by the last two digits in their file name (i.e. krak2011_0006_f becomes Photograph 06). In the cases where there is more than one performance of the figure on video, the instructions describe one actual performance, and variations are given in the remarks following the instructions. When (part of) the construction is not on film, it has been reconstructed. Such reconstructed movements are placed between square brackets [ ]. 1a. Kahvikuppi (“Coffee Cup”) Informants: Sirkka Järveläinen, Pirkko-Liisa Karinen. Material: • Sirkka Järveläinen: Video 01 (two times the construction is filmed), Photograph 06. • Pirkko-Liisa Karinen: Photograph 33. 136 U. LIPPONEN & S. CLAASSEN Fig. 1 - Kahvikuppi The instructions below describe the first making of Sirkka Järveläinen. 1. Opening A. 2. With 1, over 2n, pick up 2f. 3. Navajo 1 by turning tips of 1 towards each other, under TV 1n and up. 4. Release 5 loop. 5. Extend, palms facing each other, fingers pointing away from the body. You have Kahvikuppi (fig. 1). Remarks: • Movement 3. In the second making Sirkka Järveläinen uses her mouth to pull the TV 1n in order to facilitate the Navajo-movement. Fig. 2 - Kahvikuppi as made by Heli Hanski SOME STRING FIGURES FROM KUOPIO, FINLAND 137 1b. Kahvikuppi (“Coffee Cup”) Informant: Hely Hanski. Material: • Heli Hanski: Video 03, Photograph 10. 1. 2. 3. 4. 5. 6. 7. 8. 9. Position 1. With L3 pick up R palmar string. With R3 from above enter L3 loop, then pick up L palmar string and return through L3 loop. With L1 over L3n pick up L3f and return. With R1 from below share upper L1 loop, but do not return completely. Navajo R1 by bending R1 to the left over upper TV R1n, away from the body under upper TV R1n, then down towards the body under lower TV R1n and up. Navajo L1 by bending L1 to the right over upper L1n, then down towards the body under lower L1n and up. Release 5 loop. Extend, palms facing each other, 1 pointing upwards, 2345 of each hand pointing down and slightly towards each other. You have Kahvikuppi (fig. 2). Kahvikuppi is known under more or less the same name (Coffee or Tea Cup) in other places in Scandinavia and Europe. The construction method used is always (more or less) the same; in some recordings the middle finger is used instead of the index finger, and sometimes the order of the movements in making Opening A varies. The construction method that Heli Hanski uses (1b above) has not been recorded before. It results in a final figure with exactly the same string figure configuration as that resulting from the construction method of Sirkka Järveläinen and Pirkko-Liisa Karinen, but it needs some adjusting after the release of the little finger loop in movement 8 in order to achieve a symmetrical figure (the left middle finger loop is much smaller than the right middle finger loop, and should be enlarged). The construction variant might therefore be a mistake or a personal variant. The figure Kahvikuppi is under the same name also on a Youtube-video, where it is the first figure in a series of figures (see Appendix, figure a2). Its construction method follows that of Sirkka Järveläinen and Pirkko-Liisa Karinen (1a above), except that the middle finger instead of the index finger is used. The figure has been recorded in the Swedish-speaking part of Finland (Wessman 1962:977-978, nr. 7 Göra Kaffekopp och Tefatt (“to make Coffee Cup and (tea-)Saucer”)), Uppsala, Sweden (Claassen 2011:69-70, B1 Kaffekoppen/Tekoppen (“the Coffee Cup”/“the Tea Cup”), final figure only), among the Sami at Kautokeino, Norway (Delaporte 1976:31-32, nr. 6 Gaf’fi 138 U. LIPPONEN & S. CLAASSEN Bol’lo (“the Coffee Cup”)), and in Copenhagen, Denmark (Noble 2011:166, nr. 35 Tekoppen (“the Tea Cup”)). It is also widespread in other parts of Europe under similar or related names (Netherlands (van Oorschot 1966:10-11, Kop en Schotel (“Cup and Saucer”); Jayne & Stelling 1978:20-21, Kop en Schotel; Botermans 1994:10-11, Kop en Schotel, described as made with the index finger, but inconsistencies on page 11 indicate it was probably also made with the middle finger), Belgium (Tyberg 1997:12-13, Kop en Schotel (“Cup and Saucer”), made with middle finger instead of index finger), Switzerland (Haefelfinger 1975:10-11 d’Kaffidasse (“the Coffee Cup”), made with index finger or middle finger in separate makings by the same informant)). In France it is sometimes called Bigorne (“Anvil”) or the Iron (Cannarozzi Yada 1996:52-53, made more often with middle finger than with index finger (Cannarozzi Yada, personal communication 2011)). As Cup and Saucer it was recorded from an American-born girl of Scottish parents (Davidson 1941:900) and under the same name it was found in the United States (Brewster 1953:5, made with middle finger instead of index finger)6. The figure is (under a different name) well-known in Japan, where it is made with the middle finger instead of the index finger, and forms a small series (Saito 2004:109-111). The Japanese name for the figure is usually Makura (“Pillow”) when held with thumbs pointing towards the floor, index fingers pointing upwards, or Sakazuki (“Sake Glass”) with thumbs pointing upwards, index fingers pointing towards the floor. Will Wirt recorded the figure in China (Wirt 1998:131, nr. 5a Bowl; made with middle fingers instead of the index fingers). It was also observed among the Mapuche in Argentina (Guevara 2011:5, nr. 3.1 La taza (“The cup”), made with middle fingers instead of index fingers). 2. Purjevene (“Sailing Boat”) Informant: Pirkko-Liisa Karinen. Material: • Pirkko-Liisa Karinen: Photograph 34. 1. 