Details
Latitude-4.20317 Longitude152.171 Start Date1989-01-01 End Date1989-01-01
Description
Greg Seeto of Pacific Gold Studios (PGS) describes the PNG music developments and productions through studio recordings and releases of albums by PNG artists, musicians, sound engineer.
PGS was a popular country-wide music recording studio based in Rabaul with 24-track equipment.
Through studio projects like "Brukim Bus" and "Rock and Roll"albums were released in volumes and had been successful through cassette sales in PNG. The Brukim Bus (in Tok Pisin) project means short cut in producing PNG music and Rock and Roll are more learning from western music and using the techniques in the types of music production for PNG language songs in local dialects and Tok Pisin.
The projects developed young studio musicians and sound engineers to better their songwriting skills and knowledge of western music to apply to local dialect and tok pisin songs with lyrics. The studio then work with the artists and musicians who record their albums and releases with the PGS label.
The experience has been that the local PNG language dialect folk songs mainly Tolai or Kuanua and some from around the country are more free flowing, better lyrics and melodious than the Tok Pisin ones.
Cassette album covers released used more artistic visuals for identity then just photos of band members.
The most popular PNG music in terms of sales and had numerous hit songs were Painim Wok band of Rabaul with Tolai musicians. The DJ Band of Port Moresby also did their albums in Rabaul with some success with their released songs.
(Steven Gagau, June 2019)
Extended Data
- ID
- MW6-001
- Languages
- English - eng
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-8.128065 Longitude149.22 Start Date1993-01-01 End Date1993-01-01
Description
Tape# 1, Various Choral, Traditional Singing and Stringbands
Side A: Series of singing and stringbands in various languages of PNG. The first 6 songs were male singers in Kuanua language with songs Abot, Palume, Tingtiding, Pur matam, Ai ra minat, A Kuvur i tangtangi. They are folksongs singing about general nature and village livelihood in coastal areas, travelling around, dancing, birds, sorrows over deaths. General stringbands and singing of traditional songs follow on from Milne Bay and Central Province.
Side B: Series of songs and stringbands of Highlands and Central Province mainly with Motuan villages
(Steven Gagau, January 2019)
Extended Data
- ID
- MW6-007
- Languages
- Kuanua - ksd, Mekeo - mek, Motu - meu, Saliba - sbe, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.23824 Longitude152.0035 Start Date1993-01-01 End Date1993-01-01
Description
Tape#1, Choral and choir singing
Side A: All choir songs in English mainly christian worship chorals such as "I want to be ready, walking Jerusalem", Where you there when they crucified my Lord", Wonderful It is Marvellous"and a Tolai Kuanua song "A Kuvur" and a Bouganville Buka Island song "Sululu".
The Tolai "A Kuvur" song is about the long sea travels that Tolai men undertook in the past to search for shells used in making traditional money. They traveled as far as Nakanai in the west of the island to trade for the shells because it was plentiful at Nakanai. Many times during their travels night birds would fly past above them. They could tell a bird by its chirping and one of them is the Kuvur, also known as Kuk. It is called Kuk because it chirps high pitched "kuuuk" sound during flight or when perched on a tree..
Side B: Choir singing continues with various English choral songs such as "Go tell it on the mountain.." and others.
(Steven Gagau, January 2019)
Extended Data
- ID
- MW6-008
- Languages
- English - eng, Hakö - hao, Halia - hla, Kuanua - ksd
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.26818 Longitude151.1755 Start Date1993-01-01 End Date1993-01-01
Description
Tape#1, Various stringbands and songs by Radio East New Britain
Side A: Various stringbands and songs recorded by Radio East New Britain (RENB) from ENB, Manus and Bouganville in local languages; Napapar ENB) , Rabuana (ENB), Kabaira (ENB), Teop (Bouganville), Manus (Manus). Some examples are Tolai Kuanua songs - Iau ga mari, Touralom, Ra ura gara and Teop song - Tena num.
Side B: RENB Recordings continued of Stringbands from various ENB villages of Nangananga, Baai, Taulil in languages of Kuanua, Tok Pisin, Taulil. Some examples of songs in Kuanua are; Talaigu na nurvue iau, Awa bar akanima Kabiu and Buka song - A kapana kiki and Taulil song - Braun rais ma ra palawa.
(Steven Gagau, January 2019)
Extended Data
- ID
- MW6-009
- Languages
- Hakö - hao, Halia - hla, Kuanua - ksd, Teop - tio, Tok Pisin - tpi, Taulil - tuh
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.32314 Longitude152.195 Start Date1993-01-01 End Date1993-01-01
Description
Tape#2: Various Stringband recordings by Radio Rabaul.
Side A & B:
Collection of different string bands from villages, schools and Kurakakaul Plantation of Gazelle Peninsula (Recordings Cuts #1-7 songs)
The villages are Tolai stringbands and plantations mainly Kurakakaul are plantation labourers or field workers comprises people from Buka (Bouganville), Vitu (West New Britain), New Ireland, Sepik and songs are in Kuanua, Tok Pisin, English;
Newlands Stringband, Taulil Village "Rum Gat" or Guard House
Solo Guitarist Jubillee, Malakuna Village, Vunamami "Palanim Pamikeni" or Planting Pumkin vegetables
Blasius ToUna Stringband, Nodup Village "Letter bilong Jack" plus Jack's Letter and other Medley songs
Marmar Stringband "Go ra tinata i arikai goi marum" or the message coming out tonight.
NGI Stringband, Buka, Bouganville "Anita Goodybe"
Tauran Stringband "A kuuk"
Nonga Stringband "Mi harim tok"
Kurakakaul Stringband "Yu wok we?"
Kurakakaul Stringband "Everyone from Kurakakaul"
Kurakaul Stringband "Iau ga ki"
Kurakakaul Stringband "Wokabaut long Chinatown"
Kurakakaul Stringband "Long suga bay"
Tauran Stringband "Tubuna na Rabaul"
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-010
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.36699 Longitude152.2975 Start Date1993-01-01 End Date1993-01-01
Description
Video Casette Tape#1 Recordings:
The Matupit group of Tolai traditional male dancers are preparing and dressing up for a Tolai folk song and dance performance in a cultural event at Vunapope, Kokopo.
The actual dance type is undetermined as there are various types of folk songs similar in nature with variations and others different but the dress styles are similar of the Tolai singing in Kuanua accompanied by beats of the "kundu" drum, bamboo made "tidir" and "pakupak". Some songs are sung generally as a form of self entertainment and others are sung during ceremonies. Typical male dancers songs being performed include "libung", "perapere", "pinpidik", "kulau" among others including other Tolai male dance group at the cultural event.
During the cultural event in Vunapope in Kokopo region, there were also other song and dance performances from Tolais' and other ethnic groups of East New Britain in Baining and Pomio, people of West New Britain and New Ireland as recorded.
Other recording is the Tolai tubuan and duduk dancers in a ceremony "matamatam" in a village undetermined.
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-011
- Languages
- Kuanua - ksd
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29574 Longitude151.9885 Start Date1993-01-01 End Date1993-01-01
Description
Video Casette#1, 1993, Rabaul District, ENBP
This video was unable to be digitised due to poor quality of tape.
Extended Data
- ID
- MW6-012
- Languages
- Kuanua - ksd
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.19992 Longitude152.113 Start Date1993-01-01 End Date1993-01-01
Description
Video Casette Tape#1 Recordings
Vunairoto Jubilee:
Recordings of Choral Festival competition of Jubilee celebrations of George Brown Day in 1993. Dr George Brown was the first Protestant Christian missionary who brought the relogion and faith into the New Guinea Islands of PNG and landed on New Britain starting from Duke of York Islands, then Gazelle Peninsula the across the region. He represented missionaries of the churches of Methodist, Wesley Mission and London Missionary Society.
Various choirs from different parts of the Gazelle Peninsula participate in all categories from schools, church congregations and villages in sections of children, youth, male, female and mixed voices.
In the festivals, songs are set prior o choirs entering mainly is Kuanua and English for the singing competition. The Choir conductors are both male and female in these categories of the competition.
Jack Tonga Guitar Tunings:
Recording of Jack playing his guitar picking the strings from older style of guitar playing namely 5 key and blue mountain however modified or personalised with own styles of play the guitar. At this time, he had lost his singing voice due to some magical spell on his due to jealousy of his talents.
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-013
- Languages
- English - eng, Kuanua - ksd
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.263585 Longitude152.18 Start Date1993-02-01 End Date1993-02-01
Description
Video Cassette Tape#1 - Various recordings of style of music in stringbands, solo guitarist, brass band, Gospel worship band and choral singing in church service.
Demonstration of playing Polynesian style guitar instrumentals with steel guitar, ukelele and acoustic guitar.
Popular solo guitarist, Blasius ToUna playing a selection of his songs.
Brass Band playing instrumental songs at Rabaul wharf welcoming tourists on arrival.
Church gospel band playing worship songs and typical hymns such as; How great you are, Lets talk about Jesus, Sweep over my soul and others.
A United Church service conducted in a form of commemoration or ordination of christian ministry in the service and faith. Choral music and singing from the Kuanua Hymn Book of various songs including "Malmal, Malmal" or Peace, Perfect Peace, "Tikana gunan arama" or A Place in Heaven and others during the church service.
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-014
- Languages
- English - eng, Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.267005 Longitude152.178 Start Date1993-03-01 End Date1993-03-01
Description
Video Cassette Tape#2
Various music recordings at various locations in villages and churches and open areas with stringbands, power bands, choir singing and church services at events and special occasions in Rabaul and the communities of Gazelle Peninsla.
Stringband playing songs such as "Iron Man, ronowe", "Waltz ure iau, Ralum dance", "Bolbol na riban" and others.
Power (electric) band practicing some songs in Kuanua and some West Sepik (Sndaun) songs.
SDA Mission outreach event known as Pathfinders for children and Youth with choir performances, gospel band songs and some preaching and invitations for joining the Church.
United Church service with choir singing and items performed.
Singing of various traditional "Abot" songs. These performances are common to the Vunamami area of Kokopo.
Performance on various songs by a Women stringband. Dialect of Kuanua is most likely from the North Coast area.
A commemoration service by United Church at Tung na Parau and Taliligap area where on arrival of Fijian missionaries were killed in their work bringing christianity who accompanied pioneer Methodist missionary Dr George Brown to New Britain.
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-019
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.355355 Longitude152.2725 Start Date1993-03-21 End Date1993-03-21
Description
Tape#1: Various Traditional 'Abot' Songs led by Pilemon ToKilang
Side A&B:
The 'Abot' songs are traditional Tolai music of singing and chanting with a tune or style typically with other similar songs like Warbat, Lili but expressed in middle language to others in the meaning of stories or events in songs so mainly in Tok Pisin rather than Kuanua.
The songs cover places in New Ireland, Duke of York Islands and Gazelle Peninsula and typical examples are; Stories of travels in places of Kavieng, Namatanai, Tanga, Siar (New Ireland), Use of Time in Mioko/Makada (Duke of York Islands), Doctors working at hospitals (Rapidik/Rabaul), Boat Captain (Rabaul/Kokopo), Woman of Rabaul (Nodup/Namanula). Song names include "marmari, al mari", "meri Rabaul", "ToMaidang", "wan kilok taem", "lapun meri". Other songs discussed were "Te England" (Englishman), "balus America" (American plane, "Siapan" (Japanese).
(Steven Gagau, March 2019)
Extended Data
- ID
- MW6-024
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.346275 Longitude152.2795 Start Date1993-03-24 End Date1993-03-24
Description
Tape#2: Various A Bot songs from Siar, Sursurnga, Tangga, Namatanai, Tabar, Kavieng, Lavongai, Duke of York, Tok Pisin and Kuanua sung by Pilemon.
Side A & B:
Song list include;
1. Putim muni lili
2. U kapiten
3. Tadiring ra minat
4. Uai wamanu
5. U ia mi olsem wonem
6. Walit "wireless" man
7. U wait "white" man
8. Talil wan wan
9. Tut ToMaiden
10. Tamal i singaut
11. Labang bolong miwa
12. Dirai lome
13. Tultul man
14. Pa u ligur
15. U titi ku
16. I lainim iau
17. Mi silip long rum
18. Kirap long moning tem
19. Tutul ma gire
20. Tailat i no tap
21. U ia kaminel
22. Mi lukaut marim
23. Vatur nek long kongkong
24. Labang blong mi
25. A labur
26. Tilomu
27. Kambaru ia
28. Adon
29. A ura vavina, ol meri
(Steven Gagau, July 2019)
Extended Data
- ID
- MW6-026
- Languages
- Kuanua - ksd, Ramoaaina - rai, Sursurunga - sgz, Siar-Lak - sjr, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.347575 Longitude152.267 Start Date1993-03-25 End Date1993-03-25
Description
Tape #3: Side A & B - Various A Bot songs from Duke of Yorks (DOY) and Gazelle Peninsula sung in manguages of Ramoaina, Kuanua and Tok Pisin by ToKilang and Tavil. Some brief meanings and short key words in the songs.
1. Yu pirpir olsem wonem - what are you saying? A Matupit lady under magical spells.
2. Umia la palomiwa - a brother not telling straight the death of his brother to his relatives.
3. Mi alir ni Mioko - magical spells on a lady of Mioko out at sea and had to drift and paddle back in her canoe to the beach
4. Ila kadik miwo - during wartime under Japanese occupation where calling out warnings of American warplanes.
5. Aura vavina, amur tur na tinangi - two ladies crying to the influence of magical spells.
6. Kirap long moning taem - waking up in the morning to sounds of machine guns shooting at American warplanes.
7. Ol meri no nap - You ladies are not fit or inadequate - showing off superiority with ladies of Molot (DOY) to ladies of Makolon (Sulka)
8. U Tolingu kabin iau mara ura uum, iau virua - the man, Tolingu was caught up in situation pressing onto the breasts of a lady feeling good about it.
9. U Tolingu kan una ubu iau - fearing that Tolingu will be fighting me of a relationship gone bad.
Various A bot songs mainly from Duke of York islands namely Tomatapul, Matoro, Anung midal, Midirae lome are about general life situation stories with people and their activities and movements.
(Steven Gagau, November 2019)
Extended Data
- ID
- MW6-027
- Languages
- Kuanua - ksd, Ramoaaina - rai, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.341915 Longitude152.267 Start Date1993-03-25 End Date1993-03-25
Description
Tape #4, Side A only: Pilemon Tokilang, Esly Tavil singing and explaining various 'A Bot' songs as continuation from previous recordings. Side B is blank.
1. Darai Dok - ship maintenance on dry dock facility at Rabaul wharf by Buka, Torokina workers from Bouganville.
2. Tutul Magire - plantation workers harvesting coconuts and producing bags of copra.
3. I lus long biris - a worker on coconeut plantations getting lost or disappeared from getting on ship at Kavieng wharf sailing to Rabaul.
4. I tadiring ra minat - people are moaning over a death in the village and going through burial process.
5. Pita yu mekim wonem - Peter, what's the matter that you doing crying or being upset about?
6. Wait man - general experiences with "white man" as bosses of local workers.
7. Walit blong Bitapaka - general story about the Bitapaka Wireless Station during the war time for communications or linking different wireless stations in Sydney (Australia), Madang and Kavieng.
8. Wui wuman yu - a woman admires a man walking and watching him go by and wants to get in contact as she likes him.
9. Labur i pinis taim - not sung but generally about strong winds.
10. I lili ya - not sung and song from Sursurnga in Namatanai area.
(Steven Gagau, October 2019)
Extended Data
- ID
- MW6-028
- Languages
- Kuanua - ksd, Ramoaaina - rai, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.32009 Longitude152.24 Start Date1993-04-01 End Date1993-04-01
Description
Tape# 1, Recorded Choirs
Side A & B.
A series of choirs singing in English and Kuanua by male only voices in some by female singers. Some songs in English are; Onward Christian Solidiers, How Excellent The Lord's My Shepherd, Surely Goodness and Kuanua songs; A Kalou kaum varmari (God of love), A Kalou dekdek, go ra kubam (Opening of God's church), Tikana gunan arama (Our heavenly home), Go i lia (Blessed Assurance), I ngala ra gugu (Sweet peace, the gift of God's love).
(Steven Gagau, January 2019)
Extended Data
- ID
- MW6-030
- Languages
- English - eng, Kuanua - ksd
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.261185 Longitude151.986 Start Date1993-04-06 End Date1993-04-06
Description
Tape# 1, Music Recordings at Memorial Church Service.
Side A & B:
Various musical performances from Gospel Singing with guitars, traditional "Lili"songs, choir singing and brass band performance in a commemoration service at the Tung na Parau memorial site for slaying of missionaries in the arrival of Christianity by Methodist Church in 1875 on New Britain Island.
Led by Dr George Brown (survived) was acknowledged by the church service for introducing to the people the Christian faith.
Various songs were performed by Talakua, Vunagamata and Vunairoto villages in English, Kuanua and Tok Pisin including instrumental performance by RPNGC brass band. Songs and music include; To God be glory in the church, "Kaum ra minamar tara lotu" (Kuanua), Jesus is the way, Jisas emi rot (Tok Pisin), Iesu kaka ra nga (Kuanua). Traditional "lili" and choir songs in Kuanua are about how missionaries were slayed by the ancestors but later accepted the christian faith and peace to the people for a new way of living and commitment to church and religious activities. Instrumental songs by the brass band were; O God our help and Onward Christian Soldiers.
Gospel songs; Lord I lift your name, I need you, Mi laikim yu Jisas (Tok Pisin), Iau mainge u Iesu (Kuanua) and choir songs in Kuanua; Iesu i kap ra varkul tara bolo (Jesus paid the price of sin on the cross), Gori da ti doan tai Iesu (Today we are blessed because of Jesus).
(Steven Gagau, January 2019)
Extended Data
- ID
- MW6-032
- Languages
- English - eng, Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.19204 Longitude152.1875 Start Date1993-04-11 End Date1993-04-11
Description
Tape#1: Various songs performed and storytelling by Philip Tabuchi
Side A:
Philip Tabuchi of Kambiu Club Stringband explains that they were the first organised stringband in Rabaul after the second World War (1945). It was based in Malaytown in Rabaul in a mixed race community of Chinese, English, Germans, Ambon (Indonesians) and Japanese (Philip's background).
Some of the songs recorded played on his guitar include; Hello Everybody, In Kerevat, Bambu Place (Ratongor), Matupit Volcano, Moto kar long rot (Pidgin), Dust over Rabaul, It won't be long, No na mani sapaia (Ambon), Sing me a song of the islands, Aloha (Hawaii).
Some of members of the stringband were George Cassey, Waia Wainon, Peter (Ambon), Henry Katre and Henry Laveris.
The stringband performed at functions in Rabaul town at public halls such as Edinburgh, Saviour Halls, District Commissioner's Residence and invited to private residences.
Side B (Blank)
(Steven Gagau, February 2019)
Extended Data
- ID
- MW6-033
- Languages
- English - eng
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.213865 Longitude152.1725 Start Date1993-06-24 End Date1993-06-24
Description
Tape#1: George Telek Songs Collaborations and Interviews.
Side A:
Music samples from "Tabaran" Album with David Bridie from Melbourne based based band "Not Drowning, Waving" featuring Telek and musicians of Rabaul, PNG.
Side B:
Telek collaborated his music styles, beats, rythums and songs with David Bridie's band "Not Drowning, Waving". Telek worked with David with songs and vocals with band music covering blend and mixture from traditional and ethnic, country, pop, island reggae styles.
The song "Anita" originally composed by Telek was later recorded with John Wong .
Telek's sings his composed song in first verse "A Midal" which relates to the type of traditional "malira and warbat" song of the Tolai people of Gazelle Peninsula, ENBP.
(Steven Gagau, June 2019)
Extended Data
- ID
- MW6-049
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.205825 Longitude152.1705 Start Date1993-07-17 End Date1993-07-17
Description
Video Casette#1: Various Performances - Wutung, Tabaran Kakakau, Choir, Bands and Performance of A Vutung Dance, Tabaran Kakakau, Duke of York women’s dance.
The Tolai folk songs and dancing have been a form of entertainment and spiritual enlightenment and performance. A song is known as "kakailai" and dance is "malagene". Composition of a song is called "pinipit" and the composer is known as "tena pinipit" or "tena buai".
The composers of songs related to dances are knowledgeable in choreography and composition of songs.
There are various types of song and dance based on life experiences, events, the environment, birds and animals, and human interactions.
Traditional Tolai songs and dances may be performed by both males and females together while others are restricted to one gender.
Traditional instrument used for beats, rhythm for the song and dance are kundu (hollow wooden drum with lizard skin), pakupak (slit bamboo) and tidir (bamboo or wooden sticks). The garamut (wooden slit drum) beaten by cane sticks and wooden stick depending on type or dance are mainly for tubuan or more special ceremonies.
Generally, the typical male, female or combined traditional Tolai song and dance types of performances are;
1. Mix (Male and female): Libung, Bilolo
2. Female: Wutung, Parpari, Patete
3. Male: Perapere, Kulau, Pinpidik, Tabaran, Tubuan
(Steven Gagau, October 2019)
Extended Data
- ID
- MW6-052
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.32677 Longitude152.217 Start Date1993-07-23 End Date1993-07-23
Description
Tape#1: Musical Journey and experiences of Team Nanuk stringband and performances in Gazelle Peninsula early 1950s.
Side A & B:
Conversations of how Team Nanuk stringband started through various participants in Kania, Patrick, Alois, Clement, James on how music was introduced to Nanuk Village, Kokopo District.
Learning how to play a guitar and the first guitar introduced to Nanuk village was after the War from 1945 with influence of the missionaries of South Seas and during colonization where guitars were introduced throughout the New Guinea Islands Region coming in from Solomon Islands so Bouganville, New Ireland and New Britain and Manus were exposed to stringband music.
Joseph Marum first brought a guitar when he returned from work in Kavieng, New Ireland and Salamua, Bulolo in Morobe to the Nanuk village and taught the group in the conversation to then formed Team Nanuk. The stringband performed in various places in the Gazelle Peninsula and were paid in traditional shell money up to 10 fathoms.
Team Nanuk was claimed to be the first stringband in the Gazelle Peninsula and were hired to perform in various places in villages, areas, towns of Rabaul and Kokopo. The examples of villages where they performed are in the local government areas of Rabaul such as Matupit, Talvat, Nodup, Tavui to north coast to central Gazelle in Navunaram, Malmaluan to Toma to Kokopo in Bitapaka, Vunamami and so on.
The style and tunes of guitars played was 5-key then the stringband later learnt and played Blue Mountain and 3-key tunes of plucking, picking and strumming of the guitars supported by ukuleles’. Morris Sangga who lived in Kokopo assisted he group with the new styles and tunes.
The stringband composed their own songs in Kuanua and Tok Pisin and described an example of “Lili”. The styles of playing guitars called “rough” or strumming with the combination of 5-key, blue mountain, 3-key and harmonising to a set rhythm or melody of songs. It is similar to jamming or rough music especially played at social “cup tea” nights when they are performing and the people drinking alcohol
A demonstration of the songs played are a Samoan song “To paia lalau pele”, a Tolai song “A vavina na sikul” and Tok Pisin song “U lukim mi paitim gita” and “Laveli bilong Mangas”. Various explanations and meaning of the songs where outlined.
(Steven Gagau, February 2019)
Extended Data
- ID
- MW6-054
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.328645 Longitude152.2095 Start Date1993-07-23 End Date1993-07-23
Description
Tape#2: Musical Journey of Team Nanuk and Stringband songs (continued)
Side A:
General conversations on compositions and performances of stringband songs at "Cup Tea" events for music entertainment of people. The style of playing was strumming and not picking known as rough key of 5 key, spanish, blue mountain.
The Team only used guitars and ukeleles' and no other traditional instruments like tidir. Composed songs were in Kuanua (Tok Ples) and from early missionaries of Pacific Islanders like Samoans and exposure of those who traveled or associated during the second world war like from Solomon Islands and Micronesia. Later Tok Pisin songs were composed.
From musical history, A Bot songs (mixture of languages mainly New Ireland, Tok Pisin, Kuanua, Ramoania) during German colonial times and since first world war early 1900s' was common then. Later with introduction of guitars and ukelele led to creation of stringbands after the second world war late 1940s'.
