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Becoming a Garamut Player in Baluan, Papua New Guinea: Musical

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Becoming a Garamut Player in Baluan, Papua New Guinea: Musical Becoming a Garamut Player in Baluan, Papua New Guinea The garamut is a log idiophone that is found in many of the coastal and island areas of Papua New Guinea. The instrument’s primary use is as a speech surrogate, and in some regions, the garamut is also used in large ensembles to play complex music for dancing. In Baluan Island, within the Manus Province, this style of garamut playing is comparatively highly developed. This book follows the author’s processes and methods in learning to play the music of the garamut, to the level at which he became accepted as a garamut player by the people of Baluan. Lewis argues that analysis is essential in learning to play the rapid tempi and complex rhythms of Baluan garamut music, in a cultural context where there is no formal teaching process for the music. The transcription and analysis of the Baluan garamut repertoire is the centrepiece of this study, reflecting the cognitive structures of the learning process, and revealing the inner workings of the music’s complexity as well as a striking beauty of form and structure. The book concludes with reflections on the process of a “cultural outsider” becoming a garamut player in Baluan and on the role of musical analysis in that process, on the ethnomusicologist’s role in transmission of the music, and on the nature of continuity and change in a musical society such as Baluan. Tony Lewis is a musician, composer, and academic based in Sydney, Australia. As a musician, he has studied and worked with numerous and diverse non-Western cultures. He has a PhD in ethnomusicology from the Sydney Conservatorium of Music and he writes and delivers lecture content for a number of institutions in Australia. SOAS Musicology Series Series Editors: Rachel Harris, SOAS, University of London, UK Rowan Pease, SOAS, University of London, UK Board members: Angela Impey (SOAS, University of London) Noriko Manabe (Temple University) Suzel Reily (Universidade Estadual de Campinas) Martin Stokes (Kings College London) Richard Widdess (SOAS, University of London) SOAS Musicology Series is today one of the world’s leading series in the dis- cipline of ethnomusicology. Our core mission is to produce high-quality, ethno- graphically rich studies of music-making in the world’s diverse musical cultures. We publish monographs and edited volumes that explore musical repertories and performance practice, critical issues in ethnomusicology, sound studies, historical and analytical approaches to music across the globe. We recognize the value of applied, interdisciplinary and collaborative research, and our authors draw on cur- rent approaches in musicology and anthropology, psychology, media and gender studies. We welcome monographs that investigate global contemporary, classical and popular musics, the effects of digital mediation and transnational flows. Flamenco, Regionalism and Musical Heritage in Southern Spain Matthew Machin-Autenrieth The Women of Quyi Francesca R. Sborgi Lawson The Music of Malaysia Patricia Matusky and Tan Sooi Beng Theory and Practice in the Music of the Islamic World Essays in Honour of Owen Wright Edited by Rachel Harris and Martin Stokes Singing the Gospel along Scotland’s North-East Coast, 1859–2009 Frances Wilkins Turkic Soundscapes From Shamanic Voices to Hip-Hop Edited by Razia Sultanova, Megan Rancier Becoming a Garamut Player in Baluan, Papua New Guinea Musical Analysis as a Pathway to Learning Tony Lewis For a full list of recent titles, please visit www.routledge.com/music/series/ SOASMS Becoming a Garamut Player in Baluan, Papua New Guinea Musical Analysis as a Pathway to Learning Tony Lewis First published 2018 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Tony Lewis The right of Tony Lewis to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Names: Lewis, Tony, 1955– author. Title: Becoming a garamut player in Baluan, Papua New Guinea : musical analysis as a pathway to learning / Tony Lewis. Description: Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: SOAS musicology series | Includes bibliographical references and index. Identifiers: LCCN 2017056406 (print) | LCCN 2018005388 (ebook) | ISBN 9781315406503 (ebook) | ISBN 9781315406497 (web pdf) | ISBN 9781315406480 ( epub) | ISBN 9781315406473 (mobi/kindle) | ISBN 