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SONGS of BELLONA ISLAND (NA TAUNGUA 0 Mungiklj

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SONGS of BELLONA ISLAND (NA TAUNGUA 0 Mungiklj Jane Mink Rossen SONGS OF BELLONA ISLAND (NA TAUNGUA 0 MUNGIKlj VOLUME ONE ,".~-,~~ '.f;4;41C'{it::?~..· " ........... Acta Ethnomusicologica Danica 4 Language and Culture of Rennell and Bellona Islands: Volume VI (NA TAUNGUA 0 MUNGIKI) -- £ , i • lit • .0,,~ 7nh4 !C..J ;1,1,",­ l. Acta Ethnomusicologica Danica 4 Forlaget Kragen, Copenhagen 1987 Language and Culture of Rennell and Bellona Islands: Volume VI SONGS OF BELLONA ISLAND (NA TAUNGUA 0 MUNGIKI) Volume One To my parents and children, and to the memory of Paul Sa'engeika, Joshua Kaipua, Sanga'eha and Tupe'uhi. "The sacred song goes back to the ancestors and forward to the descendants.... " (pese song) I hope that the Bellonese people will find a way to bring their own historical art and wisdom to this modern world, and tap the strength which comes from having one's own culture. Denne afhandling er af det filosofiske fakultet ved K0benhavns Universitet antaget til offentlig at forsvares for den filosofiske doktorgrad. KfJbenhavn, den 4. juni 1985 Michael Chestnutt h. a.decanus Danish Folklore Archives, Skrifter 5 Songs of Bellona Island (na taungua 0 Mungiki), Volume One 1987 Forlaget Kragen ApS ISBN 879806 36-8-5 COPYRIGHT © 1987 Jane Mink Rossen Cover photograph: The dance mako ngangi, 1974: Jane Mink Rossen CON TEN T 5, Volume One PART 1. Music in Traditional Life and Thought Chapter Page: Preface Introduction 1 Field Work 11 One: The Art of Music on Bellona 22 1.1 Status of music in the traditional culture 23 1.2 Poetry and language 26 Two: Musical Genres and Classification 29 2.1 Musical performance in rituals 30 2.2 The organization of programs 31 2.3 Bellonese classification of songs 33 Three: Song Sessions for Different Occasions 41 3.1 The kaba ki hange ritual 45 3.2 The manga'e ritual 47 3.3 Songs connected with large canoes and shark "fishing 54 3.4 The kanongoto harvest ritual 57 3.5 The mu'aabaka women's dance 62 3.6 The mako sa'u guest dance 65 3.7 The mako noho session 69 3.8 The ngeemungi harvest 72 3.9 The taukuka tattoo 74 Four: Participation in Ritual - Life Sketches 78 4.1 Paul Sa'engeika, a hakahua of Ngikobaka Lineage 79 4.2 Lois Baikaba of Hangekumi Lineage 81 4.3 Tekamu Sungu'ia of Tongaba Lineage 84 Five: Poetic Composition 85 5.1 Composing and practicing songs 87 5.2 Composers through the generations 91 5.3 Composers of the past 93 5.4 Contemporary poet-singers 95 v Six: Oral History of Music 105 6.1 Musical traditions from 'Ubea 111 6.2 The period of migration 112 6.3 The early generations on Bellona and Rennell 115 Musical instruments in early generations; 119 Women's participation in dancing in early times 119 6.4 The recent period 120 Song-dances from Tikopia and Taumako 120 6.5 Contemporary vocal music 123 6.6 Musical instruments acquired in this century 125 Seven: Musical Terminology and Concepts 128 7.1 Singing 128 7.2 Leader and group 129 7.3 Voices and voice movement 130 7.4 Melody 133 7.5 Accompaniment 134 To clap the hands 135 To tap or beat rapidly 136 To beat the sounding board 138 Eight: Te papa 'The Sounding Board' 140 8.1 Beating the papa 141 8.2 Moutipa: different ways of beating the papa 143 Taapapa 143 Tipa or kautipa 144 Nine: The Dance 147 9.1 Time and place, past and present 147 9.2 The group and the individual 148 9.3 Dance style and movement 148 9.4 Bellonese dance terminology 151 Arm movements 152 Leg movements 155 A pati song-dance 157 Ten: A Few Comparisons with Other Musical Traditions in Oceania 164 I\lotes 175 vi PART 2. Musical Analysis Chapter page: One: Introduction 180 1.1 Musical analysis 181 1.2 The coding system 183 1.3 Melodic models employed 184 Songs performed primarily by individuals Two: Maghiiti 189 Three: Saka 197 Four: Kananga 207 Song Sessions: Five: Pese 212 Six: Tangi laments 225 Divisions of the tangi session and kinds of tangi 226 Seven: Mako'dirges' 235 Divisions of the mako session 236 Eight: Dbo 243 Nine: Unguoso 245 Ten: Introduction to the Dances and Singing Games 248 Unaccompanied Dances: Eleven: The suahongi ritual dance 252 11.1 Musical concepts and practices 255 The text; musical form 259 11.2 Special polyphonic forms in the suahongi 260 11.3 Musical analysis of separate parts 262 11.4 Musical analysis of coordinate polyphony 264 11.5 Summary of musical structure 269 Twelve: The mako hakapaungo 272 Dances Accompanied by Clapping: Thirteen: Huaa pati 'pati song-dances 278 Fourteen: The mako hakasaunoni 284 vii Fifteen: Dances with Sounding Board Accompaniment: 290 15.1 The mako ngangi 291 15.2 The hakatenge 294 Sixteen: Distinguishing Characteristics of the Musical Style 302 16.1 The musical style 302 