Music of Samoa
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Music of the United States |
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The Music of Samoa is a complex mix of cultures and traditions, with pre- and post-European contact histories. Since American colonization, popular traditions such as
Traditional Samoan
Instruments
Traditional Samoan
Samoan wooden slit drums and variants have been used throughout Samoa for over a thousand years. There are many uses for these wooden drums, including calling village meetings, in times of war and peace, songs/chants and dance, and signalling long distances in inter-island naval warfare. In recent times they are used predominantly for calling chiefly and royal ceremonies as well as contemporary religious practices.
The five Samoan slit drum variants from largest to smallest are:
1) Logo - felled trees - largest of the drums - The logo can only be played by being struck from the side, for instance by sliding the beater or very large log-like playing stick across the top of the drums to hit the slit lip on the other side. The logo was used to announce the king of Samoa, high chiefs and monarchy in times of old. The logo was also used to announce attacks and signals during times of war see re: Samoan Civil War, the Fijian Wars and also the Tongan Wars. Samoa also has recorded historical records of lesser known battles with neighbouring islands of Manono, Pukapuka, Tokelau, Tuamotu and Rarotonga, these battles may be classed as independent isolated skirmishes and inter-Island skirmishes between large familial klan groups.
2) 2 x Lali - large drum - The Lali are always played in pairs by two drummers. One of them beats the larger of the two, this is called the Tatasi, the other drummer plays the smaller Lali in the rhythmic pattern called the Talua. Both slit drums are played with sticks called Auta. The Lali were said to be introduced from Fiji via Tonga before European discovery..
3) Talipalau . The Talipalau skin drum was introduced to Samoa from east Polynesia in the 1800s, possibly as a result of early missionary society activities in both regions.
4) Pate - this hand-held slit drum was introduced from Tahiti in the 1800s, probably by British missionaries or their Tahitian converts.
5) Nafa - smaller slit drum also made from Milo wood. Now obsolete, only the name remains in proverbial expressions.
"Amerika Samoa", a song with words by Mariota Tiumalu Tuiasosopo and music by Napoleon Andrew Tuiteleleapaga, has been the official territorial anthem of American Samoa since 1950. "The Banner of Freedom," a song that honors the flag of Samoa, has been the national anthem of Samoa since 1962; it was composed by Sauni Iiga Kuresa.
Post-European contact
With the introduction of Christianity, especially after the arrival of
As the islands were
Modern music
Modern pop and rock have a large audience in Samoa, as do several indigenous bands, which have abandoned most elements of Samoan traditional music, though there are folksy performers. Some pop musicians in New Zealand learned new dance styles on a trip to the islands of Samoa, an important early node in transmitting and translating U.S street dance to Aotearoa. Recently,[
The nearly three decades of Samoan involvement in
There is currently a dichotomy between old and new in cultural aspects of Samoan life, especially dance. Some assert, "Whereas Samoan music has adopted guitars and other musical instruments, dance, which relies solely upon the performers body (with some exceptions—fire dance, knife dance, etc) still requires the performer to retain grace and move their arms and hands in the approved fashion"[2] but a National Geographic article from 1985 shows a "juxtaposition of 'tradition' and 'modernity' with two markedly different photographs of Samoan youth."[3] One photograph has a Samoan child in traditional garb, dancing in a traditional way; the other shows a youth dressed in typical hiphop-style dancing.