Songs are normally composes as "kakailai limlimbur" and not performing traditional songs like "malira" as needs to have permission or not allowed by the "tena buai" who composes songs for dance or "malagene" so not mixed in early times of stringband music.
The three songs performed are;
1. A lili (Kuanua)
2. Sarere yu mas kam (Tok Pisin)
3. Team Nanuk i kamap pinis..malari avet (Tok Pisin/Kuanua)
4. Talaigu, dat a tur pa ra pilai (Kuanua)
Female stringband teams only emerged in early 1970s' when the Tolai Warwagira Festival started and competitions were in team categories were male, female and mixed.
Side B (blank)
(Steven Gagau, February 2019)
Extended Data
- ID
- MW6-055
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.36939 Longitude152.299 Start Date1993-07-30 End Date1993-07-30
Description
Video Casette#1: Nidok ceremony, Video Clip recording by PGS, Dances at Balaguan (Oscar Tovue, Vunalaka)
The "nidok" ceremony is performed publicly for the initiation for the men of the clan where the initiated are the next generation of clan members who will then perform these activities to honour the current crop of initiated men. This ensures the survival of the clan’s legacy, including land ownership and cultural identity.
The recording of the ceremony involved "tubuan" dancers and feasting with food kept in woven coconeut leaves baskets for distribution to clan members of the "nidok", clan members and general people supporting the ceremony by attendance and acknowledgement of their participation.
The video clip filming was by Pacific Gold Studios Greg Seeto on Junior Painim Wok band for their album production with a village setting and lifestyle for the composed songs.
The "balaguan" ceremony is a means to draw together people in Tolai communities to assert and honour the cultural, social structure and identity of the clan or "vunatarai" organising the event. It is about feasting and various traditional dance performers.
There are various types of song and dance based on life experiences, events, the environment, birds and animals, and human interactions.
Traditional Tolai songs and dances may be performed by both males and females together while others are restricted to one gender.
Traditional instrument used for beats, rhythm for the song and dance are kundu (hollow wooden drum with lizard skin), pakupak (slit bamboo) and tidir (bamboo or wooden sticks). The garamut (wooden slit drum) beaten by cane sticks and wooden stick depending on type or dance are mainly for tubuan or more special ceremonies.
Generally, the typical male, female or combined traditional Tolai song and dance types of performances are;
1. Mix (Male and female): Libung, Bilolo
2. Female: Wutung, Parpari, Patete
3. Male: Perapere, Kulau, Pinpidik, Tabaran, Tubuan
(Steven Gagau, October 2019)
Extended Data
- ID
- MW6-056
- Languages
- Kuanua - ksd
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.327285 Longitude152.244 Start Date1993-07-31 End Date1993-07-31
Description
Video Casette#1: Various traditional dances (incl. Alor) performed at Matamatam at Nangananga.
The Matamatam is a special ceremony of feasting and traditional song and dance performances. Its mainly when honouring the deceased of clan members and acknowledging the ones living and other Tolai clans as arranged for the occasion.
There are a variety of traditional performances both by female groups and male groups. ending with the male "Alor" Dance.
The significance of the feasting is about sharing pork meat and a special type of banana called 'tukuru' - a short fat cooking banana with a grey colouring.
The Tolai folk songs and dancing have been a form of entertainment and spiritual enlightenment and performance. A song is known as "kakailai" and dance is "malagene". Composition of a song is called "pinipit" and the composer is known as "tena pinipit" or "tena buai".
The composers of songs related to dances are knowledgeable in choreography and composition of songs.
There are various types of song and dance based on life experiences, events, the environment, birds and animals, and human interactions.
Traditional Tolai songs and dances may be performed by both males and females together while others are restricted to one gender.
Traditional instrument used for beats, rhythm for the song and dance are kundu (hollow wooden drum with lizard skin), pakupak (slit bamboo) and tidir (bamboo or wooden sticks). The garamut (wooden slit drum) beaten by cane sticks and wooden stick depending on type or dance are mainly for tubuan or more special ceremonies.
The female performers have typical dances of "Wutung, Parpari, Patete" and male dancers perform "Kulau, Pinpidik, Perapere and Tabaran Alor".
(Steven Gagau, October 2019)
Extended Data
- ID
- MW6-057
- Languages
- Kuanua - ksd
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.25092 Longitude152.205 Start Date1993-09-01 End Date1993-09-01
Description
Tape#1, Traditional Tolai "Warbat" folk songs by Koniel Tamgoi of Bitavavar and Regina Tade's Childrens' Choir of Volavolo.
Side A Only (Side B Blank)
Koniel Tamgoi of Bitavavar Village in Kokopo District sings various solo "Warbat" songs, traditional Tolai folk song as a love ritual luring a woman to be attracted to the man in the subject of the song. The traditional musical instrument used is "tidir" a natural sounding object of a piece of bamboo beaten together as the background to the singing. Other participants in Philomen Tokilang and William Toligap were also present at the time of recording.
Regina Tade leads and conducts boys and girls in a children's choir of Grades 3 and 4 at Volavolo Community (Primary) School singing Kuanua and English songs of worship and praise of the Catholic Church.
(Steven Gagau, January 2019)
Extended Data
- ID
- MW6-058
- Languages
- English - eng, Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.194435 Longitude152.157 Start Date1993-08-08 End Date1993-08-08
Description
Tape#1: Rehearsals by various Male, Female and Mixed Choirs led by Choir Master and Conductor, Resin ToLop for Jubilee Choral Festival.
The choirs are from Vunairoto Village is in the north coast area of the Gazelle Peninsula and the preparations for the festival are part of celebrations of the arrival of the Methodist Church missionaries New Britain Region mainly the Gazelle Peninsula.
Side A:
Rehearsals by Male and Mixed Choirs preparing songs;
Mixed Choir: Two songs - "Aleluia, iau mari Iesu" in Kuanua and "Pa iau vavirir tai Iesu" in Kuanua.
Male Choir: Two songs - ""I ti koina ra balagu" in Kuanua and "Wonderful love of Jesus" in English.
The Mixed Choir Kuanua songs mean "Hallelujah, I love Jesus" and Male Choir song mean "My heart is at peace".
Side B:
Female Choir: Two songs - "Come, come, He says" in English and "Arama tara bakut" in Kuanua.
The Kuanua song mean "Up in the heavens above".
The Vunairoto Choir was recorded by Radio East New Britain referenced RENB R.475 Cut 9 with the song "A Lili" ('ToPaia - Ure ra utul a Misinare'). The song is about three Fijian Missionaries who were killed by local people lead by ToPaia when bringing christianity sent ahead to the areas of the Gazelle Peninsula by Dr George Brown of the Methodist Church in 1875.
(Steven Gagau, March 2019)
Extended Data
- ID
- MW6-063
- Languages
- English - eng, Kuanua - ksd
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.189645 Longitude152.1955 Start Date1993-08-09 End Date1993-08-09
Description
Tape#1: Music Background and Journey of Stenlly ToKulupa
Side A & B:
Stenlly ToKulupa was born before 1937 volcano eruption as he remembered seeing it as a small boy and not sure of his birth year.He grew up in his Tavui No.1 village and started school in 1947 at Tavui elementary then in 1950 he went on to Kerevat for intermediate school education.
Stenlly was self-taught playing the guitar and ukulele in 1948 usually by hiring guitars to learn from at a cost of 2 shillings per day. He then had the skills to play the guitar styles of 5-key, 3-key, Blue Mountain, Spanish key with firstly copycat songs from other music heard that were played by others mainly from radio broadcasts then copied their music till later composed his own songs.
His musical development has also been from traditional means through "tena buai" where its has ancestral spiritual connections for talent and skills in composition and performance of song and dance. Through this avenue Stenlly can perform music for traditional songs such as Warbat, Wutung and contemporary songs on strings like western country music.
He later started his own string band in 1970 known as "Rababatai Yankee Spiders" where he did recordings with RCA studios then later went on to set up other string bands in adjacent villages in the Tavui area known as No.1, No.2, No.3 villages.
His various songs composition were in Kuanua and Tok Pisin were mainly on life experiences, situations and events that occurred, nature and environment, living creatures where there is a message in the stories to be told and expressed in music.
In 1959, Stenlly had a fishing accident involving dynamite explosions for killing fish as a way of catching them in the sea that resulted in loss of his hands and eyesight but continued with his music then with compositions and vocal singing only to songs for his band where they earn a little bit of income for performances in the 1960s' to 1980s'.
Examples of compositions were from invitations to compose for a Kabakada camp for disabled people, a broken relationship of man leaving behind a relative women to politically related unrest of the Mataungan Association which stood for local native rights in the Australia colonial administration led by past East New Britain politicians of John Kaputin and Oscar Tamur.
String band performances were in organised in villages for dance parties called "cup tea" for fundraising with food and drinks, village ceremonies like weddings or private function type gatherings. These events are usually go from 6pm to 6am and the organisers invite multiple string bands to take turns in performances for entertainment of the audiences or crowds during the course of the evening till day break. There is also the element of competition amongst string bands and also the act of attracting attention of the best of music performance as well as females towards the performers.
The music also encourages dancing and many external influences of the South Seas and expatriates and local people who go overseas have introduced the dance culture of waltz and foxtrot that were popular then.
There are also certain ancestral and spiritual relationships that influences and connects the natural world to supernatural world which the Tolai has their belief systems towards expressive power of performance in music. These include such terms in Kuanua for music performances of "kakailai" and "malagene" or song and dance through forces of attraction to the music such as "langorong" and other powers of "kabang", "tar", kavavar", "midal" applied to the performers and instruments with chants of "tabaria", "marue". Some common signals of warning or "vakilang" to end a song during performances are "taxi" or "hula".
General conversations were around the influence of his music through composition and learning songs and playing them fro other parts of the country or overseas.
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-064
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29302 Longitude152.174 Start Date1993-08-09 End Date1993-08-09
Description
Tape#2: Traditional Music, Choir and Stringband
Side A: Vincent ToLiman and Julie ToLiman
Vincent and Julie have a Catholic Church background and attended Church run schools and involved with choir singing at namely St Peter Chanel Seminary College, Ulapia and Our Lady of Sacred Hearts (OLSH) Teachers' College, Kabaleo and Sisters College at Vunapope. There were both involved with choral music and recording were made then of these choirs led by Fr Barr and Sr Mona.
There were traditional Tolai songs like "Warbat" tune and singing applied on English songs adding a contemporary and traditional flavour to songs and enjoyed by many as choir music.
Conversations about traditional culture and music of Tolai song and dance were on preparation of dancers, dressing up on head, body, hands and legs with painting, masks, bird feathers and special plants and leaves. Head dress will have feathers "kangal" and "tokatokoi" . The masks "pokopoko" are worn in men dancers on their heads.
The Tolai cosmology is about expression of song and dance connecting magical powers and spells and this also has be used for evil purposes where ancestors engage in killing people as warriors.
The traditional music is mainly from the magical powers of "tena buai" who is an individual but a "bita buai" is a system used composition of songs, craeting dances and designing dressing to suit the dancing and decorating the dancers and special materials to wear.
The "tena papait" and "tena ingiat" are for evil activities and dangerous to take up as it borders on death and life for those who take up and chose to use these magical powers as warriors.
Side B: Stenlly Tokulupa
Stenlly continues from previous conversations as a musician where he sung various songs from other countries with his stringband at Tavui. These songs are part of his various collections of local Kuanua and Tok Pisin songs both composed and traditional using stringband music.
Stenlly also shared stories of the hardships faced during the war under Japanese occupation and learning music during the time and sung the Japanese song "Moti moti kamio".
Other overseas and other provinces songs include; Motu Central Province, Buka, Bouganville, Solomon Islands, Nauru, Indonesia, Malaysia, Japan.
Stenlly ToKulupa shows his creativity and ingenuity of ability in stringband music with talents and skills in composition and performance.
(Steven Gagau, April 2019)
Extended Data
- ID
- MW6-065
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.25982 Longitude152.182 Start Date1993-08-10 End Date1993-08-10
Description
Tape#1 Side A - Music Story of Elisa Tiden
Elisa Tiden was born in the early 1930' and comes from Rabuana village in the northern part of the Rabaul, Gazelle Peninsula. The music background and journey of Elisa Tiden started before the WW2 when he worked in the Gold Mines in Wau, Morobe Province. He learnt playing guitar mainly 5key, 3key style from ToIoana from Matupit as he had a guitar in Wau where they both worked.
After the war, Elisa returned and started playing as a solo artist performing at various village events such as weddings, festivities of deceased and fundraising activities. His music was mainly on Kuanua songs and no traditional related songs. The choirs, stringbands and traditional music were kept separate from each other.
Other known musicians from Rabuana village were John ToGarama and Tuluet Lepan and supported Elisa in stringband music and embraced songs made popular on the airwaves by Radio Rabaul broadcasts. They all have some some views about the emerging young musicians mainly singing about man-woman relationships rather than nature, life and general stories. They also are aware of traditional songs like Warbat using modern music particularly with live bands.
Side B "Lili" by Vunairoto Village Male Choir and John ToWowono Solo Guitarist
The recordings at NBC Radio Rabaul were regular broadcasts on airwaves of choral and stringband music.
The Vunairoto Village Male Choir is on the north coast road of the Gazelle Peninsula. The traditional Tolai song "Lili" was sung as a blend of traditional and contemporary music in choral singing.
John Wonwono is a pioneer musician from Nangananga village in the Kokopo District. He plays various solo guitar songs on radio broadcasts to the people of East New Britain Province.
(Steven Gagau, March 2019)
Extended Data
- ID
- MW6-066
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.18913 Longitude152.1825 Start Date1993-08-11 End Date1993-08-11
Description
Tape#4 - Side A & B, Recording Songs of Blasius ToUna
The songs recorded are a mixture of languages of Kuanua (ENBP), Tok Pisin (PNG) and Anir island (NIP.
Song#1 "Nogat magit i topa iau" or There is nothing for me. - A story of unsuccessful fishing activity after practice or rehearsal of proceedings to ordination of Father Albert to Nodup Catholic parish. Not a good day on catches so more of expressing dissatisfaction why it happened.
Song#2 "Triple T" - Woman's Name - A story of a health worker who was considering an approach by a women to marry her even though he was a married man. The real name of the woman was not known so the name "Triple T" was used.
Song# 3 "Sori tumas, no gat haus" or Sorry there is no house to use - A story of health clinics in visits to villages not in houses to work from but only in open spaces under shades of trees.
Song#4 "Driver, ai blong yu stap we?" or Where are your eyes? - A story of the driver of a Police van who caused an accident by bumping a child cross the road. The runs are normally done by the Ambulance vehicle driven by Blasius for pregnant woman taken hospital but at this instance the Police van went ahead and unfortunately ended up with the accident.
Song#5 "Una ki wowowon pai iau" or "Au melmel kausi nene iau" or You wait patiently for me - A story in the Anir language of New Ireland and Kuanua for Tolai people about having patience when waiting to return from travels back to home.
Song#6 "Bai ga pamar kaigu redio" or I will break my radio - A story of frustrations leading to breaking the radio.
Song#7 "Sundo Roro" - A story from Anir Island using the words of a village person making jokes of people at the Catholic Church during a worship procession or mass.
(Steven Gagau, March 2019)
Extended Data
- ID
- MW6-067
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-6.189684 Longitude148.7145 Start Date1993-08-21 End Date1993-08-21
Description
Tape#1 - PNG Top 20 Music
Side A&B:
Excerpts of radio broadcast program by National Broadcasting Commission (NBC) Kalang FM on the weekly countdown of the best of PNG music in the Top 20 hits.
PNG Top 20 is hosted by Justin Kili and covers various music artists across PNG during the month of August.
In this countdown, No. 20 was Barike Band (Rabaul) with "The Captain" and No.1 was "If I ever say goodbye" by Kales Gadegabs (Madang).
Various songs and artists and musicians from Rabaul in solo, duets and bands in the Top 20 include; George Telek, John Wong, Barike, Painim Wok, Shut Down, Henry Kuskus, Charles Kivovon whilst others from other centres of PNG are represented across the countdown of PNG best music charts every week.
(Steven Gagau, Feburary 2019)
Extended Data
- ID
- MW6-072
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.35381 Longitude152.237 Start Date1993-08-22 End Date1993-08-22
Description
Tape#1 Side A - Music background and Story of John Wowono told by Anton Laparami & Juliana Vatang, 22 August 1993.
John Wowono was born 1920, married in 1949 and died in 1981.
Anton and Juliana describes the music story of John Wowono, a pioneer stringband music composer and performer.
John Wowono learnt the guitar from his elder brother, ToBunata who worked in Salamoa and Bulolo Gold Mine, Morobe Province and was given a guitar by his expatriate boss.
John Wowono and then became popular with his stringband music with songs like "Ra Vuvu" and "Kaugu Gunan. In earlier days of radio broadcasts, his songs were played on he airwaves.
John's stringband with members like Benny Urakil, Robin and others perform in village parties or events like weddings or fundraising called "cup tea" mostly in Toma and Kokopo area.
John also performed traditional music at ceremonies of "balaguan" and "matamatam" and had powers as a "tena buai", "tena malagene" and combining such songs as "warbat" and "malira" songs into stringband music.
After John Wowono's stringband, a live power band at Nangananga village was formed in Skylight band.
Tape #1 Side B Music background and Story of John Wowono told by Lawrence ToBurua and other participants, 29 August 1993.
Lawrence with support of others at interview describe how John Wowono learnt playing guitar from elder brother ToBunata and started Mother Stringband. It then changed to Nangananga Sports Club stringband and taught younger members like Isador Vuvul, Clement Kiliu, ToPitit, Benny Urakil in 1960s then later the first electric power band in Skylight Band claimed to be the first in the Province and then Territory of New Guinea.
In the 1970s' the Nangananga stringband continued with the style of songs combined both with traditional such as "Vuntung" and stringband music composed then participated in the Tolai Warwagira with continued success.
In 1981, John died of illness after he left Nangananga Village to Tavilo to work on his cocoa plantation block of land.
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-073
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.168245 Longitude152.1725 Start Date1993-08-26 End Date1993-08-26
Description
Tape#5 Side A & B:
Tape notes: Singing with Blasius ToUna Thursday 26 August, 1993 at Nodup, with Galis Pidik 'Bougainville'
Blasius ToUna, Galis Pidik and Michael Webb performing songs "Bouganville - Bringim Bel Isi", "Nogat magit i topa iau" and "Yu ambak man - Sundo Roro". The songs were combination of Tok Pisin and Kuanua words.
The Bouganville song is about peace to prevail during the civil unrest on the island. The other songs are general life stories like fishing and community activities.
(Steven Gagau, April 2019)
Extended Data
- ID
- MW6-078
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.222 Longitude152.182 Start Date1993-08-28 End Date1993-08-28
Description
Tape#1: Side A & B - 12 songs
Recordings of Matupit Island stringband performing various songs in Kuanua and Solomon Islands languages mostly from composer and musician Ephraim Tami. The songs include;
"Matupit, kaugu gunan alalir" - my island Matupit is floating on the sea next to the volcano.
"Aumana bul" - our mates gone and have come back.
"Matanakunai " - a place where we witnessed the volcanic eruptions (1994).
"Waira tam ati" - becoming a stranger after eviction from my home.
"IaMagit u waligur iau" - my girlfriend leaving to marry someone else.
"Vuvu marmari" - what a cool breeze blowing over the body feeling good.
"Iau a waira ati" - I am a stranger in this place.
"ToDion, iau mari u" - John, I love and care for you.
"Sana rana" - Solomon Islands song from wartime (1946)
"Kalou na ki watikai piram" - God be with you always.
"Watikai iau nuk u" - I think of you always.
"Alir wowowon" - drifting slowly away in canoe while fishing out at sea
(Steven Gagau, March 2019)
Extended Data
- ID
- MW6-079
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.21515 Longitude152.187 Start Date1993-08-28 End Date1993-08-28
Description
Tape#2, Side A & B - Continuation (9 songs)
Recordings of Matupit Island stringband performing various songs in Kuanua and Tok Pisin languages mostly from composer and musician Ephraim Tami.
The songs include;
"I Alir" - water flowing gently onto the land
"IaMagit"- Lady walking like the wind
"Rabis Man"- Man feeling sorry for himself that nobody likes him.
"Moto Kar"- Vehicle on road running out of fuel
"Matupit i marmari"- Thoughts of home Matupit while away at sea on Japanese fishing trawlers.
"Paparatava"- Fishing on the river banks
"Tomavatur"- Looking out from hilltop on burning smoke at distance.
"Okole"- Police evacuating Matupit people during earthquake.
"Nilibur"- People welcome, have company and farewell when getting together.
(Steven Gagau, March 2019)
Extended Data
- ID
- MW6-080
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.32899 Longitude152.2445 Start Date1993-08-28 End Date1993-08-28
Description
Tape#1: Traditional Tolai Ceremony "Matamatam" of Tubuan Society Song and Dance
The "Tapialai" tubuan songs are inspired from traditional belief system where the songs composed with the the design of costumes reflect the spirit of the tubuan dance performers in traditional dancing at the festivals or "balaguan". The "matamatam" ceremony honours all the deceased of the clan. The tubuans are masked figures raised to dance at these ceremony and accompanied with the "dukduk". Both masked figures are central spirit figures of the secret male society of tubuans (female) and and dukduks (male).
The traditional musical instruments used for sounds and rhythms for singing and dancing of the tubuan performers are in the beating of drums and gongs namely and "garamut" , "kundu which are slit log drum or hollow wood drum, "pakupak", a bamboo-slit gong and "tidir", a flat bamboo piece gong. The garamut mainly in welcome and ending the ceremony with the other instruments for the sone and dance although garamut can be occasionally during to add extra drums beating and background to the singing and rhythms.
These ceremonies associated with the "tubuan" involves exchanges of Tolai shell money or "tabu" which has been a ritual and of symbolic significance in these ceremonies of Tolai culture linking the present and past generations.
(Steven Gagau, March 2019)
Extended Data
- ID
- MW6-081
- Languages
- English - eng, Kuanua - ksd
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29574 Longitude151.9885 Start Date2018-11-14 End Date2018-11-14
Description
1. Jack Tonga - playing the guitar
2. George Brown Day Choral Festival - Male, Female, Mixed, Children Choirs
3. George Brown Day - Gospel Stringbands
Extended Data
- ID
- MW6-083
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29574 Longitude151.9885 Start Date2018-11-14 End Date2018-11-14
Description
Exhibition of Traditional Practice and Art "Tena Buai" Preparation for Ceremonies and Performances.
Extended Data
- ID
- MW6-084
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Closed (subject to the access condition details)
- Rights
- Closed (subject to the access condition details)
Details
Latitude-33.81405 Longitude150.643 Start Date1996-07-01 End Date1996-07-01
Description
Thanksgiving Get together at Webb family home during July 1996
Extended Data
- ID
- MW6-085
- Countries
- Australia - AU
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29574 Longitude151.9885 Start Date1993-07-17 End Date1993-07-17
Description
1. Andrew Midian playing guitar
2. A wutun dance - final rehersal, Matupit, July 18, 1993
3. Preparation of Dancers for actual performance, Saturday 17 July 1993. A wutun, Matupit
4. Melanesian Spearhead Group Summit Meeting official welcome at Queen Elizabeth Park, Rabaul, 19 July 1993 - second portion of women's dance from Duke of Yorks. Also brief performance of tubuan dance at end of ceremony.
Extended Data
- ID
- MW6-086
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-21.8181 Longitude165.853 Start Date1994-12-01 End Date1994-12-01
Description
Recording taken from 'Tim' (New Morning Studios, NMS697) from the Cassette groupe BETHELA EHM Productions M1006
See image for track listing (from Cassette tape cover)
Extended Data
- ID
- MW6-087
- Languages
- French - fra, Undetermined language - und
- Countries
- New Caledonia - NC
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-9.47145 Longitude147.179 Start Date1990-05-31 End Date1990-05-31
Description
Tape#1: Side A&B - Music Background, Experiences and Journey of Loujaya Dumar
Loujaya Dumar was born in Lae on 20th May 1963 to parentage of provinces of ENB (father) and Morobe (mother).
A well known PNG female music artist in the 1990s, her musical exposure and upbringing started at the age of 10 through her mother who was actively involved with her SDA Church singing and choirs.
She attended National Arts School in Port Moresby and now works at Word Publishing company.