2. [Make Kahvikuppi (1a above). Maintaining the display, with mouth grasp TV 1n and pull it upwards]. You have Purjevene (fig. 3). The construction of this figure was not filmed; there is only a photograph of the final figure in the material. Its construction method can, however, be reconstructed easily as the figure is a continuation of Kahvikuppi and is known from other recordings, as well as from a Finnish Youtube-video (see Appendix, figure a3). Note that Pirkko-Liisa Karinen is the only informant from Kuopio who continues to this figure (probably) after making Kahvikuppi. SOME STRING FIGURES FROM KUOPIO, FINLAND 139 Fig. 3 - Purjevene Purjevene is known from several other Scandinavian and European recordings; it is usually part of a longer series starting with the figure identical to Kahvikuppi. Whether the middle or index finger is used in the construction depends on which finger was used in the first figure. A recording from Uppsala, Sweden represents the same object and is called Segelbåten (“the Sailboat”) or Båten (“the Boat”) (Claassen 2011:71, B2, final figure only; the series is accompanied by a short story). In a 1965 recording from Denmark (Noble 2011:175, nr. 51) the figure is called Juletræet (“the Christmas Tree”). In France the figure represents the same object as in Finland (Cannarozzi Yada 1996:52-53, Sailboat), in the Netherlands it is known as De Schemerlamp (“the Floor Lamp”) (Jayne & Stelling 1978:23-24). In Japan it is part of a small series in which this particular figure is known as Fukuchan-bou (“CollegeCap”) (Saito 2004:114). 140 U. LIPPONEN & S. CLAASSEN In most European recordings there is a continuation from this figure to further figures, such as the Eiffel Tower, but there is no such continuation in Ulla Lipponen’s collection. But the Youtube-video from Finland mentioned above shows this continuation, from Purjevene to Eiffeltorni and further (see Appendix, figure a3). 3. Kalaverkko (“the Fish Net”) Informant: Hannele Koivisto. Material: • Hannele Koivisto: Video 06, Photographs 16-19. 1. 2. 3. 4. 5. 6. 7. 8. Position 1. With R2 pick up L palmar string. With L2 from above enter R2 loop and pick up R palmar string. Return through R2 loop. Release 1 loop and extend to absorb the slack. With 1, under all intermediate strings, pick up 5f. With 1, over 2n, pick up 2f. Release 5 loop. With 5, over 2n, pick up lower 1f. Fig. 4 - Kalaverkko 9. Release 1 loops. 10. With 1, over 2 loop, pick up 5n. 11. With the tips of L12 grasp R2n close to R2 (before it passes under R palmar string) [krak2011_0018_f] and place it over R1; release grip of L12. With the tips of R12 grasp L2n close to L2 (before it passes under L palmar string) and place it over L1; release grip of R12. 12. Navajo 1 by turning tips towards each other over upper 1n, down under lower 1n towards the body and up. SOME STRING FIGURES FROM KUOPIO, FINLAND 141 13. There is a triangle of string at the base of each 1. With 2 from above enter triangle and hook down the far string of the triangle. 14. Separate the hands so that the original 2 loop slips off, then rotate 2 away from the body and up to place the far string of the triangle on its back, at the same time releasing 5 loop. Extend with palms pointing away from the body, 2 pointing upwards, 1 pointing down. You have Kalaverkko. The figure identical to Kalaverkko is known in many parts of Scandinavia and in the world. It was recorded among the Sami of Kautokeino (Delaporte 1976:8 -15, nr. 1 Fierbmi (“Fishing Net”)), in Copenhagen, Denmark (Noble 2011:183, nr. 62 Nettet (“the Net”)), and around Lund and Uppsala, Sweden (Claassen 2010a:59, SFn1 Karl X’s Krona (“the Crown of Karl X”), final figure only; Claassen 2011:88-89, nr. B19 Lilla Fisknätet (“the Small Fishing Net”), final figure only). It was also observed on the Faroe Islands in 2016 (Claassen, to be published). The figure has further been recorded in the Netherlands (van Oorschot 1966:12 -15, Haarnet (“Hair Net”); Van de Graft 1935:225-227, Vischnet/Eiernetje (“Fishing Net/Egg-Net”), final figure only), the UK (Probert & Probert 2011:57, nr. II The Devonshire Cat’s Whiskers series, in which the figure is called London Bridge), Scotland & the Orkneys (Noble 1983:8-12, The Forth Bridge), Ireland (Jayne 1906:24-27, The Ladder/The Fence) and Switzerland (Haefelfinger 1975:13-14, S’Glaini Netz (“the Small Net”)). Construction methods are identical to that of Kalaverkko, and in most regions the figure represents the same object as in Finland. The figure is also known in many other parts of the world (see Storer 1988:9295 for bibliographical references). Note the close relation that exists between the construction of this figure and that of the next figure (4 Verhot). 4. Verhot (“Curtains”) / Vaikeat Verhot (“Difficult Curtains”) Informant: Hannele Koivisto. Material: • Hannele Koivisto: Video 07, Photographs 20-25. 1. 2. 3. 4. 5. 6. Position 1, but use 2 instead of 1. With R3, from below, pick up L palmar string. With L3 enter R3 loop from above, then from below pick up R palmar string. With 1, under all intervening strings, from below pick up 5f. With 1, over 2n, from below pick up 2f close to 2. Release 5 loop. 142 7. 8. 9. 10. 11. 12. 13. 14. 15. U. LIPPONEN & S. CLAASSEN With 5, over all intervening strings, from below pick up lower 1f (running from 1f of one hand to 3f of the other hand). Release 1 loops. With 1, over all intervening strings, from below pick up 5n. With L12 grasp R2n close to R2, and place it over R1 (= sharing the 2 loop with 1). Movement 10 with R12 on L2n. Navajo 1 by turning tips towards each other over upper 1n, down under lower 1n and up. At the palmar base of each 2 there is a string segment which comes, through the center of the figure, from the other hand. It encircles the 1 loop then runs to 5n of the same hand, forming a small triangle at the palmar base of 1. With 2, from above, enter this triangle, and at the same time twist hands around the wrist, so that fingers point first downward then away from you and upward. Release 3 and 5 loop, and simultaneously spread 1 and 2 away from each other as far as possible. You have Verhot (fig. 5). Move hands away from each other so that the two halves of the figure slide to the left and right respectively. This represents the curtains opening. Quickly and gently alternate bringing tips of 1 and 2 at each hand somewhat towards each other then separating them to facilitate the sliding. The construction and final shape of Vaikeat Verhot is closely related to that of nr. 3 Kalaverkko; apart from the opening configuration (movements 1-3, a variation of Opening A) it uses similar movements throughout, and a similar extension. Although similar figures are known from other places in the world (i.e. Black Bokis, Noble 1979:153-154, nr. 101, from Papua New Guinea), Fig. 5 - Verhot / Vaikeat Verhot SOME STRING FIGURES FROM KUOPIO, FINLAND 143 their construction methods differ substantially. There exists only one recording from the Netherlands that is identical to Vaikeat Verhot (Claassen 2010b Schuifdeur (“Sliding Door”); Zwaagdijk 1935 (drawing of final figure only)), and which represents a related object and action. We consider this figure to be the most complex in the Finnish collection, because its construction involves four fingers of each hand, and special attention is needed to pick up the correct string in movement 5. 