9781138222915 (hardback : alk. paper) Subjects: LCSH: Music—Papua New Guinea—Baluan Island—History and criticism. | Garamut—Papua New Guinea—Baluan Island. Classification: LCC ML3758.P367 (ebook) | LCC ML3758.P367 B353 2018 (print) | DDC 786.9/4099581—dc23 LC record available at https://lccn.loc.gov/2017056406 ISBN: 978-1-138-22291-5 (hbk) ISBN: 978-1-315-40650-3 (ebk) Typeset in Times New Roman by Apex CoVantage, LLC ContentsContentsContents List of figures vi List of tables viii List of maps ix List of examples x List of video material xii 1 Baluan chooses a researcher 1 2 The garamut in Baluan 38 3 The Baluan garamut in performance 78 4 Musical analysis of Baluan garamut 109 5 The Baluan garamut in diaspora 161 6 Becoming a garamut player 173 Glossary 189 Bibliography 200 Index 210 FiguresFiguresFigures 1.1 Mela Popeu in Baluan, December 2006. 23 1.2 Paul Solok (seated, second from left) and some of his grandchildren in Baluan, December 2006. 24 1.3 Sapulai Papi in Baluan, December 2006. 28 1.4 Aiwai Salkimut in Baluan, December 2006. 29 1.5 Ton Otto (left), Steffen Dalsgaard (centre), and Christian Suhr Nielsen (right), preparing to conduct a video interview with the author in Baluan, December 2006. 30 1.6 Sakumai Yep in Baluan, December 2006. 32 1.7 Lungol Popeu (left) and Kuam Kilangit in Baluan, December 2006. 35 2.1 Ngason Karol (left) and Soanin Kilangit in Baluan, December 2006. 42 2.2 The names “Lipan” and “Paluai” carved as bilas on a garamut from my set. 60 2.3 A design figure characteristic of, and ubiquitous in, Papua New Guinea visual art, carved as bilas on a garamut from my set. This figure incorporates the triangularmoi . 60 2.4 A hibiscus flower, a tropical icon, carved within a heart, as bilas on a garamut from my set. 61 2.5 A carved crocodile head as a handle, on a garamut from my set. 63 2.6 A small garamut from my set showing a carved crocodile head as a handle at one end, and a crocodile tail at the other. 64 2.7 Approximate timeline for construction of 11 garamut. 66 2.8 Lalau Kilangit (far left), the 12-year-old daughter of Kilangit Sanewai, and Piwen Popeu (left foreground), the 16-year-old daughter of Lungol Popeu (left, behind), at a Paluai Sooksook rehearsal in the lead up to the Balopa Cultural Festival, December 2006. Piwen is playing the garamut in this photograph. 67 2.9 Sapulai Papi, in full bilas, dances on the sinal at the opening of the Balopa Cultural Festival, December 2006. 73 2.10 Otto Narumbuai (front centre) leads a new dance, showing distinct Polynesian influences, at the opening of the Balopa Cultural Festival, December 2006. 74 Figures vii 3.1 Legend: Right hand, left hand, and non-specific strokes in the centre of the kara mwen. 80 3.2 Legend: Strokes at the extremities of the kara mwen. 81 3.3 Legend: Strokes moving from the extremities to the centre of the kara mwen. 82 3.4 Khil in performance formation. 92 TablesTablesTables 1.1 A variety of spellings by different authors of the names of the principal groupings of people in the Manus Province. 10 2.1 Dimensions in centimetres of eleven garamut. 62 MapsMapsMaps 1.1 Map of Manus Province, showing Baluan. 7 1.2 Map of Baluan, showing Lipan village on the north coast. 11 ExamplesExamplesExamples 3.1 The A and B sections of the palang khil for Hausboi Humtan Panggirut: ABAB. 84 3.2 The principal rhythmic figure and main content of the piece Parun Mwak Pwali, a rare example of syllabic representation on the garamut. 86 3.3 A recurring passage of secondary cue and ensemble response, which is found in a number of Baluan garamut pieces. 106 4.1 The sixteen count passage from Taporak, shown without bar lines or time signatures. 115 4.2 The sixteen count passage from Taporak, shown in four bars of time. 115 4.3 The first ten counts of this passage shown in two bars of time. 116 4.4 The sixteen count passage from Taporak, shown in consecutive bars of , , and time. 116 4.5 The twelve count pattern of the Ewe gankogui, in simple graphic notation. 119 4.6 The Ewe gankogui pattern in conventional notation, showing the twelve count cycle written in three different ways. 120 4.7 A distinctive five-count phrase that is characteristic of the piece Suin Paun, written as consecutive bars of and . 132 4.8 My original transcription of the long cue to Untitled (Manuai 2). 134 4.9 The long cue and ensemble response to Untitled (Manuai 2), placed parallel to one another, so as to highlight the relationship between them.
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