This Blog is a listening guide to the many
listeners of our four Internet Pacific Islands
Radio Stations.
http://www.pacificislandsradio.com/index.htm
The Blog will focus on issues relating to
Pacific Island music. It will also embrace
some of the exciting changes taking place
in the Internet Radio Revolution,as well as
updated information on our Pacific
Island Artists, Programming and Playlists.
NEWS AND VIEWS
In the last few blogs, it has been my great
pleasure to be able to present an outline of
the traditional and contemporary music of
Polynesia, Melanesia and Micronesia. This
was followed by a similar general overview
of Pacific Island music in the context of
the origins, mythology and external
influences on the music and people of the
Pacific Islands.
In this edition, I would like to share with
you some thoughts on Pacific Island music and
its relevance in the global context of popular
music. Certainly, as a musical genre, Pacific
Island music is distinctive, exciting and
enthralling - it displays a depth of understanding
of human experiences that can touch the very
heart and soul of the listener. Despite all this,
Pacific Island music has not yet achieved the
support, and the success it fully deserves on
the international music scene. Certainly, many
of our excellent artists have achieved superstar
status in their own countries and in the Pacific
region, although, as yet, have not been able to
translate this success onto a global environment.
Indeed, the necessary ingredients for
international success are all present - in the
form of world quality recording studios, top
class musicians, and singers with amazing talents,
along with a loyal and appreciative local support
base. One would perhaps have to ask what needs
to be done in order for these talented people to
achieve international acclaim (as per one of
the beautiful letters below that I have recently
received from Japan by a talented artist from
New Zealand).
The late great Hawaiian musician, Israel
Kamakawiwo Ole' (Bruddah Iz), was one of
those who made the statement that, as island
people, we live in both worlds - the traditional
world of our island people, and the western
world that we are, of necessity, part of. In
this respect, being able to reconcile the often
conflicting demands of our traditional lifestyle,
and western lifestyle, is something that is very
apparent in island life, and thus is a very
important factor in the longer term wider
success of Pacific Island music.
In some cases, it is perhaps a sad reality that,
some of our talented artists, are unable to
reconcile our traditional values with western
values, which can easily swamp those of our
traditional society. Yet, one would have to
suspect that ultimate success as a musical
artist depends on a successful fusion of our
traditional music with the musical expectations
of a global audience.
Out of all our musical groups, we are very
proud to be able to say that Te Vaka has
successfully been able to achieve international
acclaim and recognition and, in many respects,
can be considered a role model for any group
wishing to achieve and enjoy international
success. A performance by Te Vaka is exciting
and completely enthralling - a visual and musical
experience that always stays in the mind of the
audience. Te Vaka, as an accomplished group
of musicians and performers, has been able
to combine exciting dance and vibrant music as
they tell the stories of the mythology and the
many trials and tribulations of our Pacific Island
people.
With most of Te Vaka's songs being presented
in their native language, western audiences, in
the main, do not understand the lyrics, however,
the message is always clear. With a strong and
resonant musical beat, combined with exciting
dance and theatre, the audience is left in no doubt
as to the underlying message of the performance.
As a solo artist, teenage artist, Vanessa Quai, from
the Pacific nation of Vanuatu, is certainly making
a big impression on the musical scene, both in the
Pacific region, as well as internationally. Indeed
Vanessa's achievement in winning the first prize in
the RTV Golden Stag International Music Festival
in Brasov, Romania, on the 23rd September 2005,
strongly suggests that Vanessa has the potential of
being a major international star of the future. With
the support of her wonderful family, including her
father/manager, Nigel Quai, as well as her frequent
musical collaboration with her talented Melanesian
fellow artist, Edou, (our Feature Artist in our
March 2006 edition of this Pacific Island Music
Newsletter), Vanessa Quai, the talented young
lady from Vanuatu, definitely has a very bright
and assured musical future.
I am very pleased to be able to say that our
Pacific Islands Radio is reaching out to a vast
worldwide audience and has generated great
interest, along with a great many requests
from those wonderful people who would like
to purchase our beautiful Pacific Island music.
In addition, there has been many most
welcome e-mails from talented artists from
the Pacific Islands (and worldwide), who
would greatly appreciate the opportunity of
having their music featured on Pacific Islands
Radio. Let me humbly say that this is, indeed,
a great honour coming from such gifted artists.
I have included one such beautiful letter,
below, from an artist who certainly deserves
our assistance and support.
Once again, may I ask you, our valued members,
to assist in whatever way we can to help promote
another of our talented artists. Thank you.
"Jane,
I have been listening to your radio station on-line
from Japan. I am a New Zealander (Maori) but
Tokyo-based musician...I play with all Japanese
musicians and we play regularly around Japan.
We have just finished a 16 date tour of New
Zealand and our 2nd album 'Papatu Road' will
be available in stores in Japan from May 10th.