5. Helpot Verhot (“Easy Curtains”) Informant: Hannele Koivisto. Material: • Hannele Koivisto: Video 08, Photographs 26-28. 1. 2. 3. 4. 5. 6. 7. Hold an untwisted string loop strung on 1 and 2 of each hand, 1 and 2 pointing towards the floor and dorsal sides of the hands facing each other. There is a TV 1n and a TV 2f string. Separate R1 and R2, then turn tips towards the left and up, the tip of R1 rising at the near side of TV R1n and the tip of R2 rising at the far side of TV R2f. Movement 2 on LH. Hands are now in Normal Position. There are TV 1f and 2n strings, and palmar 1n-2f string segments on each hand. With R12 pick up L1n-L2f palmar string segment between L1f and L2n. Movement 4 with L12 on RH. On each hand with 1 and 2 from above enter central space between 1f and 2n, turning hands around the wrist down then outwards until dorsal sides of the hands face each other and allowing the dorsal 12 string segments to slip off 12, and spread 12 of each hand, 2 pointing upwards, 1 pointing away from the body. You have Helpot Verhot (fig. 6). Move hands further away from each other. Two vertical string segments strung up between the horizontal framing strings move each towards a hand. This represents the curtains opening. Fig. 6 - Helpot Verhot 144 U. LIPPONEN & S. CLAASSEN Recordings of this figure have, as far as is known, not been published before, but there exists an unpublished recording of an identical figure Gordijntje Gaat Open (“Little Curtain Opens”), made by Dutch lady Fimke van Gent in 2009 (mentioned in Probert 2011:16). It uses exactly the same construction method as Helpot Verhot and represents the same object and action. 6. Hissi (“the Elevator”) Informant: Sirkka Järveläinen. Material: • Sirkka Järveläinen: Video 02, Photographs 07-08. 1. 2. 3. 4. Position 1 on LH only. There is a pending loop hanging down from LH palmar side. With R123 pull L palmar string (R1 passing under, R23 passing over the string) completely towards the right. With RH from above (= towards the floor) enter the loop held by R123, at the same time releasing the grip of R123. Turn fingers of RH towards the body then up, introducing a half turn in the RH loop. With R12 grasp L palmar string between L1f and L5n (R1 passing under, R2 passing over the string) and pull this string slowly towards Fig. 7 - Hissi the floor through the RH loop, which slips off the RH. Hold LH with its palm facing the right, its fingers pointing upwards. Gently bring R12 further towards the floor. You have Hissi (fig. 7). A structure (representing the elevator) slides upwards towards the LH along the parallel strings running from the RH to the LH. SOME STRING FIGURES FROM KUOPIO, FINLAND 145 Remark: • Movement 4. In the photograph Sirkka Järveläinen uses R123 instead of R12 to grasp the L palmar string. Only one other recording of this figure is known to exist, an unnamed figure from the Faroe Islands (Sverrisson & Claassen 2010:25, nr. 5). It is made in exactly the same way as Hissi. The construction of this uncomplicated figure might be inspired by the construction of Vispilä (nr. 7 below), starting with a similar opening. On the Faroe Islands a figure related to Vispilä also exists, but there it is constructed using a slightly different construction method than Vispilä (Sverrisson & Claassen 2010:23-24, nr. 4 Átta Føtur í Oksa (“Eight Feet in an Oxen”)). 7. Vispilä (“the Whisk”) Informants: Päivi Korhonen, Hannele Koivisto, Eila Mäkitalo. Material: • Hannele Koivisto: Video 09, Photographs 29-31. • Päivi Korhonen: Photograph 09. • Eila Mäkitalo: Photograph 35. The instructions below describe the construction of Hannele Koivisto. 1. Place the loop on L1 and L5 (this is Position 1 on LH only). 2. With tips of R123 grasp L palmar string and pull this string out towards the right. Release grip of R123. Fig. 8 - Vispilä 3. 4. With tips of R123 grasp L palmar string between L1f and L5n and pull this string out towards the right. Release grip of R123. There is now a long pending loop hanging down from L palmar side, with a near pending string (starting from L1n) and a far pending string (starting 146 5. 6. U. LIPPONEN & S. CLAASSEN from L5f). With RH, from the right, enter pending loop. Move R2 away from the body under far pending string, then from above enter L5 loop close to L5 and hook down L5f string. Pull this string out slightly towards near side. Bring R1 towards the body under near pending string, then from above enter L1 loop close to L1 and hook down L1n string. Pull this string out slightly towards far side. Touch the tips of R1 and R2 and slide the R1 loop onto R2, then return R2 (pointing towards the body) towards the right through the pending loop. Pull tight. From R2 in the direction of the LH four strings are running, forming a long triangular structure divided into two halves by a double string. These four triangle strings are from the near to the far side of the figure, numbered from one to four. Keeping tension in the figure and keeping R2 pointing towards the body, bring R2 up and over the fingertips of the LH towards the dorsal side of the LH, allowing L2 to pass between the first and the second triangle string, L3 between the second and third triangle string, and L4 between the third and fourth triangle string. Release double R2 loop and allow it to hang along the dorsal side of the LH. Hold LH so that its palm points towards the right, fingers pointing upwards. A small string segment runs parallel to the LH palm, crossing L1n and L5f closest to the floor, With R2 from above hook this string segment and quickly pull it towards the right. You have Vispilä. Display horizontally, LH palm pointing towards the right, LH fingers pointing away from the body, crooked R2 pointing towards the body (fig. 8). Remarks: • Movement 6. Päivi Korhonen probably uses R3 instead of R2 to hook the string segment. She displays the figure vertically, LH above RH. Eila Mäkitalo uses R1 instead of R2; she also displays the figure vertically, LH above RH. Figures