Sounds of articulating identity. Tradition and transition in the music of Palau, Micronesia

316 Pages·2008·8.15 MB·English

by  Birgit Abels

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ISBN 978-3-8325-1866-0
SOUNDS OF ARTICULATING IDENTITY

TRADITION AND TRANSITION IN THE MUSIC OF PALAU,
MICRONESIA

Birgit Abels
Von der Fakultät für Geschichtswissenschaft der
Ruhr-Universität Bochum (Deutschland)
als Dissertation angenommen im Jahre 2006
CONTENTS

List of Illustrations and Music Examples
Preface 1
Introduction 2
PART I – PALAU, PERFORMING ARTS, AND THE CURRENTS OF HISTORY: THE CULTURAL SETTING 11
1 The Pre-Contact Period 11
2 The Early Contact Period 20
Palau and the Europeans 21
The Colonial Presence 28
Religious Mission 45
PART II – REPERTOIRE, AESTHETICS, AND CHANGE: MUSIC AND DANCE IN PALAU 53
3 Chelitakl rechuodel: (Evolved) Traditional Music and Dance 57
Musical Instruments 64
Musical Genres 73
Recitative Genres 73
Chesols 74
Derubesebes 86
Rebetii 91
Kesekes 97
Historical Perspectives 102
Other Genres 113
Omengeredakl, boid 113
Keredekiil, Kerrekord 131
Kelloi cheldolm 132
Delang 138
Llall 145
Bullachang 152
Ongúrs 152
Dances 154
Men’s Dances 158
Women’s Dances 179

4 Beches chelitakl: “New” Music and Dance 190
Religious Music 191
Other “New” Music 198
“New” Dances 205
Palau Pop 209
5 Tonal and Temporal Structures. Aesthetics of Sound 215
PART III – CULTURAL IDENTITY, LOCALITY, AND SOUNDSCAPE DEVELOPMENT IN PALAU 227
6 The Roots of Music: Cut and Retied? The Flow of Cultural Change 227
EPILOGUE – RE-READING PALAUAN MUSIC 239
APPENDIX 244
Appendix A 245
Otengelel a chesols 245
Informants 246
Recordings 250
Appendix B 251
Bibliography 251
Endnotes 273
LIST OF ILLUSTRATIONS

Figure I: Map of Palau, prepared by the Bureau of Arts and Culture, Koror, Palau 3

Figure 1.1: Women apparently performing a séance dance during a feast of several days’ duration. 17
Photograph from the bequest of Georg Fritz, dated ca. 1907. Archives of the Deutsche
Kolonialgesellschaft, Frankfurt (Germany)

Figure 1.2: Palauan community feast. Photograph from the bequest of Georg Fritz, dated ca. 1907. 19
Archives of the Deutsche Kolonialgesellschaft, Frankfurt (Germany)

Figure 2.1: Baseball had already become a popular sport in Palau during the Japanese days. Photo 42
shows the All-Star team of 1976. From the collection of Belau National Museum, Koror

Figure 2.2: The Liebenzell church at Ngiwal. Undated photograph from the archives of the Liebenzell 49
Mission, Bad Liebenzell (Germany)

Figure 3.1: Palauan blowing a debúsech. This photograph was taken by Protestant missionary 66
Wilhelm Siemer and dates from between 1930 and 1938. From the archives of the Liebenzell Mission,
Bad Liebenzell (Germany)

Figure 3.2: Ucherbelau Ngirubekbad playing the ngaok, 1963. Photograph from the collection of 68
Barbara B. Smith

Figure 3.3: Mouthpiece of a ngaok, front view, without reeds or fastening bands. This instrument is 69
part of the Ethnomusicology Instrument Collection at the University of Hawai’i at Manoa, collection no.
S40216

Figure 3.4: Mouthpiece of a ngaok, back view, without reeds or fastening bands. This instrument is 69
part of the Ethnomusicology Instrument Collection at the University of Hawai’i at Manoa, collection no.
S40216

Figure 3.5: Born’s sketch of the Yapese ngall 70

Figure 3.6: Tonal material employed in the 1909 chesols (music example 3.3) 83

Figure 3.7: Tonal material employed in the 2005 chesols (music example 3.5) 84

Figure 3.8: Inner tempo in the 1963 kesekes 100

Figure 3.9: Fundamental frequency development in recording Smith I-22, phrase 1 105