Her fame in the music scene and public domain was in the gospel band, June Valley Harrietts through lead vocals, compositions and songwriting. Her exposure and influence on her music was also from radio broadcasts inspired by international artists like Michael Jackson, Dion Warwick, Anne Murray amongst many.
Loujaya discusses more on her musical journey during the interview.
(Steven Gagau, June 2019)
Extended Data
- ID
- MW6-002
- Languages
- English - eng
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-9.466705 Longitude147.2 Start Date1990-06-04 End Date1990-06-04
Description
Tape#1: Side A&B - Music Background, Experiences and Journey of Eddie Elias
Eddie Elias was born in Port Moresby in 1960 to parentage of provinces of East Sepik (father) and Central (mother).
A well known PNG musician in the 1990s, his musical exposure and upbringing started in primary school around the age of 10 to 12 when his family lived in various towns through the job of his father, a policeman. He listened to western music records of the 1970s like Carter Family, CCR, Paul Simon and more and mainly was self taught. He started with drums then later in high school jamming with bands.
Eddie later was part of Kereval National High School band "Abraxsis" as drummer then started getting int guitar and keyboards when he attended National Arts School in Port Moresby. He then worked at Keynote Music company as a salesman of musical equipment and instruments.
Eddie's fame in the music scene and public domain was with rock band "Bluff Inn Soles" who mainly performed entertainment at various functions and based mostly at the Bluff Inn tavern. He is a songwriter and composes songs with PNG folk songs mainly from his parents areas of Sepik and Central provinces amonst others.
Bluff Inn Soles band was known to perform heavy metal rock music and Reggae style music performing cover songs such as Jimmy Hendrix, Guns and Roses, Whitesnake, Bob Marley and more.
Eddie has a strong views about music development of upcoming PNG music artists and guides and mentors on use of musical instruments and guiding them in compositions and expressing stories of lifestyles, politics and some relevance to traditional folk songs. As a musician, his passion is helping other develop musically.
More insights are discussed in his interview.
(Steven Gagau, June 2019)
Extended Data
- ID
- MW6-003
- Languages
- English - eng
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-8.646225 Longitude146.2945 Start Date1990-06-06 End Date1990-06-06
Description
Tape#1: Story of musicican Kauboi.
Side A & B
Kauboi (Mere Mohi) comes from the Ihu District of Gulf Province and moved with parents to Port Moresby living in the Kaugere settlements. His father was employed by an expatriate where he worked as a domestic labourer at his premises.
Mere had the fascination of music playing the ukelele and guitar mainly self taught by listening to the radio with songs played in programs.
Mere did not any much education and he joined "rascal" activities around the city so spent most of his early years involved in crime. He then took up music and playing in public places such as shopping areas with his ukelele and guitar with songs in Tok Pisin, Motu and "rock and roll" learnt from the radio. He was dressed mostly with "cowboy" like clothes and that was how he got his name "Kauboi" which is in Tok Pisin. He occasionally played with bands in performance not as part of the bands but in breaks or intervals due to his popularity and a soloist musician.
He was later picked up by a recording studio CHM in the mid 1980s' where he made his album of songs which as popular amongst grassroots followers and his "ex-rascal" audience for his style of music more a contemporary style of music of pop and rock and roll in the local languages and english which he had picked up along the way.
His music was popular in Port Moresby and his local Kerema town and his cassette sales was on demand by his people as a rare musician of Gulf Province.
Kauboi later contracted leprosy which affected his hands and feet, got married to a woman from Mailu in Central Province which affected him continuing with his music so he stopped performing his guitar and ukelele.
At the time of the recording of his interview, he was no longer performing but only describes his musical journey and background.
(Steven Gagau, July 2019)
Extended Data
- ID
- MW6-004
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-6.444645 Longitude148.6045 Start Date1992-12-14 End Date1992-12-14
Description
Tape#1: Music in New Guinea - Background, Journey, Exposure and Experiences
Side A & B:
Ray Sheridan was born on 6th October 1916 first went to New Guinea (PNG) in February 1943 as a Signaler with the Australian Army joining Allied Forces in the Battle of New Guinea in World War II. Ray had musical background in symphony orchestra in WA before posting to PNG during the war.
Ray's musical journey and work on music of New Guinea was through his recordings, article publications and his input to encyclopedia on PNG during wartime and areas of battles from Port Moresby, Kokoda trail to Salamua to Lae then later after the war.
In 1947-1949 he returned to PNG to work as a Music Office with Department of Education where traveled to various regions of the country from Southern to Northern Mainland to Highlands to Islands. His movements were either flying, bush tracking, boats, river rafting, vehicles to visit locations to research, collect and record music of the indigenous people. The areas include provinces of Central, Milne Bay, Northern (Oro), Morobe, Eastern Highlands, Western Highlands, New Britain and New Ireland. He had an office based in Port Moresby and Rabaul.
His exposure to indigenous music in PNG was through the chants, drumming rhythms, singing songs and the use traditional instruments like flutes, kundu, garamut then later with introduction of guitars into stringbands and choir singing mainly in Rabaul under missionary influence.
There were various associates of music in PNG and amongst many, Fr Reichel was an influential musician from the Catholic Church in Rabaul that Ray worked with.
Ray continued in Australia from the 1950s as scholar and academic with evidence of his work and recordings on Music in New Guinea in late 1940s' amongst other interests in the field of ethnomusicology.
(Steven Gagau, March 2019)
Extended Data
- ID
- MW6-005
- Languages
- English - eng
- Countries
- Australia - AU, Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-17.573775 Longitude149.0005 Start Date1992-12-14 End Date1992-12-14
Description
Tape#2: Music of New Guinea Recordings and Journey of Ray Sheridan
Side A & B
Ray Sheridan undertook a ABC Project for music recordings in Rabaul in 1953 for their collections and archive. He did various broadcast features in the duration of the project and made presentations upon his return to Australia with various ABC indigenous programs and Diplomatic core entertainment with these New Guinea and Aboriginal music recordings.
Ray's local music knowledge and experience from various ethnic and cultural groups like the mixed race community with Ambonese Indonesian, Malay, Chinese, Japanese, New Guinea Islands and New Guinea Mainland produced such rich music recordings of various guitar based and other instruments. The mixture of indigenous music were Tolais', New Irelanders, Manus, Bouganville, Sepik and Makolkol people of New Britain were some groups recorded.
A main feature in ABC feature was the "Kambiu Club" who had well established band where Ray played violin and some women singers.
Ray's relationship with the Kambiu Club members influenced his return to Rabaul for a job with CPL (Coconuts Products Ltd) then the Government Stores from 1954 to 1960. He continued his musical interest and recordings with the connections with Administrators and Planters who were involved with the local music.
From 1960 to 1966 he transferred to Kavieng in New Ireland and posted with the Malaria Health Unit in New Hanover island and communities where he undertook patrols at the same time still involved with music recordings which was mostly undertaken in Rabaul for the various groups or individuals that were involved with Ray in this journey. Most guitar music was introduced and developed after second World War for indigenous people of PNG and published and contributed articles about his music recordings in the Papua new Guinea Encyclopedia.
From 1966, Ray moved to Port Moresby till PNG independence in 1975 continuing Government work and music. He also travelled in the Papuan areas recording and had similar musical experiences with one interesting story of a man playing the violin left by either American of Australian solider along the Kokoda trail.
Ray returned to Sydney, Australia after PNG independence in 1975.
(Steven Gagau, July 2019)
Extended Data
- ID
- MW6-006
- Languages
- English - eng
- Countries
- Australia - AU
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.55471 Longitude152.7355 Start Date1993-02-16 End Date1993-02-16
Description
Tape#1: Music Background, Experiences and Journey of Ben Kepas from 1970s to 1990s'
Side A & B:
Ben Kepas was born on 30th December 1953 at Kerevat, ENB Province from mixed parentages with father of Bouganville and New Ireland provinces and mother of Ambonese, Indonesia and East Sepik Province.
His musical interest and development started at the age of 5 years where his exposed to his uncle as a musician (father's elder brother) which had influence for Ben's passion for music at an early age. He played instruments of guitar, accordion, bandjo, mandolin and on occasions Ben will access these instruments to try out his abilities to play them. His father then bought him a guitar so his guitar talents and skills further developed.
When growing up in Rabaul during his childhood years to teens, he was aware various leading and pioneering musicians in the mixed race community like George Kasi, Phillip Tabuchi, Paul Cheong as wel as the indigenous community mainly from Matupit Island who had early exposure to musical instruments and genres that were introduced to Rabaul. These local musicians included Ephraim Tami, Ephraim Bakut and Mangut family.
Ben Kepas started as a musician in Kavieng with the band, New Ireland Drifters playing the guitar on string band to electric power band as lead guitarist. The band's music styles were 5 key and 3 key with a Buka influence due to his parentage.
He moved to Rabaul in the 1970s' involved with string band competitions then focused on power bands later. He joined the Ex-Tremors formed after original Tremors band moved on as the lead guitarist. As the band was based in Rabaul town, the demand was to be performing the music of country western and rock and roll to suit the residents and modern taste of contemporary music.
Ex-Tremors had a rapporteur of songs from from popular groups of the Beatles, Chuck Berry, Credence Clearwater Revival and others and they were popular performing in clubs, halls and functions such as Crusaders Club, Pioneer Hall, RSL Club, Kambiu Club and others.
At that time there were also other power bands in town such as Devils, Cats Squirrels, Winterwood, Bendalaros mainly with the Chinese mixed race and local bands such as Tsunamists, Brown Eagles.
Ex-Trevors in the mid 1970s went on tour to perform in North Solomons (Bouganville) mainly at Panguna and Arawa mining town. They return to Rabaul then the band broke up due to mismanagement issues despite a successful tour. Various notable band members or musicians that were involved with Ben's musical journe were Jack Nima, Richard Tarek, Joe Kameta, Donald Lessy, Daniel Biang, Frank Lou, John Wong, Levi Graham, David Kepas, Michael Lessy, William Kepas, Fabian Tadoi.
Other bands he was involved in include Reserve band, Pila Zeck Mates, Devils, Apple Sun, Rasterman Vibrations and Molachs in Rabaul and Beachcomers in Kavieng.
The managers he had been involved with in various bands Nason Palom, Junias ToKilala, Eddie Schultz, Michael Woo. Most of the experiences with band management has always been not good in terms of payments for their performances to sustain them as musicians so they kept on breaking up and forming new bands with either own instruments or brought be new managers.
Successful recording of albums and labels by bands 1970s-1980s have been with Apple Sun (NBC) and Rasterman Vibrations with (EMI NZ). Again despite high incomes from royalties of sales, returns were still not realised to the benefit of musicians.
Ben shared that women bands were not popular and the music industry and in Rabaul and Gazelle Peninsula was male dominated. There were only 2 known female Tolai string bands were ML Daughters of Bitakapuk and Cousin Ladies from Vunadidir. There were known female musicians in mixed race bands like Rita King and others.
The Tolai Warwagira events attracted string bands and power bands in NGI and NG Mainland due to winners prize money ranging up to K500 in the 1970s for 1st prize award.
Ben describes the music developments in Rabaul from his experiences in performances and recordings as enriching having to work with other musicians with town with the mixed race community, from other known PNG artists and local Tolai musicians of his musical career in the 1960s to 1980s' and emerging ones from the early 1990s'.
(Steven Gagau, June 2019)
Extended Data
- ID
- MW6-015
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.286865 Longitude152.165 Start Date1993-02-24 End Date1993-02-24
Description
Tape#1, Music Background and Life Experiences during World War II of Blasius Touna of Nodup Village
Side A & B: : Early Years and the Japanese during Occupation.
Blasius Touna is a Tolai musician and talks about his life story and how he composed and sang his many songs and style of music well known then around PNG in his time.
Blasius was born on 2/2/1922 at Paparatava Health Centre of Catholic Mission to parents from Toma area of the Gazelle Peninsula. The father was a Catholic catechist missionary stationed at the Catholic Mission at Paparatava. His mother died when he was 2 months old so was taken into foster care at Vunapope Catholic Mission Sisters so did not grow up in the village setting with his father. His exposure to music during early years was with the Sisters in church chorals with organs but forgotten that now in his later years.
He started school at Milmila Catholic Primary School in Duke of York Islands for 6 years till 1939 when they were told that the War (WW2) was coming so he returned to Vunapope Catholic Mission.
He was not exposed to guitars till his late teenage years as he was under the care of Catholic sisters who only use organs and pianos and church chorals.
He then returned to his father in 1940 who was now at Rapitok Catholic Mission and the war just came with the Japanese invasion to Rabaul and Gazelle Peninsula.There were many wartime experiences mainly atrocities of the Japanese with individuals, village people and any captured allied forces in camps and the town of Rabaul. His personal experiences was he was put in prison for trivial matter and was due to be executed by beheading as a practice of punishment. He was with an American pilot captured and put in prison but later escaped. The local guard employed was from Markham for NG Mainland in Morobe Province. He was also a fierce man and always mistreated him doing inhumane things in prison. Before the execution time, the American had escaped and Blasius was well aware of the plan and he held back not to go with him. When the day was up for execution for the two of them, the Japanese captain discovered the American was missing and became very angry so he asked Blasius what had happened. Having able to speak Japanese well enough, he replied that the local guard was was responsible for his escape as he opened the gate door in the night and they left him there but was well awake and saw they leave the prison. The captain was satisfied with his answer although a lie and released Blasius from execution and they now dealt with the local guard for punishment to not doing his job for an escapee under his guard.
Blasius was now free and still remained in the camp so he had a good feed then was given a bicycle to exercise along the road just outside the perimeters. He later saw the vehicle coming with the local guard in it with the executioner and Japanese guards with spades and shovels. They made the local guard dig his own grave so Blasius was curious to see what they were doing so he hid the bicycle in the bushes and climbed a tree at a distance and saw the whole ordeal. The local guard was blindfolded then sadly beheaded then was buried in the grave dug. Blasius witness everything and was shivering but keep his calm till he returned to the camp premises. He then saw the local guards directing village people away from the area saying that there were mines planted for enemy attack of Americans and Australians but infact was where the body of the Marhkam guard was in his shallow grave.
He later was transferred to Vuvu camp on the north coast of Gazelle Peninsula then put in jail again for another lie of a local guard saying be was a spy of Allied Forces in Americans or Australians. He was later released and the guard was again beheaded at Tunnel Hill prison site.
Blasius was eventually set free after the war was over and joined ANGAU unit hospital in Nonga then Namanula with the Australians under Territory of New Guinea administration in 1948. Due to new found relatives in Nodup and Matalau, he now adopted his name Touna after an elder in the village.
Blasius also had exposure to Japanese music with both traditional guitar instruments and normal guitars but only sang their own songs with their own melodies not other foreign songs. He learnt a few but forgotten their songs. He also observed their concerts playing these music.
With Blasius localised to nearby Nodup and Malatau villages due to working at Namanula hospital, he was able to partake in local social nights with stringband music. People had guitars and ukeleles then under the influence of the South Seas Missionaries. Blasius borrowed a guitar then from the villagers and started learning and composing songs, bought himself and ukelele and then started off as a musician from early experiences.
(Steven Gagau, January 2019)
Extended Data
- ID
- MW6-016
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.198545 Longitude152.196 Start Date1993-02-24 End Date1993-02-24
Description
Tape#2: Music Background and Journey of Blasius ToUna (Continued)
Side A&B:
Blasius ToUna had some guidance, coaching and mentoring in music from Father Reichel, a musician who worked for the Catholic Mission supporting various Church Parishes around the villages and stations in the Gazelle Peninsula. Fr Reichel also support other Tolai people to become musicians.
Blasius was brought up in the Catholic church and while attending Milmila Primary School, he came o know Fr Reichel who saw in him that he would have talents in music and painting.
He was married in 1953 and in his later years, he continued to be in contact with Fr Reichel so he wrote songs both church "lotu" and guitar and would send for checking out. This process helped him to develop his musical skills so he began performing and recording his songs and later taught others and Catholic church goers his songs which were mostly his compositions. He was not prepared to copy songs and use their music to compose and perform.
The catholic church songs were mainly for choir singing such as Holy Communion, Lent and his painting skills were displayed in churches such as the Holy Trinity, Mother Mary "Maria", the Angels and other catholic faith expressions.
Blasius with village group he formed also competed in festivals such as Tolai Warwagira in the 1970s' and songs were recorded and broadcast by Radio Rabaul. Songs such as "Sigapu, Fopela leg, Kunai Dumdum" were popular songs recorded.
Blasius was also exposed to Country/Western style music played on gramophone and also listened to over radio broadcast programs. Musicians and artists he was aware of were Slim Dusty, John Cash, Charlie Pride, Jimmy Rogers and his favourite was Jim Reeves on his Christmas carols and songs.
Blasius is aware of other mixed race stringbands such as Kambiu Club and contemporary Tolai musicians in live power bands such as George Telek, Kanai Pineri and does not make any comparisons in the style of music played as it was up to individuals and bands to determine their music and not for him to have a say on how they play or perform their music.
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-017
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.21771 Longitude152.2575 Start Date1993-03-01 End Date1993-03-01
Description
Tape#1: Musical Journey and Experiences of Andrew Midian.
Side A & B:
Andrew Midian was born in 1965 and comes from Molot Village, Molot Island of Duke of York Islands in East New Britain Province. He grew up in a musical family where his father was a teacher/paster of the United Church from a Methodist Church background.
After local primary school in Molot, he attended George Brown High School (Vunairima) in 1978 then had a few years back in the village and was doing Distance learning with College of External Studies (COES) before enrolling in 1984 at George Brown Paster's College (Vunairima) then later in 1986 to George Brown Rarongo Theological College (Vunairima). The location of Vunairima is on the north coast of the Gazelle Peninsula where schools and college campuses are established for the United Church. These institutions are named after Dr George Brown, pioneer Methodist missionary who introduced christianity to New Britain in 1875.
Andrew's early exposure to music and his development as been mastering the guitar and consolidated by music education and his desire to learn music and mostly self taught through books, magazines and musical literature.
His development of musical skills and talents was from strings (guitar) in Gospel and Pop music in competitions and live bands to choral music to be covered in Side B.
Andrew's ability to read and interpret music complemented classical guitar techniques to choral music and choir singing of hymns. His musical knowledge, interest and passion drove to be successful in choral competitions where his choir was awarded top prize at a number of festivals as he is able to read music, compose, write melodies and harmonies and conduct as a choir master.
Andrew completed his Theological degree in 1990 to qualify as a Reverand and Church Minister of the United Church of PNG. His thesis was in indigenous music under topic of " The Value of Indigenous Music in the Ministry of the Church in Duke of York Islands". His work talked about the traditional forms of music and the influence and impact of western music through hymns singing introduced by Methodist missionaries. The indigenous people were good singers and easily embraced the introduction in hymn singing and expressed in local language of Ramoaina spoken on Duke of York Islands as "koina na malira na lotu" which means that the songs were good magical songs of church or worhship to God. As with traditional music or singing, it communicates their feelings through song but to their gods of ancestors but now the hymns are for the Christian God worshipped.
The introduction of guitars and ukuleles in modern music with songs are similar and using the same concepts with traditional instruments such as "tidir", "kundu", "pakupak" amongst others and reviving the similar music in the worship of God is church music is coming back as a form of songs and praise mixing the secular and contemporary music in the ministry of the Church in his observation and experience.
(Steven Gagau, April 2019)
Extended Data
- ID
- MW6-018
- Languages
- English - eng
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.215325 Longitude152.1775 Start Date1993-03-09 End Date1993-03-09
Description
Tape#1: Music Background, Experiences and Journey of George Telek
Side A: Stringbands and Live Band Performances
George Telek is a Tolai musician and explains his humble beginnings starting with Stringbands in late 1960s/early 1970s. He did not have any such musical education but naturally through talent and skills developed to become a musician from practical experience.
George eventually became a leading member of various live (power) bands performances locally in ENB and tours in PNG. Subsequently musical development led to the creation of a style of local music known as “Tolai Rock” which was based on traditional songs, tunes and rhythms in the language of Kuanua singing Tolai songs emanating from stringband sounds of guitars and ukulele transformed to live band music with modern instruments. Pacific Gold Studios then made recordings of a number of albums under labels and names of bands namely Molachs, Painim Wok and Solo “George Telek” and Moab Stringband.
Side B: Overseas Exposure in Music
George Telek speaks about collaboration with Australian musicians “Not Drowning Waving” band led by David Bridie arranged by Pacific Gold Studies (PGS), Rabaul. This was motivated from his Stringband “Moab” song “A bebe” so recording was made with his composition of “Tabaran” which became the Album name where he was part of the band. This motivated him for overseas market to performance by keeping a traditional music style arranged where composed songs were traditional songs using both local and modern musical instruments. The style was different to other bands like Sanguma and Tabaran Culture where musicians were actually educated and trained to play instruments like saxophone, trumpets, keyboards, flutes etc and local instruments where it was more about the talent and musical skills of the performers whereas George’s focus was how his music was presented to the audience. Songs “emi sutim bel bilong ol man”
Composition style with songs were still the same however with better insights with his overseas exposure meeting with other artists and musicians in his trip to Melbourne such as Yotu Yindi (Aboriginal), Bundu boys (African). His participation in musical performances with Not Drowning, Waving band in Melbourne and Adelaide gave his motivation and confidence to advance his artistic product.
George’s songs are mixture of Kuanua and Tok Pisin and has become popular music around the country, PNG.
George composed “Peace in PNG” and arranged the song with a number of PNG musicians to add flavor and meaning to what was a troublesome time in the country with various situations and Government issues affecting people so it was calling for a United PNG in the song with a message. It was also collaborating with the family of local musicians.
George also wanted a change of music and new environment so moved on from his Pacific Gold studios to CHM Studios also seeking better remuneration from Cassette sales and royalties etc. He shared his earnings on how he was paid for performances and recordings both in PNG and Australia.
George shares his favourite PNG musicians and mainly heavy metal rock bands internationally.
George also shares his views on Women musicians like Julie Toliman not able to make it to the limelight due to local society perception and martial pressures on them as artists and performers.
George mentions it being hard to be a musician in PNG and in the public eyes and popularity is also a pressure on oneself personally so it has to be managed to keep the fan base.
George’s artist future plans is to move from PNG market to international market mainly in Australia where he aims to try out recording an album. He also was in the process of joining APRA for promote and protect his artistic product.
(Steven Gagau, December 2018)
Extended Data
- ID
- MW6-020
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.352265 Longitude152.2605 Start Date1993-03-10 End Date1993-03-10
Description
Tape# 1: Background and Musical Journey of Pilemon ToKilang and Stories with Osnil Tavil.
Side A & B;
Pilemon ToKilang was born in Viviran village in early 1900s' when his father was serving as an ordained Methodist pastor. It was the time of German New Guinea rule then Australian administration after the first world war. He was named after a chief Pilemon ToKilang who was instrumental in the introduction of the Christianity faith to Viviran during the time of batter trading from inland foods in taro in exchange for coastal foods of fish and the item of "kabang"or powdery white substance made from reef coral used for chewing bettle nuts or "buai".
The Viviran ToKilang requested from chiefs and people of Vunamami to obtain the Christian church faith "Lotu" to the people of Viviran then for the Toma valley area.
Pilemon started his early years working with expatriate colonisers, played sports mainly soccer and exposed to guitar music towards mid 1930s'. They guitar styles were 5-key, 3-key, blue mountain strumming and picking with composed Kuanua songs performing in various places in Gazelle Peninsula.
Pilemon learnt and practiced and introduced traditional music Äbot"song and dance not part of the Tolai culture but brought in from New Ireland in the Siar area of Namatanai and Duke of York islands. The "Abot" music was introduced by people working in Kokopo and Rabaul in plantations and working for colonial masters during the German and Australian administrations. The Tolai people such as Pilemon from Vunamami were pioneers of this typle of music which was popular in Nodup, Matupit and Raluana areas.
The ÄBot" music differs ïn its style to the traditional Tolai songs and dance practiced such as "Kulau, Vutung, Pinpidik, Bilolo, Goigoi" etc. These dances have its connections also from the Namatanai area of New Ireland. The "Abot" dance style can be performed by both male and female in circle format around the slit drum "garamut"with men in inner and women in the outer.
The other introduced traditional dance from New Ireland is "Kaka"or coconut shells with different style in its song and dance.