closely related to or identical in construction and outlook to Vispilä are widespread in Scandinavia and the rest of Europe. They occur but are rarer in other parts of the world. In a previous paper (Claassen 2011:80-83, B13) the occurring construction methods for this figure are classified in two main groups, depending on whether (Method 1) or not (Method 2) a characteristic movement (pushing two string loops from above behind a dorsal string segment running at the dorsal base of some of the fingers) occurs. Two variants exist of Method 1, depending on whether or not the thumb is used in the opening movements (thumb not used in Method 1a, thumb used in Method 1b) and resulting in a display on different fingers. The construction of Finnish Vispilä belongs to the Method 2-group, lacking the characteristic movement described above. Similar construction methods have been found in Uppsala, Sweden (Claassen 2011:80-83, B13, Kvasten/Vispen (“the Broom”/”the Whisk”)) and Copenhagen, Denmark (Noble 2011:156-157, SOME STRING FIGURES FROM KUOPIO, FINLAND 147 nr. 20 Faldskærmen (“the Parachute”)). It is known from the South of the Netherlands (Claassen 2011:133, footnote 72), and from the UK (Probert & Probert 2011:7-8 One of the Parachutes). In Scandinavia Method 1a is known from the Sami (Victor 1976:177-182, nr. 6, as an intermediate figure to Skarret (“the Scissors”); Delaporte 1976:25-28, nr. 4 Skire Gazzat (“the Claws of the Magpie”)), and Sweden (Norman 1878:282, En Knippa Ljus (“a Bundle of Candles”); illustration and name only, probably based on the German book by Wagner (Wagner 1864:253-254, Lichterstehlen (“Candles”))). Method 1b has been recorded in the Faroe Islands (Johannesen 1979:35-36; Sverrisson & Claassen 2010:23-24, nr. 3 Átta Føtur í Oksa (“Eight Feet in an Oxen”); both recordings differ slightly in their opening movements7). Figures following Method 1a are further found in the Netherlands (van Oorschot 1966:24-29, Parachute; Jayne & Stelling 1978:104-109, De Bezem (“the Broom”)), France (Cannarozzi Yada 1996:53, Hot-air Balloon/Scobar (“Broom”)), Germany (Wagner 1864:253-254, Das Aufgehangene Lichtbündel (“the Beam of Light Hung Up”)), Scotland (Gray 1903:117, The Bunch of Candles) and England (Hingston 1903:147, Bunch of Candles). Method 1bfigures are known from France/Poland (Eckert 1944:17-18, nr 3 Parachut) Belgium (Salika 2007:271-272, Balloons), and Switzerland (Haefelfinger 1975:16-17, D’r Bäse (”the Broom”)). In Europe the string configuration that occurs after movement 4 above sometimes receives its own name (i.e. in Denmark, where it is called Lange Bukser Med Lommer (“Long Trousers with Pockets”) or Bedstefars Seler (“Grandpa’s Braces”), depending on the way it is displayed (Noble 2011:155-156, nr. 1819)). In constructions belonging to Method 1 this figure does not occur as an intermediate figure, but can be a follow-up figure (i.e. the Faroe Islands (Sverrisson & Claassen 2010:25, nr. 4 Músafella (“Mouse Trap”)), the Netherlands (van Oorschot 1966:36-37 Schaar (“Scissors”)), Germany (Wagner 1864:253-254, Die Schere (“the Scissors”)), Scotland (Gray 1903:118, nr. 3 The Pair of Trousers) and England (Hingston 1903:147, A Pair of Scissors). Martin Probert (1999:235) suggests that the construction methods belonging to Method 1 might have been devised because a known storyline existed in which the object to be cut (a bunch of candles, the figure equivalent to Vispilä above) had to appear before the object with which it was cut (a pair of scissors, the string configuration after movement 4 above) (for the story, see i.e. Hingston 1903:147). This could explain the appearance of the somewhat artificial characteristic movement mentioned above, but does not explain the occurrence of the figure without follow-up figures in some areas, nor of the series without a story. Furthermore, when one uses Method 2 one could easily step over dis- 148 U. LIPPONEN & S. CLAASSEN playing the intermediate figure, aiming first at the final figure, from which the follow-up figures necessary for the story line are easily made. The figure (and its follow-up figures) has been found in various places in the world, and is constructed in various ways (see Probert 1999:233-235, The Multiform/Tallow Dips for a description and further references to collections). A study of the distribution of Method 1/Method 2 construction methods around the world is beyond the scope of the present paper, but could yield interesting results. 8. Taikatemppu (“Magic Trick”) Informants: Virpi Soveri, Hannele Koivisto, Elvi Parviainen. Material: • Hannele Koivisto: Video 05, Video 10 (with Elvi Parviainen), Video 11 (with Elvi Parviainen). Photographs 13-15. • Elvi Parviainen: Video 10 (with Hannele Koivisto), Video 11 (with Hannele Koivisto), Video 12. Photograph 32. • Virpi Soveri: Video 04. Photographs 11-12. The instructions below describe the construction of Hannele Koivisto. Use a short string loop. 1. [Hold L so that palm faces the body, fingers pointing upwards. Place a string loop over L2345 and allow the other end of the loop to hang down at the dorsal side of the LH. With RH grasp the other (lower) side of the pending loop, R2345 entering from below, RH palm pointing away from the floor]. 2. Keeping tension in the loop with RH bring the RH loop over the fingertips of the LH towards the LH palm, allowing the RH loop string starting from L2n to pass between L2 and L3, and the RH loop string starting from L5f to pass between L4 and L5. 3. Keeping tension in the RH loop, turn LH palm away from the body, at the same time bringing the RH loop with RH to the dorsal side of L1, passing between L1 and L2, then turn L palm towards the body, allowing the RH loop to pass around the near side of L1. Turn RH palm towards the body and down so that it faces the floor, introducing a half twist in the RH loop. 4. With RH stretch the loop it holds along L palmar side to the far side of the LH. Keeping tension in the loop, allow the RH loop, close to the RH, to pass over L5. 5. Turn RH palm towards the body and up, introducing a half turn in the RH loop, then distally transfer the RH loop onto L2, allowing the loop to hang down from LH palm. Release RH loop. 6. With R2 from above remove double L1 loop and pull it tight by bringing R2 (pointing towards the floor) towards the body. 7. Keeping tension in the loop pass R2, holding its double loop, over LH SOME STRING FIGURES FROM KUOPIO, FINLAND 8. 