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MUSIC of KIRIBATI – SONG and DANCE by Dharmadeva

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MUSIC of KIRIBATI – SONG and DANCE by Dharmadeva MUSIC OF KIRIBATI – SONG AND DANCE by Dharmadeva Background The Republic of Kiribati (pronounced keer-i-bahs and also called I-Kiribati) consists of the Gilbert Islands (including Ocean Island or Banabas), Phoenix Islands and Line Islands. These are groups of low coral islands or atolls in the Micronesia area of the Central Pacific that straddle the Equator. The population in 2003 is around 77,000 with the major religion being Christianity. English is spoken as is the local native language. The pace of change in Kiribati is slow and thatch and tin is very much the structure of many buildings. In 1979 the islands became an independent nation after 80 years of British rule. A sizeable number of Kiribati emigrants also live in the Solomon Islands, Hawaii and the USA mainland where they have maintained their culture. Before British rule, Kiribati had no sense of national unity. The northern islands were somewhat culturally different from the southern islands. Each island was governed in its own way and right. People felt an identity with a particular island. In the northern islands the people were governed by chiefs who came to power through victory in war. The southern islands were governed by elders comprising men from each family group. The maneaba or meeting house was central to their affairs and for the community as a whole. Here women would also sing songs about love and the sea (Kazama 2001). Nowadays, whatever the island may be, the hospitality of the Kiribati people is a unifying factor. The maneaba also remains central to all of Kiribati social and political life, having been adopted and encouraged across Kiribati by the previous British administration. The seating arrangements of the maneaba continue to reflect the social structure of the island communities and this applies also to watching dance and song performances. In pre-colonial times, one’s seat in the maneaba was determined by a person’s role in fighting (more so in the southern islands) and those who defended the village also took the lead role in performances. Traditionally, the maneaba is divided into a number of boti, which is the sitting space assigned to an extended family. When a person visits another island, in that maneaba they are invited to sit in the boti to which they are related. Other visitors will sit in the boti reserved for guests or strangers. The performance culture of Kiribati today expresses a heritage of indigenous martial arts, dance forms and musical styles, carried out at the maneaba. This culture has been influenced by Christianity and, more recently, the modifying impact of secular activities, such as tourism. Traditional song from ritual and magic Traditional musical composition involved elements of ritualism and magic, being undertaken in a serious way using sacred knowledge and methods only passed on from father to son or grandfather to grandson. The composition of songs was always done by the trained tia kainikamaen (skill worker), who was regarded as a magician or sorcerer. The missionaries appear to have used the words te ibonga for this role instead. He was also a reference point for a defined social descent group and its members. His skills were considered valuable clan property. The tia kainikamaen performed certain rites so that the words and tune of the song would come to him in a dream or be taught to him by the spirits. This involved carrying out a kario or ‘bringing down’ ritual, which is believed to give the song strength and vitality. In addition, the belief is that should the composer not follow traditional instructions exactly, this would have serious ramifications which could also result in death during or after the process. On composing the song, it was sung back to the composer by a selected group called the rurubene (also referred to as tia-ototo or song doers and tia-kamaen or tia-kario). They were assistants. At this point the public was allowed to listen to the song and it became everyone's song. A slow chant (te katake), usually done by elderly men and women, was particularly popular. Because the songs were considered magically blessed (mamiraki), they became very popular with the Kiribati people. Mamira or ceremonies to bestow blessings on a song to enhance its appeal or the composer are still found today. Elements of the kainikamaen (skills of musical composing and performing) exist today. Accordingly, when new songs and also dance steps are composed their derivation is kept secret for a while to surprise the audience. Traditionally, this was important because of the intense competition between different descent groups, which also manifested itself in dance and song. Performances were a public and communal display of the strength of the tia kainikamaen shown through skills in musical composition and performance. General song composition Today, the tia kainikamaen are not found because the role of descent groups is not strong. Different civic organisations such as churches, schools and clubs have taken their place. The method of song composition, which became prevalent, is that someone requests a song be made specifically for that person. The person tells a story to the composer who concentrates intensely and listens attentively. Further information may also be asked for and must be provided. The procedure adopted by the composer is basically to compile a list of important words needed in the song, select appropriate musical notes from which a tune is developed, and refine the song by constant repetition. Once the composer is content with the form of the new song, the assisting group (rurubene) listens to it and practices it by heart without giving any opinion about the song. They then sing the song back to the composer who polishes it up by making the necessary alterations to the lyrics and tune. As no magic is seen to be involved in these songs, they may not become popular unless they are particularly clever. Also, unless skilfully sung in public only then will the song attain some enduring quality similar to that of magically composed songs. Love songs are the most common, but the same process is used for wedding, religious and children’s songs, as well as dance songs. These composers may also compose their own original songs without being requested to do so and without the assistance of the rurubene. Generally, songs utilise the five tone scale roughly equivalent to D E G A B. Three tones are also used. Melodies are syllabic (meaning that only one note is used for each syllable of the text) and conjunct (that is, a rise or fall follows precisely the successive pitches of the scale). Songs are also through composed (the music changes throughout) in 1 to 3 sections, but these sections can be repeated. The rhythm goes from a free meter to duple meter (two basic beats in a measure) as it becomes accompanied by stamping, clapping and slapping of the body Impact of Christianity The impact of Christianity is such that the maneaba is today also used as the central place of worship. However, in this instance, everyone is both guest and host to signify sharing and service. The Christian missionaries drew upon aspects of Kiribati culture in their efforts to explain and spread their religion. Amongst the various religious sects and rituals, it was the Catholic Mass that knowingly incorporated Kiribati dance into its celebrations. This transformed some of the lasciviously inclined elements and links with sorcery into Christian ideals. This integration also resulted in performances of dance and song taking place after worship along with the meal or feast (botaki) that followed. At this time, different families and groups share their traditional songs, dances and dramas, but because of the occasion they are mainly related to Biblical stories or traditional stories that have Christian application (Meo 1994). The Christian missionaries were responsible for the decline of the importance of the descent groups as they moved Kiribati society towards broader social affiliations (churches, schools and clubs). Composition became more of an individual affair and the observance of ritual methods was loosened. Kairi or hymns, particularly Catholic and Protestant, became well known pieces and used indigenous melodies. By the 1960s, the kuaea or songs sung in choirs, which had been influenced by hymnal singing, had become an institutionalised genre noticeable for its beautiful harmonies in unison in thirds, fourths or fifths. This vocal genre is sung by males and females using western harmonies that are an octave apart and in duple meter. It is also now accompanied by guitars and ukuleles. Christian influenced music has been set aside a little bit since the latter part of the 20th century as the influence of western popular music has taken some hold. In fact, since World War II there has been greater cultural exchanges. This has seen the emergence of some string band music and the occasional electronic keyboard. Informal singing (anene) incorporating western musical elements has increased in popularity and may be found at weddings and other social functions. General aspects of Kiribati dance Dance is central to Kiribati life. Dancers can be found rehearsing virtually everywhere. Kiribati dances are exciting, vibrant and intense so as to absorb both the performers and audience alike. This includes both the ruoia or early indigenous dances and the mwaie or dance-songs developed around the beginning of the 20th century. Generally, the dancers do not move across their stage to any significant extent, and so to give excitement the accompanying singers clap, slap and sing very vigorously. There were very few musical instruments in Kiribati, so bodily percussion was important. The conch trumpet (bu) was used for signalling and assembling.
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