Various Äbot"songs demonstrated or from earlier recordings played power bands include; Han buruk, Kaka, Haus bensin, Engineer boy England and are mixed in languages of combination of Tok Pisin, Siar, Namatanai/New Ireland, Ramoaina, Duke of Yoks and Kuanua, Gazelle Peninsula.
(Steven Gagau, July 2019)
Extended Data
- ID
- MW6-021
- Languages
- English - eng, Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.192555 Longitude152.176 Start Date1993-03-14 End Date1993-03-14
Description
Tape#1: Background and Musical Journey of David Kepas
Side A&B:
David Kepas was born in 1965 in Rabaul and is a younger brother of Ben Kepas who was a popular musician with various bands in Rabaul.
David's music development started at 10 years old with their family band, Devil Strangers along with cousins in Lessy family including Donald, Michael and Robert. He started by singing songs and music played were mainly country, western and Rock & Roll music. He further developed to playing the bass guitar.
David then moved around to play in various bands where his elder brothers and cousins were involved and others where he joined with other musicians and friends.
The Rabaul based bands include Pila Zack Mates, Apple Sun, Rasterman Vibrations, Molachs, Painim Wok and Arawa, Bouganville based North Solo Drifters and Kimbe, WNB based Wanderers.
The various musicians he was involved with besides his family members include, Frank Lou, Glen Lou, John Wong, Joe Logo, Amos Rabbie, Henry Maniot, George Mamua (Telek), John Warbat. Two of the popular songs with record sales at in bands he played as bass guitarist were "Gypsie Rose" composed by John Wong at Apple Sun and "Vunalaslas" composed by Telek with Molachs.
Most problems experienced in his musical journey with the bands were mismanagement of funds received from performances and recordings as payments to the musicians. This resulted in breakup of bands, sale of instruments and no income to musicians therefore movements from band to band however seem to be an ongoing problem.
David then taught himself to play reggae songs and introduced to Painim Wok band this style of music which became popular. The reggae music was being exposed to the music scene and various bands like Junior Unbelievers wanted David to teach them the bass playing but he declined to requests.
Through encouragements from his brother Peter Kepas and cousin, Robert Lessy, David later converted to become a born again christian and entered into christian youth ministry with guitar and vocalist using his musical skills and talents.
(Steven Gagau, July 2019)
Extended Data
- ID
- MW6-022
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.21421 Longitude152.173 Start Date1993-03-17 End Date1993-03-17
Description
Tape#1: Background and Musical Journey of Anna Kuskus
Side A&B:
Anna Kuskus was born on 23rd February 1963 to parentage of father from Sulka, East Pomio and Bakowi, Talasea, West New Britain and Tolai mother, Gazelle Peninsula of East New Britain. She attended Kalamanagunan Primary School to Grade 6 and did not continue due to school fees problems as she came from a family of twelve children with family financial hardships.
Anna comes from a musical family with her father being a composer of songs in stringbands with guitars and ukelele as well as traditional dance. Her younger brothers Chris and Henry also are musicians producing their own recording albums at CHM Studios. They also all recorded an album Kuskus Family Vol.1 with CHM Studios.
Anna learnt her music from her father and accompanying her brothers to the CHM recording studio listening to musicians and how sound engineers arranged music for bands and singers. The styles of music are traditional songs played with modern music using spoken languages like Bakowi, Sulka, Kuanua, Tok Pisin.
As a female musician, she was only one of three namely Julie Toliman and Joyce Lavet who made it to record albums in the two Rabaul based studios in CHM and PGS labels. It was a challenge during her time and shares that music were not encouraged much on regular basis for female artists by events or festivals such as Tolai Warwagira.
Anna's all time favourite musician is Telek. Although she has not done music performances, the only one she was involved with was a video clip of Barike Band of Rabaul in the sone "Aiye, Aiyo" where she was in the female dancing act.
Anna shared her experiences in bringing traditional magical spells using means in Kuanua like "kubak, kabang, kavavar, buai na gugu etc" to modern music to draw crowds and followers of musicians as well as to have protection "babat" from harm from jealous people about their music talents.
Anna continues her interest to learn playing the keyboard and become a better herself with more musical skills.
(Steven Gagau, July 2019)
Extended Data
- ID
- MW6-023
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-7.038065 Longitude149.4395 Start Date1993-03-23 End Date1993-03-23
Description
Tape#1: Side A&B - Lamaika Band of Port Moresby
Lamaika band members in Oma Ditavaru, Timmy Saroa and Fred Mai and David Sera are based in Port Moresby and were in Rabaul at the time of interview.
The members come from Kerema, Gulf Province and live in Port Moresby and all relatives so they formed the band. They describe how Lamaika started as a stringband in the 1980s and continued into a PNG rock band into the 1990s'.
The band focuses on traditional songs "singsing tubuna" and Tok Pisin from Gulf Province and has had cassette recordings of up to 5 albums with Pacific Gold Studios in Port Moresby and Rabaul. The band broke up and the reformed under new name as "Stage Lamaika"
The style of band music is reggae and rock and composed about life of people, nature and community living and experiences with inclusion of customary songs blended with modern musical instruments.
(Steven Gagau, October 2019)
Extended Data
- ID
- MW6-025
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.165505 Longitude152.166 Start Date1993-03-30 End Date1993-03-30
Description
Tape#3: Side A&B
Continuation of explanations to various songs by Blasius ToUna. His compositions and talents were developed by mentor Fr Reichel who was a catholic priest and musician. Some songs played in guitar and stringband as sung in choirs were recorded and played by Radio Rabaul and others not recorded by known to many people and listers as he performed them in festivals and events.
1. Draiva, ai blo yu stap we? - Driver, where were you looking? A policeman driving a pregnant woman to Nonga hospital accidentally hit a child crossing the road and died instantly.
2. Papua New Guinea, slow down - it was claimed by people that development of the nation towards independence was at fast pace, so meaning of the song was to slow down.
3. Bikos mi soldia - Because I am a soldier; drunked off-duty PNGDF soldiers bragging and boasting about what they do, who they are, places they travel makes them special.
4. Kundu - traditional drum instrument used as well as another bamboo slit instrument "pakupak" presented as a choir by Nodup people at Tolai Warwagira festival in early 1970s'. The choir was awarded first prize in the competition. There were other choir performances on requested songs were for events like opening ceremonies of church buildings or church mass or worship services like villages around Gazelle Peninsula such as Ramalmal and Nangananga.
5. Tutupele - a traditional instrument of 2 sticks from hard wood used by tapping or clapping each other in male secret places for chanting and connecting the spirit world.
6. 1,000 Tears - story of a woman who received a long distance phone call and crying in tears from her Tolai ex-boyfriend living in Australia.
7. Bouganville - song about the troubled times evolving in the unrest between local people and the Bouganville copper mine company.
8. Skul Bois - song about school boys in the routine student life from home, lessons and playing times during school, after school to home and resting before the next day of school again.
9. Kunai, Dumdum - song about new recruits into local Police force being taught how to match in a parade. There was difficulty in left and right legs pattern so two plant types were used tied on their legs to be identify left and right legs during the march practices.
10. Fopela lek - song about drunken driver who crashed his vehicle against another in front of him and run away into the bushes when the other driven is the bumped vehicle went over to hit him with a jack rod.
11. Aninit long kakao - song about working under the cocoa trees under the white man.
12. Wokabaut olsem pato - song about local people wearing clothes, shoes on their legs that they not used to so walking like ducks.
13. Dancing and Playing to styles of guitar - general conversations when they doing stringband performances.
14. Blong wonem yu kolim mi kauboi? - why you call me a cowboy? Song with a country western feel with the voice pretending to be Australian singer Slim Dusty.
15. Stoakipa - song about young man interested in a store keeper who was a young girl buying tobacco mornings and afternoons daily just to see the girl.
(Steven Gagau, October 2019)
Extended Data
- ID
- MW6-029
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.23013 Longitude152.191 Start Date1993-04-02 End Date1993-04-02
Description
Tape# 1: Musical Journey and Experiences of Roy Mangut.
Side A & B:
Roy was born 1st January 1956 and has a musical family history in Matupit Island after exposure to the Fijian Missionaries who introduced music with guitars. His father was part of the Senior Eagles stringband together with musicians Ephraim Tami playing with music tunes of 5-key and spanish key and mixed versions. Roy's exposure whilst still attending community school started learning the guitar and accompanying the team (stringband) on invitations to perform on social events at various locations of Gazelle Peninsula such as Tavui, Nodup, Matalau, Navunaram, Raburua, Kokopo.
The Junior Eagles stringband was formed and from 1968 performed social events at different places and also various festivals in Rabaul and Kokopo towns such as Stringbands Competition, Tolai Warwagira, Battle of the Sounds. The stringband was a successful winning prizes in competitions. Due to movements of its members, the Eagles Mix Band was formed with combination of members of Senior Eagles and Junior Eagles . Roy was a composer and leader of the stringbands who did recordings of music cassettes and albums at NBC (Radio ENB) studios then Pacific Gold Studios (PGS).
Junior Eagles had Eagles Mixed had fierce competition with other stringbands in Gazelle Peninsula such as Gordon Dry Boys, Pacific Teenagers, Yellow Top, Devil Boys, Jnr Devils etc
Roy later join the electric bands starting with Kaigai band named after Japanese fishing company who they worked for and sponsored the band instruments for musicians to use. The band included other popular musicians like George Telek. Other bands include Volcanic Explosions, Winterwood etc.
Other musicians like Matalau Nakikus who is a cousin brother of Roy has also used some of the compositions for electric band performances and recordings. Some example of songs include; "Iau ga ki tara vivi" (held in prison), "Vuvu na taur" (sea breeze blowing), "Iau ra biavi, u vana kan iau....tara waira na gunan" (poor me, you left me to a foriegn place).
(Steven Gagau, February 2019)
Extended Data
- ID
- MW6-031
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.34825 Longitude152.2785 Start Date1993-04-15 End Date1993-04-15
Description
Tape#3: Eliap ToBilitaria Interview at Bitapabeke, 15 April 1993 and Andrew Midian Guitar compositions at Vunaulul, 18 April 1993
Side A:
Conversation about distinction between church (lotu) of christianity and customary traditions and how to correlate and reconcile between these two worlds of spirituality practices. The influences of christianity has shifted or changed people's perspectives and belief systems to the extent that where they stand as a composer and performer of customary music to christian music and faith.
Eliap ceased his customary music commitments due to church (lotu) membership and activities due to his change of belief system with the last traditional song and dance in "A Vutun" or "Vutung" at least past three years from the time of the recording.
Other conversations were on use of customary music used with contemporary music like electric bands on traditional songs like "A Vutun" or "Warbat" where instruments try to emulate the rhythm or medley of the songs so beats it its reproductions are not consistent or synchronising. It was a mixture of acceptance or rejection depending on how the music is played with live band music. The example given is in the pattern of dancing "gara" to traditional instruments with "kundu drums, pakupak, tidir" differs from the guitars and drums such as "oga tutuk" and not reflective of the meaning and spirit of the customary song intended.
Side B:
Recording of music compositions of Andrew Midian playing his classical & guitar by fingerpicking a number of instrumental segments of songs and a Gospel strumming song in Tok Pisin "Taim yumi stap long sin, yumi stap long we long God, em salim Jesus Christ.....Jesus, man bilong givim laif, man bilong sori tru long yumi"....
Song about the Gospel of Jesus Christ where when there was sin in the world and we were far away from God, He gave his son to save us, to give us life because of his love for us.
Michael Webb also joined in harmonising in the singsing of the Gospel song.
(Steven Gagau, October 2019)
Extended Data
- ID
- MW6-034
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.270775 Longitude152 Start Date1993-04-15 End Date1993-04-15
Description
Tape#1: Chorals and Musical Experiences 1950s-1960s of Eliap ToBilitaira
Side A: Early Musical Journey
ToBilitaria was born in 1924, attended Rabaul Elementary School from 1936 for 5 years. In 1940 he joined the New Guinea Police Constabulary Brass Band under David Crowley. He was taught to read music and played as the Solo Cornet in the Brass Band.
Early musical experiences in the villages was influenced by introduction of Guitars where stringbands were formed playing with ukuleles. The influences of Fijian Methodist missionaries who used chorals singing and guitars in church and community activities gave local people exposure from just traditional songs and instruments in modernising music with the Tolai people.
When the War (WW2) broke out with Japanese invasion there was a period of uncertainty and people went into hiding and lived through the wartime until it was over in 1945. Crowley regrouped the brass band members including ToBilitaria, Tokiel, Savenat and others and were issued uniforms and continued with the band performances. The band after the war moved to Port Moresby where they were based at Konedobu performing under Royal Papua Police Band (RPC) and New Guinea Police bands (NGPC).
When Territories of Papua and New Guinea merged in 1949, the RPC/NGPC amalgamated to Royal PNG Constabulary (RPNGC) Police band and continued under the new banner.
In 1951, ToBilitaria returned to Rabaul and his village of Vunamami now in his 20s'. He started the Vunamami Choir as composer/conductor and choir master. This was organised through the Vunamami Council for the area and the Methodist church community. He also got involved with traditional music of customary song and dance performances.
There were choral festivals and competitions arranged for villages of the Gazelle Peninsula and an example was the Rabaul District King's Birthday Choir Competition in 1951. The villages that took part were Vunamami, Raluana, Matalau, Nodup, Volavolo, Lungalunga, Tavui, Matupit, Kabakada, Talvat, Pilapila, Malaguna, Tavuiliu both from Methodist and Catholic church communities. ToBilitaria knew most if not all of the choir masters of these village, schools, church choirs such as Savenat, Tami, Wartovo, Tangilua, Tamean, Mamua, Matition, Guat, Teko and Tomabet. The only female choir leader was Regina Tade of Volavolo.
Side B: Choral Competitions
The choral music culture in the Gazelle Peninsula was very competitive in festivals such as Rabaul Kings Birthday (June), George Brown Day, Vunairima (August) and others organised throughout the year where inter-denominational choirs participates in from Methodist, Catholic and SDA groups. ToBilitaria's choir from Vunamami was a winner or runner up at most of these competitions in the 1950s to 1960s because of his strengths and knowledge of music as he was educated about it whilst others were mostly through advisors. His track record also caused jealousy and envy among other groups and due to the desire to win such competitions, there were incidents of insults and assaults to ToBilitaria who was seen as the consistent winner of these competitions.
New choirs came into the scene in the 1960s' who had become more competitive under a leading choir master Raboam who was trained by a musician at George Brown Pastors College and had sone success with his choirs and brought in Duke of York Islands choirs into these choral festivals. The catholic choirs from Vuvu, Kininigunan, Ulapia amongst others were becoming successful in these competition however the most successful choir winning in the 1960s' was Kambubu SDA Choir in 1963/64 and made recording in 1965 and later had a tour of Australia in that time doing their singing performances.
ToBilitaria experiences and legacy with his music was shared through teaching of selected people to read and write music so they can continue with composing and conducting in choirs.
(Steven Gagau, January 2019)
Extended Data
- ID
- MW6-035
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.339265 Longitude152.2725 Start Date1993-04-15 End Date1993-04-15
Description
Tape#2: Musical journey and experiences of Eliap ToBilitaria, Bitapabeke, Vunamami (continued)
Side A & B:
Eliap ToBilitarai shares his Musical experiences and choral competitions in he Gazelle Peninsula, ENB Province of the 1950s'-1960s' and the journey and how music has developed with the people. Included in the conversations was a relative in Karolus Walagat explaining the the stories.
The choral history and competitions started from late 1950s' to early 1970s' mainly in Rabaul town at Queen's Park and Malaguna Technical School grounds. In the late 1960s' there was disruption due to political movements against colonial Australian administration by the local Mataungan Association. The competitions continued into the Tolai Warwagira festivals with choral competitions and the various church led choral festivals such as Methodist George Brown competition at Vunairima, the Catholics and SDA competitions.
In 1970s', there was a rise in Seventh Day Adventist (SDA) choirs when people from Methodist/United Church background were moving into SDA churches. Since the songs were in English, there were many songs translations from English to Kuanua as hymnity made more meaning in the local language to people. Therefore the Kuanua translations of songs was part of major choral competitions by SDA choirs.
ToBilitaria's Vunamami Village Choir was popular in the 1960s' winning many competitions taking our first prizes. One interesting song was "pusi" or pussycat complied, conducted and performed with actions and sounds besides the singing.
Competitions lead to rivalry and jealousy of winning lead to fights between villages or individuals in choirs but composers and conductors were victims which included ToBilitaria himself.
ToBilitarai was also involved with traditional song and dance and was competitive amongst villages across various areas of Gazelle Peninsula and Duke of York islands in ceremonies and traditional festivities. There was also elements of jealousy with such performances leading to disharmony and fights between people related to performers.
There was the good and the bad sides of these choral and traditional performances however always ended up at both village level courts and local law and order courts in resolving these matters for harmony and good relations in the communities.
(Steven Gagau, October 2019)
Extended Data
- ID
- MW6-036
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.267175 Longitude152.19 Start Date1993-04-19 End Date1993-04-19
Description
Tape#1: Barike, A Bot Song and John Balasam
Side A
Studio recorded guide track of Barike Band on song "Odina - Yu wokim wonem long mi" and singing of "A Bot" song.
Side B
Interview with John Balasam conducted at Malaytown, Rabaul.
John was born to parentage of Buka, Bouganville and Namatanai, New Ireland in early in late 1930s'. His father worked for a German shipping business owner, Dr Kineri who employed him as a boat captain shipping copra produce to Rabaul from New Ireland. The family then moved to Rabaul where he was employed by Dr Kineri in plantations in Gazelle Peninsula and were settled in Rabaul where John was bor,
John's background in music was in stringbands with a Buka group called Chebu. John went on to form Team Chebu who performed in Rabaul Town and villages of Gazelle Peninsula. Typical performances were from evning till morning where there would be alternate stringbands playing for entertainment which was typical events in the Gazelle Peninsula. They style of music as 5 Key, Spanish and Blue Mountain.
John learnt from his father and used magical powers from traditional ways from Buka in attracting crowds in liking the music and women for having relationships.
Team Chebu disbanded and members joined electric bands so John did not continue playing stringband music. The bands were with the Lesly family who lived in Malaytown who later were in a number of bands like Apple Sun, Vibrations then to the Barike Band.
(Steven Gagau, June 2019)
Extended Data
- ID
- MW6-037
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.17389 Longitude152.129 Start Date1993-08-16 End Date1993-08-16
Description
Tape# 1: Interview of Patrick ToIvo at Volavolo and Song by ToKulupa at Tavui No.1
Side A & B:
Patrick ToIvo as born in 1933 and attended Volavolo Catholic Pimary School just before the second world war in 1941 then continued after the war till he entered Vuvu High School.
Extended Data
- ID
- MW6-038
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.18485 Longitude152.1305 Start Date1993-04-22 End Date1993-04-22
Description
Tape#1: Music Journey and Experiences of Resin Tolop.
Side A & B:
Resin ToLop was born in 1933 and comes from Vunairoto Village, in the north coast area of the Gazelle Peninsula. Resin had early exposure and experiences to music through singing in 4 vocal parts harmony (soprano, alto, tenor, bass) mainly with church choir. In 1951, he attended George Brown Pastor's College where he learnt during the course one year music studies that consolidated his understanding and knowledge as a composer, conductor and singer in church music.
In 1955, Resin graduated as a Methodist pastor and returned to his Vunairoto village where he served in his christian ministry. He continued as a musician and taught choirs in various villages and churches as part of his christian ministry work to the people. He then started the first Male Choir combined from three surrounding villages (Kabakada, Nabata, Vunalir) with Vunairoto. Later these villages had their own choirs after having the knowledge of music taught by Resin with their own choir masters.
From mid to late 1960s' and early 1970s', there were various choral competitions such as Queen's Birthday, Tolai Warwagira in Rabaul and church choir competitions on John Wesley Day at Gaulim George Brown Day at Vunairima. His choirs (male, female, mixed) participated and were successful mostly taking out first prize awards.
Resin also attended a training course in Suva, Fiji on Composition of Songs. He continued teaching other schools, villages, church choirs and also a music teacher at George Brown Pastor's College. He expanded from just church choir singing and included traditional songs with harmonies on basis on existing Tolai folk songs such as Purmatam, Natugu, A Kuvur. Traditional and christian songs do not mix because of content assumed to be evil versus good but people later understood and embraced the musical aspects of the songs with harmonic content. Traditional songs have references to the Lili, Libung, Vutung etc.
Modern musicians who compose their own songs are more into Gospel and electric bands than choir singing and their aim is to record and earn from sales of their cassette tapes for monetary purposes.
For Resin, as a trained pastor and church musician, he rather use choir singing in 4 parts harmonies to turn people to their christian faith and living with awareness and commitment to God in their lives than just entertainment. This is part of his ministry work in spreading the gospel through singing harmoniously in choirs to draw people to God.
Resin also had collaborations with other musicians from other denominations and within United Church who were mainly organisers and judges at choral festivals, competition such as Father Reisel and Father Kevin Bar (Catholic), Dan Masolo, Cornelius Wasisi (SDA), Andrew Midian (UC), Ronald Pupul (UC), Joseph Linge (UC) amongst others.
Resin's choir had tours to Bouganville, West New Britain and were arranging a tour of Australia from Sydney through a Tour Organising Committee led by a Rev Don Marshall who earlier worked with the United Church of PNG, New Britain Region.
(Steven Gagau, February 2019)
Extended Data
- ID
- MW6-039
- Languages
- English - eng
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.213595 Longitude152.248 Start Date1993-04-23 End Date1993-04-23
Description
Tape#1 : Musical Journey and Experiences of Musician Patti Doi
Side A & B
Patti Doi was born 15th June 1969 at Nonga Hospital, Rabaul of mixed parentage of Madang and Tolai and lives in their home at Tavui No.1 village. After St Martins Catholic Primary School at Volavolo, he went on to St Mary's High School Vuvu along the North Coast of Gazelle Peninsula. His early exposure to music was in Primary School and started playing the guitar at the age of nine then at High School was part of the school band, Vuvu Vibrations playing lead guitar. Patti also played trumpet for the School Brass Band and later played alongside the Rabaul Police Brass Band conducted by ToPirit and other Tolai brass band musicians in ToLik and ToKiel in festivals, major events and sports grand finals as entertainment.
By this time, be taught himself to play the keyboards which be later used the musical skills to playing in a number of bands at a member or as guest musician. He left school at Grade 9 and joined his first band Malri Mates where he was lead guitarist then moved on to Evolution where they traveled to Port Moresby for their first recordings at CHM Studios in 1986. He later joined Narox band, then Shut Down with musicians Kanai Pineri, Kabu Rita where they continued with recordings. Most songs were mainly given for various places around the country not only Kuanua (Tolai) with also Tok Pisin songs.
He later became guest musician for Painim Wok and Barike where he mainly arranged the music to songs with the keyboards and contributed to variations in the songs. He then joined the various popular Rabaul musicians in John Wong, Greg Low, Donald Lessy, Matalau Nakikus of Barike and Painim Wok with George Telek, John Warbat and Erek Siusiu of New Ireland as a guest musician with Painim Wok. Examples of hit songs are "Iau Serious", "Talaigu" fom Painim Wok band and "Wan Kantri", "Iau Ra Biavi" with Barike band, "Solwara katim" with Shit Down and "Board Walk" with John Wong and Tarikana band.
He later became a sound engineer with Pacific Gold Studios (PGS) in Rabaul and continues to perform live, make his own solo album recordings as part of other band recordings as guest musician. He now focuses mainly on recording songs and live concert performances rather than dances or gigs for music entertainment.
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-040
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-5.943655 Longitude150.033 Start Date1993-04-28 End Date1993-04-28
Description
Tape#1: Musical Journey and Experiences of John Wong
Side A & B:
John Wong was born in 1957 in Kavieng, New Ireland Province and moved to Rabaul, East New Britain Province when he was 6 years. He attended Rabaul High School till early 1970s'. His muscial exposure was from his father who was a guitar player and was involved socially with other friends playing in local Rabaul clubs.
John's background to his musical journey started in High School with the school band with his friends who he grew up with. They later formed bands and later become a popular PNG musician sticking together with his friends, moving on to other bands with new musicians and ended up with his job as sound engineer for studio recording with Chin H Meen (CHM). As sound engineer, be worked on studio equipment from 4 tracks, 8 tracks to 16 tracks.