The album has received critical acclaim from
reviewers back in New Zealand. I belong to a
small independent record label in Japan
called 'Suzuki Records'. They do my promotion
inside Japan, but nothing outside and, because
I am so desperate to reach the wider community,
I am researching avenues myself.
I actually had an interview on ABC Radio
Australia last month with Heather Javis on
'In the Loop'
www.myspace.com/benkempmusic
I have been exploring Polynesian and Asian
influences through music for several years
now. Here is some information on me:
www.benkemp.co.nz
http://www.thread.co.nz/article/1838
http://www.amplifier.co.nz/artist/13972/ben_kemp.html
http://www.scoop.co.nz/stories/CU0601/S00109.htm
I would greatly appreciate any support you can
offer. Should you require any further information
i.e previous radio interviews, or MP3's or an album,
please don't hesitate to contact me directly.
E noho ra, Ben"
Finally, I would very much like to thank you,
our valued members, along with our worldwide
listeners, for the incredible and much
appreciated increase in the number of listening
hours and presets on all our four Pacific Islands
Radio Stations. In particular, the support for
our new Pacific Islands Radio Station - Radio
Melanesia - has been just great and, once
again, very much appreciated!
Keep on listening everybody and enjoy the
music! Thank you so very much!
By the way, I should mention also that our
Playlists now include the beautiful tracks
from Edou's latest exciting album, along with
some haunting, beautiful and melodious tracks
from Laisa Vulakoro, our Feature Artist this
month! Enjoy!
(See below under: Feature Artist).
* * * * * * * * * *
NOTICE BOARD
MELANESIAN MUSIC -
"RADIO MELANESIA"
Pacific Islands Radio is very pleased
to be able to advise that Pacific
Islands Radio 28K has now been converted
to "RADIO MELANESIA" - to progressively
highlight the vibrant and exciting music
of Melanesia, along with a selection of
music from Polynesia and Micronesia.
RADIO MELANESIA
http://www.live365.com/stations/janeres
OCEANIA MESSAGE FORUMS
I am very pleased to be able to say that,
in addition to our main Oceania Guest Book,
additional Forums have been introduced to
all Web sites of the main islands and islets
of the Pacific, as well as personalities,
along with our Pacific Islands Radio Web sites:
http://pub47.bravenet.com/forum/4004922603
As you are no doubt aware, these Forums
have been most beneficial in bringing together
many people with an interest in and a love of
the beautiful and enchanting music of the
Pacific Islands. You are cordially invited to
share your valuable and important thoughts
and opinions with us all.
Recent additions also include the Web
sites for Hawaii, Tahiti, Samoa, Republic
of Nauru, Republic of the Marshall Islands,
Tonga, Tokelau, Easter Island, New
Caledonia, Vanuatu, Fiji, Papua New
Guinea, Cook Islands and Pitcairn Island,
Niue, as well as our Oceania Postcards
and Picture Galleries - and many more!
Thank you.
PACIFIC ISLANDS RADIO
I would like to mention, in response
to some of the e-mails and messages that I
have received, from those wonderful people
who would like to listen to our beautiful
Pacific Island music, but unfortunately,
are unable to actually listen to the music.
Basically, it is quite easy to access and
enjoy Pacific Islands Radio (our four
Pacific Islands Radio Stations). Once
you have accessed the page, it is most
necessary to firstly log on, in order to
be able to listen to the music. The process
of being able to log on can be achieved
by providing your username and password
before clicking on the yellow 'Play'
button provided on the centre of the page.
Good Luck and Enjoy!
In addition, the many listeners who would
like to purchase the music played on our
four Pacific Islands Radio Stations, in CD
format, can obtain details of recommended
suppliers by clicking on Artists' Profiles
on Pacific Islands Radio Home Page:
www.pacificislandsradio.com
Pacific Islands Radio continues to offer a
range of broadcasting formats in order to
allow a wide range of listeners to enjoy
our beautiful island music.
STATIONS
Our four Pacific Islands Radio Stations
play the enchanting music of the Pacific
Islands 24 hours daily.
www.pacificislandsradio.com
http://www.pacificislandsradio.com/index.htm
http://www.janeresture.com/radio/index.htm
Pacific Music Radio (mp3PRO)
http://www.live365.com/stations/drjaneresture
Pacific Islands Radio
http://www.live365.com/stations/janeresture
Radio Melanesia
http://www.live365.com/stations/janeres
Micronesia Music Radio
http://www.live365.com/stations/jane_resture
FEATURE ARTISTS
LAISA VULAKORO
Laisa Vulakoro, the Vude Queen, is one
of the most popular singers of all time in Fiji.
Vude, pronounced `vu-n-day' is the music
beat that is unique to Fiji - a combination of
Disco, Rock, Country and Island Style. The
beat derives from the traditional `Meke' or
dance sound.
Laisa has been singing for almost 20 years and,
with 16 published albums to her name has written
and arranged most of her songs. Born on the
remote island of Yacata in Fiji with a population
of only 150, no running water or electricity, she is
the youngest girl of a family of 8 girls and 6 boys.
