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"Bring the Past to Present": Recording and Reviving Rotuman Music via a Collaborative RotumaniFijian/ AustralianCD Project

Karl Neuenfeldt

Abilru(t

This ltqter etplores a recordingpr

"l think it is veryimportant to know aboutthe old songsand the new ones as wcll. I am a loverof singingand I loveto singchurch hymns and the traditional songs as well. It is also irnportantbecausc I can alwaystell my grandchildlc-nabout the songsof the past anclpresent and thcy might know rvhenthey -qrowup whcthcr anythinghas changed."(Sarote Fesaitu. eldest fernale member of the ChurchwardChlpel's Rotu- man Choir. Suva.Fiji 2004)

In recent years an ernerging discourse in music-based studies has coalesced around the interrelationshipsbetween digital recording technologies,cross-cultural collaborative researchproJects and rnusic-researchersoperating as music producers, artistsor entr€preneurs.Greene and Porcello (2005:2) use the term "wired sound" for this phenomenon and discourseand provide the following sunllrary: Recordingstudios have become. among othc'r things. sponge-like centers where the world's soundsare quickly and continuallvabsorbed. reworked. and reincorporated into new musics.Mnsic can no longer be ldcquatcly rnodeledas sornetbingthat hap- pensin a localcontext and employsonly thc cxprcssivemeans specific to ir locality. Instead.music making increasingly employs tcchnologies produccd elsewhere lnd is infornredby a heightenedawareness of'sourrds thut afe tlavelingrapidly around the world. Wired soundtherefore ret'ers nol only to thc contcnlporancousfirct that nranyt'ri'

I ttlt . tlrcvvrld rl rtrtrsit19( I ) - 2007 Kurl Nartertlcldt.Recortlittg und Rt'vivitt.qRoturtuttr Mu:tt . tts

thcworld's musical practices are incrcnsingly wirccl together. Music (including even nrusicthat rcsists globalization) happens along a globalcircuit of rapidcommunica- tionand varying influencc. Appadurai(1990) has typified thesebroad processes as rapid,dis.junctive and globalizedcultural flows. This articledocuments and analyses a particularlycogent exampleof theseprocesses in placticeand adds to thephenomenon and discourse of how not only soundbut alsopeople are "wired" togetherthroughmusic. It alsoadds to discussionsof thedynanrics of culturalidentity and ethnicity in Oceania(Linnekin andPoyer 1990). Therehas been lirnited documenting of the sacredancl secular music of Rotuma, Fiji's northernmost island. both in historicaland contentporary contextr.l E,xisting @oarr;*t, key sourcesinclude research on chantsby Kaurasi( I 99 I ) andon danceby Hereniko ( 199I ).r Howardand Rensel (1991) and Fatiaki( 199I ) provideoverviews of Rotu- rnanculture. its derrrographics. and its socio-culturaland political organization. @fi,arrra@ The fcrcusher-e is on a collaborativerecording project between the Methodist ChurchwardChapel Roturlran Choir (CCRC) in Suva,Fiji; the OceaniaCentre tbr Arts andCulture (OCAC) andthe Media Centre ilt theUniversity'of the South Pacif- c ic: Roturrranresearcher Makeleta Mua: and CentralQueensland University. The oliginal inrpetusfbr the prcl.jectwas the presenceof Rotunran-basednrusic in the TolresStrait region of Australia.which I had beenrecording and researching. Via a Fig. /. RotunranChants and Hyrnns CD Frottt Cttvct Arrrt tr k ht' Si tttp le Art s seriesof serendipitouseve nts and encounters, an interestin themusic of TorresStrait ( 2005 ). - ( Plnto bv uut ltor ). ledlo an interestin RotLlnrunnlusic. One of my rolesin thc projectwAS as Co-producer ttf the recordingswith Nigel Pegrurn.Pegrur.r.r is an experiencedrnusician, sound engineer and producerand has Individualsproducc iutd consul.nc music within spccil'ic socill colttcxts (households. probablyrecorded and sold more Indigenous music than any other producer in Aus- ncighbourhoods.ctc)l at spccilictimcs or historicalmorncnts: within spccific nct- trafia throughhis work with Aboriginal tlid.jeriduisrDavid Hudson(Neuenfeldt worksof socialrclationships (involving kin. pccrs. collcagucs. r-tc). rclationships that 2005). I was also ExecutiveProducer in collaborationwith representativesof the havcdifl'crcnt dimcnsions (social. political. cconomic). Peoplc's experiences of mu- ulbremc'ntionedortunizutions. sic,thc uscs thcy havc lbr it.irnd thc nrcanings thcy construcl nrour.rd. orthrough it. alc The mainresulls ol theproject irre two CDs.l One. Rt,tuntttnClrttttt.s und Hymns boundup with thcsc spccilicitics. and with thc intcrconncctions be't*,ccn thcrn. (Cohcn (FigureI ), wasreleased in 2006under the auspices of theOCAC andl-eatures tradi- |993: |35) (lra(' (/rrulogrr). tionalRotunran sacred songs ku pelu)and seculiirchants The OCAC Music.especially within a diasporicpopulation such as Rotunrans in Sr.rva(lrava (volunte holds copyrightin the recordings.The other,Cltun'ltwurd Chapel C/lr.rrr 199I ). perforcepla)'s a role in fashioning"the changing social. territot'ial. and cultur- two). wasreleased in 2006under the auspices of theCCRC. which holds copyright in al reproductionof eroup identity" or "ethnoscape"proposed by Appadurai therecordin-ts. It features thelrrrA ku pelu hymnsand anthents arranged by choirmas- ( l99l : l9l ). Music.howevcr, is notjust the recordings thernselves or thetechnologi- ter SanruclaTaukave. The reasonswhy thetnuk ku pelu hymnswere used twice will cal andindustrial processes that underlie theircultural prclcluction; it is alsothemak- be addressedbelow. This analysisfcrcuses rnainly on the RotLurrurtChutts arul ing of rneaning.Insights into how Rotumansmake meaningvia the n.rusicand the Hlllrs CD. projectatre revealed in theethnographic data. Theoretically,this paper uses a conrbinationof culturalstudies, ethnomusicolog- I mustnote at theoutset I makeno claimto in-depthkno'nvledge of Rotumanmu- ical andethnographic perspectives. Taken together they help to unravelthe musical- sic or culture.I am very rnucha novice.However. through doing music-recording ly linkedthreads that infornredthe projectand the resultingrecordin-es. Sara Cohen projectssuch as this an inter-estedacademic researcher and a culir-rusmusic producer providesa usefuloverview of how suchconfluences can be viewedfrom a cultural or;tof necessitymust leam nrole about a distinctsocial group. Such research helps to studiesperspective that profits fronr an ethnographicelemetrt: ,taininsights into the lnusic and how tt'ranalyze zrnd produce it to rellectappropriate- ly theculture. society and ethos from which it arises. Karl Neuettleldt.Recordin,q und RevivingRotunrun Musir' . 86 . rhev.orklol'nrusit'49(I)-2007 87