Figure 3.10: Fundamental frequency development in recording Smith I-24, phrase 6 105

Figure 3.11: Fundamental frequency development in recording Smith I-22, phrase 3 106

Figure 3.12: Fundamental frequency development in recording Smith I-22, phrase 4 106

Figure 3.13: Fundamental frequency development in recording Smith I-34, phrase 1 107

Figure 3.14: Fundamental frequency development in recording Smith I-24, phrase 1 107

Figure 3.15: Fundamental frequency development in recording Abels 23, phrase 1 108

Figure 3.16: Fundamental frequency development in recording Abels 23, phrase 2 108

Figure 3.17: Fundamental frequency development in recording Abels 23, phrase 3 109

Figure 3.18: Fundamental frequency development in recording Abels 29, phrase 9 109

Figure 3.19: Fundamental frequency development in recording Abels 57, phrase 3 110

Figure 3.20: Fundamental frequency development in recording Abels 29, phrase 20 110
Figure 3.21: Spectrogram of phrase 1 of recording Smith I-22 111

Figure 3.22: Spectrogram of phrase 5 of recording Smith I-34 112

Figure 3.23: Spectrogram of phrase 2 of recording Abels 23 112

Figure 3.24: Spectrogram of phrase 25 of recording Abels 29 113

Figure 3.25: Inner tempo of the 2005 omengeredakl 122

Figure 3.26: Phrasal durations in the 2005 omengeredakl 122

Figure 3.27: Spectrogram of phrase 8 of recording Smith I-2 124

Figure 3.28: Spectrogram of phrase 9 of recording Smith I-2 124

Figure 3.29: Spectrogram of phrase 17 of recording Smith I-2 125

Figure 3.30: Spectrogram of phrase 2 of an omengeredakl recorded in 2005 (Abels 61) 126

Figure 3.31: Spectrogram of phrase 4 of an omengeredakl recorded in 2005 (Abels 61) 126

Figure 3.32: Spectrogram of phrase 6 of an omengeredakl recorded in 2005 (Abels 61) 127

Figure 3.33: Tonal progression in the phrases of the delang transcribed in music example 3.20 143

Figure 3.34: Overall progression in the delang transcribed in music example 3.20 144

Figure 3.35: Pitch progression in the llall transcribed in music example 3.22 149

Figure 3.36: Overall pitch progression in the llall transcribed in music example 3.22 150

Figure 3.37: Women on a diángel, dancing stage. From the collection of the Deutsches Kolonialarchiv, 182
Frankfurt (Germany)

Figure 3.38: Undated photograph of the Emmaus brass band. From the archives of the Liebenzell 195
mission, Bad Liebenzell (Germany)

Figure 3.39: Crew and brass band of the German MS Condor on a visit in Palau in 1911. From the 208
collection of Dieter Klein, Düsseldorf (Germany)
LIST OF MUSIC EXAMPLES

Music example 3.1: Tonal compasses of pitch spectra in a kesekes recorded in 1963 62

Music example 3.2: Nuclear recitative kernel of chesols 77

Music example 3.3: Transcription of wax cylinder 69 from the Hamburg South Seas Expedition 79

Music example 3.4: Tonal inventory of wax cylinder 69 from the Hamburg South Seas Expedition 80

Music example 3.5: Transcription of an chesols recorded in 2005 81

Music example 3.6: Tonal inventory of the 1963 derubesebes 87
Music example 3.7: Derubesebes recorded in the 1960s, transcription. Item Dub I-2.3 in the Barbara 88
B. Smith Collection. Chanter: Adalbai Omeliakl

Music example 3.8: Tonal inventory of the 1963 derubesebes transcribed in music example 3.9 89

Music example 3.9: Derubesebes chanted by Magdalena Demek Towai, recorded in 2005 (Abels 43) 90

Music example 3.10: Rhythmical “catch phrase” of rebetii 93

Music example 3.11: Tonal inventory of the rebetii transcribed in music example 3.12 94

Music example 3.12: Rebetii recorded in 2005 (Abels 51) 94

Musical example 3.13: Tonal inventory of the rebetii transcribed in musical example 3.14 95

