Steep Slopes : Music and change in the Highlands of Papua New Guinea

Abstract

Table of examples xv 1. Introduction 1 • Aims-1 • The geographical setting-2 • Review of the literature-5 • Theoretical orientation-7 • Methodology-10 • Fieldwork-11 • Writing style-16 • Structure-19 2. Duna ancestral music 23 • The origins of music-23 • The 'musician' in Duna society-25 • Duna musical structures-27 • Vocabulary: organisation of 'music'-29 • Ipakana ('song[s]')-30 • Alima ('instrument[s]') -40 • 'Dance'-47 • Vocabulary: genres and their verbs-50 • Language features of Duna song-52 • Kẽiyaka and repetition-52 • Metaphor-54 • Conclusion-55 3. Music and encounter 57 • The colonial encounter-57 • The mission encounter-60 • The collision of the colonial and the Christian in song-67 • Creativity and contemporary social issues-75 • Vocabulary for introduced music-81 • Syncretism, appropriation and indigenisation-82 • Conclusion-83 4. Mourning and song 85 • Laments and creativity-87 • Inside the khene anda-88 • Women and khene ipakana yakaya-90 • Na panenope?('what will I do?') -93 • Men and khene ipakana-98 • Group singing of khene ipakana-103 • Khene ipakana of exogenous origin-113 • Wakili's death-the verdict-120 • Conclusion-121 5. Land and song 123 • The Duna and land-124 • Land kẽiyaka-128 • Praising (and denigrating) land-129 • The food of place-134 • Moving through the landscape-138 • The Duna diaspora-144 • Conclusion-155 6. Courting and song 157 • New application of the old-158 • Courting politics-162 • Contemporary Courting Practices-164 • Guitars as courting instruments -167 • The disco-168 • Bride price and song-173 vii • 'Sori'-175 • Reactions to 'sori': self-mutilation-176 • Courting and death-177 • Conclusion-179 7. Creativity and preservation 183 • Continuity in creativity: 'traim na wokim tasol'-183 • Musical similarities between the endogenous and exogenous-185 • Authorship and ownership-186 • Preservation-189 • Politics-196 • The Duna and cultural shows-197 • Education for preservation: the school and the haroli palena-204 • Being 'in the middle'-206 • Conclusion: preservation in the continuity of creativity 8. Conclusion 209 Appendix 1 215 • Musical examples -215 Appendix 2 223 • Kipu's khene ipakana yakaya-223