149 finger tips towards LH dorsal side, allowing all strings they hold to pass between L3 and L4. Release double R2 loop (fig. 9). Pass R23 from above behind the string running at the base of the fingers on L palmar side and draw this string away from L palm (fig. 10). The string comes off the LH. Fig. 9 - Taikatemppu after movement 7 Remarks: • Virpi Soveri (Video 04) performs the trick on her RH instead of on her LH. • Movement 5. Virpi Soveri (with L and R exchanged) here allows the loop to hang down from the dorsal side of the hand so that the former LH loop is transformed into a dorsal pending R2 loop. • Movement 6. Virpi Soveri (Video 04) after removing the double thumb loop does not pull this loop tight (fig. 11). • Movement 6. In Video 10, in which Hannele Koivisto makes the figure on the LH of Elvi Parviainen, the figure goes wrong here. • Movement 8. Virpi Soveri uses only the index finger here. The string trick identical to Taikatemppu has been recorded in several places in Scandinavia, Europe, and in other places of the world. Its execution is basically the same although small variants occur. In a previous paper (Claassen 2011:6164, A2) these variants had been classified into two main groups, but here a different attempt is made, based on a different principle: the way the last part 150 U. LIPPONEN & S. CLAASSEN Fig. 10 - Taikatemppu Fig. 11 - Taikatemppu after movement 7, as made by Virpi Soveri SOME STRING FIGURES FROM KUOPIO, FINLAND 151 of the string loop comes off the hand (already observed by W. Innes Pocock in a publication from 1906 (Pocock 1906)). In Variant group 1 at movement 6 above the double thumb loop is pulled tight completely or partly (whether before or after it is passed through the middle and ring finger towards the dorsal side of the hand; the last part of the string loop leaves the hand between the index-middle and ring-little finger (fig. 12). In Variant group 2 this double loop is not pulled tight, and often at the point cf. movement 5 above the loop placed over the index finger hangs down from the dorsal side of the hand; the last part of the string loop leaves the hand between the thumb and the index finger (fig 13). Constructions belonging to Variant group 2 are less frequent than those of Variant group 1. The construction of Taikatemppu by Elvi Parviainen and Hannele Koivisto belongs to Variant group 1, and that of Virpi Soveri to Variant group 2. Further recordings of Variant group 1 are known from Sweden (Ella 1879:179 nr. 686 Den Egendomligen Omslingringen (“the Curious Winding”)), Kautokeino, Norway (Delaporte 1976:54-56, nr. 10 <no name>), Sami-speaking area of Scandinavia (Victor 1976:189-191, nr. 9 <no name>), the Netherlands (van Oorschot 1966:88-91, Ontsnapping 5 (“Escape nr. 5”); Westerveld 1978:43 Het Geheim van de Smid 1 (“the Smith’s Secret nr. 1”)), England (Pocock 1906:367-368, The Hand String-Trick, the variant collected by Miss B.W. Freire Marreco, probably from Clapham), the United Kingdom (Ashley 1944:420, nr. 2599 Cutting The Fingers 2) and Germany and Scotland (Haddon 1911:84-85, A German Trick). Martin Probert found the trick in an 1857 magician’s book (Probert 2012: 3-5, Samson’s bond), which is hitherto the eldest known recording of the trick. To this group also belongs a recording from the Swedish-speaking part of Finland (Wessman 1962:976-977, nr. 4 Häkta Händerna/Skära av Fingrarna med Band (“to Cut the Hands/to Cut Off the Fingers with a String”)); here the long pending loop hanging down from the palmar side of the hand is brought back to the dorsal side between left middle and ring fingers, together with the two thumb loops. This is more or less similar to a recording from Germany (Wagner 1864:253 Das Zauberband (“the Magical Band”)). Recordings belonging to Variant group 2 are much rarer. There are recordings from England (Pocock 1906:369, The Hand String-Trick, third variety collected by Miss A. Hingston, and Pocock 1906:367, The Hand String-Trick, the variant learnt from a Bristol boy around 1870). Ashley (1944:420, nr. 2598 Cutting The Fingers 1) gives a variant of the trick that also belongs here, since the last part of the string leaves the hand between the thumb and index finger. In this recording only movements 1-5 of Taikatemppu above are performed. Next the right hand releases its loop, allowing it to hang from the left hand palm, and the double left thumb loops are re- 152 U. LIPPONEN & S. CLAASSEN Fig. 12 - String Trick Taikatemppu Variant group 1, string coming off hand Fig. 13 - String Trick Taikatemppu Variant group 2, string coming off hand SOME STRING FIGURES FROM KUOPIO, FINLAND 153 leased. When pulling the large loop hanging down from the left hand palm (the former right hand loop), the string comes off the left hand. A two-step release trick that could be inspired by this trick was recorded in Copenhagen, Denmark (Noble 2011:152-153, nr. 13 Cutting Fingers). The trick itself is known worldwide (see Averkieva & Sherman 1992:131-132, nr. 107 Cutting Off the Fingers, Variant group 1). It has, for instance, been recorded in Australia (Davidson 1941:881-882, nr. LXXII Cutting Off the Fingers, Variant group 1), Papua New Guinea (Beer & Claassen 2014:109-111, Wampar A4, Safog (a Mussel Shell species), Variant group 1), the Marquesas Islands (Handy 1925:52-53, Another Trick Figure, Variant group 1) and the Arctic (Jenness 1924:179, Trick no. 6 A Point Hope Trick, Variant group 1). A recording from East Greenland (Victor 1940:200-202 Awadat Kibitunut II (“the Fingers Cut”)) belongs to Variant group 2. In the Netherlands the trick is traditionally known as Het Geheim van de Smid (“the Smith’s Secret”) and has an accompanying verse Het geheim van de smid is dit (“The smith’s secret is this.”), recited during the construction of the trick, one syllable per movement. At the recitation of the word dit movement 8 above is performed8. “Het geheim van de smid” is a traditional expression in Dutch of which the origin is uncertain, and expressing: “This is my secret, only I know how it is done” (Geerts & Den Boon 1999:3101). The recordings of the two Variant groups result in slightly different string arrangements around the