Formal, rhythmic and melodic patterns; polyphonic intervals; variation; vocal style; song texts 16.2 Some concluding remarks regarding polytextual polyphony in the suahongi 315 Summary 318 Notes 321 Appendices: A: Chronology of known events and births 324 B: Individual Poet-Composers 328 Glossary of Song Genres 339 References 355 ***** Volume Two: Examples, contains the musical transcriptions and song texts. viii PREFACE This book is written for ethnomusicologists who are interested in the musical traditon of the Pacific area, for students of Polynesian and Pacific culture who are interested in the music, and for the people of Bellona. It is the people of Mungiki (Bellona), a Polynesian "Outlier" in the Solomon Islands, who existentially are most concerned with their music, and that is an important consideration for me, although it is not possible for me to do the material full justice from their vantage point. It would require a Bellonese to do that, and I hope that an indigenous scholar will undertake a more thorough study, for instance of song texts, which here are treated only minimally. My involvement with the music of Bellona started when, while working at the Danish Folklore Archives, I was invited by Poul Rovsing Olsen to do a study of songs from Bellona and Rennell recorded by the Danish anthropologist Torben Monberg and the American linguist Samuel H. Elbert in the course of their linguistic and ethnological research on Bellonese culture. Rolf Kuschel, psychologist at the Univeristy of Copenhagen, added a collection in 1968. A large part of the transcriptions in this study are based upon this material (see List of recordings, p. xii). The project, sponsored by the Danish Council for Research in the Humanities from 1970 to 1973, resulted in a manuscript, "Songs of Bellona" (na taungua 0 MungikJ), British Solomon Islands." Althougll the original manuscript has been revised in the light of my own "field research, much of the groundwork and most of the transcriptions had been done at that time, based upon the collections of Elbert, Monberg and Kuschel. Two chapters added after I visited Bellona are transcribed from my own collections: those on mako songs and the suahongi dance. The eight transcriptions from the suahongi were originally published in Ethnomusicology 22:426-435 (1978) and the singing game in Orbis Musicae 5:87 (1975-76). The mako transcriptions and my article on the suahongi were made while I held graduate fellowships at the Department of musicology, Copenllagen University. A former version of Chapter Nine, The Dance, appeared in Ethnomusicology 25(3):447-66 (1981), with my sister, Margot Mink Colbert as co-author. After agreeing to undertake this study I insisted upon treating the material as "music made by people" rather than a shorter and dry scientific analysis of abstract musical structure. My first introduction to Bellonese culture was through the stories published by Elbert and Monberg in From the Two Canoes (1965), which proved difficult to understand, because tile context and the feelings they engendered were far removed from my own personal and cultural experience. As I absorbed the pUblished material relating to Bellona, it became increasingly clear that no amount of library ix research would give me an understanding of the taped material as living music. It was only when I reached the Solomons in 1974, and finally listened for the "first time to live Bellonese performers, that I experienced the full power of their music. I did not expect the gift of a completely fresh perception of the music itself. I was there to learn about the music from its practicioners; what I learned was not always what I had expected to learn. The place, the context, and especially the people who sang and explained the songs, have enriched the music for me many times over. When listening to the saka song by Mautikitiki, for example, I also remember the occasion on which it was sung and the human being who sang it. How much stronger the associations must be for a person who has lived on Mungiki all of his or her life, whose father or grandfather is singing, and for whom the symbolic and historical implications of the song have personal significance. Part 1 was written during my Senior Research Fellowship at Copenhagen University, July 1979 - June 1982, based upon material collected during field research carried out between June 25th and September 13th, 1974 and checked during a second fieldwork period, January 20th - April 6th, 1977. Grants for field research were made available by the Danish Council for Research in the Humanities and the Faculty of the Humanities (University of Copenhagen), Dr. and Mrs Solomon Mink, and the Danish Folklore Archives, to all of whom I extend my deep gratitude.
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