Her late father, Delai, was a choir-master and lay
preacher of their church. Everyone in the family
sang in the church. Her late father, and a few of
her brothers, are also song-writers. Her band in
Fiji includes mainly family members.
Laisa is currently a Director of the Fiji Performing
Rights Association, which is a non-profit
organization that protects the rights of composers
in Fiji. She has toured most of the Pacific Islands,
including Papua New Guinea, Vanuatu, New
Caledonia, Cook Islands, Marshall Islands,
Hawaii and the Solomon Islands. She has also
toured North America, Australia, New Zealand
and London. She has performed in most of the
top Resorts in Fiji and for many years was the
resident singer at the Regent of Fiji and the
Sheraton Fiji Resort.
Laisa is a Charity Worker who has donated her
time and talent towards helping underprivileged
women and children and is a `Champion' of
promoting young talent, especially with the Blind
School, Hilton Special School and various
orphanages around Fiji.
In recognition of her tireless contribution to
charity, she was awarded a Fiji Independence
Medal in 1996, given only to outstanding Fiji
Citizens and, in 2003, the French Government
awarded her the title of Chevallier of Fine Art
and Literature.
Laisa was named by a well-known columnist
in Fiji as "Fiji's Living National Treasure" in
recognition of her ability to bring people from
all races and diverse backgrounds together
through her music.
Her versatility and talent enables her to
sing many styles of music and her stage
presence makes her the complete entertainer.
* * * * * * * * * *
For further information please check out the
following four Domains:
www.janeresture.com
www.janesoceania.com
www.ourpacificocean.com
www.pacificislandsradio.com
That's all for now and thank you. Have a great day!
Showing posts with label Hawaii. Show all posts
Showing posts with label Hawaii. Show all posts
Saturday, September 11, 2010
Friday, September 10, 2010
Traditional Music Of Polynesia
Welcome Everybody!
It will be my great pleasure to be able to discuss,
at least in a much broader outline, a little more
about the beautiful traditional music of Polynesia.
This will be in the context of the origins and the
early migration of the Polynesian people. The word
"Polynesia" means "many islands" - it comes from
the Greek words 'poly' which means many and
'nesos' which means "island".
Polynesia is a group of island chains spread
across much of the Pacific Ocean, and includes
many countries and territories. Internationally,
Polynesian music is mostly associated with
twinkling guitars and grass skirts, Hawaiian hula
and other tourist-friendly forms of music. While
these elements are justifiably a part of Polynesian
history and culture, there is actually a wide variety
of music made in the far-flung reaches of Polynesia.
Interestingly, recent studies of DNA in Taiwan has
provided some interesting conclusions about the
origins of the Polynesian and Melanesian people.
Certainly, linguistic studies have pointed to
the fact that the Polynesians, undoubtedly the
greatest seafarers in history, have their
origins in Taiwan.
Of the 23 million people in Taiwan, only
400,000 are descendants from the original
inhabitants. These people originally spoke
a language belonging to the Austronesian
group which is unrelated to Chinese but
includes the Polynesian tongues.
DNA studies of the original group found
three mutations shared by Taiwanese,
Polynesians and Melanesians, who also
speak Austronesian. These mutations are
not found in other Asians and hence suggest
that the Polynesians and Melanesians have
their origins in the original inhabitants
of Taiwan.
Certainly, human occupation of Oceania -
those vast reaches of the Pacific encompassing
Polynesia, Melanesia and Micronesia - began
on Papua and Papua New Guinea. It is on here
that archaeologists have dug primitive stone
tools and charcoal more than 25,000 years old
from camp sites used during the last Ice Age,
when sea levels were lower and the distances
between Australia, Papua New Guinea and the
other Indonesian islands were much less.
When melting ice raised the level of the
ocean and increased distances between land
falls, Papua New Guinea and its dark-skinned
inhabitants - Melanesians - became more
isolated until the coming of the brown-skinned
people - out of island Asia - Indonesia, the
Philippines and Taiwan.
In their outrigger and double canoes with sails
of plaited leaves, the latter reached New Guinea
and nearby islands about 4,500 years ago, but
did not dislodge the Melanesians they found
already living there. Among these seafarers were
the ancestors of the Polynesians. Using Fiji as
a staging area, some eventually sailed on to
uninhabited Tonga and Samoa.
Indeed, to have developed the physical types,
language, and culture that the Polynesians share
in common, these Polynesian forebears must
have been isolated for a time in a home group
of islands. A chain of archaeological discoveries
leads us to believe that this isolation started
in the islands of Tonga and Samoa roughly 3,000
years ago. Radiocarbon of Lapita pottery has
suggested that Tonga is the longest-inhabited
island group in Polynesia, with radiocarbon
dates as early as 1140 B.C. Thus we conclude
that Tonga's first settlers, the people who made
Lapita ware, were the first true Polynesians.