fingers, but the principle of the action of the trick is the same. The Kuopio recordings from Finland show that in the same area and during the same recording session constructions belonging to both Variant groups occur, be it by different informants. It would be worthwhile to study the occurance of this trick and its variant construction methods around the world. CONCLUDING REMARKS The string figure collection from Kuopio, Finland is relatively small (8 different string figures/tricks), but it is an important contribution to our string figure knowledge. One of the string figures has not been published before (5. Helpot Verhot) although exactly the same figure (with a similar name) had been recorded in the Netherlands a couple of years earlier. Of two further figures (4. Verhot and 6. Hissi) only one other published recording is known to exist (from the Netherlands and from the Faroe Islands, respectively). One of the figures listed in the Appendix and stemming from a Finnish Youtube-video has probably not been described before; it is closely related to a string figure that was common in North and West Europe. 154 U. LIPPONEN & S. CLAASSEN That recordings of these three Kuopio figures are only known from Europe and not from other parts of the world suggests that they are part of a specifically European string figure tradition. Whether they were distributed by direct cultural contact/exchange or independently invented, i.e. by way of varying constructions of well-known figures, does not become clear from the limited amount of information. The fact that Verhot (nr. 4) is a slightly more complex variation of Kalaverkko (nr. 3) could suggest the latter. But then, since Kalaverkko is a well-known figure in many parts of the world, why is Verhot, a variation on it, not equally widely distributed? Of course the fact that a figure is not in a string figure collection from a particular region does not prove that it does not occur in that particular region. But since there are several large string figure collections from many parts of the world, and only a handful of small collections from Europe, the limited distribution of Verhot is at least remarkable. A further study of the distribution of figures identical to Kalaverkko and its variants around the globe might give further insight in this matter. The variation in informants using the index or the middle finger in making Opening A has been observed more often in Europe, and this appears to be a distinctive feature. Sometimes even the same informant can vary between these two fingers while constructing the same figure (i.e. the girl in the film from Basel-land, Switzerland). The names and interpretations given to the Finnish string figures largely correspond to those given in other parts of Europe. Of course this is (at least partly) caused by the fact that Finland belongs to the European cultural area in which similar objects (such as a coffee cup, a whisk and an elevator) and actions (i.e. opening curtains) occur. The collection from Kuopio, Finland shows that important results can be obtained from collecting traditional string figures and their tradition in the 21st century, even if this is done on a small scale with a limited number of informants. I hope this paper will inspire people to go out and record the string figure tradition of the area where they live. Unfortunately Ulla Lipponen died in 2015, before I was able to study her string figure collection and reveal its importance. This paper is dedicated to Mrs. Lipponen and her contributions to the world of ethnology and folklore. SOME STRING FIGURES FROM KUOPIO, FINLAND 155 ACKNOWLEDGMENTS I’d like to thank the following people for their help: • The ladies from Kuopio, Finland who shared their string figure tradition with Ulla Lipponen. • Ulla Lipponen who collected the string figures from her home town. • Jukka Saarinen, Juha Nirkko, and Hanna Tuomivaara of Suomalaisen Kirjallisuuden Seura who helped with obtaining permission and access to Mrs. Lipponen’s collection, and supplied me with additional information. • Björn Lundqvist (Institutet för språk och folkminnen, Uppsala, Sweden) who helped with the Finnish language. • Joseph D’Antoni from Queens, New York, who (as always) has checked my transcriptions of the construction methods against the films and has provided remarks and suggestions for improving them. • Martin Probert from Devonshire, UK, who provided correctons and suggestions for improvement of the instructions. LITERATURE CITED Ashley, C.W. (1944) The Ashley book of knots. Garden City, New York: Doran and Co. Averkieva, J. and Sherman, M. (1992) Kwakiutl string figures. Seattle: University of Washington Press. (New York: American Museum of Natural History, Anthropological Papers, No. 71) Beer, B. and Claassen, S. (2014) “The Wampar String Figure Repertoire in Comparative Perspective: Social change and interethnic relations in Papua New Guinea.” Bulletin of the International String Figure Association 21:15-141. Botermans, N. (1994) Kop en Schotel en andere touwspelletjes. Laren: Bookman International bv. Brewster, P.G. (1953) “Some string figures and tricks from the United States.” Rivista di Etnografia 7(1/4):1-12. Cannarozzi Yada, S. (1996) “String figures à la French.” Bulletin of the International String Figure Association 3:51-55. Claassen, S. (2010a) “Swedish string figures I. The 1939 Questionnaire from Lund (Southern Sweden).” Bulletin of the International String Figure Association 17:3671. Claassen, S. (2010b) “Traditional Dutch string figure rediscovered.” Bulletin of the International String Figure Association 17:219-212. Claassen, S. (2011) “Swedish string figures II. A 1970 research in Uppsala.” Bulletin of the International String Figure Association 18:46-135. Claassen, S. (2012) “Swedish String Figures III. Nils Keyland’s Stockholm Recordings of 1908.” Bulletin of the International String Figure Association 19:184-199. Davidson. D.S. (1941) “Aboriginal Australian string figures.” Proceedings of the American Philosophical Society 84:763-901. Delaporte, Y. (1976) Jeux de ficelle lapons. Paris: Institut d’Ethnologie, Musée de l’Homme. Eckert, G. (1944) ”Griechische Fadenspiele.” Volkskundliche Miszellen aus Mazedonien Heft 6, 3-19. 