Like other Samoans, Kosmo, one of the most famous Samoan hip-hop artists, picked up his dance moves while living in California. He integrated a combination of a bit of strutting, a little boogaloo and popping, and some tutting into his music. He learned the dance while staying with family in Carson, a community that drew large numbers of Samoans relocating from the islands in the 1950s-1970s. As he discovered, popping and other 'street dance' forms thoroughly saturated the lives of Samoan youth growing up in the late 1970s and early 1980s in Carson and neighboring Compton and Long Beach. He vividly remembers, "all the coolest cats was poppin' down at [Carson's] Scott Park."[3][4] When he returned to New Zealand, his vocabulary brought him prestige among his peers, most of whom tried to integrate dance moves from movies. "Kosmo didn’t consider himself any good until he returned to New Zealand. . . . Here they were just doing the basics, he knew more." For young artists, this hiphop-oriented form of dancing was not only a way to express oneself creatively, but also a powerful sexual tool: “For young men, dance skills also helped to attract the young women who were always present either as critical audience or fellow dancers. As Kosmo recalls, “All the poppers [5] got the girls,” highlighting another case of dance as an equalizing sexual power tool utilized by both sexes in global hip hop.[3] In 1990, Kosmo and two fellow Samoans created The Mau, a hiphop group named for the organization that pushed for Samoan independence under the German and New Zealand colonial administrations. Although the name was rooted in Samoan history, it demonstrates U.S. influences. Similar to the movement of black consciousness in America, the motto for the Mau movement in Samoa was Samoa Mo Samoa 'Samoa for Samoans'. The group continued to articulate a diasporic Samoan cultural nationalism by drawing upon their knowledge of Samoan history, as well as the popular stories of the Black Power movement presently circulating in American hiphop. Their combination of Samoan heritage and American iconography influenced many groups that followed.[3]
Samoans abroad have achieved some musical renown. The
International
Samoa has produced well-known artists. The band Past To Present / Ilanda (1990–2006) (which consisted of three Samoans and one Māori: Frank Laga'aia, Lennie Keller, Norman Keller & Leighton Hema; Hema later left the band) gained popularity and commercial success in Samoa, New Zealand, Australia, and the United States; its achievement has not yet been equaled by any other islander band. In 2006, it was still in the music industry, touring, recording, or producing, as in its last production of Australia's "Young Divas." A band with a similar career path and success was Kulcha, based in Sydney, which produced two albums but disbanded after a couple of years.
The Katinas, whose parents are Assembly of God Pastors, moved to the United States at one point, are another popular Samoan Gospel band and are active members of the Assembly of God Church. It performed at the Junior Youth Christian Program in Melbourne, Australia, in 2005.
References
- ^ [1] Archived April 7, 2008, at the Wayback Machine
- ^ "samoa.co.uk". samoa.co.uk. Retrieved 2015-10-26.
- ^ a b c d April K. Henderson, "Dancing Between Islands: Hip Hop and the Samoan Diaspora." In The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture, edited b7y Dipannita Basu and Sidney J. Lemelle, pp. 180–199. London; Ann Arbor, MI: Pluto Press, 200.
- ^ "Dances of Life - Pacific Islanders in Communications". Piccom.org. Archived from the original on 2008-03-08. Retrieved 2015-10-26.
- ^ "funkstyler.com". funkstyler.com. Retrieved 2015-10-26.
Bibliography
- Kolinsky, Mieczyslaw. 1930. Die Musik der Primitivstämme auf Malaka und ihre Bezeihungen zur samoanischen Musik. Neue Folge 9, Abteilung Südsee IV. Berlin: Museum für Völkerkunde.
- Linkels, Ad, and Lucia Linkels. 1984. Van Schelphoorn tot Disco: Een speurtocht naar muziek en dans in West-Samoa. Karwijk aan Zee: Servire Karwijk.
- Love, Jacob Wainwright. 1991. Samoan Variations: Essays on the Nature of Traditional Oral Arts. New York and London: Garland Publishing. ISBN 0-8240-2985-2.
- Moyle, Richard. 1988. Traditional Samoan Music. Auckland, New Zealand: Auckland University Press. ISBN 1-86940-027-5.
- Turner, George. 1884. Samoa a Hundred Years Ago and Long Before. London: Macmillan.
- Williams, Vernon W. 1974. "Folk Ballads of Samoa and Culture Change." Cultures 1:95–116.
External links
- American Folklife Center's American Samoa page, from the Library of Congress
- The Katinas