Language ties indicate that this migration
continued via Samoa eastward to the
Marquesas, where the oldest sites in Eastern
Polynesia have been found. Far to the
southeast of the Marquesas lies evidence of
a truly remarkable feat - a voyage to Easter
Island, some 2,400 miles away, in the face
of prevailing winds and currents. Polynesia's
easternmost outpost, Easter Island, is not
only the most isolated inhabited island in the
Pacific, but it is only 15 miles long.
The sites on Easter Island show clear evidence
when considered in conjunction with the
archaeology and languages of the Society and
Marquesas Islands indicate strongly that the
pre-historic culture of Easter Island could
have evolved from a single landing of
Polynesians from a Marquesan island, fully
equipped to colonise an uninhabited volcanic
island. Their success in making this windswept
sixty-four square miles, without an edible native
plant, not only habitable but also the seat of
remarkable cultural achievements, is testimony
to the genius of these Polynesian settlers.
A study of excavated adzes, fish hooks,
ornaments and other artefacts indicates that
Tahiti and the other Society Islands must
have been settled soon after the Marquesas.
Present information indicates that Hawaii and
New Zealand were settled after A.D. 500.
Radiocarbon techniques permit us to assign
tentative dates to this entire Pacific migration:
entry into West Polynesia about 1000 B.C.,
reaching East Polynesia about the time of
Christ completing the occupation by
A.D.1000.
In central and eastern Pacific is a large triangular
area referred to as the Polynesian Triangle.
The triangle is formed by a line drawn from Hawaii
to new Zealand, bending westward to include the
Ellice Islands (Tuvalu) and passing between Fiji
and Tonga. This north to south forms the base.
Easter Island is the apex, located 4,000 miles to
the east. The Marquesas lie almost to the center
of the eastern line; from Easter in the south to
Hawaii in the north. Samoa, Tonga, Tahiti and
Cook islands are surrounded by the triangle.
New Zealand, the farthest south group of
Polynesian Islands.
It was in the Polynesian Triangle that the unique
and beautiful Polynesian culture evolved over
hundreds and, indeed, thousands of years. The
striking unity of the languages spoken in these
different islands, as well as sufficient similarities
in their arts, culture, custom and tradition allow
the world scientists and anthropologists to agree
that the Polynesians are a racial unit. It is
also here that the beautiful traditional music of
Polynesia has its origins.
The early music of Polynesia was composed
of rhythm instruments and vocals; they
comprise mainly chants without any harmonic
structure and without any oriental or occidental
influence. This early music was very fundamental
although some islands did use flutes and drums
to accompany their singing.
As there was no written language to record the
history of the Pacific Islands, it was our beautiful
island music that provided one essential record
of our heritage and this was passed from generation
to generation. Besides the tales of migration and
wars, the daily life of our Pacific Island people
was chronicled in our music. Throughout most of
Polynesia, contemporary music has been influenced
by outside influences. The only major stronghold to
retain traditional culture without much evolution
has been Tonga, which has pursued a relatively
isolationist history.
Throughout Tonga, traditional music has been
preserved in the set pieces performed at royal
and noble weddings and funerals, as well as in
the song sung during the traditional ceremony
of apology, the 'lou-ifi'.
Radio Tonga begins each day's broadcast with
a recording by a nobleman and celebrated virtuoso
of the nose flute which is otherwise rarely heard.
Some ancient dances such as the ula are still
performed. The 'lali' or slit-gong, is still in use --
as a substitute for a church bell by congregations
that cannot afford a bell.
Generally throughout Polynesia, the lyrics of
traditional songs are by far more important
than the melodic accompaniment, as it is the
lyrics that contain the elements of our cultural
heritage that are being preserved such as the
stories of the people, genealogies, histories
and migrations. Elements like rhythm melody,
harmony and dance are traditionally viewed
as accompaniment to the primary focus, the
lyrics, serving to embellish, illustrate and
decorate the words.
It is important to remember, however, that song
and dance are integral parts of the same cultural
elements throughout Polynesia. In action songs,
dance is used to illustrate the lyrics by moving
the hands or arms; some dances are performed seated.
Traditionally, dance moves do not illustrate the
song's narrative, but rather draw attention to
specific words and themes; in modern times,
however, dances are more often explicitly narrative
in their focus. There are also traditional dances
performed without lyrics, to the accompaniment
of percussive music.
The most important instrument is the voice, though
multiple varieties of slit drums and conch shells are
also popular; the human body is used as an instrument,
with clapping and knee-slapping used accompany songs
and dances. Other instruments include the pandanus,
a sitting mat that is also used as a percussion
instrument, nose flutes and, later, derivatives of
Portuguese guitars such as the ukulele and slack-key
guitar.
In the 1790s, Christian missionaries arrived in
Polynesia for the first time. Hymns and other forms
of Christian music were instituted, and native musical
genres were largely driven underground and prohibited.
Soon, traditional polyphonic singing was merged with
Christian styles and church singing became an important
part of Polynesian culture across the Pacific.