that inform pretedas a resultof contactwith EuropeanizedPacific Thereare several underlying and overlapping topics investigated here Islanders."Although the gen- includethe role of eral populationdoes not alwaysrecognize the origins o1these influences the projectsas examples of ihe "wired sound"phenomenon. They today,some of music in di- TorresStrait Islandersare awareof them. digiialiechnologiesio facilitatesuch projects; the role and evolution andchallenges Immigrantsfrom Rotuma were only one of many groups usiori. commuriities(in Tones Strait,Australia and Fiji); thebenefits of thoseEuropeanized of music re- Pacific Islandersin Torres Strait. Although not necessarily of collaborativetransnational musical research projects; and the role relatedconsanguinally theydid constitutea discemablesub-group within thewider pacific Islander popula- searchersas musicProducers. tion. For whateverreasons, Rotunrans have left recognizablecultural tracespanicu- larly in the islandsof easternTorres Strait, Erub (Darnley) and Mer (Munay), al- though the Pacific Islanders' presenceand movementswithin l. The Torres Strait Connection those islands were fraught with difficulties (Shnukal 1996).The title of a rccentedited collection of re- (and in Torres searchabout Torres Strait Islanders,woven Histories, (Davis Becausethe projectsarose from an interestin Rotumanmusic dance) DrtncingLlves 2004), over60'000 Pa- highlights that for Islanders identity. culture and history Strait,it is usefulto examinethose linkages. Between 1863 and 1904 are often interrelated throughmusic and dance.One interestingfacet of theircontemporary cific lsli.rnderimmrgrants from all over Polynesiaand Melanesia-predominantly culturalheri- andpasto- tage and performanceculture is the influenceof Rotuman men-came to work asindentured laborers in Australia'smaritime' sugar immigrants.In Beckett's themaritime (198l:l) opinion:"Island music and Islanddance are ral industries(Shnukal 1992). They constituted a sizeableproportion of not traditionalto the Torres providedthe great Strait. Like Islandhymns, they are the productof the workforce in Torres Strait for sometime (Mullins 1995)and also secondhalf of the nineteenth music century,when Torres Strait was'civilized'.... Always majorityof Christianmissionaries. Consequently Pacific Islanders influenced receptiveto new things,the or adapted Islandersreadily adopted the music anddance of theseoutsiders." unJ don.. performanceas some imported musical genrcswere adopted This hasled to the religionor distinct syntheticform practicedtoday and as documentedin anclother local ones banned because of their connectionto pre-colonial the historical record- had ingsof Lawrie( I 970),Beckett ( I 98I andLaade (1919). perfbrntanceculture (Lawrence 1998). Because the PacificIslander immigrants ) thetrade lan- Accordingto theelderly informants Beckett ( 198I recorded (Murray) teen Christianized,had experience dealing with Europeansand spoke ) on Mer Is- thenew land in the late 1950s,there were clear distinctions guagePacific Pidgin English, they became "the principalmediators between madeabout the provenanceand Islandercustom...and agents of social era ofdifferent popularsongs that hadoriginated from variousislands such as Rotu- icol,oniallorder and indigenousTorres Strait and cultural ma,Tanna, the SolomonIslands, Samoa and New Guinea. and cultural transtormati,cn"(Shnukal 1992:6).Their actions,attitudes Amidst all thesediverse Straitcustom genres,Rotuman music anddance were well regarded practicesimpacted on whatis now knownas oilan pusitr: that is, Torres andcame to be known asTai- sensethat: "They werestrong. well bobo in both Easternand WesternTorres Strait.4Performance aesthetics remained ii.e.. tstanctFashion). They became an elite in the healing,and rclativelyintact in theeastern islands but wereadaptecl paid.and many weremission educated, knowledgeable in sorceryand into anothertransitional mu- with local women sicalgenre called Company Rice in the westernislands irad traveleclwidely" (Shnukal1992:8). They also intermarried althoughthe dancemove- to diseaseand dis- mentsremained recognizable. Musically, in the easternislands and had largefamilies amidststresses on Indigenousfertility due the chantsconsisted (1992) notesthat many of two-part,over-lapping singing that could be continued location. Basedon detailedgenealogical research, Shnukal indefinitely,which wasan Pacificdescent' aid to prolongeddancing. In thewestern islands, the singing Eastern.Central and Western Islanders today can demonstratesome wasin unison.Islanders 1906follow- cameto usewaisted drtms (warup/buruburu) The majority of PacificIslanders in Australiawere deported around tradedin from New Guineaor gorlku- It wasa legisla- /ap bean-seedshakers as percussiveaccompaniment ing on fromthe passageof thePacific Island Labourers Act of 190I . althoughthe Rotumanshad aimedto en- usedrolled up mats.Laade ( 1979)noted on Mabuia-eIsland tive andaclministrative outcome of the white AustraliaPolicy, which rnostlyelderly men and "white privilege" in women performedRotuman songs and dancesas entertainment sure the "purity" of the so-called"white race" and protect at weddings,but he somePacific Is- couldobtain no texts. employnrentand education.However in some areasof Queensland somewere al- Choreographically,the Rotumandancers reportedly performed landerswere allowed to remainor evadeddeporlation. In TorresStrait bare-chestedin families' com- trousers,wore blue paint and usedbanana leaves as decoration. lowed to remain if they had maried local women or had established Their dancemove- policiesand mentswere setas ensemblenot individualisticactions munitiessuch as St Paul'son Mua Islandcan trace their origins to such and they faced the audience. of Pacific Accompanyinghand-actions might suggestmaritime populations.Shnukal (1992:14) assefis that the socio-culturalinfluences work suchas winding or haul- Strait Islander ing ropesand sailsor usinga steeringwheel. They also percussive istanclerson Torres Strait Islanderswere profound: "modem Tones aRotumans ett 198l). I usethe termgenre in the senseof "a setof musicalevents, real gr.pgssr not giftedthe dances irnd music to themspecifically and thus other Islanders should ble, whosecourse is re-tulatedbv a definitearrangement of sociallyacceptecl r-ulcs" (Fabbri performthem. This is a bit paracloxicalas Mer Islandershad been instrumental in the 1982:136).These have changed over the generations:however, fbr.sorrrc expulsionof PacificIslanders such as Rotumans from Mer (Shnukal1996). TomesStrait Islanders Rcltuman influences are still recognizedas impoftant.6 Torres To attemptto ascertainif recognizablemusical traces existed between Throughthe above-nrentionedcontacts it waseventually decicled pegrurl and I StraitIslanders and Rotumans. I playedsome of theBeckett recordings to Rotumans would travelto Fiji in late2004 with recordingequiprnent to recorclthe Churchward in Suvaprior to therecording sessions. The "old" son,qswere unfan.riliar to younger chapel Choir at USP in thefirst collaborationbetween the oCAC andthe Rotuman with the Rotumansancl only a few elderlypeople could recallthem at all, usually community.we had doneon-location Indigenous recording projects in the Torres commentthat they had not heardthem sincetheir grandparents'era' This is under- Straitregion of Australia(Neuenfeldt 200 l) andelsewhere (Crowdy and Neuenfelclt Strait starrclable-9iven the versiorls perfbrmed even in the late1950s-1960s in Torres 2003)and we werekeen to broadenour recordingexpelience. Choirs retluire differ- language production '.live" hadcome with Rotumanemigrants in themid to late 1800s.Consequently, ent techniquesbecause they are usuallyrecorded without multi- into rneaningand pronunciationor original contenthad beenlost or transformed tracking.consequently. the "takes" rnust be asgood as possible because it is impos_ "fix-it-in-the-mix" somethingthat certainly had traces of Rotumaninfluence but was muted or mutated'5 sibleto larer.Aside frorrr minor editingand sound shapinr: (such the Beckett Consequently,it wasdecided not to try to recordany ofthe chantson asreverb and equalization). a choirrecorded on minimalmicrophones is rnuchmore by h3ving of an "organic" recordin-cs.In someways trying to tracemusical linkages was complicated musicalevent than rnulti-tracking. It capturesthe imnrediacyof the ..flaws" to dealwith two complexdiasporas: that of Rotumansto TonesStrait and that of Ro- musicalmonlenf and also any in theperformance. tumansto Fiji. Given that suchmass movements of populationsare commonplace The diversityof Christianizedmusic in Polynesiais vast(Garrett 19t32: Stillman theflows of 1993). acrossOceania. sirnilar challenges face other researchers trying to track Due ttl Rotuma'slocation at the intersticesof Melarresia.Micronesia ancl culturalidentity. ethnicity and the politics of culture(e.g. Linnekin and Poyer 1990). Polynesia-as