Being a mixed race of Chinese and PNG New Ireland parentage, most band members where always from the same community from Malay, Ambonese people living in Rabaul in the town bands until later he joined up with local Tolai and New Ireland musicians.
The Rabaul musicians he was involved with over the years of his career in various bands include Frank Lou, Glen Low, Desmond Woo, Joe Chee, Donald Lessy, Fabian Tadoi, David Kepas, Matalau Nakikus, George Telek, Kanai Pineri, Pati Doi.
John started with the drums, then the lead guitar and lead vocals where he was involved with popular album studio releases like Soundstream, CHM and Pacific Gold Studios (PGS) as well as radio air time mainly with National Broadcasting Commission (NBC).
The bands would perform live in clubs, halls and events were in Rabaul town as well as tours to other provincial centres of PNG and the capital, Port Moresby. The popular bands include; Apple Suns, Rasterman Vibrations, Pila Zackmates, DOY Trotters, Barike, Molachs, Painim Wok, Tarikana. Most songs were "copycats" or covers from existing international artists n country/western, pop, reggae, blues genres of music and compositions were picking up then where John and other musicians begin writing songs.
Local Kuanua (Tolai) songs began to be sung and recorded mainly from traditional songs namely; "bing bing lur" and "iau ra biavi" which became popular hits in the PNG charts with Barike Band. Another Barike hit song was the song "Waikiki Tamure" Other popular songs were "Dust over Rabaul", "Under the Board Walk" and "Anita" with George Telek.
John also likes other PNG popular bands who came earlier and in the same era in Gwadu, Copycats, Sanguma, Tambaran mainly based out of Por Moresby.
John also likes international popular hits, songs and artists of his era in Police, Sting, Lionel Richie to name a few.
John enjoys his music and encourages other PNG musicians and artists to stand together, work together to bring PNG up to international standards of music.
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-041
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-6.60893 Longitude148.539 Start Date1993-05-31 End Date1993-05-31
Description
Tape#2: General Musical Life of Rabaul
Side A & B
Ray Sheriden came to Rabaul upon invitation of Administrator, Colonel Murray as a Music Officer in the 1940s' and 1950s' to work with the indigenous choirs and choral festivals.
Ray worked closely with Fr Reichel, a catholic priest who was well known within the Church and across the communities and villages where he taught music including chorals, instruments and relating with traditional music.
Ray was well known with the indigenous or Tolai people and had impact with choirs and engagement to choral festivals such as Queens Birthday and other church organised competitions such as George Brown Day, John Wesley Day with the Methodist/United Church as well as Catholic and SDA choirs.
Ray was also involved with Frank Boisen, Peter Livingston, Percy Cochrane amongst others in fostering music of Rabaul.
Ray had an high opinion of the indigenous music in that choirs and hymnity although introduced by missionaries and colonizers, it had already been part of the Tolai traditional music culture so it was an enhancement part harmonies and melodies in songs. He witnessed the introduction of guitars and stringbands such as Kambiu Club with the mixed race community of Rabaul town.
Ray then worked other parts of PNG (then New Guinea) in New Ireland when based in Rabaul then transferred to Port Moresby where he worked in the various regions in Papua, Highlands and Coastal Mainland. He made patrols to remote rural areas along the coastlines from Central, Milne Bay, Oro (Northern), Western Highlands to the Markham valley in Morobe as some places he explored with the communities and indigenous people.
When Ray returned to Australia in early 1960s' be got involved in the preservation and retention of New Guinea indigenous music with archives of ABC and National Sound Archives in Canberra.
He was also involved with music publications with scholars and academics across Australia and worldwide in collaboration with others in the industry.
(Steven Gagau, June 2019)
Extended Data
- ID
- MW6-042
- Languages
- English - eng
- Countries
- Australia - AU
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.180055 Longitude152.34 Start Date1993-06-11 End Date1993-06-11
Description
Tape# 1: Musical Journey and Background of Roboam Mael
Side A&B:
Roboam Mael comes from Molot in Duke of York Islands and trained as a Methodist Church Minister at George Brown College Vunairima in the north coast of Gazelle Peninsula from 1947 to early 1950s. He also learnt music and taught choirs on christian hymns and songs and became very involved with his own local community with his own Ramoaina language of the Duke of York islands.
Roboam's musical journey was influenced by Ms Woolnough with music lessons to being mentored by pioneer Methodist choir masters in Hosea Linge, Mickael ToBilak and William Waldima.
During the second world war under Japanese occupation he worked and also learnt many Japanese songs.
Roboam supports modern gospel music with musical instruments in guitars, keyboards in praise and worship in church services. There are other perspectives to modern music but Roboam refers biblically that these musical instruments were created to praise and worship the Creator God, having faith and living a christian life.
He has mixed views about contemporary rock, pop music performed in local bands as although the music is skilfully played which he likes, the composed folk songs are usually about women, love affairs, broken marriages which has destructive influence to the community.
(Steven Gagau, October 2019)
Extended Data
- ID
- MW6-043
- Languages
- English - eng
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.394545 Longitude152.184 Start Date1993-06-20 End Date1993-06-20
Description
Tape#1: Traditional Tolai Composition, Song and Dance explained by Vincent ToLiman with supporting comments of Julie ToLiman of Toma.
Side A: A "Tena Buai" in its concept and practice applies to a variety of traditional songs and dances namely; Libung, Vutung, Parpari, Pinpidik, Patete, Kulau.
The Libung (groups of dancers forming two lines "papa ra vat or two rows of four) for instance is similar in the sounds of singing, theme and style of dancing to the Tubuan but preparation is more public and village based whereas the Tubuan (one dancer) is secretive and from the bush version of song and dance.
The "tena buai" is linked to the spiritual world and known as "turangan" where the melodies and inspiration to the traditional dances possesses spiritual connection in the practice of singing and dancing in the particular type of dance prepared and performed to an audience.
The "tena buai" follows a practice that each type of dance has a particular line and style of performance from "bita buai" or its foundation. So there is an element of specialisation and identity to that style, sounds, theme and practice of that particular type of dance.
The foundation of these dances were and how they are being practiced in Toma area has historical connection to Reimber area of the North Coast of the Gazelle Peninsula. The sones and dances were actually bought and acquired by grandfather, William ToLiman, the paramount chief "Luluai" of Toma clans from Tade Pilipo, paramount chief in the Reimber clans. They were adopted through traditional exchange of significant amounts of rings of shell money to obtain possession of these various songs and dances.
The "bita buai" as spiritual foundation is either "ToInara" or "ToPuapuongo" so what was acquired by paramount chief ToLiman was ToInara. Other clans acquired ToPuapuongo also in the Toma area like ToGuria from Rabagi.
The ToInara "bita buai" were a package for "buai na malagene" (dances), "malira" (love charm to attracting women". "matmat or tabatabar" (sourcery or poisen for killing people).
The process of the acquisition was about 8 selective clansmen led by ToLiman and met with Tade Pilipo and his clansmen to release, train and demonstrate these songs and dances through spiritual connection on a "loga" or alter sent to the spirits of origin of ToInara. It was was the symbol of musicianship linked to ToInara through a big snake to send from North Coast to Toma through the 8 men present to continue as "tena buai" and passing on to next generations include Vincent as a beneficiary and participant of this art and music culture as "buai na minamai". It represents identity and ownership of the ToLiman clan and the art of song and dance becomes like copyright with permission and privileges authorised by ToLiman clan in Toma area. The style, theme and melodies of these ToInara songs and dances will be identical to where it came from and maintained so is recognisable at performances and any copying of these attracts heavy fines traditionally.
Any transaction to use these songs and dances will be by set price of shell money and not negotiable.
In preparations and performances the leader of the dances usually perform magic or "malira" for attraction by the audience or onlookers. It is referred to a "a gugu" or "langoron" where it presents itself as best liked performances and entertainment to everyone.
ToLiman's principle however was pure and actual performance demonstrated to see the quality of song and dance from its creation, preparation and presenting to the audience its attractiveness and power of traditional art and culture.
Side B: The pre-dancing performance practice referred to as "a gugu" is separate from the actual dancing performance. Its the painting of dancer's bodies for colouring with common substances of "tar" for red colour, "bubu", "kavavar". The type of items held in hands for the dancing "inaba" helps in the style and practice of dancing "mapina". Inviting and displaying the spiritual power through use of "tegete" and "midal" in the dressing and presentation of dancers. The young coconut juice is used with other magical substances are used by dance leaders or frontliners to spit to the air, to the ground and everywhere whilst waving what they are holding. So the "gugu" is an attraction pulling people to like the dancing and repellent for external forces trying to destroy the dancing through magical means or "malira".
Each form or type of dance is unique in beats, melody, pattern or arrangement of song and performance but is always systematic in its nature. The composer of the dance is the mastermind of the performance of song and dance "malagene" and is referred to as "kabiloko" or its metaphor is "spiderweb due to its art of fitting in beats, words, pattern sound, melody of performance in orderly and systematic manner.
The "malagene" or traditional song and dance is structured in a format of pattern and tone set for performance in the order of how dance is presented namely; "kao", patapata", a ur" and "mapina".
The process of the "malangene" from its movement and arrangement is in the format of 4 men/women line positions of the two rows of left and right for total eight dancers with 1st row "vavaluai", 2nd "a kikip", 3rd "a butur" and 4th "mur bat" and can apply to whichever type of dance performance described earlier. Each dancer will be acknowledged earlier for their part by a "varlapang" with "buai" and "kakulai" as traditional practice. A "kakulai" is a yellow leaf type ( 3 or 4 leaves tips) which is traditionally more significant to the everyday "daka" that goes with buai chewing. This is well prepared before the performance event called "a vartak". A first time type of dance performance is called " a puar kulau" but all the patterns and styles are consistent over the generations in the ToInara song and dance practice from "tena buai", "bita buai", "buai na malagene" process in Tolai song and dance art and culture.
The dance performance pattern goes in the process from the two lines moving from back to the front in the order of "garagarana" or introduction, "vatutuk" or next stage prelude to "olaolo" or actual main dancing with optional extension of dancing of "vangvanguna" as seen relevant by composer.
The dancers are prepared and selected on level of skill so it is an honour if you pass the test. The outcome of the performance whether excellent, outstanding, average or poor is easily assessed and picked up by a Tolai and is a reflection of credibility and wisdom of the composer, dancers alike and overall the status of the clan where it originates. If you are tagged as "a melem", you are acknowledged for the art of song and dance outstanding or excellent performance, then you are held in high esteem by the Tolai society and the credit given is recognised.
(Steven Gagau, January 2019)
Extended Data
- ID
- MW6-044
- Languages
- English - eng, Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.38924 Longitude152.202 Start Date1993-06-20 End Date1993-06-20
Description
Tape#2: Traditional and Contemporary Music of Tolai people
Side A&B:
Vincent Toliman and Julie Toliman discusses traditional song and dance or "singsing peles" or "malagene" of Tolai people. The different types of dances "malagene" namely "libung, vutung, pinipidik, kulau, parpari, patete" follow a similar structure but is identified by different melody, rhythm, tunes and singing. The dancers performing follows a pattern typically from "olaolo" garagarana, ugatutuk" and follows the composition and choreography of the "tena buai". Typical sequence in pattern are "vaki ia, kao" etc.
The "tena buai" has special magical and spiritual powers and connections for traditional forms of song and dance from lyrics, melody, rhythm, decorations in design of head and body dress, dancing movements in sequencing, angles, alignments and dance moves of hands, legs, body actions whilst singing the dance songs etc. Further songs like "malira, warbat, lili, a bot are composed from magical powers as expressions of feelings or a form of attraction of people.
The tubuan society originated from women and belongs to women but men perform. Tubuan names are women names and use prefix "Ia" as the identifier.
Contemporary music like rock bands use traditional songs however are selective of parts only and observe that the sacred songs are not performed by modern music as there are traditional and customary implications for their use. Permissions are sought from "tena buai" before use of the music.
Julie is one of a female musician with gifted talents and composed songs or performed traditional songs come from the "tena buai" being her father and a traditional dance performer herself.
(Steven Gagau, January 2019)
Extended Data
- ID
- MW6-045
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.216355 Longitude152.175 Start Date1993-06-21 End Date1993-06-21
Description
Tape# 1: Musical experiences of early bands of Rabaul
Side A&B:
Willie Seeto was born in 1942 with mixed parentage of Chinese and Tolai. He attended Rabaul High School and learnt music by listening to records and playing electric guitar mostly bought in Australia on trips. Willie was one of the pioneering musician with with band Tremors, being "guria" or earthquakes from the volcanoes near Rabaul. The band played mostly country western learnt from records and Radio Rabaul broadcast music.
Willie become involved with other bands like Winterwood started by Greg Seeto who owned Soundstream and Pacific Gold Studios. Famous musicians John Wong, Frank Lou, Desmond Woo were mentored by Willie.
Pre-independence 1975 music scene and social life in Rabaul was vibrant with festivals and celebrations in the mixed and multural community of Rabaul town. He played his guitar on a few popular country western songs during the interview.
Willie was also encouraged to see the music taken up by Tolai's in the 1970s' and were fast learners who got their inspiration to contemporary music from the multi-racial community in Rabaul when they come into see band performances and festivals. Later they formed bands and played into the 1980s' and 1990s. One example was Tolai musician later become a vocal singer for Barike, Matalau Nakikus who did his recording on composed some "Wan Kantri" as feature on the UNESCO celebrations in Rabaul.
Desmond Woo was born in 1960 and educated in Queensland, Australia. At the age of 12 he was already playing in the Tremors band as a drummer and was in school bands during boarding school. When he returned he was in the Cats Squirral band with other multi-racial people living in Rabaul. With his connections with Willie, Greg Seeto and other musicians he continued with his music mainly in clubs and functions in Rabaul.
(Steven Gagau, August 2019)
Extended Data
- ID
- MW6-046
- Languages
- English - eng
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.20522 Longitude152.1525 Start Date1993-06-24 End Date1993-06-24
Description
Tape#1: Musical Journey and Experiences of Julie ToLiman
Side A: Julie Toliman was born on 26/04/1960 at Paparatava Health Centre to parents Michael ToLiman and IaLingling (Anne Marie) and is the 11th in the family our of 13 children. The family are from Bitakapuk village in the Toma area. Four in the family have since passed away. She attended Paparatava Primary School to Grade 6 then Kokopo High School to Grade 10 then Port Moresby (Wards Strip) Teachers College. She was posted to Gerehu Community (Primary) School but withdraw from teaching to attend University of PNG to study music at Creative Arts faculty in 1979. She however did not complete her studies due to lack of resources at the faculty so she left and joined the National Office of Tourism. She got married in 1984 and worked for Talair Airlines as international ticketing officer in Lae then transferred to Rabaul with family where she stayed home as housewife but focused on her music and started her recordings.
Julie spoke about her musical journey and experience from childhood to all female stringbands to recordings. Growing up in a musical family influenced by her father Michael, her sisters also became musicians taught and performed music, composing songs and conducting choirs from early age by their father to performances at festivals and competitions. Her father, Michael was a school teacher, a church choir master and played guitar, ukelele, mouth organ and accordion instrument playing with Bitakapuk Club Stringband. Her musical influence was also from her uncle, Tirpaia and her father was also engaged in traditional music in song and dance as a "tena buai". All his family went through the initiation by the transfer of "tena buai" for the traditional dances.
Julie learnt playing guitar, composing songs and conducting choirs at Grade 3 (9 years old) and always performed with her sisters all musically talented in local choirs, stringbands and traditional dancing events in primary school years to Kokopo High School where she led a KHS Girls stringband. Her stringband was then formed for competitions and cassette recordings called Lonely ML Daughters and at that time other women stringbands were getting on the scene such as Line Cousins of Vunadidir. Women talent in music was begin to be recognised and accepted by the Tolai society as this was only for males.
Julie's stringband, Lonely ML Daughters entered the Tolai Warwagira competition as well as choral singing and were successful in winning top prizes and continued with the annual event. They then recorded in NBC and CHM studios producing 3 cassette albums of their own compositions.
Side B: The traditional Tolai song of "a Lili" was also integrated into Julie's composition of songs for her stringband music. The songs will style, theme and melody are consistent to uphold the ToInara as 'tena buai, a bita buai and tena pinipit" for cultural and spiritual connection and significance. This also reflects the linkage and uphold the credibility of musicianship. Compositions are also based on people who have a story, an experience or situation they want to share through song and music so people who hear it can know about whether love, a death, a celebration, an accident and others where they write what they want to sing about and it is at the discretion of Julie to compose or record. A token of payment is directly given to Julie so her sources of income are through songwriting and records sales and live performances.
As a female artist and public exposure and identity, her clan relatives are always around her for any risk of sorcery or magical influence that will jeopardise her as a musician due to jealousy so for protection, she is also is safeguarded with spiritual and cultural processes and application of such practices.
Christian faith also plays an important part of her musical skills, talents as these are gifts from God as a musician and artist.
(Steven Gagau, January 2019)
Extended Data
- ID
- MW6-047
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.2012 Longitude152.17 Start Date1993-06-24 End Date1993-06-24
Description
Tape#2: Musical Experiences and Perspectives of Julie ToLiman
Side A&B:
The musical journey and experiences of Julie ToLiman from Toma area of Gazelle Peninsula of East New Britain was recorded at Pacific Gold Studios (PGS) in Rabaul town. From musical background, training, performances and recordings. It also included composing of stringband and live band songs, conducting and singing in choirs and the spirituality involved in traditional practices as "tena buai" and christian faith in God for her skills, talents as a female musician and artist with her success and life experiences.
Julie Toliman's views on expression of music can be a mixture of Tolai traditional, gospel, contemporary compositions or existing songs from other parts of PNG which she has come to know and like with permissions to use in her recordings.
Julie has strong views about her spirituality pre-Christianity and post-Christianity with ancient God and God of Creation and Jesus Christ which are based on the foundations of given talents as a musician to sing songs regardless of belief systems but expression through music.
Julie's inspiration in her music compositions and performances has been from her mentor father, her traditional Tolai "tena buai" and her clan identity of "ToInara". These were the influential experience spiritual and cultural connections for traditional, contemporary and christianity types and variety of music as a Tolai and her interests in other ethnic music within PNG and Pacific countries mainly in Melanesia.
General discussions of some songs in earlier album recordings show her diversity as a musician.
The final part of her interview was a recording session and dubbing at PGS Rabaul over 16 track studio monitors as a guide track to new album song from Nissan, Bouganville. This was part of songs from other parts of PNG being recorded to her new albums.
(Steven Gagau, January 2019)
Extended Data
- ID
- MW6-048
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.36012 Longitude152.275 Start Date1993-06-25 End Date1993-06-25
Description
Tape# 1: Musical Experiences and Journey of Pastor Martin and Kiso.
Side A:
Pastor Doug Martin was recruited from Australia to be a music educator and christian ministry teacher with Seventh Day Adventist (SDA) College at Kambubu, East New Britain in 1958 at the age 30. His wife was a nurse who was employed with the SDA Church run Health Centre at Kambubu.
Pastor Martin's background experience was in singing evangelism, choirs conducting musicianship. He was instrumental with the New Guinea Adventist Male Choir know as "Jones Missionary College Kambubu". He also mentored and Female Choir and both entered the Rabaul Choir Festival and achieved first prize awards in the many years of the competitions in the 1960s' under Pastor Martin's musicianship and stewardship. In 1965 he retired and returned to Sydney, Australia then back to his home town in Lismore, Northern NSW. He continued in his retirement years with his music education work and consulting to PNG, Solomon Islands and Vanuatu with his connection to his SDA church programs and his former students where in positions of authority to re-engage him for continuation of music education.
The experiences and continuing music education of Pastor Martin with many former students like Kiso of Mussau Island, Kavieng, New Ireland resulted again in 1987 when he conducted further training with his designed course called "Pacific Islands Music Education". Other choir conductors from other churches also attended. Some feedback from former students and the choir community generally at the training expressed that the influences and impact of music in the communities has contributed to minimal social problems with youths and adults by engaging and expressing themselves in choirs and singing in the people's social, spiritual development and wellbeing.
Side B:
Pastor Martin conducted the one week Music training in Rabaul in 1987 that encouraged planning the next PNG music seminar coordinated by Kiso as agreed by the participants.
The Solomon Islands and Vanuatu course was also planned for 1988 by Pastor Martin.
In late 1964, the New Guinea Adventist Male Choir of Kambubu did a concert tour of east coast Australia in major capital cities Brisbane, Sydney, Canberra, Melbourne and regional cities and towns in Queensland and NSW. Part of the concerts included presentation of New Guinea from SDA missionary arrival to modern life in 1960s'.The repertoire of songs were from church worship hymns, classical choir songs, negro spiritual, christmas carols and selected PNG songs.
In early 1965, the Choir recording was made in Australia after the concert tour.
(Steven Gagau, November 2019)
Extended Data
- ID
- MW6-050
- Languages
- English - eng
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.304335 Longitude152.196 Start Date1993-06-28 End Date1993-06-28
Description
Tape# 1: Musical Backgound and Journey of Rokus The Kid and Joan Niut.
Side A:
Livai Rokus known as "Rokus the Kid" was born in August 1978 and at time of interview was 14 years old. Rokus comes from Tavui No.2 village near Nonga in a family of 9 with 5 brothers and 3 sisters. He was attending Boisen High School and made his first studio recording as a musician when he was in Grade 6.
Rokus was mentored by popular Rabaul musicians Patti Doi his cousin and Kanai Pineri also from Tavui.
Rokus was amongst other teenager musicians who rose up to recording their own albums and songs with Pacific Gold Studios (PGS) and Chin H Min (CHM). The other popular young musicians were Henry Kuskus and Charles Kivovon.
Rokus was motivated by musicians and bands Kanai Pineri, Patti Doi, Barike, Telek, Painim Wok and started composing his own songs and became vocalist and wants to focus on drums rather than other instruments in guitar or keyboards.
He has variety of songs in Kuanua, Tok Pisin, English and other languages like Bakovi, West New Britain. His songs are mainly stories and growing up experiences as a teenager and not songs about adults experiences. He was involved in making video clips for the songs mainly in Port Moresby and his future aspirations is to be main vocalist of a band after completing his high school education.
PGS owner Greg Seeto had planned that Rokus be a member of a new Junior Barike band.
Side B:
Joan Niut is a female musician born in 1967 and comes from Viviran Village, Toma. She was taught by her father as inheritance in her early childhood to be a traditional Tolai "tena buai" which special powers of composition of song and dance. The skills and talent are only with selected few in Tolai society and their influence with cultural practices and traditional music knowledge is through various Tolai song "kakalai" and dance "malagene" teaching performance groups in the village communities.
Joan's interest with her composition ability moved on to contemporary music where she self taught herself playing the guitar leading to recording her album with variety of songs in Kuanua, Tok Pisin. The songs recorded in band music and instruments range from traditional dance songs like "pinpidik, vutung, libung, parpari" to storylines of everyday life and experiences.
After her first cassette recording she is moving onto the second album at the time of the interview.
(Steven Gagau, September 2019)
Extended Data
- ID
- MW6-051
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.21413 Longitude152.1765 Start Date1993-07-21 End Date1993-07-21
Description
Tape# 1: Musical and Studio Recording Experiences and Journey in Rabaul and PNG music industry
Side A&B:
Greg Seeto's interest in music started in boarding school in Castle Hill, Sydney, Australia from 1966 to 1971. He learnt the guitar developing his musical skills to the level of performing in school band.
Greg then stayed on to live in Sydney for the next 2 years working and same time continued to be engaged musically in gigs, live bands and to some extent working in a recording studio environment.
In 1974 Greg returned to Rabaul where he worked on his family relative coconut and cocoa plantation in the Kokopo area as logistics coordinator and later Plantation Manager for the next 5 years. He was still based in Rabaul and traveled by driving to work. During his leisure he was involved with the mixed race chinese community in music entertainment. Together with Basil and Dennis Wong brothers and Woo family in Desmond, they formed the Winterwood band. There were other expatriate Australians and local mixed race (Malay, Ambonese, German) bands such Cats Squirrels who were mainly based in town and performed in various clubs and functions for entertainment. In the early to mid 1970s' there were no PNG indigeneous or Tolai electric bands as the local Tolai musicians concentrated on stringband, gospel and choir music and focused to village based communities not the town. The town bands mostly played cover songs influenced by music records or from ABC and Radio Rabaul broadcast programs.