The music of Polynesian is the most well known music
from Oceania. It includes everything from the Hawaiian
hula and steel-guitar traditions to joyful, polyphonic
choral music of Tahiti. Though traditional instruments
such as slit-gongs and nose-flutes can be found throughout
the region, the voice has long been the most important
instrument among Polynesian peoples. Whether singing
Christian hymns imported by missionaries or traditional
songs such as the 'lakalaka' of Tonga that date back
generations, their choral music is unsurpassed. Also
important in Polynesian musical culture is dance, both
to accompany "action songs" such as the hula and the
'aparima' of Tahiti, or in the signature seated-dance
styles such as Western Samoa's 'ma'ulu'ulu'. Polynesia
also offers the unique music of New Zealand's Maori
people, whose legendary 'hakka' dance can still send
shivers down an onlooker's spine.
I do hope that you have enjoyed this brief outline
of the origins of our traditional and beautiful
Polynesian music. In the next edition, it will be
my great pleasure to share with you a little more
information on the origins of the traditional music
of our beautiful Micronesia!
FEATURE ARTISTS
PACIFIC CHANTS: TRADITIONAL MUSIC
OF EASTERN POLYNESIA
David Fanshawe presents important highlights
from his monumental Pacific Collections, recorded
over fourteen years (1978-1992). The selections
focus on the rich variety of authentic himene (hymns)
indigenous to Tahiti, the Cook Islands, the Society
Islands, the Austral Islands, Manihiki, Pukapuka,
Maupiti, Tahaa, Bora Bora, and Raivavae. The 20
tracks include a valuable collection of traditional
music including, The Signing Reef 1 - 5, Legend
of Maupiti and Marae Arahurahu.
RUIA AND RANEA
The talented Maori twins, Ruia and Ranea Aperahama,
deliver a celebration of contemporary Maori music that
is performed completely in the Maori language. The
musical styles include reggae, soul, Latin rhythm elements,
and a strong spiritual theme that ties the album together,
giving it a natural Maori essence.
SOUL PAUA
Soul Paua are Jerry Banse and Turi Reedy. Jerry is
Samoan, Turei, a Maori. Their music is in te reo,
sometimes in English and a mix of rock, jazz, blues
folk and traditional Maori music. Their debut album
is based on the story of an urban young Maori prophet
and is currently being developed as a stage production.
The songs on the album follow the story of one man
from his birth, the troubles he is confronted with,
the prophetic abilities he discovers and how he
reflects on his journey.
The themes talk about the ability of anyone to
do anything at any time. The story is based on
the tales of Maui and the prophets - both of
which came from unlikely beginnings. Maui
was abandoned at birth and the prophets were
often considered rebels or on the outside of
decent society.
That's all for now. I wish you all a wonderful
and prosperous day. Thank you.
For further information, please check my four
Domains:
www.janeresture.com
www.janesoceania.com
www.ourpacificocean.com
www.pacificislandsradio.com
It will be my great pleasure to be able to discuss,
at least in a much broader outline, a little more
about the beautiful traditional music of Polynesia.
This will be in the context of the origins and the
early migration of the Polynesian people. The word
"Polynesia" means "many islands" - it comes from
the Greek words 'poly' which means many and
'nesos' which means "island".
Polynesia is a group of island chains spread
across much of the Pacific Ocean, and includes
many countries and territories. Internationally,
Polynesian music is mostly associated with
twinkling guitars and grass skirts, Hawaiian hula
and other tourist-friendly forms of music. While
these elements are justifiably a part of Polynesian
history and culture, there is actually a wide variety
of music made in the far-flung reaches of Polynesia.
Interestingly, recent studies of DNA in Taiwan has
provided some interesting conclusions about the
origins of the Polynesian and Melanesian people.
Certainly, linguistic studies have pointed to
the fact that the Polynesians, undoubtedly the
greatest seafarers in history, have their
origins in Taiwan.
Of the 23 million people in Taiwan, only
400,000 are descendants from the original
inhabitants. These people originally spoke
a language belonging to the Austronesian
group which is unrelated to Chinese but
includes the Polynesian tongues.
DNA studies of the original group found
three mutations shared by Taiwanese,
Polynesians and Melanesians, who also
speak Austronesian. These mutations are
not found in other Asians and hence suggest
that the Polynesians and Melanesians have
their origins in the original inhabitants
of Taiwan.
Certainly, human occupation of Oceania -
those vast reaches of the Pacific encompassing
Polynesia, Melanesia and Micronesia - began
on Papua and Papua New Guinea. It is on here
that archaeologists have dug primitive stone
tools and charcoal more than 25,000 years old
from camp sites used during the last Ice Age,
when sea levels were lower and the distances
between Australia, Papua New Guinea and the
other Indonesian islands were much less.
When melting ice raised the level of the
ocean and increased distances between land
falls, Papua New Guinea and its dark-skinned
inhabitants - Melanesians - became more
isolated until the coming of the brown-skinned
people - out of island Asia - Indonesia, the
Philippines and Taiwan.