well as diversedenonrinational influences (wesleyan and Roman Catholic)-diflerent musicalgenres of sacredsongs have circulated there. Conse_ quently' the choiceof repertoirefbr the recordin-eswas left to the cliscretionof the CCRC. 2. The Project and ProcessofRecording However.it wasdecided at theoutset to recorclenough material for two CDs with slightlydifferent mandales. The CD for the CCIRCwould containtraclitional The project arosedirectly out of a chancemeeting with OCAC director Epeli hymns(from themak ko pelu genre)ancl anthems, thereby paying homage to thepast for while Hau'ofa at a conferenceat the AustralianNational University's Centre Cross- celebratingsimultaneously newer musical genres and arrangements.The CD the OCAC wasdoing for the OCAC would CulturalResearch. Duting casualconversation he rnentioned containthe sante traditional nmk ku 7rt,/rrhymns as well 1stra- recordingprojects with emphasison fusionmusic (combining different C)ceanic mu- ditional secularchants, thereby documenting-and possiblyreinvigorating-rwo sicaltraditions). Some OCAC projectsspecifically record innovative fusion tnusic. senresof Rotunranmusic. They would be marketedand sold separately. For example,Veivosaki (2004) blends music fiom Fiji andthe SolomonIslands and To recordthe musicto its bestadvantage we transportedto Frji two eight_track The liner-notes digital featuresthe collaborationof SuliasiTuilawalawa and Calvin Rore. recordingmachines (a TascarnDA-3g andDA-gg). a 32-channelmixer and a fosterlthe selection by Hau'ofa(2004) stitte: "one of OceaniaCentre's main ob-iectives Iis to of hi-ehqu'lity microphones.Such portable recording equipnrent-in es- emergenceof truly regionalOceanic art forms thattranscend our cultural and nation- sencea mobilerecording studio-is not the mostup-to-clate available (e.g. comput_ er-based protools) al diversity."They alsodo projectsbased on traditionalmusic genres. recordingsoftware such as but it is very robust.It had proved its music,we suitability Given my personaland professionalintetest in recordingIndigenous andreliability during previous on-location recording projects in the trop_ on routeto ics; continueddiscussions about a possibleproject and I briefly visitedFiji humidity,salt air andinconsistent electrical power supplies can aclversely affect and cligital North Anrericit.Af aboutthe satnetime, MakeretaMua. a Rotumanresearcher equipment.Once the tracks were recorcled the.r, could be easilytransf.erred to 90 . theu'orld ol nusiL'19(I) - 2007 Karl NeuenJbldt.Recording und RevivingRotuman Musi<' . 9l back-upmedia. taken to Cairns.transfered to Protools,and then mixed and mastered ed in TomesStrait, it alsoprovided an aural link to Australiaand evoked the Rotuman in a fully equippedrecording studio. Becauseof digital technology,on-location re- diasporato TorresStrait to work in the maritinreindustries. cordings can provide high-quality data that can be manipulatedto "industry-stan- The recording sessionswere trouble-free;we had not encounteredsuch a high dard" during the post-productionphase. level of professionalismin the community or church choirs we had recordedprevi- The sessionstook placeat the Media Centreat USP, which hasa largetelevision ously in Australia.It soonbecame obvious to us thatsinging was taken seriously by studiospace suitable for a thirty-memberchoir. The SeniorVideo Producer,Melanie the Rotumancommunity and choir ratherthan being a casual,ad hoc activity associ- Guiney, and her staff assistedwith organizingthe venue,which proved perfectfor atedonly with episodicacts of worship.It wasworship certainly but it wasalso im- the project.It was the prefened venuerather than the ChurchwardChapel because buedwith a high levelof precisionand pride. Given thehistory of competitivechoir the chapelis locatedon a busyroadway in Suva(Rewa Street). The recordingswould singing in Fiji suchan approachis not unusual,but as novicesrecording for the first have beendifficult to do properly with so much extraneousand invasivenoise. Of time in Fiji it was a pleasantsurprise to us. The recordingswere then taken to Pe- coursethe quality ofa choir'ssinging is thekey ingredientin sucha projectand the grum's recordingstudio in Cairns,Queensland (Pegasus Studios), mixed, mastered ChurchwardChapel Rotuman Choir was very well rehearsedand disciplinedunder and sentback to Fiji for final CD production.Fiji-based Simple Arts did rhe arlwork the musicaldirection of choinrrasterSamuela Taukave. One or two takesof a song for RotumanChctnts and Hl,ntns(Figure 2). All post-productionactivities, CD press- were recordeclafter the usual preparatoryprocedure of outlining the processof re- ing anddistribution were handled by the oCAC and theCCRC for their respecrive cording,adjusting microphone placements and relaxingthe choir-and producers.In CDs, which were sold to thoseinterested in the music of Rotumaand Oceania. the contextofa normal churchservice songs are not repeatedso it is a challengefor a choirto repeata song.However, because of theirdiscipline and obvious fervor for the contentand intent of the songsthey were able to repeatsongs when required. 3. The Recordings There were only a few minor adjustrnentsmade for recordingthe performances. For thenak ketpelu hymnsthe volume of thebell (a rnetallicidiophone) had to be at- Some of the genresrecorded were chosenspecifically becausethey are inrportant tenuated.Such a bell is known as a nrck pel when usedto accompanya particular componentsof the Rotumanrepertoire albeit arising from older traditions.Such a kind of hymn (Howard 1998).In this instanceit was a disusedfire alarmbell and considerationis part of the OCAC's mandateto documenttraditional Oceanic music consequentlyhad an extremelypenetrating sound that spilledonto all the micro- aswell as innovatevia cross-culturalcollaborations. The new wordsand translations phones.Playing it more softly quickly rectifiedthe sonicimbalance (see interview into Englishfor someof the chantsare by the Rotumancleric, Reverend Iven Fatiaki. extractsbelow for commentson recordingthe bell). For the anthemsseveral takes Consistentwith traditionalRotuman rnusical practice, some were written specifical- were requiredto get an adequaterecording level whensolo voiceswere featured. Fo- ly for the occasion(the project). They arenotable for their eclecticand currenttopics cus on an individual voice is arguablysomewhat of a departurefrclm the cotrventions but are mainly connectedto issuesarising from the Rotumandiaspora to Fiji and of thechoir genre. Analogously, Goldsworthy ( 1995:31)has noted that "Fijian musi- elsewheresuch as Australia(Howard and Rensel200 I ). The anthemsare more com- cal aesthetics...accordspriority to groupperfonnance (not individualexcellence)." nronly performedbut new versionsare alwayswelcome. However,the adjustmentswere accomplishedquickly oncethe choir membersknew The traditionalchants are presentedon the CD in an extendedsingle track (8:32) our technicalrequirements. with one following the otherquickly. In keepingwith contemporaryRotuman per- For the traditional secularchants, we had to regroup the singers into a circle formanceculture the songsconstitute a "complete"performance (Howard 1998):at arounda pile of folded mats.Some members struck these with sticks,a hallmark of leastone exampleof the different genresis presented.The first two are sua. As a Rotumanperformance practice (Eason 1951:.23cited in Howard 1998).The micro- noun,rrd translatesinto English as "a songcomposed for a purposeand with a mes- phoneplacern€nts were changedto capturethe more centrally focusedsound. This sage.As a verb, it meansto sing" (Hereniko l99l:126). The srrc recordedfor the was in contrastto the forward-facingchoir that hadbeen recorded for themak ka pelu projectarguably fit within the "action songsand dance"category proposed by Kaur- hymns and the anthems,with two microphonesin front and two at the sidesto cap- asi ( 199 I ) basedon topicsand the mixture of local and internationaltropes noted be- ture the ensemblesound. Vishal Kumar from the Media Centrelater recordedat the fow. The tiap hi songextends greetings to relativesand friends living in Australia. chapelthe large log drum (/a/i) played by Vilisoni Fauoro,the CCRC's chief stew- The tiapforau songrecounts the inter-relationshipsbetween the migrants,the pearl- ard.It is usedto call peopleto worship.The soundof thelali was blendedwith sound ing industryand how peopleback home on Rotumabenefited. The final songis a tra- effectsof wavesfor a brief preludeto situatesonically the nruk ka pelu hymns' island ditionalchant about abird (swamphen). Drovenanceas suchdrums are usedon Rotuma.Because the waveshad beenrecord- What follows are some examplesand summariesof the traditional chantsand makka pelu songs,Twhich acknowledgeand thus link membersof thehistorical and 92 . tll( trorl(l of nusi<'49(I) - 2007 Kurl Neuenleltlt. Reconling and Ret,iIittg RtttttrrturtMrr.sit .91

