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The Singing Mama Ruau of Tahiti

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The Singing Mama Ruau of Tahiti THE SINGING MAMA RUAU OF TAHITI will gather on sunday evenings for the tutuaaroiarol a lengthy meeting in which the congregation will crackrolirollopen and dissect a biblical verse that the minister has chosen As it would be too by tedious to listen to commentaries and nothing else the organizer wisely intersperses three explanations with a himenechimene taravacarava marvelee soon tahauri which is made up solely of biblical words and chanted like litanies 2.2 brother tihoni pu now a laie resident says he remembers his protestant mother going to those singing meetings when he was a small boy his wilewife tetuapetua who grew up in tubulitubuai some 600 miles they are commonly and collectively known as the mama ruauauau south of tahiti has childhood recollections of people gathering of tahiti smiling rotund women of a grandmotherly nature at nishtniahtnasht to sing the old traditional songs it was beautiful decked out in generous mother hubbard muumuus swishing with she says but there were no performing mama ruauauau as we know lace and ruffles you may see them at faaafaaea airport or at a them today bastille day celebration chanting singing and dancing in the unique style we identify as an endearing facet of old tahiti we should be aware that during the churchs years of growth from 1844 to the turn of the century the french polynesian it is difficult to imagine french polynesia without the mission was plagued by protestant and catholic opposition mis- warmth and charm of these older women whose performances add guidance from the reorganized LDS and always suspicious government as much life to public occasions as the throbbing lamuretamure beat officials the mormons were tolerated uneasily by the french yet thirty years ago the term mama ruauauau in a conversation administration which saw in them an american advance guard iin a simply meant grandma and groups of colorful entertaining territory that was already open to anglo saxon influences 5 grandmothers were not the order of the day modern tahiti may not realize or perhaps never acknowledge that the church of jesus with the many changes in lifestyle brought on by foreign chirst of latterlatterdayday saints played a subtle if not vital role in influences the mormons included the tahitian people were often reviving and developing this musical aspect of french polynesia caught in an awkward transition from island culture to what was the singing mama ruauauau considered proper christian worship clergymen even early LDS leaders forbade many native practices especially dancing when even before the arrival of the europeans musical folklore they felt that there was anything immoral about had always been an integral part of french polynesia which in- it cludes people from the widespread area of the society islands another damper on tahitian culture occuredoccurred around 1901 when the leeward islands the tuamotu gamblergambierarchipeligoarchipelagoArchip eligo the austral the government drew up local regulations requiring institutions to islands and the Marquemarquesasmarquesansas hold their classes in french the Morcormonsmormonsmons however flourishing in the amotustuamotusTu never even attempted to digress from the native they had poetry and a sort of literature they tongue to which they owed their missionary success they and the composed the most perplexed war chants and songs of french protestants agreed on this one early view pleasuredieDleasure they also had a sort of rhythmical prose thatbhat they would repeat resting on certain syllables to remain in contact with this people to prepare which were also marked with a beat of hands with a the youth to play a social and religious role to trampling of their feet or with movements of their preserve above all its originality and personality bodies there were even legends and genealogies it was necessary to make broad and justifiable con- among which were incluledincluded pieces of religious cessions to the tahitian language mission work in history and mythology 1 a native country which did not understand that fact would inevitably fail of its own accord at the same with the evangelical changes brought first by the london time as it would add to the destructiordestruction of the spirit missionary society and later the catholic mission the native of those whom it claimed to enlienilenliahtenenlightenahten forms of chanting and singing were adapted and incorporated into religious teaching sessions even today protestant worshippers it was this kind of attitude that kept the church growing 5131 3 4 under the most adverse conditions in the amotustuamotusTu a scattered pres mckay his wife and his accompanying party following chain of 80 coral atolls extending more than 600 miles northwest that they presented a program of dances and local chgntschants the to southeast of tahiti the branch members retained the old whole program was directed by the saints themselves chants6 chants and the more conservative dancing styles besides the himenehiraenechimene taravacarava mentioned earlier other types of music includeincludedds president mckays visit edified the membership and even fafagumaguu sacred chants lamentslainenlarnents incantations and prayers types of included a short but agreeable visit with the governor of the haka dutu hand clapping chants teki and mereuru love songs island A few months later the new mission president president work songs also used as welcoming chants faatenitenifalateniteni his- christensen met for 30 minutes with the governor who politely torical chants tuatau used to restoreresree ore courage and energy and asked that the church not make unfavorable comparisionscompari sions between aparima graceful hulalikehula like dancesdancdanedancesleslebl the french government and that of the united states they had a very cordial meeting however and the next year the church was bro and sis teahuleahumariteragi and bro and sis pu mentioned allowed to bring in 20 more missionaries and to begin construction some additional types of song and dancedances kapas patautaupa tautau ute of a mormon school in tahiti riparipariparipa hivinau paoa lere mo korea mihi these I1 have yet to distinguish but I1 was assured that they were all distinct and working in papettepapeete during 1956a1956 a time of diplomacywasdiplomacy was an functional parts of the archipeligos musical lore and daily life enthusiastic young elder named thomas R stone blessed with a sense of knowing members needs and simultaneously improving along with accepting this traditional music the mission in public relations he began to organize and use the auxiliaries 1920 established the first brass band in the Tuamotus on the to full capacity he saw much potential in the natural talents island of takaroatamaroaTakaroa it was under the direction of elder leroy and energies of the local congregations and shifted the scout mallory a talented missionary whose family generously donated the proramproprogramram and youth choir into high gear he also realized the gleaming instruments to the takaroatamaroa band it was made up of needneej for the senior women to be involved in the action and sug- approximately 25 young island men who eventually mastered their gestedff ested that they get together to practice songs of their heritage new toys the group was called the pupu pu mononi elder mallory also organized the women and youth into church choirs hiriataviriata mariteragi of hikueru was appointed the first leader he is highly spoken of as the person who raised the peoples of this musical segment and she rounded up twelve faithful musical consciousness by introducing true choir concepts and women all with a tuamotu background this was the formal begin- in some instances drilling the singers english diction so that ning of the singing mama ruauauau they would meet in the chapel an unsuspecting listener might think it was an american choir after relief society or in their mormon neighborhood open the practice with prayer and share the old songs of their forefathers so it was that the tuamotu saints were blessed with such diverse experiences in music over the course of the years for it should be noted that not all of the churchs women many reasons many LDS tuamotu families began migrating to the oreciatedoreciaaddreciatedted this type of music the tahitian dialect is different main island of tahiti where the mission had established hea- from the tuamotu dialect also called Paupaumotumotu the latter being dquarters in Papeete 11 closer to maori or rarotongan with its k consonant ng nasal and other inflectional and vocabulary differences besides some by 1950 the french polynesian mission was showing positive regarded the Tuamotus as a backwoods culture my husband growth and the saints enjoyed gathering in papettepapeete or on the whose family is from takaroatamaroaTakaroa says hedheldhead fight with other boys who outer islands for conferences where choirs were always ivengiven called Tuamotutuamotuansans amu olaaopalaopaaopaga coconut eaterseaters but despite the opoortunitiesopdortunitiesopportunities to display their talents inhousein house gossip these women kept on supported by their musician husbands who also joined them in certain types of songs towards the end of 1954 the mission was informed that pres david 0 mckay would be visiting tahiti the news caused a that same year 1956 the members of the church were invited flurry of preparation among the members on jan 18 1955 to present a welcoming show of dances and polynesian chants for pres mckay his wife and bro franklin J murdock
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