156 U. LIPPONEN & S. CLAASSEN Ella (1879) Ungdomens Bok, senare Delen. Flickornas lekar. Ett tusen lekar och 600 afbildningar. Efter goda källor utarbetad. Stockholm: Hjalmar Linnströms Förlag. Geerts, G. & Boon, T. den (1999) Van Dale Groot Woordenboek der Nederlandse Taal. 13th Edition. Utrecht/Antwerpen: Van Dale Lexicografie. Graft, C.C. van de (1935) “Het draadspel ‘Afnemertje’.” Natuur en Techniek 5(6):225228. Gray, J. (1903) “Some Scottish String Figures.” Man 3:117-18. Guevara, A. (2011) “De madre a hija: juegos de hilo y memoria(s) del paisaje Mapuche.” Corpus. Archivos virtuales de la alteridad Americana 1.1, <http:// ppct.caicyt.gov.ar/index.php/corpus/article/view/285> Haddon, K. (1911) “Cat’s cradles from many lands.” New York: Longmans, Green and Co. Haefelfinger, H.R. and Haefelfinger-Reinhardt, R. (1975) Mitteleuropa, Basel-Land Fadenspiele. (Encyclopedia Cinematographica). Göttingen: Institut für den Wissenschaftlichen Film. Handy, W.C. (1925) String Figures from the Marquesas and Society Islands. (B.P. Bishop Museum, Bulletin No. 18) Honolulu: B.P. Bishop Museum. Hingston, M.A. (1903) “‘The Candles’ String Figure in Somerset.” Man 3:147. Jayne, C.F. (1906) String figures. New York: Charles Scribner’s Sons. [Also titled: String figures and how to make them. New York: Dover (1962)] Jayne, C.F. & Stelling, M. (1978) “Spelen met een touwtje.” De Bilt: Cantecleer. Jenness, D. (1924) “Eskimo String Figures.” Report of the Canadian Arctic Expedition (1913-18), Vol. 13, part B. Johannesen, M. (1979) Føroysk barnaspøl. Tórshavn: Bókaforlagið Grønalíð. Kaivola-Bregenhøj, A., Asplund, A. & Ilomäki, H. (2015) “Lasten folkloren tallentaja.” Helsingin Sanomat 27th December 2015. Karilas, Yrjö (1962) Antero Vipunen. Arvoitusten ja ongelmien, leikkien ja pelien sekä eri harrastelualojen. Porvoo/Helsinki: Werner Söderström Osakeytiö. Noble, P.D. (1979) String figures of Papua New Guinea. Boroko: Institute of Papua New Guinea Studies. Noble, P.D. (1983) “String figure ‘The Forth Bridge.’” Bulletin of String Figures Association 9:8-12. Noble, P.D. (2011) “Danish String Figures: A 1965-66 Film Transcription.” Bulletin of the International String Figure Association 18:136-195. Norman, A. (1878) Ungdomens Bok. Gossarnes lekar. Stockholm: Hjalmar Linnströms Förlag. 282-283. Oorschot, A. & G. van (1966) Touwfiguren. Het eeuwenoude spel dat steeds nieuw blijft. Amsterdam: G.J.A. Ruys. Pocock, W.I. (1906) “Some English string tricks.” Folklore 17(1):351-373. Probert, M. (1999) “The origin of string figures.” Bulletin of the International String Figure Association 6:212-252. Probert, M. (2011) “The European Diving-Finger Opening.” Bulletin of the International String Figure Association 18:13-30. Probert, M. (2012) “British and American String Tricks of the 1800s.” Bulletin of the International String Figure Association 19:1-11. Probert, M. & Probert, V. (2011) “Devonshire string figures from the 1890s.” Bulletin of the International String Figure Association 18:1-12. Saito, T. (2004) “String figures of Japan.” Bulletin of the International String Figure Association 11. Salika, C. (2007) “Balloons and Bird from Belgium.” Bulletin of the International String Figure Association 14:271-273. SOME STRING FIGURES FROM KUOPIO, FINLAND 157 Storer, T. (1988) “String figures.” Bulletin of String Figures Association 16 (Special Issue). Sverrisson, K. and Claassen, S. (2010) “Some string figures from the Faroe Islands.” Bulletin of the International String Figure Association 17:19-37. Tyberg, S. (1997) De leukste touwfiguren. Touwspelletjes om alleen of samen te spelen. Stap voor stap uitgelegd. Aartselaar: Deltas. Victor, P. E. (1940) “Jeux d'Enfants et d'Adultes chez les Eskimo d’Angmagssalik: Les Jeux de Ficelle.” Meddelelser om Grønland 125(7). Victor, P.E. (1976). “Les jeux de ficelle chez les Lapons nord-occidentaux.” Boreales 3:144-209. Wagner, H. (1864) Illustriertes spielbuch für Knaben. Leipzig: Otto Spamer. Wessman, V.E.V. (1962). Finlands svenska folkdiktning. VIII. Lekar och spel. Helsingfors: Svenska Litteratursällskapets i Finland Förlag. Westerveld, B. (1978) Heksenspel. Touwfiguren. Bentveld-Aerdenhout: Landshoff. Wirt, W. (1998) “String Figures from China and Tibet.” Bulletin of the International String Figure Association 5:126-149. Zwaagdijk, M. (1935) “Een oud spelletje.” Het Vaderland, 24 oktober 1935. 158 U. LIPPONEN & S. CLAASSEN APPENDIX. FINNISH STRING FIGURES ON YOUTUBEVIDEOS. The Finnish weekly women’s magazine Me Naiset (“We women”) published a short online item on string figures in September 20139, together with two video clips that were published on YouTube. The clips show a lady named Anu performing a string figure and a string figure series. Transcripts of these video clips are given below, along with concise comparative remarks. It has unfortunately not been possible to get into contact with the lady making the string figures in the video clips, nor to obtain additional information on the background of the online publication. a1. Sänky (“Bed”) Source: <https://www.youtube.com/watch?v=uqXZjj2pDLo > Uploaded 23 September 2013 Use a doubled long string loop, treated here as a single string. 1. Opening A. 2. With 2345 from above remove 1 loop in the following way: With 2345, over all intermediate strings, from above enter 1 loop and close 2345 to the palm. With a throwing motion allow TV 1n to slip off 1 and to pass over dorsal side of 2345 to the dorsal base of 2345. Straighten 2345 and bring hands to Normal Position. 3. Display with palms facing each other, fingers pointing towards the floor. Make sure that the 2, 5 and 2345 loop are all at the same position on each hand, close to the base of the fingers (fig. a1). Fig. a1 - Sänky (made with a single string) SOME STRING FIGURES FROM KUOPIO, FINLAND 159 It is possible that the fingers represent the front and back of the bed and thus belong to the object being displayed. This relatively simple figure has probably not been recorded before. Its construction is, however, closely related to a figure that is common in North- and North-West Europe (actually the most popular figure in the Faroe Islands, whose occurrence has been reported on the islands already between 1770 and 1820 (see Sverrisson and Claassen 2010:21-22, nr. 1 Krákufótur (“Crow’s Foot”))) and which usually represents the foot or feet of a bird (see Claassen 2012:128-129, Göra Kråkfötter (“to make the Feet of a Crow”)); this figure might have been recorded in the Sami-speaking part of Finland (Victor 1976:156-162, nr. 1 Kardia Katssa (“Crow’s Feet”) but as far as is known not in other parts of Finland. The construction of Sänky consists of the two first movements of Göra Kråkfötter (but using the index finger instead of the middle finger). a2. Kahvikuppi (“Coffee Cup”), a3. Purjevene (“Sailing Boat”), a4. Eiffeltorni (“Eiffel Tower”) and a5. Henkari (“Clothes Hanger”) <https://www.youtube.com/watch?v=A7aFeWKz5BE> Uploaded 23 September 2013 Use a long doubled string, treated here as a single string. 