backwith themmaterial goods such as marble tombstones. wood for housesancl bi- ' the migrationof Rotumans t . The first two sua" are reflectionsof cycles.They alsobrought to Australiaand the experiencesthey and their descendants backwith themBible translationstiorn Tasmaniu. encounteredover time. Clirtgto theBible provides a goodexample of thenrrrk ku pelu hymns.Its prove- The "tiap hi" offersgreeting and good wishesto Rotumanrelatives and friends in Australia. nanceis the RotumanHyrnn Book (#143)with musicby SaverinaTaito and worcls "tiap migration.ofRotumans to the Torres The forau" refersto the by C.M. Churchwardand M.J. Smith.The first verseand the chclrus show the ceneral Strait in searchof better opporcrJnitiesin the pearling.industry'. their experiencesand the benefitsderivecl by their relativesDacK tenorof thehymns. home in Rotuma. 'ort 'uitu/ The lastpiece is a traditional.songabouta Heron Mo nm kikiuse 7nk Irisne nn .sirtkut p ru ltt :;ur/potokoxtu ne'ne'l huni- Rotumanstha[ tne 2. This p'arcicularbeating of the lali informs sis/'E'onlulogu lu taunru'itur. churih serviceis about to begin Clingto theBible tho' allelse be taken/Lose not rts 3- RotumanHvmn Book(RHB 143) preceptsO preciousand pure/Souls that are sleeping its tidings awaken/Life fiom the 4. RHB140 deadin itspromise sure. 5. RHB306 6. RH8 209 Pukut'ttitunu se.funnri/'ls 7. RHB304 kopla nq sinnta'is ululun. Clingto theBible (x3)/Our lamp and our guide. Produced by l'url Neuenfeldrand Nigel-PegPq: Rgcold"g 9yj..|'-9.:l Pegrumat the Universiryof the South PacificMedia centre' Suva' As anoutsider involved in theproject, there are several noticeable elements in the No:vember 2OO4ald mixed at PegasusStudios, Cairns' Australia . Production assisance and culturalliaising by MakeretaMua Special recordings-analyzableas texts and performances-thatare unrelatedto the pro- at rhe oceania thanks to ProfessorEpeli Hau'ofaand the smff cessesof theircultural production on theCD. l'he chantsare musically and rhythmi- Centre for the Arts &'Culture'Melanie Guiney and the s-taffat the Video ProductionUnlt' MediaCentre at the Universityot the soutn cerllycomplex. Considering some of the choir nremberswere untamiliarwith the SamuelaTaukave' chiet Pacific.Reverend lven Fatiaki.choir master chants,the performances yet stewardViliioni Fauoroand all the choir and church members for areassured exudean ambienceof spontaneity.As noted their hospitalityand great musicianship CD and cover graphics earlier,it canbe a challengefor a largegroup of singerssuch as a choirto do repeated by Simple Arts. "takes,"In this inslancethe performances arguably retain the senseofthe socialoc- casionsthat would haveinformed their originill use as vehiclesof enteftainmentand informaleducation. Thematically, the actions Flg. 2. Rotumanchants and Hymns CD Butk Co|er Artwork bt'Simple Arts and adventurousnessof ancestorsare recounted.the difficulties ( Plutto hy uuthor, 2005). andbenefits of migrationnoted. as well asthe urge to keep contactnotwithstanding the geographicaland generationalclistances. The mak ku pelr hymnslikewise reveal a complexityand sense of spontaneity,albeit couched in contemporaryRotunran diaspora. Of thetwo .$l,lrr(rl,q.r, Kapa Roa'iu SeLolttgu and Christianrhetoric and musicalgenres. Underlying all the recordingsis a senseof a Tliti't,eTu Foruu,thelatter has an explicitconnection to theditrsporic Rotumans and communitythat nray be dispersedyet canmake connections via dormantyet recov- is couchedin the maritimeand mobile metaphor of seagulls. erablecultural practices (the chants) and an abidingcommitment to Christianitv(the 'onu 'c hymns / tt.titt tnrttt kultttt' rtrtlttt andanthems). Ttftu,qtt.lturu f tirlit e tu .litruuu/ 7'u'unoa .seu.fu gu H ttttltt ycar vusul Kupu rou p()(t ne R2tuuntse nruounl Hi'iu-e/ Hi'ie hie ftle. In the dying scagullsmigrarcd/ Find thcmsclvcs in a ncw cnvironment IAustralia]/ Visiting friends living lblorcl/ Reviving identity. nol to bc forgtltten 4. Rotumans' Comments on the Project TheTittpHi songis evenmore explicit: naming some of theplaces Roturnans live 'fhe immediatelypreceding analysis is thatof an outsider,a fbreignerfunctioning si- in Australia.including Torres Strait. Although there has been no directmigration to nrultaneouslyas a music researcherand a music producer-two quite discreteyel the Tones Straitsince the late 1800s.the migratnts'descendantsare still collsidered sometimescomplementary roles (Neuenfeldt 200 l). In orderto getmore of an insicl- part of the diaspora. er analysisof the projectand the recordingsit is fruitful to turn to interviewsclone ne Sydnet',Cunlterro, Melbournc, AdeluidelMu.fuktttrn' ne Britlxtne. Mttttrkutprt' 'l with someof theprincipal Rotumans involved. The interviewswele conducted at the ne Kesrttttste'/ll4ajhu.fo'ttu Iu ptrlte'Be' Dttnt,itt.Perth h4ttTorres Struit/gtlultrn Churchwardchapel in 2004a shorttime afterthe recordingsessions. Rotuman re- friendsin Syclney,Canberra. Melbourne. Adelaide/Beloved fiiends in Brisbane. loved searcherMakereta Mua facilitatedthe interviewsand sheand I conductedthem. In Darwin. perth and Torres Strait/Theblessing of Christmasand thc happincssof the someways she acted asade.fhcto culture broker for theproject. However, as a junior bc rvithus all. NervYear tnember 'eake of the community-based on ageand possibtygender ancl also as a non- first line"Jenegu ut'u kot kanro- The song TictpFctruu,identified here by its choir mernber-shewas perchance simultaneously both an insiderand an outsider. industries.They brought td". alludesto Rotumans leaving home to work in maritinle Indeed,the projectrnay also haveoffered her an opportunityto learnmore aboutthe 94 . the*'orld ofntusic49(l) -2007 Karl Neuenfeldt.Reutrding and RevivingRoturnan Musit . 95