Musical example 3.14: Rebetii recorded in 1963, transcription 96

Music example 3.15: Tonal inventory of the kesekes transcribed in music example 3.16 98

Music example 3.16: Kesekes recorded in 1963 99

Music example 3.17: Transcription of an omengeredakl recorded in 2005 (Abels 54). Ibau Demei 118
Oiterong, Ilong Rubasch Isaol, Magdalena Demek Towai, singers

Music example 3.18: Transcription of an omengeredakl recorded in 2005 (Abels 61). Victoria Johanes, 128
Belsechel Philip, Oribech Josep, and Vicenta S. Olkeriil, singers

Music example 3.19: Kelloi cheldolm, recorded in 1963 (Smith 4-2). Kiruu Dirrametuker, Dirrusekluk 136
Sulikau, Dirralukes Ngerbai, Dirrenguleong Dirraubuuch, and Dirrareyuch Diralemau, singers (Smith
recorded titles and first names)

Music example 3.20: Delang recorded in 2005 (Abels 58). Tilei Erungel, singer 142

Music example 3.21: Llall chanted by Tilei Erungel, 2005 148

Music example 3.22: Llall chanted by Harrilee Ubedei, 2005 (Abels 72) 149

Music example 3.23: Ruk recorded in 1963, opening part 164

Music example 3.24: Ruk recorded in 1963, second part 165
Music example 3.25: Ruk recorded in 1963, third part 167

Music example 3.26: Tune of a popular derebechesiil 199

Music example 3.27: Tonal inventory of the derebechesiil transcribed in music example 3.26 199
Music example 3.28: Madedók by Ymesei Ezekiel 202

Music example 3.29: Ezekiel’s composition A ianged a ungil, first page 204
TRADITION AND TRANSITION IN THE MUSIC OF PALAU, MICRONESIA ◊ 1

PREFACE

Contrary to Palauan etiquette, the names of individuals are written in plain form
throughout the book, without the hereditary title of the respective person. This is for the
sake of clarity for readers unfamiliar with Palauan titles. By no means do I intend to
convey disrespect, and I apologize to those who are concerned. I sincerely hope you do
not feel embarrassed about seeing your names “naked” in black and white.
The German Academic Exchange Service (DAAD) funded the fieldwork for this research
project by means of a doctoral fellowship. In 2006–07, it also financed the exchange
research project Auditory-based measurement methods for instrumental sound analysis of
musical instruments, which facilitated collaboration of members of the two participating
institutions: the Rensselaer Institute of Technology (RPI) in Troy (NY/USA), and the Ruhr
University Bochum (Germany). Being a member of this research group enabled me to
prepare some of the acoustic sound analyses in this study with the invaluable help of
Jonas Braasch in Troy (many thanks, Jonas!).
The German National Academic Foundation (Studienstiftung des deutschen Volkes)
generously funded my subsequent research with a doctoral fellowship. My gratitude
extends to them, as well.
Many people have had a part in making this book possible. First and foremost, I wish to
thank my interlocutors in Palau, who shared their music, their lore, and their knowledge
with me. I have listed your names in the appendix.
The first person to whom I wish to extend my thanks and express my gratitude is,
obviously enough, my teacher Christian Ahrens. This dissertation would not have been
written without his persevering support over the years: he took good care to ensure I did
not stumble over anything other than my own feet (which he always watched silently, with
a knowing smile on his face, and I secretly appreciated that). From my perspective, you
could not have done a better job. Thank you.
Many other people also contributed to this study by offering information, help, or advice.
My special thanks are due to Simeon Adelbai (Koror/Palau), Jonas Braasch (Troy,
NY/USA), Dieter Klein (Düsseldorf/Germany), Barbara B. Smith (Honolulu, HI/USA), Sr.
Ilse Szaukellis (Bad Liebenzell/Germany), Osamu Yamaguti (Osaka/Japan), and Susanne
Ziegler (Berlin/Germany). Dianne MacFarlane (Köln/Germany) bravely proofread the
whole manuscript, suggesting thoughtful linguistic corrections and improvements to the
text (needless to say, all remaining mistakes are mine). Concepción Valverde-Alfaya
(Bochum/Germany) provided me with linguistic input when it came to Spanish sources.
Mesulang, danke, thanks, domo arigato, muchas gracias to all of you.