1. Opening A, using 3 instead of 2. 2. With 1, over 3n, pick up 3f. 3. Navajo 1, bending 1 over upper 1n towards each other, down under lower TV 1n towards the body and up. 4. Release 5 loop. 5. Extend, palms facing each other, fingers pointing away from the body. You have Kahvikuppi (fig. a2). Fig. a2 - Kahvikuppi (made with a single string) 160 U. LIPPONEN & S. CLAASSEN 6. Maintaining the display, with mouth grasp TV 1n and pull it upwards. You have Purjevene (fig. a3) 7. Release mouth loop, then with mouth grasp TV 1n again and pull it upwards. 8. On the upper side of the figure there is a short TV upper string segment, supported between the midpoints of the string segments running from 1f to 3f of each hand. With 1, keeping the shared 1-mouth loop, pick up TV upper string segment. 9. Display, palms facing each other, fingers pointing down towards the floor, 1 pointing slightly upwards. Keep the hands at a considerable distance from the body, so that the figure resembles the Eiffeltorni (fig. a4). 10. Remove 1 from the figure and bring hands away from each other and slightly upwards, until a knot appears at the point where the 3 loops and the mouth loop cross. You have Henkari (fig. a5). Fig. a3 - Purjevene (made with a single string) Comparative remarks for a2 and a3 can be found in the above paper (figures 1 and 2). Note that these figures are here made using the middle finger instead of the index finger. SOME STRING FIGURES FROM KUOPIO, FINLAND 161 A figure called Eiffel Tower, related to Eiffeltorni above, is usually part of the series of figures; it is known from several recordings from Scandinavia and Europe. The above recording from Finland is the only one in which movement 8 is performed, the other recordings omit this movement. Adding this extra movement results in a figure representing a tower with a differently formed base. The figures related to Eiffeltorni (thus omitting movement 8 above) are all similarly constructed (except for some variance in the use of the index versus the middle finger). It has been recorded in Uppsala, Sweden (Claassen 2011:71-72, B3 Eiffeltornet (“the Eiffel Tower”), Fig. a4 - Eiffeltorni (made with a using the index finger). In Denmark the single string) similar figure is called Møllevingerne (“the Windmill Wings”) (Noble 2011:168, nr. 40, using the index finger). Under the name of Eiffel Tower it is further known in several other places in Europe (Belgium (Tyberg 1997:14- Fig. a5 - Henkari (made with a single string) 162 U. LIPPONEN & S. CLAASSEN 15); France (Cannarozzi Yada 1996:52-53, using the middle or the index finger) and the Netherlands (Jayne & Stelling 1978:25; Westerveld 1978:31-32), using the index finger). Recordings of the figure identical to Henkari are also known from Scandinavia and Europe (showing the same variations in the use of index or middle finger). It was recorded in Uppsala, Sweden with a related name (Claassen 2011:73, nr. B5 Galgen (“the Gallows/the Clothes-Hanger”), made with the index finger instead of the middle finger). It was also found in Copenhagen, Denmark (Noble 2011:169, nr. 41, Bøjlen (“the Coat Hanger”), made with index fingers and displayed pointing index fingers towards the floor) and in the Netherlands (Westerveld 1978:31-32 Kleerhanger (“Clothes Hanger”), made with the index fingers). In Uppsala, Sweden the series in which the above figures appear is accompanied by a small story (Claassen 2011:69). Such a story has, as far as is known, not been recorded in other places yet, but in Japan a song accompanies a different series starting from the figure identical to Kahvikuppi (Saito 2004:113). ENDNOTES 1. 2. 3. 4. 5. 6. 7. In 1969 Svenska litteratursällskapet i Finland collected many games among schoolchildren in the Swedish-speaking part of Finland. But at that time string figures appeared to be out of fashion, since none of the children mentioned them. They were therefore not recorded (Carola Ekrem, personal communication 2017). Suomalaisen Kirjallisuuden Seura, SKS, Finnish Literature Society, SKS; Arkisto / Archives. Hallituskatu 1, PL/P.O.Box 259, FI-00171, Helsinki, Finland. <www.finlit.fi> Some string figures were published in a book on games and puzzles (Karilas 1962), but the figures included come from other, non-Finnish collections. This paragraph is mainly based on Kaivola-Bregenhøj et al. 2015. <http://www.finlit.fi/sites/default/files/mediafiles/lipponen.pdf>, accessed 17th of October 2019. Davidson’s recording (Davidson 1941:900) appears until now to be the oldest recording of this figure. While it appears to be a well-known figure in Europe nowadays, it probably does not occur in recordings from before 1940. Further investigation is necessary. A mistake was made in a previous paper (Sverrisson & Claassen 2010: 23-24, nr. 3 Átta Føtur í Oksa (“Eight Feet in an Oxen”)). There it has been incorrectly stated that the recording of the figure in an earlier Faroese publication (Johannesen 1979:35-36) is exactly the same. This is not the case. Johannessen’s instructions follow Those of Finnish Vispilä, movements 1-3, except that right hand keeps its loop at the end of movement 3. An identical string configuration as in Sverrisson & Claassen 2010, nr. 3 after movement 4 is reached, and the construction continues according to the instructions given there. SOME STRING FIGURES FROM KUOPIO, FINLAND 8. 9. 163 A video on YouTube shows how this is done: <https://www.youtube.com/watch? v=oWVG8LNWEpU, accessed 27th of October 2017>. The performance on this video belongs to Variant group 1. <http://www.menaiset.fi/artikkeli/ajankohtaista/kulttuuri/ muistatko_viela_vanhat_narutemput_katso_videot_ja_kokeile>, accessed 8th of November 2017.