"homeland"culture via its revivalwithin Suva'slarge diasporic Rotuman communl- 1F.'Thatis very importantbecause as time changes people tend to movcwith dc- ty. More Rotumanslive off-islandthan on the island itself (Howard and Rensel velopnrent.seeking better education. health and betteropportunities. Being away 1991). from thecenter [of theculture] will graduallymove them away from theculture. Mu- The intervieweeswere Reverend Iven Fatiaki (at thattime the residentminister of sic andmusic festivals can. in a way, bringthem together and help to nraintaintheir the ChurchwardChapel), Samuela Taukave (choirmaster) and SaroteFesaitu (eldest identity eventhough they are so far away frorn the island.Music can of coursehold choir member),(Figure 3). In order to retainthe flavor of the interviewsand give the them and bring them togetheras a people. Rotumans' perspectivesprecedence, they are presentedhere in their original form KN.' Sarote,what enjoymentdo you get from singingthe old songsas well as the with limited editing only for clarity or brevity. Initials are usedto denotethe inter- new songs'/ viewers'questions and the interviewees'responses. They illuminatethe project's SF..I think it is very importantto know aboutthe old songsand the new onesas majorunderlying ethos as well ascommunity. religious and personal imperatives. well. I am a loverof singingand I loveto singchurch hymns and the traditional songs as weil. It is also importantbecause I can alwaystell my grandchildrenabout the songsof thepast and present and they nright know whenthey grow up whetherany- thinghas changed. KN.' How did you feel then when you heardthese songs that we recorded,espe- cially theolder songs being sung in new versionsor with thebig choir? SF.' Yes, I sang some of those anthemsand took part in the solos when I was younger.I left the choir for so many yearsand I carneback to the choir becauseof my love for singingthe church hymns, anthems and the culture ones as well. As you can see,I am now 72 yearsold andI still wantto be a partof thechoir. KN; Samuela.as a choirdirector can you tell me what is the challengeof taking someof the oldersongs like we did on partof the projectand adapting them or ar- rangingthem for thepeople in thechoir now'J SZ.'WhenI startedI followedwhat the previouschoirmasters were doing. I was fbrtunateenough to attendclasses at the University of the South Pacific with Ueta Solomonaand startedlearning more aboutmusic. That is how we startedto develop anduplift our standardof singing. KN.'ReverendFatiaki, what messageare you trying to get acrosswhen you are composinga songboth as worship as well asmusic'? IF; Composinghas the same formula as writing a composition.You haveto have Fig. -1.kttutnans involvedin Interviews.L-R: Reverendlyen Futiaki (Resident a contextand a textthat you wantto relateto thepeople through music. And thecon- Ministerot tlrc time).SamuelaTaukat'e (Choirntaster), Sarote Fesuitu (Eldest Choir textcan be verycultural or sacredand that makes a difference.when singinga secu- Member),Makereta Mua (Re.searcher)-(Photoby outhor, 2005). lar song,you havea culturalcontext that expresses the current life ofthe peopleand perhapsrelating to the pastlives of people.But with sacredmusic it hasto help the people"float" to a certainlevel wherethey will meet their Master,be inspiredand KN.. ReverendFatiaki, what do you think is the importanceof using music in come out refreshedafter the service. Rotumanculture? church servicesand socialsituations to help maintain KN.' Do you ever get a feeling when you are in the middle of the serviceor ser- the music hasthe powerof IF: Well, I think it hasa greatsignificance because mon thatthe whole congregation has gotten the message or thatthe musichirs helped getting peopletogether. Music will of coursehelp the peoplebring the past to deliveryour text? The happeningsof the pastcan be related present.remembering what hadbeen done. 1F.'Yes, but I thinkthat all aspectsof worshiphave the same importance. We can- andto maintainthe culture. throughnrusic to perhapsrevive what had happened not saythat the nressage itself has more importance than the singing.The sittingto- importantis for the Rotumansliv- KN: For maintainingthe culture, how [music] getherof people,the gathering,their singingand prayingand the messageas well ac- Rotuma?How do you usethe music to ing in Suvaversus the people who still live on countsfor the whole thing. Eachpart of the servicecontributes to the totality of the keepconnections to the home islandor to developsomething new in Suva? service. . - 96 rhe tt'orltlol rrtusit49( I ) 2007 Kurl NeuenJeltlt. Recortling and Revivitrc Rotunrun Mu.sit. . 97