In their outrigger and double canoes with sails
of plaited leaves, the latter reached New Guinea
and nearby islands about 4,500 years ago, but
did not dislodge the Melanesians they found
already living there. Among these seafarers were
the ancestors of the Polynesians. Using Fiji as
a staging area, some eventually sailed on to
uninhabited Tonga and Samoa.
Indeed, to have developed the physical types,
language, and culture that the Polynesians share
in common, these Polynesian forebears must
have been isolated for a time in a home group
of islands. A chain of archaeological discoveries
leads us to believe that this isolation started
in the islands of Tonga and Samoa roughly 3,000
years ago. Radiocarbon of Lapita pottery has
suggested that Tonga is the longest-inhabited
island group in Polynesia, with radiocarbon
dates as early as 1140 B.C. Thus we conclude
that Tonga's first settlers, the people who made
Lapita ware, were the first true Polynesians.
Language ties indicate that this migration
continued via Samoa eastward to the
Marquesas, where the oldest sites in Eastern
Polynesia have been found. Far to the
southeast of the Marquesas lies evidence of
a truly remarkable feat - a voyage to Easter
Island, some 2,400 miles away, in the face
of prevailing winds and currents. Polynesia's
easternmost outpost, Easter Island, is not
only the most isolated inhabited island in the
Pacific, but it is only 15 miles long.
The sites on Easter Island show clear evidence
when considered in conjunction with the
archaeology and languages of the Society and
Marquesas Islands indicate strongly that the
pre-historic culture of Easter Island could
have evolved from a single landing of
Polynesians from a Marquesan island, fully
equipped to colonise an uninhabited volcanic
island. Their success in making this windswept
sixty-four square miles, without an edible native
plant, not only habitable but also the seat of
remarkable cultural achievements, is testimony
to the genius of these Polynesian settlers.
A study of excavated adzes, fish hooks,
ornaments and other artefacts indicates that
Tahiti and the other Society Islands must
have been settled soon after the Marquesas.
Present information indicates that Hawaii and
New Zealand were settled after A.D. 500.
Radiocarbon techniques permit us to assign
tentative dates to this entire Pacific migration:
entry into West Polynesia about 1000 B.C.,
reaching East Polynesia about the time of
Christ completing the occupation by
A.D.1000.
In central and eastern Pacific is a large triangular
area referred to as the Polynesian Triangle.
The triangle is formed by a line drawn from Hawaii
to new Zealand, bending westward to include the
Ellice Islands (Tuvalu) and passing between Fiji
and Tonga. This north to south forms the base.
Easter Island is the apex, located 4,000 miles to
the east. The Marquesas lie almost to the center
of the eastern line; from Easter in the south to
Hawaii in the north. Samoa, Tonga, Tahiti and
Cook islands are surrounded by the triangle.
New Zealand, the farthest south group of
Polynesian Islands.
It was in the Polynesian Triangle that the unique
and beautiful Polynesian culture evolved over
hundreds and, indeed, thousands of years. The
striking unity of the languages spoken in these
different islands, as well as sufficient similarities
in their arts, culture, custom and tradition allow
the world scientists and anthropologists to agree
that the Polynesians are a racial unit. It is
also here that the beautiful traditional music of
Polynesia has its origins.
The early music of Polynesia was composed
of rhythm instruments and vocals; they
comprise mainly chants without any harmonic
structure and without any oriental or occidental
influence. This early music was very fundamental
although some islands did use flutes and drums
to accompany their singing.
As there was no written language to record the
history of the Pacific Islands, it was our beautiful
island music that provided one essential record
of our heritage and this was passed from generation
to generation. Besides the tales of migration and
wars, the daily life of our Pacific Island people
was chronicled in our music. Throughout most of
Polynesia, contemporary music has been influenced
by outside influences. The only major stronghold to
retain traditional culture without much evolution
has been Tonga, which has pursued a relatively
isolationist history.
Throughout Tonga, traditional music has been
preserved in the set pieces performed at royal
and noble weddings and funerals, as well as in
the song sung during the traditional ceremony
of apology, the 'lou-ifi'.
Radio Tonga begins each day's broadcast with
a recording by a nobleman and celebrated virtuoso
of the nose flute which is otherwise rarely heard.
Some ancient dances such as the ula are still
performed. The 'lali' or slit-gong, is still in use --
as a substitute for a church bell by congregations
that cannot afford a bell.
Generally throughout Polynesia, the lyrics of
traditional songs are by far more important
than the melodic accompaniment, as it is the
lyrics that contain the elements of our cultural
heritage that are being preserved such as the
stories of the people, genealogies, histories
and migrations. Elements like rhythm melody,
harmony and dance are traditionally viewed
as accompaniment to the primary focus, the
lyrics, serving to embellish, illustrate and
decorate the words.
It is important to remember, however, that song
and dance are integral parts of the same cultural
elements throughout Polynesia. In action songs,
dance is used to illustrate the lyrics by moving
the hands or arms; some dances are performed seated.