In 1979, Greg gave up music performances and shifted his focus towards the recording aspect of music by buying a 4-track recording studio. In the late 1970s', local indigenous Tolai and mixed PNG bands were emerging together but really started the music industry. Such local musicians like Frank Low, Greg Lou, John Wong, Kepas brothers, Matalau Nakikus, Telek with bands like Unbelievers and Rastaman Vibrations, Barike, Molachs, Painim Wok getting into studio recordings of their music mostly cover versions and composed local Tolai and Tok Pisin songs.
In 1980, Greg went into partnership with Philip Foley, Eddie Schultz to form Soundstream Studios who started with a 4-track recording studio in Rabaul. By then Chin H Meen through Raymond Chin started in Port Moresby with a 16-track recording studio. The first recording was Unbelievers Band and later the Barike album of Waikiki Tamure which was successful in sales country-wide. Other recordings studios were already on the scene such as NBC and Keynote Music.
In the 1980s' there emerged a significant growth in PNG local music and numerous musicians and bands not discussed in the interview and since then Rabaul, New Guinea Islands and PNG music industry developed and continues to grow.
In 1983, Soundstream dissolved due to financial issues and Greg started his own Pacific Gold Studios (PGS) and Philip started Kuanua Studios. The Molachs-Painim Wok album featuring Vunalaslas was a hit song in the mid 1980s' recorded under PGS label.
PGS continued to grow in the music industry with local musicians and bands recordings and in 1984 bought their 24-track studio in Rabaul becoming competitive with CHM in Port Moresby. In 1987, Kuanua Studio ceased its operation and in 1988, CHM expanded its recording studio activities to Rabaul.
Greg's inspiration is recording quality sound as well as mentoring local musicians and band performances for recordings to have quality and creative musical sounds through arrangements and productions of music.
Greg's involvement through his musicianship in the industry based in Rabaul has made the contribution to evolution of local bands with music unique melody, rhythum and style which has become popular in PNG as Tolai Rock and Island Reggae.
(Steven Gagau, September 2019)
Extended Data
- ID
- MW6-053
- Languages
- English - eng
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.19854 Longitude152.31 Start Date1993-08-01 End Date1993-08-01
Description
Tape#1: Musical Journey and experiences of ToJack Tonga in leading stringbands and performances in Rabaul and Port Moresby in 1970s'.
Side A & B:
Jack Tonga originates from Kababiai village of Duke of York Islands and about 40 years old at the interview. He was exposed to music at an early teenage years playing guitars and ukelele and later composed songs and performed with his band, "Diwari" in stringband competitions such as the Tolai Warwagira festival. The name Diwari refers to a spirit world creature that lived in the local area and believed to have connections to Jack for his musical talents after being initiated through custom of "tena buai" or getting into the a traditional process of "go insait long buai". The were mean for selective people to learn and and receive musical ability instilled for song and dance practices of "singsing peles tubuna" and stringbands.
The type of keys used in stringbands then were 5-key, Blue Mountain, Spanish key which were brought in by missionaries and colonial settlers. Other keys include Fiji, Hawaii but they usually overlap and even modified locally to be identified as Nakukur key or DOY key as hybrid styles through picking/plucking to strumming on guitars. Tonga demonstrated a playing the five-key guitar style on a Tolai song "Ona data tavangun" or when we wake up in the morning, we wash in the sea. His popularity and success earned him his brand of "Style blong Jack" stringband key.
Under Tonga, his Diwari band won various stringband competitions from 1972 to 1974 and was a successful musician and in particular winning first prize awards at Tolai Warwagira. He then started another stringband called "BoyoBoyo"in another village as he moved to through his second marriage at Kabilamo. He trained up other musicians and the same time was still involved and continued with his original band, Diwari led by his brother.
In 1974, his Diwari stringband performed in Port Moresby at South Pacific Festival of Arts. Other performers from Rabaul were Blasius Touna and Baining Fire dancers.
There were audio recordings of his songs on tape played mainly on local themes of "warbat, malira, tutupele" relating to women attraction and the tubuan ceremonies of "matamatam, balabalaguan".
(Steven Gagau, February 2019)
Extended Data
- ID
- MW6-059
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29574 Longitude151.9885 Start Date1993-08-01 End Date1993-08-01
Description
Tape#2, Side A&B, 1 August 1993, Kokopo District, ENBP
Extended Data
- ID
- MW6-060
- Languages
- Kuanua - ksd
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.212755 Longitude152.173 Start Date1993-08-02 End Date1993-08-02
Description
Tape#1: Traditional Tolai Song and Dance or "Singsing Tumbuna"
Side A&B:
Daniel ToRot was born in 1930 with parents from Totovel and Kikitabu in the North Coast area of the Gazelle Peninisula. He attended the local Kuanua language school run by the Methodist Church at Totovel called "Luk Buk". This was learning how to read, write and count in Kuanua language or "tok ples" and not the English language. Such learning was for any published material like the translated bible, writing and numbers to understand and communicate similar to "literacy and numeracy"in Kuanua.
During the war (WWII) in 1942, he was a gardener for the Japanese army and at peace time be stayed in the village to learn fron his father and uncle the practices and art of traditional Tolai song and dance as a composer and choreographer know as "tena buai". He mastered as a practitioner with magical powers and spiritual connections `from dreaming, composing, mentoring and leading performances in ceremonies and public gatherings of Government organised events and cultural festivals.
Daniel was then the Chairman of Tolai Warwagira Festival events for competitions in choir singing, stringbands, gospel`groups and traditional dance performances for East New Britain and other provinces were invited to participate.
Daniel was known as "Pukalop", the "tena buai"or traditional music mentor and practitioner well known and was a judge in the traditional section of the Tolai Warwagira competitions. He mentored with specific powers with different tailored "buai"in his craft for various types of traditional dances namely; Wutung, Libung, Parpari, Kulau, Perapere, Tabaran, Alor, Tapialai (Tubuan).
These types of dances have different significance and relevance to how they performed in composition, choreographed, patterns and styles of dancing and leg-hands-body movements.
There are basically the Tubuan and non-tubuan song and dances.
Tubuan songs, Gara and Kabakaver, are sung only by male members of the tubuan society. One has to be an initiate in order to take part in the gara and “ancestral dance” of tapialai. Other types of dances, non tubuan dances, are generally called malagene. Musical instruments accompanying tubuan gara are kundu and garamut.
For the non-tubuan dances, the Tabaran is the top end in the hierarchy in terms of value associated to status and wealth demonstrated by shell money or tabu as compared others in occasions of ceremonial performances.
Preparations are undertaken away from public in special bushland areas called taraiu with body dressing or moamong, head or face carved masks or pokopoko.
The dancing pattern from entry to ceremony site to during and exit have specific sequence associated and dancing format are in rows of two, three or four is a large number of performers and dependent of type of dance.
Daniel's specialty was the Tabaran Kakakao dance. Other associated dances to the Tabaran are Alor, Kulau. The Tabaran means means spirit and the dance is of the same nature or another version of the Tubuan. The Tabaran dancing imitate 'creeping spirits' (kakakao), for whose appearance is in the form of masks (lor) to signify the spirits of kaia or tutana vukarit beings.
(Steven Gagau, June 2019)
Extended Data
- ID
- MW6-061
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.19487 Longitude152.1835 Start Date1993-08-03 End Date1993-08-03
Description
Tape#1: Musical Background and Journey of Tuluet Lepan
Side A & B:
Tuluet Lepan was born in 1925 and grew up to be a popular stringband musician in the villages in northern part tip outside Rabaul town. He played in his stringband locally known in the Gazelle Peninsula as "team"in the 1960s' performing in village events like weddings, fundraising called "cup tea" usually all night or 6pm to 6am and other activities upon invitation. There was not much money paid to local stringbands but these artists did it for sharing their musical talents and skills for entertainment and enjoyment with the people.
Tuluet learnt playing guitar and ukelele from his uncle Elisa Tiden when he was growing up before and after the World War 1942 and developed to be a composer and performer of stringband music. He guitar style was mainly spanish key, 5 key and blue mountain (3 key). His focus was on traditional music and was not influenced by by western style of music but focused on Kuanua songs like "Kaliku", "ToMadit", "Bona Ravian" and blends of traditional songs of "Warbat", "Malira". As a performer, he also uses traditional dress and costumes like "moamong", "vinavan" the head dress "kangal", "tokatokoi".
Tuluet produced some recordings and played in Radio Rabaul programs and with his experience, he taught other younger generation to learn stringband music.
Conversations on performances at community events usually are organised with a number of stringbands "teams" and take turns during the course of the night. It usually becomes competitive amongs the "teams" and try to outplay each other. Elements to attracting and pulling interest of people to like and support each "team's" music is evident during these performances with magical spells or power brought in and practiced as "langoron". There is also the element of "malira" to attract ladies to be interested in the individuals performing too.
Tutuet also has the observation and seen the experiences of the changing music with live power bands, style of songs composed is taking away the way stringbands had in its significance. He is unhappy with other musicians copying and re-using his composed songs without his permission but just accepts it and does not take the matter up with these artists and besides there are no copyright laws to police such things.
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-062
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.199915 Longitude152.1765 Start Date1993-08-12 End Date1993-08-12
Description
Tape#1 - Music Background and Story of Ephraim Tami.
Side A&B:
Ephraim Tami was born in early 1900s' and starting his education in a German school at Namanula and was able to speak German language. He studied reading and writing music however only in English where he set up the Matupit Island Mixed Choir when he started work at the Government Printing Press.
Ephraim taught the choir from English tune book and either translated songs to Kuanua or write English to Kuanua words in pronunciation such "that" would be "det" the way it sounded and way its spoken. (no "th" in Kuanua so becomes "d"). The choir then sings English songs in Kuanua pronunciation as people did not learnt or speak English.
After the war in 1942, Ephraim had a bad tropical ulcer on his leg and had to be amputated so he lived with walking cruchers. Despite this situation and inability to freely walk, he continued being the choir master, composer and conductor with the aid of a box to rest his amputated leg during performances.
The choir won many prizes and shields from Empire Day, Kings Birthday, Queens Birthday. The choir also provided entertainment to Tourist Ships or events organised by the Government Administration in Rabaul.
They sang songs from the Methodist Kuanua Hymn book "Buk Na Kakalai" and some songs were written by Ephraim although many more written were not included. Other English hymn translators were from other parts of the Gazelle Peninsula. Some of the chorus songs included Hallelujah, Gloria, This is the Day, My Island New Guinea amongst others. A notable song "Cockrabin" won them shield by Matupit choir at Queen Elizabeth Park.
Ephraim taught her niece Lila IaMatalau to conduct and lead a female choir at Matupit and mentored her in practice and performances. Lila became the first female conductor in the Gazelle Peninsula. She was a primary school teacher at Matupit and Tavui villages.She also did the choir uniform sewing in patterns and style for both Matupit Village choir and Matupit Women choir.
Ephraim Tami Senior later died in 1957 due to illness and Lila IaMatalau died in 1972.
There was also another pioneer women choir conductor in Regina Tade from Volavolo Catholic Church who came later but same time as Lila.
Ephraim Tami Junior later carried on music skills in choral as well as stringbands. Other musical instruments include; guitars, ukuleles, cordian, still guitar and although these instruments were taught with stringband members, a proper group called Team was later formed after various festival and Tolai Warwagira.
(Steven Gagau, February 2019)
Extended Data
- ID
- MW6-068
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29574 Longitude151.9885 Start Date1993-08-12 End Date1993-08-12
Description
Tape#2, Side A&B, 12 August 1993, Rabaul District, ENBP
Extended Data
- ID
- MW6-069
- Languages
- Kuanua - ksd
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.22038 Longitude147.661 Start Date1993-08-16 End Date1993-08-16
Description
Tape# 1, Music Background and Journey of Chris Mandawali.
Side A&B
Chris Mandawali was born in 1964 in Maramba, East Sepik Province and grew up and lives in Wewak Town. He attended Brandi High School up to Grade 7 and did not continue his education due to difficulty paying school fees. He started learning guitar when in primary school at Grade 3. His father also knew playing the guitar with 5 Key style.
His exposure to music was from listening to radio broadcasts in western pop and country style songs and encouraged him getting into performing and composing songs.
Chris joined the Raun Isi Theatre Company in Wewak with a paid job forthnightly up to K80 who were performing arts, drama and acting and a band in various events and tours locally, Madang and Lae. His interest in live bands and become a musician playing with bands like Thumbs Band then having his own band.
Chris started recording his own songs with NBC Wewak Studios then to PGS Studios, Rabaul recording his albums in the 1980s' such as "Sore perendo". His music with a Sepik style became popular around PNG and had had success from his cassette sales with royalties paid up K15,000.
Some of his songs have been used or reproduced by other bands but due to no copyright laws they have benefitted from his music and compositions.
Chris later became sick due to malaria and affected him mentally and did not continue recording at PGS Studios have a 5-year contract. After recovery he continued till the time of this interview.
There were general conversations on the types, styles and issues by people who follow music of songs in PNG and overseas. The music that PNG people were exposed to were composed with beats specific to the areas such as Sepik and other Mainland regions to the Islands through composition of song or reproducing traditional "tumbuna" music. The covers of western music was what was popular with artists with examples given of Fleetwood Mac, Bryan Adams , Jimmy Barns and so on.
Chris style of beats follows Sepik traditional music singing with instruments of kundu drums, bamboo flutes and combined through songs that have a flavour of modern disco music that fans and audiences can enjoy dancing of listening to in live performances. Songs composed are generally about life, nature and stories that relates to everyday people and living and some about relationships.
The fan base is around PNG and has performed in tours and shows/festivals. In Port Moresby Show and fundraising events he played with bands from PNG Arts School, Bluff Inn Souls and same with other centres with local bands so he travels alone. Chris is a lead guitarist and lead vocalist.
(Steven Gagau, March 2019)
Extended Data
- ID
- MW6-070
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.24613 Longitude152.14 Start Date1993-08-20 End Date1993-08-20
Description
Tape#1 : Musical history and association with Ephraem Tami and Musician Waterhouse
Side A & B:
Romalus Matition was a young man attending Malaguna Technical School from 1929 till the Matupit volcano eruptions in 1937. Romalus knew of Ephraem Tami who had a printing job and worked with Mr Waterhouse the Clerk of Methodist Church Mission Office based at Malaguna near Rabaul. Mr Waterhouse who was also a musician taught Ephraem Tami about choral music becoming the pioneer in on Matupit Island, Rabaul and environs. He taught and conducted choir singing and got his Matupit Island choir performances in Rabaul on festivals, competitions and performances for tourists who came over to Rabaul.
Choral performances include Thanksgiving Day on the aftermath of 1937 volcanic eruptions to acknowledge minimal casualties and a thank you to God for his protection of the people and other post-war choral festivals in late 1940s' were Empire Day at Rabaul and George Brown Day at Vunairima. Queens Birthday choral festivals started from early 1950s' and the George Brown Day celebrating the Methodist Missionaries continued on thereafter to 1960s' and 1970s'.
Waterhouse School was established in Nodup where other colleague students of Ephraem were taught music namely; Isikel Mulat, Apelis Maniot, Arthur Wama, ToKingoro. Other Methodist missionaries such as Michael ToBilak and others were also taught in writing of hymns and translations to the Kuanua Hymn Book called the "Buk na Kakailai". These early musicians were conductors and choir masters and involved in teaching others in various areas of the Gazelle Peninsula namely; Matalau, Tavui, Pilapila, Kabakada, Raluana, Vunamami.
Romalus story was he had been brought in as off-sider to learn from Tami in the Matupit Island Choir but there were some issues with members and Tami himself so the main choir was forced to split into 2 choirs from base areas of Rarup (Tami) and Kikila (Romalus). They went to compete in choral festivals and although Romalus musically was self-taught due to lack of support from Tami, he managed to win competitions which continued friction amongst choir members and people of Matupit.
Due to serious illness to Romalus, he was no longer involved with choirs anymore and was blamed to jealousy from the people who may have had magical spells or witchcraft. His testimony was that after a choir practice session singing under the lighting of a kerosene lantern lamp blowing up was a sign he was no longer needed to be leading the choir group.
Romalus later travelled to Port Moresby and was admitted for some time in the psychiatric hospital for mental health issues and later recovered and returned Matupit where he lived a quieter life and now residing at Tavana across the harbour from Matupit.
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-071
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.356205 Longitude152.2875 Start Date1993-08-23 End Date1993-08-23
Description
Tape#1, Traditional Music and Dance Performances and Events Participations of Henry Tavul and Culture Group
Side A&B
Henry Tavul was born in 1923 and was well known for his traditional culture performance of music and dance of the Tolai people. The interview of Henry and ToPolos Pultima at Kutnapit, Bitavavar Village in Vunamami area of Kokopo District were about conversations on the various Tolai traditional culture performances at various festivals and events in the ENB Province, around PNG locations and possible overseas trip to Australia that did not eventuate.
The journey and experiences of these cultural engagements and participations are from pre-independence 1975 and post-independence events from publicly Government/Churches organised provincial, national and regional festivals of arts and culture for exhibitions to tourists, competitions to private and corporate organised festivals and events.
Examples of these public festivals include local Kokopo, Rabaul Shows, local Tolai Warwagira, Methodist and Catholic events and travelled to other provincial centres such as Lae and Port Moresby Shows amongst others and to the regional South Pacific Festival of Arts in PNG.
Other privately arranged festivals such as Ok Tedi Mining in Tabubil, Western Province was upon invitation, where he taught the dance called "Balus" about the introduction of aeroplanes carrying passengers and actions of how it operated taking off and landing. It was based on the Tolai dance of "parpari" and other PNG people living in Tabubil were taught the performance other than the Tolai dancers so it embraced other people from different cultures so was an inclusivity way of engaging with Tolai culture. Details of the dance were explained.
Types of Tolai song and dance that Henry was involved in other performances included "libung, vutung, pinpidik, kulau, tabaran, tapialai and tubuan". Henry was an artist and craftsman in preparations of costumes for head dress and body dress for the various traditional performances.
Henry also describes choral history of the pioneers in choirs from missionary influence in the German and Australian colonisation in early 1990s'. The first choir master of Vunamami (Kokopo District) was Beniona ToKarai in the same time as Ephraim Tami of Matupit (Rabaul District) and first female was IaMatatau and IaLo (Rabaul/Kokopo Districts) and Esau Teko long Kabakada area, North Coast (Gazelle District).
Other details in conversations can be through interpretation of the Tok Pisin language.
(Steven Gagau, July 2019)
Extended Data
- ID
- MW6-074
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.35604 Longitude152.266 Start Date1993-08-23 End Date1993-08-23
Description
Tape# 2 - Music History and Journey and Performance of Choral and Traditional Music
Side A & B:
Henry Tavul shared his music journey through historical developments, practices and performance from choral, stringbands and traditional music. His aide and assistant in ToPolos Pultima support this journey of music and known to be in the various aspects of music performance and practices with Henry Tavul.
Vunamami choirs were also successful in 1960s to 1970s in choral competitions. On one occasion, they were joint winners with Matalau choir so the shield was held by each village six months each. Various choir masters and conductors were mentioned from Beniona, ToBilitaria, Tiriu were responsible in the success of the Vunamami choir.
Henry later started the Vunamami "Jokers" choir he named to be more of funny and mixed presentation and performance of both traditional appearance singing church hymns with traditional flavour to identify with a difference in the competitions. The choirs was also successful as the next main choir of the Vunamami area.
Henry was also a member of the Judges of these choral competitions and described his criteria that was used in Voices, Balance of singing and expressions in song performance.
During the earlier music performances in stringbands and choirs, jealousy and fighting to successful groups were evident. Within the Tolai people, its affected individuals and groups even to splitting up or assaulting others and were victims for their own successes. This attitude also affected Tolai people from other ethnic groups not in the music space but inter marriages and labourer workers in conflicts.
A way to bring unity amongst different ethnic groups was the setting up of the Tolai Warwagira event in early 1970s. This was to encourage Tolais' and people of other regions of PNG to bring in their cultural and music performances to participate and compete as harmonisation of relations and unity. It has been successful since its inception.
Henry and ToPolos were also involved with work of expatriates for culture and social researchers and volunteers working in various villages including Vunamami.
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-075
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.19675 Longitude152.1875 Start Date1993-08-24 End Date1993-08-24
Description
Tape#1: History of Music in Matupit and Clearing of Rabaul Airport
Side A: Penias Taralulu, Kikila Matupit on 24th August 1993
Penias was born in 1918 and grew up knowing Ephraim Tami being a pioneer of music after being taught by Waterhouse at Methodist Mission. He was never part of Tami's choir as he was attending Malaguna Technical School training to be a carpenter.
Ephraim Tami started the Matupit Island Mixed Choir (male/female) around 1926 just before the SDA Mission arrived in Matupit and New Britain in 1929. His assistant choir master/conductor was Romulus ToMatition who was also in the main choir. The choir would perform for tourists visiting Rabaul and also festivals for Empire Day and Kings Birthday. The choir sang mainly Kuanua songs and some English songs like "My beautiful Island, my homeland".
The Matupit Island Choir later split with two separate choir masters of two sections of Matupit around 1936.
Ephraim Tami led the Rarup, Matupit Choir and Romulus ToMatition led the Kikila, Matupit Choir.
Penias joined the Kikila Choir in 1939 under Romulus ToMatition and they won some choral festivals during that time so they were competitive with Ephraim Tami's Rarup Choir.
Side B: Dokta Taule, Malay Town, Rabaul, 25th August 1993
Dokta explained music of Ephraim Tami in his composing of songs mainly Kuanua and translations from English where he taught songs to the choir. An example of a composed Kuanua song is "Kada bona bung na nilagar" or its our a good day for happiness or be made happy. His conducting techniques of 3, 4, 6 parts were effective in producing the voices and even actions of the choir.
Ephraim's outstanding music ability even was compared from the singing to the brass band music.
Ephraim has a relative in ToDepit who led traditional music through "Vutung malagene" His ability was through traditional sources of power in "kodakodop" or "buai na pepe". ToDepit also taught and conducted Catholic church song in Tolai or Kuanua tune as a traditional church song.
Dokta also explained how the Japanese tricked the Matupit people in particular the young strong men to clear and construct with manual labour the "Rakunai" or Rabaul airport. The Japanese also taken people from nearby villages namely Talvat, Baai, Nodup and Matalau on the manual work of building the airport with no equipment or machinery put just picks, shovels, wheelbarrows and manual tools.
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-076
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.21173 Longitude152.179 Start Date1993-08-25 End Date1993-08-25
Description
Tape#1 : The Creation of Rabaul Indigenous Brass Band in late 1930s'
Side A & B:
Dokta Taule was born on 6th September 1928 and attended the Waterhouse Memorial School from 1937to 1939 where he tells the background and his knowledge of the creation of the Rabaul Indigenous Brass Band. The Brass Band was taught by David Crowley who had opposition and discouragements by the Australian colonial administrators who did not have confidence in the learning and skills ability of the indigenous people with discouraging response to the idea. Crowley took on the challenge to prove to them that the Brass Band with its members learning to play musical instruments as a skill is achievable. He proceeded to get the band together and began practicing the instruments for establishing the band which can develop towards entertainment and performances into the future.
The members of the Band were selected students of Malaguna Technical, Malaguna Elementary, Nodup Waterhouse Memorial School.
Dokta witnessed their practice sessions to eventual first ever Band performance marching through the streets of Rabaul Town after Crowley was satisfied of the competence of the Band. The display and entertainment provided on the streets became popular and event to expatriates all came out to the street to watch the Band march. As for the local and indigenous people, it was a great achievement of new music performance on learnt instruments as Dokta puts it, it felt like a "miracle" in action and unfolding.
Other music history was with the first female choir conductor in Lila IaMatalau in Matupit. She had the skills of sowing uniforms for the choirs and other general patterns for laplaps, blouses for women and shirts for men.
Dokta was also a choir conductor and was taught music by Ray Sheriden at Malaguna Technical School. He also worked for the Japanese during the war in their occupation of Rabaul and Gazelle Peninsula mainly digging tunnels at various locations and harvesting from the forests mainly in North Baining areas for timber.
Other musical history of various Tolai people in brass bands and choral music were described by Dokta.