KN.'So.how do you feelthe first linreyou hearone of your songsbeirrg sung hy Forexample.ifthereisafuneral Ihavetoleadtherrandspeakontheirbehall. Inthc the wholecongregation'l beginningI wouldask the Elders in thechoir to do thisfor me.But becauseRotunran /Fj I think it is an amazingthing-you feel like cryingbecause it is you who pro- is n.rymother tongue it was not that difficult to pick up on the language. ducedwhat the people are singing. So. it is quitearnazing. MM: As choirmaster.what are someof the culturalchallenges you face when KN.'Dclyou everget the feelingthat you lpersonallylare not really writing the dealingwith choirnrembers 7 "higher just song'?That a force"is writing thesong and you are themedium through sz: It is very challengingbecause sometimes I speakin Rotumanto them and I which it goes'? noticemy Rotumanis inaccuratewhen they laugh. I overcomethese language prob- /F: Yes.I anr.justdoing the work but the Masterhelps me do it. It's not me.That lems by just speakingin Englishbut thenI try and improverny Rotumanthe next is how I t'eel. time we meet.Another nrajor challenge for me is speakingin Rotumangatherings MM: Reverend Fatiaki.the five traditionalchants that yclu adapted for theCD- wheneverthe choir is invited. what inspiredyou to write Inewwords for] thoseparticular chants? KN.' ReverendFatiaki, what would you considerto be a qood outcomefor these /F: Well, I love theRotuntan culture and because of thatyou haveto be a person two projectsthat we aredoing? with greatobservation. Because of that I love composingsongs that relatethe past /F: well. I think thereare two irnporrantareas. Firstly. economically when the happcningsto thepresent happenings. I was so happyto writeabout the lives ofthose discsare reproduced and sold. Secondly. they will helpthe people to grow culturally. Rotumanswho wentto theTorres Strait. As a Roluman,it is my honorableduty to do When they havethe discs in theirdifferent homes they canlisten to Rotumanmusic ir. while attendingto theirdaily chores. Moreover, lthey will helplto holdthe choir Ito- KN.'Sarote,could you tell me what feelingyou get whenyou are singingin the getherlas a people.I talkedwith thechoirmaster about copyright but I think with our middleof thechoir? identityand culture we haveno fears. SF: I feel very good becauseI am the oldest nremberof the group and when we MM: Apan from singingin the church,what are the other activitiesthat choir singthose songs that I usedto singduring my youngdays it reallymakes me feellike membersare requiredto partakein? cryingand I f'eelvery emotional and happy as well. s7.' we are sometimesapproached to perform for a wedding.we do a haJa.The KN.'Sarnuela, being a choirmasteris as rnuchabout work as it is aboutworship. word hoJais theRotuman rranslation of the IEnglish]word "half," meaninghalf the So how did you feelwhen we wererecording the other evenins and we hadto re-do perfbrmersare men and the otherhalf is women.The hctJais the actualperformance a track'l by rnenand womenof the Rotumantraditional dance known as lhefttutctga. we are SZ: Befbrethe actualrecording we had approachedthe ReverendFatiaki to pray alsoasked by peopleto do theentrance and exit songsfor weddingsin church. for us becausewe didn't expectit to be that ensyor that fast but I thankthe choir KN: Sarote.how did youfeel on Fridaynight when you heardthe old songsbeing menrbersfor theirpatience especially for thosetracks that we hadto re-doagain and sun-sl'? again. sF.' I know thatthere are a lot of themembers of thecongregation who usedto be KN: Yes,it is theeasiest project Nigel Pegrumand I haveever done because the choir membersbefore who would renremberthose songs. I f'eelemotional and happy choir is so well rehearsed. aboutthose songs... especially the anthems because they were sung by usmany years MM: Sarnuelaand Sarote. does being a menrberof thechoir improveyour Rotu- ago. nranlanguage skills'l MM: what rre someof thechallenges faced in attractingthe young Rotumans to SF: I think so.I've noticeda lot of theyounger generation speaking a lot of En- thechoir'? glishat homebut whenwe cometo churchwe speakin Rotuntan.The hymnbookis sr: Beforejoining thechoir. there are certain rules that you mustknow andfol- writtenin Roturnanand we haveto sing in Rotunrarrunless the choirntasterhas an Iow. Many youthsjoin thechoir without fully unrlerstandinqthose rules. I usuallyal- Englishpiece for us to slng.I think beingin the choir helpsimprove