Traditionally, dance moves do not illustrate the
song's narrative, but rather draw attention to
specific words and themes; in modern times,
however, dances are more often explicitly narrative
in their focus. There are also traditional dances
performed without lyrics, to the accompaniment
of percussive music.
The most important instrument is the voice, though
multiple varieties of slit drums and conch shells are
also popular; the human body is used as an instrument,
with clapping and knee-slapping used accompany songs
and dances. Other instruments include the pandanus,
a sitting mat that is also used as a percussion
instrument, nose flutes and, later, derivatives of
Portuguese guitars such as the ukulele and slack-key
guitar.
In the 1790s, Christian missionaries arrived in
Polynesia for the first time. Hymns and other forms
of Christian music were instituted, and native musical
genres were largely driven underground and prohibited.
Soon, traditional polyphonic singing was merged with
Christian styles and church singing became an important
part of Polynesian culture across the Pacific.
The music of Polynesian is the most well known music
from Oceania. It includes everything from the Hawaiian
hula and steel-guitar traditions to joyful, polyphonic
choral music of Tahiti. Though traditional instruments
such as slit-gongs and nose-flutes can be found throughout
the region, the voice has long been the most important
instrument among Polynesian peoples. Whether singing
Christian hymns imported by missionaries or traditional
songs such as the 'lakalaka' of Tonga that date back
generations, their choral music is unsurpassed. Also
important in Polynesian musical culture is dance, both
to accompany "action songs" such as the hula and the
'aparima' of Tahiti, or in the signature seated-dance
styles such as Western Samoa's 'ma'ulu'ulu'. Polynesia
also offers the unique music of New Zealand's Maori
people, whose legendary 'hakka' dance can still send
shivers down an onlooker's spine.
I do hope that you have enjoyed this brief outline
of the origins of our traditional and beautiful
Polynesian music. In the next edition, it will be
my great pleasure to share with you a little more
information on the origins of the traditional music
of our beautiful Micronesia!
FEATURE ARTISTS
PACIFIC CHANTS: TRADITIONAL MUSIC
OF EASTERN POLYNESIA
David Fanshawe presents important highlights
from his monumental Pacific Collections, recorded
over fourteen years (1978-1992). The selections
focus on the rich variety of authentic himene (hymns)
indigenous to Tahiti, the Cook Islands, the Society
Islands, the Austral Islands, Manihiki, Pukapuka,
Maupiti, Tahaa, Bora Bora, and Raivavae. The 20
tracks include a valuable collection of traditional
music including, The Signing Reef 1 - 5, Legend
of Maupiti and Marae Arahurahu.
RUIA AND RANEA
The talented Maori twins, Ruia and Ranea Aperahama,
deliver a celebration of contemporary Maori music that
is performed completely in the Maori language. The
musical styles include reggae, soul, Latin rhythm elements,
and a strong spiritual theme that ties the album together,
giving it a natural Maori essence.
SOUL PAUA
Soul Paua are Jerry Banse and Turi Reedy. Jerry is
Samoan, Turei, a Maori. Their music is in te reo,
sometimes in English and a mix of rock, jazz, blues
folk and traditional Maori music. Their debut album
is based on the story of an urban young Maori prophet
and is currently being developed as a stage production.
The songs on the album follow the story of one man
from his birth, the troubles he is confronted with,
the prophetic abilities he discovers and how he
reflects on his journey.
The themes talk about the ability of anyone to
do anything at any time. The story is based on
the tales of Maui and the prophets - both of
which came from unlikely beginnings. Maui
was abandoned at birth and the prophets were
often considered rebels or on the outside of
decent society.
That's all for now. I wish you all a wonderful
and prosperous day. Thank you.
For further information, please check my four
Domains:
www.janeresture.com
www.janesoceania.com
www.ourpacificocean.com
www.pacificislandsradio.com
The Origin Of What Is Now Commonly Known As The Sweet Potato
For many years, researches and scientists have speculated that ancient Pacific Island voyagers may have reached the shores of South America. Indeed, Arthur Grimble (later Sir Arthur Grimble), in an article in 'National Geographic Magazine' of January 1943, mentions a tradition among the Micronesian people of the Gilbert Islands (now the Republic of Kiribati), that one of their early adventurers reached the shores of the American continent, more than 4,500 miles away.
The stories tell of one Raakau, the greatest of all Gilbertese navigators who reported a land that stretched along the eastern edge of the ocean, to northward without end, and to the southward without end. It was said that this land lies beyond the farthest eastward islands and it was a wall of mountains up against the place where the sun rises, standing over plains full of fertility. There is only one littoral in the Pacific that can be said to fit this description, and that is the western coast of the American continent.
In addition, the late Professor Roland B. Dixon was convinced that the sweet potato reached Polynesia from America by the aid of human hands. He also concluded that the transference of the plant was carried out by Polynesians who had reached the Peruvian coast and had taken the valuable plant back with them to their island home. The Peruvian coast was specified because, in the Kechua dialet of north Peru, the name for the sweet potato is "kumar" and, in the Polynesian name for the plant is "kumara".