(Steven Gagau, April 2019)
Extended Data
- ID
- MW6-077
- Languages
- English - eng
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.339095 Longitude152.262 Start Date1993-09-02 End Date1993-09-02
Description
Tape# 1, Side A&B - Stringband songs session at Nangananga Village by John Wowono and Tabunatava.
Song#1 (Tabunatava): Data Tavavung (tara mala malana) - when we wake up in the morning we wash in the sea.
Song#2(Tabunatava): Levi - man found dead on shores of Salamaua Island, Morobe Province
Song#3(Tabunatava): Bebe - life of butterflies on Salamaua Island, Morobe Province
Song#4(Tabunatava): - a young girl's attraction to a man dance performance and got the man to marry her
Song#5 (Wowono): Papa ra tava - sitting by the riverside enjoying the water flow and thinking of home far away
Song#6 (Wowono): Siapan i bom kapi ra ura gan - Japanese dropping bombs on machine guns during raids and fighting with American fighter planes during the war.
Song#7 (Wowono): Iau tur Nangananga ma iau gire ra kaia - standing at Nangananga looking out towards the volcano erupting
Song#8 (Samoan Song): Topaia lalau pele
Song#9 (Wowono): Nunuk up u - thinking of ex-girlfriend in the moonlit night
Song#10 (Wowono): Ta ra mari na ravian - relaxing at beach in an afternoon
Song#11 (Wowono): Biavui tara karabus - while in prision hearing birds singing
(Steven Gagau, May 2019)
Extended Data
- ID
- MW6-082
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29574 Longitude151.9885 Start Date1993-04-02 End Date1993-04-02
Description
Tape#4, Side A&B, 2 April 1993, Kokopo District, ENBP
Extended Data
- ID
- MW6-096
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.20193 Longitude152.1705 Start Date1973-01-01 End Date1973-01-01
Description
Tape#1: Tolai Warwagira, Rabaul, 1973
Side A: F.Duvelle
Side B: Ray Sheriden
The Tolai Warwagira was a festival with competitions of various categories of music, arts and craft.
It was mainly music in traditional dance, choirs, stringbands, gospel groups. Although it was predominantly for Tolai culture, it included the provincial ethnic groups of Bainings and Pomio people and also was open invitation to other provinces which generated alot of interest in participation mainly New Guinea Islands and New Guinea Mainland.
The various recordings are the performing groups.
(Steven Gagau, January 2020)
Extended Data
- ID
- MW6-108
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.204705 Longitude152.172 Start Date1993-03-28 End Date1993-03-28
Description
Tape#1: Island Frangipani Women's Stringband recordings
Side A&B:
The Women's stringband started in 1983 after its female members broke away from its main Weekend Stringband which was a mixed male and female from Totovel village in the north coast of Gazelle Peninsula.
The stringband performed in village fundraising nights and some invitations on functions in Rabaul town. The main events were the Tolai Warwagira competition for the female stringbands section.
The recordings of the village stringband, Ïslands Frangipani at Malaytown, Rabaul with their composed songs led by Rubbie Taidang.
1. A vavina Rapitok (boy-girl relationship)
2. Ok Tedi (extra marital affair)
3. Sori plis daddy (parents divorce affecting a daugther)
4. Valubane kapi amir (man leaving wife and son and feeling sorry when son dies)
5. Kini guwai ma vavina Burma (love affair)
Vanavana ra rot (lady walking admiring her shoes walking)
(Steven Gagau, February 2020)
Extended Data
- ID
- MW6-109
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29574 Longitude151.9885 Start Date1993-03-14 End Date1993-03-14
Description
Tape#2, Side A - Andrew 1st March 1993 in Rabaul, Side B - David Kepas 14th March 1993
Extended Data
- ID
- MW6-088
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.20548 Longitude152.172 Start Date1993-03-19 End Date1993-03-19
Description
Tape# 1: Musical Background, Experiences and Journey of Nelson ToKiel
Side A&B:
Nelson ToKiel was born in 1920 and comes from Raburura Village in Kokopo area. He started his education under Mission language (Kuanua) School "Luk Buk". In 1935 at age 15 years, he left the village to Malaguna Elementary School as a boarding student like many others.
Nelson's grew up with traditional (singsings) and hymnody (choir) music. He was first exposed to any western music through listening to the gramophone at Luk Buk school where it was played with hymns and choirs during missionary visits by George Brown College.
It was Malaguna Elementary School that Nelson got more interested and took up music night classes taught by Rabaul Police officer and brass band musician David Crowley. David moved from England to Australia working as a police officer in Tasmania then Victoria then in 1932 he joined the New Guinea Police.
David was teaching music also at Waterhouse Memorial School in Nodup at assessed that it was the right time to start a Brass Band with indigenous people the Tolai and other local people from parts of New Guinea. This however was not encouraged and disapproved by the colonial administration implying the difficulty teaching music to local people.
David made a deal with the District Administrator to allow him to prove that this Police Brass Band can be achieved over two years 1938 and 1939 with predominantly local indigenous Tolai members, although there were others from Manus and West New Britain. This however were all in secret with practicing, learning brass band music including both performances and as marching band. All the formed band members stayed together at the back of the Rabaul Police Barracks in own built accommodation and were doing their musical work at the hills sides and foot of mountains at back of the town to master their musical art and skills. The was equipped with band instruments such as trumpets, cornets, flugel and tenor horns, tenor and bass trombones, saxaphones, drums and cymbals and were skilled up as performers and as marching band.
By 1940, they started performances after they impressed the District Administrator at Rabaul wharf returning from his holidays where they welcomed him with "God save the Queen" with David Crowley as band conductor and Nelson was multi-skilled with most of the instruments and become the assistant conductor. The deal was fulfilled and impressed the Administrator and also other expatriates, Chinese and mixed race communities in Rabaul town with performances and marches proving indigenous musicians can be trained and perform to western standards of music.
The second world war came to Rabaul with Japanese occupation so just as the first bombings began, the band dissolved and David and Band Members dug a big hole in the North Coast are to bury all the band instruments for safekeeping and all dispersed in their separate ways to their villages. David amongst others escaped through the mountainous Bainings to the shores and sailed in ship to Samarai or Milne Bay into hiding where they were under the Allied Forces area.
Nelson was taken by the Japanese army as a cargo carrier amongst other Tolai men and were based at Buna, Northern Province where they they fought the Kokoda Track war with the Allies in American and Australian armies. During their time there they were approached by the Americans to join and support them during the war battles with the Japanese and eventually in 1943 the Japanese surrendered on their Kokoda track campaign.
David Crowley had now returned and joined the Papuan Police Force and sent our message to the Rabaul based Police Band members via the Allies broadcasts so Nelson was identified in Buna so he flew to Port Moresby in the American fighter aircraft Lightning Lockheed, his first time in an aeroplane.
Nelson then joined up with David again and was given the task to recruit and train brass band music to local people along the Papuan coastal villages where he started with 11 members. He complemented with other Tolai people recruited from schools or workers in Port Moresby to form the Royal Papuan Constabulary Band. He also was involved with the Military Band of the Allied Forces and also coordinated with David the introduction to other provinces in New Guinea.
After 1953, when the territories of Papua and New Guinea where combined, the Royal Papua New Guinea Constabulary Band was formed and in the late 1950s, the band toured Australia as a territory to take part in ceremonial events like Queens visit, ANZAC Day and others mainly in Brisbane, Sydney and Canberra.
In 1961, Nelson left the RPNGC Band and went for Police Training at Bomana, Port Moresby where he became a Police Inspector and worked in Manus, New Ireland, Madang, Lae and Rabaul. After 34 years of service in the Police Force, he retired and returned to Raburua and became the Village Court Magistrate. During this time he assisted his old Rabaul Police Band colleague Eremas ToLik to re-form the Province East New Britain Brass Band where some of the former members had passed away so there were new recruits to the new band and supported by charity organisations such as APEX and Lions clubs with instruments.
Some of the Tolai pioneers and new members where Nelson Tokiel was involved with ToLik include but not limited to; ToPirit, ToBilitaria, Tiamon, Ruepen Ruva, ToRongap, Karilus, Daula, Jimmy Malcom.
Nelson's life experiences covered both New Guinea (TNG) and Papua (TP) pre-war and post war as separate territories of Australia and combined territories (TP&NG) and worked in various locations of the country.
(Steven Gagau, January 2020)
Extended Data
- ID
- MW6-089
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.15386 Longitude152.162 Start Date1993-09-01 End Date1993-09-01
Description
Tape# 1: Musical Background, Experiences and Journey of Regina Tade
Side A&B:
Regina Tade was born in 1931 at Nodup Village and left her parents in 1937 at the time of the Matupit volcano eruptions with the Catholic church chinese and mixed race sisters of Nodup in a ship to the MSC OLSH Mission at Vunapope.
When the second world war came with Japanese occupation in 1942, the Catholic mission were effectively were under the control of the Japanese who took on the people of the seminary, convent and mission workers and domestic servants and foster children as their labourers. The Mission tenants worked to serve the Japanese stationed in Vunapope and Kokopo with general domestic living both for the army authorities, soldiers and their own mission tenants during the wartime doing gardening, cooking, laundary and general labouring work.
During the time, the seminary and convent of MSC and OLSH priests, fathers, brothers and sisters used time to engage with each other with music and arts in singing in choirs, concert drama and plays. They also observed that the Japanese also had their own style of music performed in traditional songs and dances.
The Church tenants at Vunapope were then relocated to Ramale North Coast Prisoner of War camps in dung out holes amongst other prisoners of Rabaul, Kokopo and other parts of Gazelle Peninsula who were mainly the expatriates, chinese and mixed race communities. Regina observed that there were also some Japanese catholic christians who would indirectly help them along through advice of what the authorities were instructing to do with prisoners and support prayers.
After the war in 1945, they returned to Vunapope where Regina started OLSH mission school in primary to high school. Regina also started her teacher training and some choir singing under the sisters. Towards late 1940s' she was posted to Siassi Island and Cape Glouster in West New Britain and Tangga Island in New Ireland as a primary school teacher. She was not involved with choir music but learnt to perform as part of local culture their traditional song and dance in "singsings na samsam" in these communities.
In 1950, Regina returned to Vunapope for further teacher training and music training in choir singing, conducting, concerts and related drama and plays. This was under the mentorship and musicianship of Fr Reishel. She became the first qualified and graduate female teacher in East New Britain with ceremony conducted at St Marys High School, Vuvu. She also became skilled choir conductor at the time when the choir competitions started such as in King George Festivals and Queens Birthday choral festivals. At these choral festivals, the choirs were interdenominational in Catholic, Methodist and Seventh Day Adventist churches. Her OLSH high school choirs won the ladies section first prize for three years in a row (1950-1953). She also was involved in concerts as a conductor and drama plays under Fr Reishel such as "Aingel visitim Maria" where she played the Angel and another mixed race sister played Maria.
At these choral competitions, she met and shook hands with overseas dignitaries who can to witness or partook as judges such as Mrs Trapp and Queen Mother at Queen Elizabeth Park, Rabaul.
In late 1950s', she was posted to Nodup where she met her good friend and fellow conductor IaMatalau who was a primary school teacher trained in Government school at Waterhouse Memorial School, Nodup so they taught together. IaMatalau was from Methodist Church but they both shared their knowledge and experiences as female conductors. IaMatalau's choirs also won primary school section children choirs in the competitions.
Regina then returned to OLSH Vunapope continued with teaching then from 1960s' to the 1990s' was posted as a teacher and lay missionary to mission and church schools at Volavolo, Nodup and Watom.
Regina was privileged to have met the Pope John Paul II during his visit to PNG in Port Moresby. She shook his hand and received holy communion and blessings lay missionary from the Pope in her work with the Catholic church. She accompanied Bishop Albert of Rabaul Diocese in the trip.
At the time of the interview, Regina was at Volavolo and she continued conducting and winning competitions. She described how she taught choir members how to sing with expressions, mouth movements and breathing and feelings. Her children's choir were boys and girls of Grades 3 and 4 at Volavolo Community (Primary) School singing Kuanua and English songs of worship and praise of the Catholic Church and a demonstration of singing by her choir was "We are companions of the journey".
(Steven Gagau, January 2020)
Extended Data
- ID
- MW6-090
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.27763 Longitude152.237 Start Date1993-09-04 End Date1993-09-04
Description
Tape #1: Musical Experience and Journey of Esmund Tade
Side A&B:
Esmund Tade was born in the 1920s'and comes from Vunamami village in Kokopo District. His musical experiences include making and playing a unique Tolai traditional instrument, traditional songs and dance and also the introduced guitar stringband music.
The Tolai traditional instrument called tinbuk or tutupele in other parts of the Gazelle Peninsula which is percussion instrument, kind of like a two note vibraphone but played in a unique fashion.
The tinpuk (tutupele) is made of two pieces of carved wooden sticks tuned to two different notes and beats when tapped against each other to particular rhythms to producing unique sounds.
The use of the tinbuk (tutupele) was traditionally for the purpose of generating a musical message of the stillness of the night calling a woman of interest to the man playing the instrument who has the desire and has the mission to get her to fall in love with him.
The tinbuk (tutpele) sends the sounds of particular birds known to be associated with magical spells controlled or induced by the men targeting that particular woman in her sleep. The effects are the women will start thinking about the man and be restless and will one day come to the man's house or meet him at whatever situation to join up with his as his partner in relationship or marriage.
The types of birds locally known that the tinbuk (tutpele) imitated with the unique tunes and beating rhythms are "giligil, kurkur, piriu, kuuk. The tinpbuk (tutupele) is played in the bushes far away from the village boundaries as its intent and purpose is attracting women who are at their parents houses so the magical spells are specific to the particular woman of interest by the man playing it solo and not in a group.
In modern times, men who still make and play the tinbuk (tutpele) are for general relaxation in a man's house only away from family homes.
The other Tolai percussion type instruments that are used for traditional songs and dance are "tidir" made of bamboo carved pieces as two beating sticks and "pakupak" as a slit hallow bamboo drum beating with wooden sticks for its sounds. The "tilotilo" similar to the tinbuk is another percussion instrument used by women for singing songs to the rhythms of a particular traditional dancing song.
Esmund also explains that the use of special magical powers in dreaming and composing songs and dances like "pinpidik, wutung, parpari, kulau, tapialai" come from people who are passed onto from forebears called "tena buai" and can be of different types and forms like buai na malagene" or "buai na pepe" or "buai na pinitit" for the traditional songs and dances.
Esmund later learnt and played the guitar in five-key, three-key, blue mountain key and later spanish key and involved with earlier stringbands.
(Steven Gagau, February 2020)
Extended Data
- ID
- MW6-091
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29574 Longitude151.9885 Start Date1993-06-13 End Date1993-06-13
Description
Tape# 1, Side A&B, 13 June 1993, Kokopo District, ENBP
Extended Data
- ID
- MW6-092
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.21807 Longitude152.18 Start Date1993-02-22 End Date1993-02-22
Description
Tape#1: Musical Journey and Experiences of Gideon Nakikus and Matalau Nakikus
Side A&B:
Gideon Nakikus was born in 1945 and son of Methodist-United Church missionary Nakikus ToVue from Matupit village. The musical influences of his father in choirs led him to become a musician in traditional and choral music. He composed songs and conducted choirs in primary schools and villages in the communities her was involved as a school teacher. Now retired, he continues with choirs in his home village at Matupit. He have been involved in various choral festivals and competitions such as Tolai Warwagira, George Brown Day, John Wesley Day, Schools Arts Festivals and had won prizes for his various choirs groups.
Gideon is self taught and uses traditional forms of melody, rhythms, pitches and combines the techniques reading music from choir music and tune sheets in his song compositions.
Gideon uses examples of traditional songs like Wutung, libung, warbat, malira into songs and uses in composed songs in four part harmonies similar to Kunana hymns songs using Methodist and Sengki song formats.
In the early 1990s', Australian band, Not Drowning, Waving visited Rabaul to record their album Tabaran with George Telek with other musicians and Gideon was a contributor with his song "Lapun Man".
The Band requested Gideon to tell the stories of 1937 volcano eruption of Tavurvur/Matupit and how the Rabaul residents and expatriate communities reacted with their experiences in song. Pacific Gold Studio's Greg Seeto referred the Band to meet with Gideon at Matupit knowing of his music talent and knowledge of stories about the volcano eruption to have a song composed for recording of the Not Drowning, Waving album produced in Melbourne Australia.
Matalau Nakikus is a musician, a teacher and lawyer and was the first Tolai member of the Barike band amongst other mixed race New Ireland members in John Wong, Glen Low, Fabian Tadoi and Don Lessy.
Power bands in the Gazelle Peninsula started in the early 1970s but did not recorded their music which was evolving and Tolai people in villages began transformation and transition from stringbands to power bands.
Barike Band had recording contract with Pacific Gold Studios (PGS) which was competing with Chin H Meen (CHM) studios. John Wong was a band leader and genres and songs were covers and composed as rock, pop and western styles of music. When John Wong left Barike to be a Soloist and recorded with CHM, the Barike music began to change to a more variety including Tolai songs from traditional song and dance and stringband music songs. The departure of John Wong led to a replacement of another Tolai in Kanai Pineri of Shut Down band from Tavui. Kanai supported Matalau with Tolai songs at Barike and after being on part time basis became full time member due to Barike's popularity and brand of music enjoyed across the country.
There was a new style of rock music emerging incorporating Tolai traditional songs from the beats, rhythm and melody of songs of warbat, malira,libung, wutung, abot and others. The first PGS Barike band recording in 1982 included Tolai hit song Bing bing lur, a traditional warbat song amonst others such as Iau ga linglingur, Varmari, Kaugu gunan, Tomavatur, Abot as well as Tok Pisin versons and other Tok Ples songs or local languages from other parts of the country.
Towards the mid 1980s', a style of rock and reggae music was emerging changing the music scene in Rabaul and other parts of of the country known as Island Reggae to Tolai Rock and has become a music brand of style of music in PNG.
At the same time other Tolai and Duke of Yorks bands in the 1990s' followed the Tolai Rock style of music due to the melody, rhythm and beats of Tolai stringband and traditional songs. The bands were Molachs, Painim Wok, Shut Down, Narox and others.
Barike remains and continues to be one of PNG popular bands and many more Tolai power bands emerging in the 1990s with Tolai Rock style music.
(Steven Gagau, January 2020)
Extended Data
- ID
- MW6-093
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29574 Longitude151.9885 Start Date1993-02-22 End Date1993-02-22
Description
Tape#2, Side A&A, 22 February 1993, Rabaul District, ENBP
(Side B blank)
Extended Data
- ID
- MW6-094
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29574 Longitude151.9885 Start Date1993-04-22 End Date1993-04-22
Description
Tape#2, Side A&B, 22 April 1993, Gazelle District, ENBP
(Side b blank)
Extended Data
- ID
- MW6-095
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.223035 Longitude152.1855 Start Date1993-08-13 End Date1993-08-13
Description
Tape#1: Musical Journey and Stories of Ephraim Tami Junior.
Side A&B:
Aida Tami the wife of Ephraim Tami Junior tells stories of her late husband who was the son of the indigenous musical icon and pioneer of choral movements in Rabaul and Gazelle Peninsula in the 1940s and 1950s.
Ephraim Tami Jnr passed away in 1992 and Aida shares his musical experiences and journey with choirs and stringband music.
Ephraim was a self taught musician who also had other artistic skills like framed oil paintings, billboard advertisement, signboards, vehicle spray-painted signs. He was trained carpenter and builder. He worked in various parts of the country with various employers and and was an active sportsman of basketball, softball, rugby league. He returned to his home at Matupit Islands from 1970s'.
Ephraim composed his own songs in Kuanua, Tok Pisin and English about life experiences, village and community life relationships, nature and environment and general storytelling.
He lead his stringband Eagle Voice and recorded albums which have been popular songs played in radio broadcast programs.
He played the steel guitar and the style of music ranged from 5 key to Hawaiian and South Pacific style music.
His stringband, Eagle Voice competed in Tolai Warwagira festivals in the 1970s' and won first place awards with an example of a particular notable song from Fiji :Sulu, Sulu" and other origional composed Kuanua songs like :Papara tava alir".
Ephraim later got discouraged and was not further interested in musical performances when people began using his songs without permission even recording and playing on radio. He left Eagle Voice and his band members continued on with new stringband Eagle Mix.
Ephraim Junior's musical legacy remain with his father, Ephraim Senior as choral musician and he himself as guitar and stringband musician.
(Steven Gagau, February 2020)
Extended Data
- ID
- MW6-097
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.212335 Longitude152.174 Start Date1993-02-17 End Date1993-02-17
Description
Tape#1: Background of Rabaul Ambonese community, Kambiu Club Music and General Experiences
Side A&B:
Peter Sahluteru was born in 1932 to an Ambonese, Indonesian father and New Ireland, PNG mother so a mixed-race parentage and heritage in his family. The Ambonese are an Indonesian ethnic group of mixed Austronesian-Papuan origin. The Ambonese are from Ambon Island in Maluku, an island group east of Sulawesi and north of Timor in Indonesia.
Peter's family moved to Rabaul during the German colonial rule and the Ambonese people who migrated live together in the Malaytown area of the township.
The background to the Ambonese living in Rabaul has a lot to do with colonization by Europeans in Indonesia and New Guinea. The Ambonese are an Indonesian ethnic group of mixed Austronesian-Papuan origin and come from Ambon Island in Maluku, an island group east of Sulawesi and north of Timor in Indonesia. They are an ethnic mixture of Southeast Asians and the Melanesian people of New Guinea with its predominant language of the island as Ambonese Malay, also called Ambonese developed as the trade language.
Foreign colonialists were Europeans who were firstly Portuguese colonials then later the Dutch who established Dutch New Guinea headquarters on Ambon Island. The Ambonese people have achieved a privileged position in Indonesia and mostly Europeanized adopting christianity with medium to wealthy class since the mid-19th century. They related well with the Dultch colonizers and involved in state and military services. Many people are employed as government workers, fishermen, teachers, doctors, and nurses. The Ambonese Malay are also known for being excellent singers and storytellers. Even there are up to 50,000 Ambonese people living in the Netherlands including Peter Sahluteru’s family and relatives.
The European colonizing influence continued with the Germans brough Ambonese people to Rabaul and its headquarters of German New Guinea to be government workers such as clerks, storeman and so Peter’s father was one of the immigrants in the earlier 1900s’.
Peter was not a musician but was associated with the Rabaul Ambonese and mixed race community and Kambiu Club for their social entertainment. Most mixed race people were Malay, Micronesians, Chinese, Japanese, Europeans who inter-married amongst these ethnic groups and native people mainly New Ireland so these communities had strong links between Kavieng, Namatanai and Rabaul.
Based on a 1953 photograph of the Kambiu Club strngband, there were mixed race members and were identified as Robert Kessy, Andy Sieghers, George Kessy, Nick Kaligatus, John Kapu, Martin Kapu, Herman Karius, Ben Lamasing, Jerry Lakumaina, Leo Mattiwena, Henry Lavita, Vincent Nadero, Frank Wattimena.
The Kambiu Club stringband had a variety of instruments from acoustic guitars, steel guitars, ukeleles, bass guitars and there were also female singers.
During the second world war, with Japanese occupation and POW camps, amongst other mixed race communities were taken in by the Japanese for various work, there was mixed reactions in their treatments to the people some good and some bad. Peter's father was based in New Ireland in Namatanai and Kaviend then returned to Rabaul. Peter is about 10 years old then and learnt Japanese in schools as well as songs as entertainment on certain events amonst many children.
In 1963, there was a separation of Kambiu Club and Ambonese Club was set up still serving all the mixed race community and others interested.
General mix race community life was enjoyable and all seem to work together with the Europeans, Australians, Chinese and to some extent the native population with Tolais and others from New Guinea Islands and New Guinea mainland.
There was interest amongst all Rabaul residents as a vibrant cosmopolitan town with its rich history and life that all enjoyed. Peopllike Peter amongst many were looking forward to a book about Rabaul being written by Rev. Neville Threlfold, of Methodist mission where many contributed through the information and materials collected as they were all part of the Rabaul town life. A music "Dust over Rabaul" was a song composed by Wuya Wanon a mixed Chinese musician promoting Rabaul town and recording by John Wong in the 1990s demonstrates the sense of belonging and pride as residents of Rabaul.