(and cally.especially experiencing lirst-hand the links to TonesStrait Islancler tnusic Taihoho. a fornr of RotunranIsland ij:rncin-gliom u,hich rnenrLrersol'the truup hlrc llrrrilr well-intentionedadvice, we learntsome of the connections.... IHcad Dancerl May lPassil said nrost of the group arc of Roruntarrdcsccll. dance).Through trial and errorand 'We 'l'hct went to showcascour talcnt and to establishlinks with our Rotuman protocolsnecessary for collaborationin a RotumaniFijiancontext. But equally'im- rclativcs. sought us out befbre wc had thc chancelo contactthL.m.' Mly saiclshe discovereds5c- Sitrj portantlywe gotto hearsome unique nrusic and broadened our musicalhorizons' We about 60 relittivesand understoodthat rcprcsentedabout a quarter of her larnily on Suva. projectwith any of the collaborators. 'They woulclreadily undertake another perfbrmedthe Marnasawelcome celemony for us with scvendistrict chiel,s present."'

7 Thc songson lhc R()lunuil ('lurnts unt! Hllrrrs CD we. Kupu Rru'iLtSc Lul()!4.Tiirtivt,'l'u Foruu.Titt1t Hi.Tiqp F-ontu. ,:.nd,a chant. The rrrr( lrr 7rr,/lrhyrnns are'.When We All G4 to 'Elaise, Acknowledgements Heut'etllRotttttttut Ht'ntn Bool 30-l/Alexandcr'sHyntnal 136Music by Foraete Wor

References Notes Appadurai.Arjun inlirr.matign(.)n Rotuma is lclcatedat: (acccsscd l9 Janualy20()6). The sitc hasbecn used to adVcrtisethc a1 (accessed l9 January 2006). "Global cD 199| Ethnoscapes:Notes and Qucrics lirr a TlansnationalAnthropology." in Rich- Tr.acksfronr the CD are at: (lcccssccl22 Januury2006). AIscr of interestis Hoii'ard's ingttrnPrcss. nlan plescnccon the World Wide Web. Bcckett,Jercmy (1998) a succinct ovcrview ancl (lccessed l9 January2(X)6) AustralianInstitutc ol AboriginirlStudies. chants Another resultof the projectwas thc 2006 inclusionol'one o1'theRotuman traditional Cohcn. Sara singer Henry'(Seamitn)Dan in a CD. Lylund lUut'. h-VTorrr-s Strait Islander tlusiciirn and f 993 "Ethntxraphv irntlPopula'Music studics." I'rtrtulur'/l/rrsir' l2(l);123-3fi. (]006).HisCD,PttJectPzrttl.wtlnanAustra|asianRccordinglndustry(ARIA)Arvardtcrr Crowdy'.Dcnrs. and Karl Ncucnl'eldt st World Music Recorcling in 200,1 and Islantl Wc} was nominated fbr an ARIA in the same Be 2003 "The Technoltl-uy.Acsthctics rtnd Cultural CD with Politics ol'a Collaborative.Transnati6nal clte-sory in 1006. Tlre Rotumatr stut. KtrltrtRrxt'iu Se Lalo,ga.begins and closes the Music RecorclingPrtt jcct: Vciga. Vciga anclthe Itinera:tt Overdubs." Tntn.rfitrnntiptt.t Dan singing in English about his own ancestrallinks to Ocelnia alheit not Rotunrain Seaman (7 ) . parlicularbut ratherNew Caledoniaand Nuie. Dan. Searnan nrain indigenouslanluages spokcn in the Torres Straitrcgion arc Kala Lagaw Ya in Thc two 2(X)6 l.rluttdll'u.t CD. .SteadvSteadl Music Tll00l. Bor 1,5-1.Thursdav lslanclAustlulia Mir in the Eastern islands the wcstern islancls(related to Aboriginal languirges)and Merianr 4U75. (rclatcd to Papuan languages).Historically the twcl languagegroups had extensivetrading Davis. Rtchard.ed. r.outeswirhirr thc regionalthough they u,ereculturallV diverse tnd geographicallydispcl'scd. 2i)0-t WovetrHistorit's. Dutttittg Lirc.t: Trtrrt's Srruit Lslunler ltlentitt,. Cultrrrc urrtlHistor\', Mua (2006) identified thc Non- However, in 2006 upon hearing Laade's recordings Makareta Canberra:Aboricinal StudiesPress. and danced. opua songas a Ri.jiru.jauchant fronr oinata Villagc in Rotunra,which is still sung -thc Fabbri. Flanco Strait Iersion was reaclily rccognizablc. lt is nunrber 26 on Laade's ZIrzli- 1979 Torres I 982 "Whut -.13. "Dance l'rom the Kind of Music l" Poltulur l/rrsi<.2: I 3 I titnttt! S}trgsol the Western Torres Strtrits(1979) and is described as song Fatiaki.Anselnto ct rr1..eds. SouthPacific, probably from Rotuma tMabuiag)." f 99l RoltrrrtuHcuruuPunrue(Prtcittu.sLrrrl).Suva.Fiji:lnstituteol'PacificStudies,Upiyer- a group of Torrcs Strait lslanders. the Decp Sea Dancers' pcrlir|rned in For exanrple, in 1006. sity crfthe South Pacific. rela- Fiji at the MclanesianArts and Cultural Festival and made contactwith their Rotuntan singing and tivcs. The Trtrres Nt'tts cotnnlentcd: "Thc group pcrfornred traditional Kabkar' Karl Neuenfeldt. Recordinp and Rev'it'in.qR()lutttutt ll4rrtir' ' ll).1 - 102 . the v'orld of ntrsit' 49( I ) 2007

Neuenfeldt. Karl Carrett, John 2001 "Cultural Politics and a Music Recording Project: Producing Strike Enr!: Cottlcntlto lgs2TtlLiyeAttulngthesturs:Christittnoriginsinot.eania.GenevaandSuva:World Voices from the Torres Strait." Journol of Intert'ultural Studies 22(2): I 3.1--15. of the South Pacific' rary churchcs/Institutc of Pacific studies. University 'Didjeridu-Friendly 'lndigcnous' council of 2005 "Nigel Pegrum, Sections,'and What Constitutesan 'World GoldsworthY.David CD: An Australian Case Study of Producing Music' Recordings," in Paul lgg5..ContinuitiesrnFijianMusic:MekeandSame.''Yearbotlk.forTraditionalMusit. Greene and Tom Porcello, eds., Wired Jbr Sound: Engineering and Techmtkt11it'sitt ll'.1-\--1-1. Sonic Cultures, 84- 102. Middletown, CT: Wesleyan Press.