In this respect, it is most interesting to see that a paper that recently appeared in the prestigious 'Proceedings of the National Academy of Science' provides the first hard evidence supporting the view that Polynesians did, in fact, sail all the way to the west coast of the American continent, at least a century before the arrival of Columbus.
The key to this breakthrough was chicken bones found in Chile which were radiocarbon dated as approximately 600 years old. DNA testing revealed that the bones carried a rare mutation otherwise only found in chickens from Mele Havea, Tonga, and Fatu-ma-Futi, American Samoa. This evidence clearly indicates a pattern of interaction between Polynesians, long recognized as some of the world's finest sailors and navigators in times preceding Western contact, and South Americans. To put it simply, Polynesians not only made it to America before Columbus, but they apparently introduced the chicken to the continent, as well, with these fowls having a DNA identical to chickens found in Tonga and Tutuila, Samoa.
Another interesting story relating to Polynesian voyagers comes from the study of the chemistry of ancient basalt adzes found in the Tuamotus in the 1930s. Scientists from the University of Queensland, in Australia, have definitely traced one of them to the island of Kahoolawe. The research, published in the Journal 'Science', confirms the view that ancient voyagers came to Hawaii from what is now French Polynesia, and then returned.
Indeed, the early legends from Hawaii recount many voyages to and from Tahiti. In sailing south, the course was maintained by keeping the North Star directly astern. When the North Star sank into the sea, the star Newe was taken as the southern guide and the constellation of Humu was overhead. The last voyager mentioned in Hawaiian traditions was the priest Paao, who arrived from Ra'iatea in about 1275 A.D.
In any event, it is pleasing to see that the modern scientific tools of DNA analysis and chemical testing are confirming so many of the early oral traditions of Pacific Island people. They are also confirming the view that the Polynesians are some of the finest canoe builders, sailors and navigators that the world has ever known.
For further information, please check out my four Domains:
www.janeresture.com
www.janesoceania.com
www.ourpacificocean.com
www.pacificislandsradio.com
The stories tell of one Raakau, the greatest of all Gilbertese navigators who reported a land that stretched along the eastern edge of the ocean, to northward without end, and to the southward without end. It was said that this land lies beyond the farthest eastward islands and it was a wall of mountains up against the place where the sun rises, standing over plains full of fertility. There is only one littoral in the Pacific that can be said to fit this description, and that is the western coast of the American continent.
In addition, the late Professor Roland B. Dixon was convinced that the sweet potato reached Polynesia from America by the aid of human hands. He also concluded that the transference of the plant was carried out by Polynesians who had reached the Peruvian coast and had taken the valuable plant back with them to their island home. The Peruvian coast was specified because, in the Kechua dialet of north Peru, the name for the sweet potato is "kumar" and, in the Polynesian name for the plant is "kumara".
In this respect, it is most interesting to see that a paper that recently appeared in the prestigious 'Proceedings of the National Academy of Science' provides the first hard evidence supporting the view that Polynesians did, in fact, sail all the way to the west coast of the American continent, at least a century before the arrival of Columbus.
The key to this breakthrough was chicken bones found in Chile which were radiocarbon dated as approximately 600 years old. DNA testing revealed that the bones carried a rare mutation otherwise only found in chickens from Mele Havea, Tonga, and Fatu-ma-Futi, American Samoa. This evidence clearly indicates a pattern of interaction between Polynesians, long recognized as some of the world's finest sailors and navigators in times preceding Western contact, and South Americans. To put it simply, Polynesians not only made it to America before Columbus, but they apparently introduced the chicken to the continent, as well, with these fowls having a DNA identical to chickens found in Tonga and Tutuila, Samoa.
Another interesting story relating to Polynesian voyagers comes from the study of the chemistry of ancient basalt adzes found in the Tuamotus in the 1930s. Scientists from the University of Queensland, in Australia, have definitely traced one of them to the island of Kahoolawe. The research, published in the Journal 'Science', confirms the view that ancient voyagers came to Hawaii from what is now French Polynesia, and then returned.
Indeed, the early legends from Hawaii recount many voyages to and from Tahiti. In sailing south, the course was maintained by keeping the North Star directly astern. When the North Star sank into the sea, the star Newe was taken as the southern guide and the constellation of Humu was overhead. The last voyager mentioned in Hawaiian traditions was the priest Paao, who arrived from Ra'iatea in about 1275 A.D.
In any event, it is pleasing to see that the modern scientific tools of DNA analysis and chemical testing are confirming so many of the early oral traditions of Pacific Island people. They are also confirming the view that the Polynesians are some of the finest canoe builders, sailors and navigators that the world has ever known.
For further information, please check out my four Domains:
www.janeresture.com
www.janesoceania.com
www.ourpacificocean.com
www.pacificislandsradio.com
Subscribe to:
Posts (Atom)