(Steven Gagau, January 2020)
Extended Data
- ID
- MW6-098
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29574 Longitude151.9885 Start Date1993-02-17 End Date1993-02-17
Description
Tape#2, Side A&B, 17 February 1993, Rabaul District, ENBP
Extended Data
- ID
- MW6-099
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.16619 Longitude152.162 Start Date1993-08-02 End Date1993-08-02
Description
Tape#1: Radio Broadcaster Experiences and Tolai Warwagira Journey with Puek ToNata
Side A&B:
Puek ToNata joined Radio Rabaul as a broadcaster since the station's inception in 1962 and worked for 30 years. Puek gave his testimonial about how radio brought about development in new and modern ways, change in lifestyles through information to listeners in news, education, community notices, language, culture, music generating interest and following amongst people in the Province, New Guinea Islands Region and nationally across PNG through its programs on air.
In 1963, Pacific Islands Monthly reported that there were 11,000 requests out of 40,000 population wanted what Tolai people wanted to know and listen to their own doing.
Puek created the program "Rabaul Hit Parade" generally to promote local music hits rather than western records in the three categories of music in stringbands,traditional songs and choirs known in tok pisin as "pilai gita, singsing blong tubuna and singsing blong kuaia". There was continuous recordings in villages and requests by local people wanting their music on radio and became a competitive matter for many group who wanted air-time and air-play.
Other music of western and South Pacific especially from Samoa and Fiji were also played on air where Tolai people were exposed to through missionaries and traders in stringbands and choirs.
For the western music it was mostly country western or cowboy style such as Slim Dusty although some people who had access to gramophones knew about records like Beatles and others played over the radio.
The Hit Parade program was popular with several requests for songs over general broadcast times.
For stringbands, popular songs were from musicians like Blasius ToUna of Nodup with songs like Sigapu, fopela lek, leta blong Jack and many more. Most stringbands played 5-key, spanish style .
For traditional music, the typical song and dance such as Wutung, Warbat, Malira, Tabaran, Tubuan Tapialai amongst others that went on air and did not cause any much conflict with elders as they began to be generally accepted across the communities.
Radio also promoted the rise of power bands in late 1960s and 1970s and became a popular feature in the Tolai Wawagira known a Battle of the Sounds.
There was also a rise of social dances in "cup tea" parties when mainly the young generation meet with live stringbands and power band music and dancing such as the introduced "waltz" which despite being against culture and concerns from older people, its became acceptable later so a change in lifestyle.
The concept of the Tolai Warwagira was initiated by Sam Piniau who was with national radio broadcasting together with other prominent Tolais living in Port Moresby who were concerned about the disunity among Tolai people in the divisions of Pro-Multiracial Council with Government and the Mataungan Association Movements who wanted foriegners and colonial administration out of local affairs of the people.
Sam Piniau met with Radio Rabaul staff Puek and Paul Cox at Cosmos Hotel with the message in around 1968, 1969 to coordinate the setting up and promote over the radio for creating the Tolai Warwagira as a showcase of Tolai identity and culture heritage as a means of re-uniting its people.
A Warwagira Committee was formed to manage the event comprising pro-Council and pro-Mataungan leaders all over the Gazelle Peninsula such as Saimon Gaius, Herman ToPaivu, Vin Baining, Daniel Kaputin, John Koniel's father, Nason ToKiala and others After the first Warwagira, it was not too successful as an event by from 1970 it became an annual event and became more progressive and successful with the years of events experiences with more competitiveness in various categories of musical performances in stringbands, power bands, traditional song and dance, choirs, gospel bands and drew in participation from all over the Gazelle Peninsula, Duke of Yorks, Watom and Bainings.
The Tolai Warwagira which were conducted up to two weeks also created more recordings and broadcast materials locally, regionally and country-wide with more and more items for listeners.
The general feedback and support of the Tolai Warwagira events also generated additional funds through donations by listeners towards the annual event.
(Steven Gagau, January 2020)
Extended Data
- ID
- MW6-100
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29574 Longitude151.9885 Start Date1993-08-02 End Date1993-08-02
Description
Tape#2, Tolai Warwagira discussions on 2 August 1993.
Side A&B.
Puek ToNata was awarded on Queens Birthday honours list in 1972 with an MBE for his broadcasting services at Radio Rabaul Station. As a Committee member to the Tolai Warwagira, be was involved both in the activities as well as live broadcast as well as recordings for delayed and late broadcasts to listeners as coverage of the festival.
First held in 1971, the Tolai Warwagira Festival was the ENB Provincial Cultural Show that became an annual event that features traditional music or singsing tubuna, choir and stringband, live electric bands contests. The Kuanua word for Warwagira spoken by Tolai people is "Show or act of showing or a showcase.
The competition on performances were judged by very selective, well known, reputable and iconic cultural experts on both traditional, contemporary, choral and artifects, carvings and performance decorations of traditional costumes like "blis, polopoko, tokotokoi, kangal etc" we for the expression for arts and craft, custiomes and traditions.
The traditional song and dance or "singsing tubuna" were daytime activities the the types included items like "Vutung, Libung, Kulau, Parpari, Pinpidik, Tabaran (kakaka'o and pipi'il). Some singsings like Tubuan and Dukduk were restricted chiefs and elders due to sacredness and not for competition so not included in the festival.
Stringbands, choirs and gospel music performers also featured in competitions
The night-time activities included the Baining "kavat" fire dancers and live music bands competing with set music of songs to be performed.
The preparations of the singsing tubuna items involved "kunubak" with spirits and ancestors of supernatural to perform in public and attract and have power over the judges, audiences for expressive performances showcasing the edge through beauty of art, compelling song and dance through dancers in a trance or "langoron".
Other contemporary performances mainly with stringbands also has songlines involved with politics, colonisation and self determination agendas such as the "Mataungan movement" that was instrumental to the Tolai people activism for self government of the province in the 1970s'.
The interviews in 1993 was about 20 years after when it started, the Warwagira slowed down a few years after the volcanic eruptions with changing priorities for social and economic developments rather than funding the arts based event. The Warwagira was to be revamped at late 1990s'.
(Steven Gagau, January 2020)
Extended Data
- ID
- MW6-101
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.2487 Longitude152.1045 Start Date1993-04-01 End Date1993-04-01
Description
Tape#1: Musical Journey and Experiences of Samuel ToBata
Side A&B:
Samuel ToBata was born in 1961 and founder of Yellow Top Stringband of Totovel in the north west of Gazelle Peninsula. Samuel was a self taught and talented guitarist and song composer for his stringband. The name of his stringband came about from his father's practice if painting the roof yellow of his purchased vehicles in the village.
In 1969, at the age 8 he was already composing songs then with his stringband he was composer, lead vocals, lead guitar and his other brothers and relatives were together in his group. His father initially discouraged him but due his his musical talents he was accepted to continue his art. In early 1970s' aged 10 to 12 he started to be competitive with performances at the Tolai Warwagira events and and became finalists or evenually winning in the stringband category with his Yellow Top stringband. One of his memorable events is playing steel guitar instrument which came about to enter final stages and since he did not have one, he improvised with his guitar by inserting timber pieces under the strings to sound like a steel guitar. When he became the finalist within a week he ordered a steel guitar from Lae for his finals performance.
Samuel was also part of the power band, Squad 5 of Totovel which in the later 1960s performed on another musical festival called "Battle of the Sounds". At that time, these was only a handful of power bands from Tolai villages such as Skylight of Nanganganga, Eagle Voice of Matupit and town band Winterwood with Greg Seeto and other mixed race members. He left Squad 5 band and continued with Yellow Top during 1970s to early 1990s'.
In 1992, he began seeing visions about fire and hell like situations when he goes to sleep and happened regularly so he consulted with the church minister "talatala" about this. He was convicted that it was to do with his lifestyle and a change for the better and become more spiritually orientated. He became a fully committed christian to follow Jesus Christ and became active in Church ministry work. Using his musical talents and experience, he formed Gospel group called "Emmanuel Gospel Singers". He has completed composing 13 songs ready for studio recording. The songs are about his own spiritual experiences, testimonies, witnessing, bible "Buk Tabu" scriptures and Kuanua hymn book "Buk na Kakailai". He has been approached Pacific Gold Studios (PGS) and Chin H Meen (CHM).
Samuel shares his experiences about living a new christian life away from old worldly ways and evil doing which he was recklessly engaged with as a musician. He also was not a church goer and more concentrated in parties and performances and a rowdy lifestyle despite being encouraged by his parents go to their local church congregation on Sudnays. Samuel became an so changed his life to praising and worshiping God through music was an effective way of living out hos christian faith.
Other musicians like David Kepas, a guitarist musician from Rasterman Vibrations and Barike also changed his life from worldly and sinful ways to became a christian and now in the the Rabaul Memorial Church (RMC) Gospel Band.
Samuel was also encouraged by Andrew Midian, a church minister and musician as guitarist and choral conductor, composer and he took motivation of musicians becoming christians in better way of life and Godly living.
(Steven Gagau, January 2020)
Extended Data
- ID
- MW6-102
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.269755 Longitude152.09 Start Date1993-04-01 End Date1993-04-01
Description
Tape#2: Musical Background and Experiences of Samuel ToBata
Side A&B:
Samuel ToBata education in primary school at Totovel then Pilapila to Boisen High School was disrupted or discontinued in my own choice due to his following of band music at an early age and joined Squad 5 band and Raval Vocational Centre band although did some trade skills training. This led his to go to work for two years in Arawa, Bouganville.
During the time in Arawa, they formed the Yellow Top stringband where he was the composer and led with vocals and guitars. They did a local recording which was popular even to the Solomon Islands.
Returning to Rabaul and East New Britain he continued with Yellow Top stringband with recordings at NBC studios and later to Pacific Gold Studios (PGS).
Samuel's popular album then was Hanglus Poroman which had a big following across provinces around PNG.
After he became a born again christian, he left his stringband and power bands to focus on his christian living, ministry and outreach about the Gospel message. He then shared his christian life witnessing to other through gospel music.
Samuel further shares the similarities with other musicians previously in bands who are now gospel singers namely David Kepas and Sikal Kelep, Digby Holeong.
Samuel uses gospel music with his composition style in stringbands for his album recordings, church conventions and music festivals.
(Steven Gagau, January 2020)
Extended Data
- ID
- MW6-103
- Languages
- Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.212505 Longitude152.1745 Start Date1993-04-08 End Date1993-04-08
Description
Tape#1: Musical Background of Andy Sieghers.
Side A&B:
Andy Sieghers is of Ambonese descent and heritage, an Indonesian ethnic group of mixed Austronesian-Papuan origin. The Ambonese are from Ambon Island in Maluku, an island group east of Sulawesi and north of Timor in Indonesia.
Andy's family moved to Rabaul during the German colonial rule and the Ambonese people who migrated live together in the Malaytown area of the township.
Andy was a musician and based at the Kambiu Club within the Malaytown area.
Ray Sheriden compiled a list of songs performed at the Kambiu Club Stringband with its band and Andy describes some of the songs in the list which were mixture of languages in Ambonese, Tok Pisin, English and other PNG songs. These songs were composed either in Ambon, Rabaul and PNG about general life stories and events such as wartime, fishing, paddling canoes, trading, frienships, working as domestic servants, happy and sad times, new experiences from traditional to modern lifestyles and so on;
Djiou Malihat (Ambonese)
Ajing gonggong (Ambonese)
Nonomanis (Ambonese)
Aio mama (Ambonese)
Tete manis (Ambonese)
Adu manae (Ambonese)
Long long ago (English)
Yu liklik man (Tok Pisin)
Diru diru (Ambonese)
Kole kole (Ambonese)
Come along and stay at bamboo place (English)
When Rabaul was like heaven (Rabaul)
Olesio (Ambonese)
Nusaniwe (Ambonese)
Moto kar long rot (Tok Pisin)
Paso (Ambonese)
Rosan blu (Ambonese)
Tulingane (Mussau)
Asapupi (Ambonese)
Asu bimata (Ambonese)
Meri Manam (Tok Pisin)
Andy Sieghers was in the Kambiu Club Stringband and other musicians and associates like Peter Sahluteru, Phillip Tabuchi, Ben Kepas, Ivan Liveris, George Kessy, John Kapu, Martin Kapu.
Kambiu Club was a popular social entertainment for the mixed raced community living in Rabaul town and the occasional Tolai who were friends mainly with Malaytown residents.
(Steven Gagau, January 2020)
Extended Data
- ID
- MW6-104
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
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Latitude-4.21301 Longitude152.1795 Start Date1993-04-08 End Date1993-04-08
Description
Tape#2: General Rabaul Town Community Experiences
Side A&B:
Andy Seigers from the Ambonese community continues conversations about the residents and ethnic groups of Rabaul town mainly mixed race, chinese, micronesians, polynesians and europeans who would socially meet and interact at the Kambiu Club at Malaytown.
The Kambiu Club became a popular venue for bars, music entertainment and social dance nights. The Kambiu Stringband was the attraction to the residents due to their music as well as other performances in plays, drama and ethnic dancing exhibitions. Europeans and Government officers were regulars at the Club.
In the 1960s', there was some disagreements in the Club management which resulted in the splitting up of members and the establishment of the New Guinea Ambonese Club with the founding President was Andy Seigers and the Secretary was Peter Sahluteru.
Rabaul was a cosmopolitan town and there were quiet distinct living or accommodation areas of different communities such as Malaytown, Chinatown, Native compound for indigenous labourers, Europeans and Government Officials and services like schools and hospitals were also separated although started combining mainly the mixed race community amongst inter-marriages od european to chinese to malay and indigenous people.
Other experiences and changes in the life of Rabaul town was evident towards the the 1970s to PNG's self government and independence and also saw migrations of some of the residents to Australia.
(Steven Gagau, January 2020)
Extended Data
- ID
- MW6-105
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.1917 Longitude152.157 Start Date1993-09-01 End Date1993-09-01
Description
Tape#1: Background on Tolai Warwagira and Radio Broadcasting Service
Side A&B:
Sam Piniau was one of the pioneer native radio broadcasters in PNG who worked in provincial stations starting at Radio Rabaul in earlier 1960s then moved on to Kieta, Bouganville and Wewak, East Sepik before transferring early 1970 to Port Moresby working as a senior public servant as head the policy and planning unit of the National Department of Information and Extension Services alongside the Australian Broadcasting Corporation (ABC) to form the new National Broadcasting Corporation (NBC).
In 1973, NBC was born, the year Papua New Guinea took the first step to independence by gaining self-government from Australia.
Sam Piniau became the founding chairman and CEO of the NBC and was retired in 1979.
The background of the Tolai Warwagira was a result of the colonial Australian Administration who wanted a reconciliation process and tasked prominent Tolai leaders and senior public servants in Port Moresby to facilitate a solution and peace within the Tolai people who had divisions due to political interests, conflicts and uprising and to ease the tensions between the Multicultural Council or Warbete Kivung and Mataungan Association (anti-colonial Government control). Sam led the process with a "Warmaram Group" or peace and reconciliation using the influence of information over Radio Rabaul to send the message across the Gazelle Peninsula. The key Tolai elders in Port Moresby were Paulias Matane, Robin Kumaina, Himson Mulas, Alan Tarutia, John Tovue, Bishop Fr Herman ToPaivu and Simon Puipui.
With the blessing of the Australian Administration, Sam promoted with the working group to coordinate that Tolai culture, identity and heritage was the emphasis and focus for unity and solidarity. It was not from political standpoint but standing united and in solidarity as one people though cultural revitalization and upholding the sense of belonging.
The Warwagira Committee was formed in 1969 comprising the Tolai elders and leaders of the Warbete, Mataungan, the churches namely Sir Ronald ToVue, Simon Gaius, Nason Kiala, Daniel Kaputin and others and launched in 1971 and became very successful as an annual event. There were various categories of competitions in traditional song and dance, guitar stringbands, power bands, gospel bands, choral and choirs with church hymns and traditional singing such as lili etc.
The influence of radio broadcast in airplay of stringbands, choirs, power bands and traditional song and dance was very evident and impacted on lives of people with interest in culture as well as modern contemporary music development. Radio Rabaul had the motto as "Station blong Yumi" as people were proactive by offering their music and performances to be recorded for air play and the library was also equipped for programs such as Rabaul Hit Parade, Educational Programs and local content.
Sam always encouraged in radio programming that the provincial stations should have over 50% local content in traditional and contemporary music and educational resources for schools.
The radio broadcasts for traditional Tolai song and dance music had some objections by churches as it was going against christian beliefs. The intention of radio was for cultural revitalisation, preservation and knowledge passed across the communities and not to challenge belief systems. Besides songs of Wutung, Libung, parpari among others, the main church concerns was the "tapialai" songs being a sacred practice of the tubuan society.
Sam maintains a strong perspectives over traditional belief systems versus the christian faith whether people are serving God as the master or satan so serving two masters. Sam was a son of a pastor in Rabaul, and in his own recognition is a traditional elder and owner of a tubuan and dukduk in the sacred Tolai society. Misunderstandings of the source of power and how to reconcile tubuan to christian beliefs is an individual choice on what is the dorminant position in one's belief systems so incorporating aspects of the two cultures for a balance position is one's attitude to spirituality. In the tubuan society there are prayers at the sacred places "taraiu" that are not satanic but determines how performance and mythology in the supernatural connections defines performance and spiritual practices.
The christian belief system is a form of worship to a God of creation and introduced and instilled into local Tolai culture where over generations of existence, there were always traditional forms of worship to supernatural beings in the Tolai cosmology.
Some perspective to traditional religious beliefs includes a vast assortment of spirits usually referred to collectively by the term tabaran. "Spirits of the air" are gentle and kind and their help is sought by those seeking inspiration in the composition of a new song, the design of costumes, or the choreography for a dance to be performed at a ceremony. The spirit of the tubuan lies at the heart of their religious system. The tubuan is "raised" to dance at a variety of festivals or balaguan, but the great climactic rite is the matamatam, a ceremony to honor all the deceased of the clan, when the masked figures of tubuan and dukduk (a central spirit figure of the secret male cult) both appear.
At the time of the interview, Sam was instrumental in the formation of East New Britain Music Association comprising choral musicians and traditional elders such as Andrew Midian, Resin ToLop, Vincent Vinevel amongst others to progress music practice and performances. One initiative was to expand the "Buk Na Kakailai" or Methodist/United Church Kuanua Hymn book beyond the current 400 songs as there has been significant compositions since publications and was to be a project. This was then a work in progress.
(Steven Gagau, January 2020)
Extended Data
- ID
- MW6-106
- Languages
- English - eng
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.214385 Longitude152.1755 Start Date1993-02-16 End Date1993-02-16
Description
Tape#2: Musical experiences and Journey of Ben Kepas (Continued) - Side A only (Side B blank)
Ben Kepas was known as father of music of Rabaul and played all band instruments (steel guitar, ukelele, keyboards, drums but was a lead guitarist.
He have been a member of various bands namely Tremors, Devil Strangers, Molaches Revival, Apple Sun, Beachcombers, Rasterman Vibrations and guest guitarists with other Rabaul bands in Pila Zack Mates, Outcast band, Unbelievers.
Besides the various studio recordings with bands, he had his own album in 1983 with his own style of tropical islands sounds.
Ben also worked with studios with Kuanua, Pacific Gold, Chin H Meen where he played the various instruments for bands recording their albums and worked as sound engineer with studio multi-tracking recording equipment.
Ben was also involved with visiting musicians from Solomon Islands, Fiji and other parts of PNG. His music is mostly rock and roll, blues and reggae styles for covers and local Kuanua, Buka and Tok Pisin songs amongst others.
At the time of the interview, he had decided to move on from performances and studio recording work have a break from the music scene and also a way to give other musicians an opportunity to pursue their own journey. He still prides himself as "papa blong musik"in Rabaul with his popularity as a PNG musician.
(Steven Gagau, February 2020)
Extended Data
- ID
- MW6-107
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.210705 Longitude152.1745 Start Date1993-06-16 End Date1993-06-16
Description
Tape#1: Musical Journey of Rex Band and Roboam Mael.
Side A: Rex Band
Bongas Sikango is the band leader of Rex Band of Finschafen in Morobe Province. Bongas was born in 1968 and his band members in Casper Kumbu (lead guitar) and Donald Awi (drums) are all in the same age group. They started their musical journey in 1982 when they began following a local band called FIKASI (Finschafen, Kabum, Siassi) and learnt playing instruments then later formed their own Rex Band in 1984.
Rex Band main style of music is reggae with popular songs in the PNG music scene of Swit Finsch and Sengungefo. Their first album recording was in 1989 with Chin H Meen studios (CHM) then later recorded subsequent albums with Pacific Gold Sudios (PGS) and were in Rabaul for their new album recording in 1993. PGS musicians and sound engineers Donald Lessey and Patti Doi assisted in the production of their recordings.
Rex Band started their music with traditional (tubuna) songs learnt from older people and played with modern band instruments coming from local languages such as Kote, Mape, Pindiu, Dedua in the Finschafen area and Tok Pisin.
The band later focused on the reggae style music and Bongas favourite overseas bands are Bob Marley and Lucky Dude where their inspire the style of music.
They also perform in various concerts or festivals organised in Lae and Port Moresby and keep on improving or looking at ways to make their music popular and attracting fans in PNG.
Side B: Roboam Mael
Roboam Mael was born on 15th December 1932 at Molot, Watnabara in Duke of York Islands. He was the son of a Pastor-Teacher who trained at George Brown Colleges of Methodist Church at Watnabara and Vunairima in north coast of Gazelle Peninsula.
Roboam's early childhood was in New Ireland Province on Tabar Island and Losu, central New Ireland from 1936 - 1941. His family returned to Watnabara in 1942 when the second world war broke out with Japanese occupation where alot of people were killed and his father amongst many villages=rs and church workers were imprisioned.
Roboam was later trained as a pastor-teacher at George Brown College, Vunairima and learnt music. After graduation in 1952 he continued as a teacher of pastoral work and music at the College from 1953.
During his early schooling life he was in choirs singing in competitions then later at the College he became choir master, conductor and also had their choir compete and won many awards at choral festivals.
He then further his teaching education at Kerevat central school where he was the Chaplin at the same time studying due to his pastoral background where he was using his training.
The Education Department requested that he works in government schools so he joined and also established 2 new schools in the Duke of York Islands.
Roboam was later posted to East Sepik Province where he taught at various schools and later transferred to Madang where he also completed Headmasters Certificate and continued in that role till 1972. During his time on the New Guinea mainland, he was involved with choirs and also teaching Kuanua songs where they also competed in competitions and awarded top prizes.
In 1973, he returned to East New Britain Province and continued his teaching work at various schools and his last posting was in Watnabar where he started his education where he retired in 1986.
In 1987, he returned pastoral work with United Church (formerly Methodist Church) and Pentecostal Church in Duke of York Islands.
Roboam has enjoyed his musical, teaching and pastoral work and journey as a career and into retirement.
(Steven Gagau, March 2020)
Extended Data
- ID
- MW6-110
- Languages
- English - eng, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
Details
Latitude-4.29574 Longitude151.9885 Start Date2023-04-06 End Date2023-04-06
Description
Exhibition of Traditional Practice and Art "Tena Buai" Preparation for Ceremonies and Performances.
Tolai Tubuan dancing: Tapialai song performed by initiated men of the sacred Tubuan society. An appropriate excerpt from the closed-access item MW6-084 has been added to this item for public viewing.
The Tolai, a cultural group known as Gunantuna people of East New Britain Province, PNG are speakers of the language called Kuanua or locally known as Tinata Tuna.
The Tubuan traditional song and dance is performed by initiated male members only of the Tubuan sacred society. These songs and dance practiced over generations in the past and today and is a continuing culture with different types of dances. The composers of songs related t dances are knowledgeable in choregraphy and composition of songs known as "tena buai"
Tubuan songs, "Gara" and "Kabakaver", are sung and performed by the initiated males only in the sone "gara" and ancestral dance "malagene na tapialai".
Other types of dances, non tubuan dances, are generally called malagene. Musical instruments accompanying tubuan gara are kundu and garamut.
(Steven Gagau, September 2023)
Extended Data
- ID
- MW6-084_open
- Languages
- Kuanua - ksd, Tok Pisin - tpi
- Countries
- Papua New Guinea - PG
- Publisher
- Michael Webb
- Contact
- admin@paradisec.org.au
- License
- Open (subject to agreeing to PDSC access conditions)
- Rights
- Open (subject to agreeing to PDSC access conditions)