Green, Paul and Thomas Porccllo' eds' Shnukal.Anna 2005Wired.|ilrStlund:Eng'itteeringttndTecllnologiesinSonicCultures.Midd|etownCT: 1996 "The Expulsion of Pacific Islanders from Mer (Munay Island): Contemporary and WesleYanUniversitY Press' Modern Interpretations." Oral History Assoc'iationof Australia Journal (18):19-83. 1992 "Pacific Islander Immigrants in Torres Strait." Vofu'es2(2):5-14. Hereniko,Vilsoni Tausie lggl.,DanceasaReflectionofRotumanCulture'.'inAnselmoFatiakietal.,eds.,Rtltttma Stillman,Amy HanuaPunrue(PreL.itlLtslrtnd),|2()-42.Suva,Fiji:InstituteofPacificStudies.Univer- 1993 "Prelude to a Comparative Investigation of ProtestantHymnody in Polynesia." fear- sitY of the South Pacific' book.for Traditional Muslc 25:89-99.

Howard. Alan Torrcs Ncws W. Love. eds.,The Garland Enc '-clopediaof 1998 "Rotunra"' in Adrienne L' Kaeppler and J' 2006 "Fiji Festival Visit." (accessed2 I December 2006). lands.New York: Garland' Rotuma on the World Wide Web." The Content' lggg "Pacilic-Base

Irava, Ieli in Anselmo Fatiaki el rzl.,eds., RtttttnruHanLrtt I 991 "The Emigration of Rotumans to Fiji.'' of PacificStudies. University of Punue (Pret'irtusLund), 153-72 Suva'Fiji: lnstitute the South Pacil'ic' Kaurasi,Mosese lggl..RotumanChants.sportsandPastimes,''inAnselmoFatiakieta/.'eds.'RotuntuHan- of PacificStudies' University tu Ptttntre(Pret'ious ktnd)' 143-52'Suva' Fiji: Institute ofthe SouthPacific.

Laade,Wollgang South Pttt'ifit:' Folkways FW04025 lg'79 Tradiriorul SongsttJ the WesternTorres Strait, Lawrence. Helcn Dance and Christianityin Erub (DarnleYIs- 1998 "'Bethlehem' in Torres Strait: Music' (2) -63' land)." Arstrali a n Ab or ig,i na I St ud i es :5 |

Linnekin, Jocelynand Lin Poyer,eds' Honolulu: University of Hawaii Press' l990 cultural klentit,- antl Ethnic'innin the Pacific. Mua, Makereta December' 2006 Persttnol Cttntrnttnicationv'ith the author'21 Mullins, Steve lgg5TorresStrait:AHistor.t-tf.Ctllonialoct,upationundCultureContad]861-1897. Rockhampton: Central QueenslandUniversity Press' Journal of the Departmentof Ethnomusicology Otto-FriedrichUniversity of Bamberg Vol.49(l)-2007 CONTENTS

Indigenous Peoples,Recording Techniques, and the Recording Industry

Articles

KarlNeuenfeldt Noteson the Engagementof IndigenousPeoples with RecordingTechnology and Techniques,the RecordingIndustry and Researchers. . .

BeverleyDiamond "Allowing theListener to Fly asThey Want to": Siimi Perspectiveson IndigenousCD Production

in NorthernEurope LJ

AseOttosson "We're JustBush Mob": ProducingAboriginal Music and Malenessin a CentralAustralian RecordingStudio 49

Brian Diettrich AcrossAll Micronesinand Beyond:Innovation andConnections in ChuukesePopular Music and ContemporaryRecordings 65

Karl Neuenfeldt "Bring the Pastto Present":Recording and Reviving RotumanMusic via a CollaborativeRotuman/Fiiian/ AustralianCD Project 83

Katelyn Barney Sendinga Message:How IndigenousAustralian Women useContemporary Music Recording Technologiesto Providea Spacefor Agency, Viewpoints and Agendas 105

Dan Bendrups EasterIsland Music and the Voice of Kiko Pate: A BiographicalHistory of SoundRecording . . t25 o - ! rlte wtrld of nrusic19( I ) 2007 Conterts . 5

DenisCrowdy Studiosat Homein theSolomon Islands: Recording Reviews (Dan Bendrups, ed.) A CaseStudy of HomesoundStudios. Honiara . . . . 143 BarleyNorton A ReviewEssay on Recordingsof Music JamesE. CunninghanrThe NammysVersus the Grammys: Celebrity, fromVietnam 215 Technology,and the Creation ofan Indigenous Music RecordingIndustry in NorthAmerica 155 RobertG. H. Burns Underthe Leaves. Matlbv, UK: Hallamshire Traditions 222 JenifferCattermole "Fiji Blues?":Taveuni and Qamea Musicians' EngagementswithRecordingTechnologies...... 17l

About the Contributors 225 Book Reviews (Helena Simonett, ed.) the world of music 229 MeiluHo JudithBecker, Deep Li.steners: Musir', Emotiott, and Trancinp I 89

Wenwei Du JonathanP. J. Stock.Hu ju: TraditionulOpera in Motlern Shutr,,lhui 193

CarolePegg TheodoreLevin. WhcreRivers and MountainsSing: Sountl,Musit', und Nomadismin Tuvoand Bevond . l9-5

Anthonl Prrtcrczniak Timothy Cooley,Mukirrg Musit' itt Poli.shTotras: Tourisrs.Ethnograpltcrs, and MoutttainMusicians . 199

Eleanor'LLipat DusadeeSwangviboonpong,ThaiClossical Singing:Its History, MusiL'al Charat'teristics and Transmission 202

Melvin L. Butler KarenE. Richman,Mipration and Vodou 204

Roff Groesbeck RichardK. Wolf, The BlctckCott"s Footpriilt: Time,Spac'e, and Musi<'in the Livesofthe Kotas oJ'SouthIndia . 207

StevenKnopoff Allan Miirett, Sortgs,Drearnings, and Ghosts: The Wonggaof Norrh Australia 21O