OLAC Record: Songs and Interview with Stenlly ToKulupa, Tavui No.1

OLAC Record
oai:paradisec.org.au:MW6-064

Metadata

Title: Songs and Interview with Stenlly ToKulupa, Tavui No.1

Access Rights: Open (subject to agreeing to PDSC access conditions)

Bibliographic Citation: Michael Webb (collector), Steven Gagau (data_inputter), Michael Webb (interviewer), Stenlly ToKulupa (speaker), 1993. Songs and Interview with Stenlly ToKulupa, Tavui No.1. MPEG/X-WAV. MW6-064 at catalog.paradisec.org.au. https://dx.doi.org/10.26278/K64R-8223

Contributor (compiler): Michael Webb

Contributor (data_inputter): Steven Gagau

Contributor (interviewer): Michael Webb

Contributor (speaker): Stenlly ToKulupa

Coverage (Box): northlimit=-4.12339; southlimit=-4.2559; westlimit=152.128; eastlimit=152.263

Coverage (ISO3166): PG

Date (W3CDTF): 1993-08-09

Date Created (W3CDTF): 1993-08-09

Description: Tape#1: Music Background and Journey of Stenlly ToKulupa Side A & B: Stenlly ToKulupa was born before 1937 volcano eruption as he remembered seeing it as a small boy and not sure of his birth year.He grew up in his Tavui No.1 village and started school in 1947 at Tavui elementary then in 1950 he went on to Kerevat for intermediate school education. Stenlly was self-taught playing the guitar and ukulele in 1948 usually by hiring guitars to learn from at a cost of 2 shillings per day. He then had the skills to play the guitar styles of 5-key, 3-key, Blue Mountain, Spanish key with firstly copycat songs from other music heard that were played by others mainly from radio broadcasts then copied their music till later composed his own songs. His musical development has also been from traditional means through "tena buai" where its has ancestral spiritual connections for talent and skills in composition and performance of song and dance. Through this avenue Stenlly can perform music for traditional songs such as Warbat, Wutung and contemporary songs on strings like western country music. He later started his own string band in 1970 known as "Rababatai Yankee Spiders" where he did recordings with RCA studios then later went on to set up other string bands in adjacent villages in the Tavui area known as No.1, No.2, No.3 villages. His various songs composition were in Kuanua and Tok Pisin were mainly on life experiences, situations and events that occurred, nature and environment, living creatures where there is a message in the stories to be told and expressed in music. In 1959, Stenlly had a fishing accident involving dynamite explosions for killing fish as a way of catching them in the sea that resulted in loss of his hands and eyesight but continued with his music then with compositions and vocal singing only to songs for his band where they earn a little bit of income for performances in the 1960s' to 1980s'. Examples of compositions were from invitations to compose for a Kabakada camp for disabled people, a broken relationship of man leaving behind a relative women to politically related unrest of the Mataungan Association which stood for local native rights in the Australia colonial administration led by past East New Britain politicians of John Kaputin and Oscar Tamur. String band performances were in organised in villages for dance parties called "cup tea" for fundraising with food and drinks, village ceremonies like weddings or private function type gatherings. These events are usually go from 6pm to 6am and the organisers invite multiple string bands to take turns in performances for entertainment of the audiences or crowds during the course of the evening till day break. There is also the element of competition amongst string bands and also the act of attracting attention of the best of music performance as well as females towards the performers. The music also encourages dancing and many external influences of the South Seas and expatriates and local people who go overseas have introduced the dance culture of waltz and foxtrot that were popular then. There are also certain ancestral and spiritual relationships that influences and connects the natural world to supernatural world which the Tolai has their belief systems towards expressive power of performance in music. These include such terms in Kuanua for music performances of "kakailai" and "malagene" or song and dance through forces of attraction to the music such as "langorong" and other powers of "kabang", "tar", kavavar", "midal" applied to the performers and instruments with chants of "tabaria", "marue". Some common signals of warning or "vakilang" to end a song during performances are "taxi" or "hula". General conversations were around the influence of his music through composition and learning songs and playing them fro other parts of the country or overseas. (Steven Gagau, May 2019). Language as given:

Format: Digitised: yes Media: Sony UX Cassette Tape Audio Notes: Tape Machine: Tascam 122MK3 Soundcard: RME HDSPe AIO A/D Converter: RME AD1-2 Pro FS File: 24bit, 96kHz, stereo Length: Side A 00:31:48 Side B 00:32:00 Listening Quality: Poor. Tape demonstrates evidence of tape flutter, occasional drop out, change in pitch and background hiss. Some is due to sticky tape syndrome and deterioration, some is due to faults with original recording device (possible low batteries). However, speech remains clear and discernible.

Identifier: MW6-064

Identifier (URI): http://catalog.paradisec.org.au/repository/MW6/064

Language: Kuanua

Tok Pisin

Language (ISO639): ksd

tpi

Rights: Open (subject to agreeing to PDSC access conditions)

Subject: Kuanua language

Tok Pisin language

Subject (ISO639): ksd

tpi

Subject (OLAC): language_documentation

text_and_corpus_linguistics

Table Of Contents (URI): http://catalog.paradisec.org.au/repository/MW6/064/MW6-064-B.mp3

http://catalog.paradisec.org.au/repository/MW6/064/MW6-064-A.wav

http://catalog.paradisec.org.au/repository/MW6/064/MW6-064-B.wav

http://catalog.paradisec.org.au/repository/MW6/064/MW6-064-A.mp3

Type (DCMI): Sound

Type (OLAC): primary_text

OLAC Info

Archive: Pacific And Regional Archive for Digital Sources in Endangered Cultures (PARADISEC)

Description: http://www.language-archives.org/archive/paradisec.org.au

GetRecord: OAI-PMH request for OLAC format

GetRecord: Pre-generated XML file

OAI Info

OaiIdentifier: oai:paradisec.org.au:MW6-064

DateStamp: 2022-12-09

GetRecord: OAI-PMH request for simple DC format

Search Info
Citation: Michael Webb (compiler); Steven Gagau (data_inputter); Michael Webb (interviewer); Stenlly ToKulupa (speaker). 1993. Pacific And Regional Archive for Digital Sources in Endangered Cultures (PARADISEC).
Terms: area_Pacific country_PG dcmi_Sound iso639_ksd iso639_tpi olac_language_documentation olac_primary_text olac_singing olac_text_and_corpus_linguistics

Inferred Metadata
Country: Papua New Guinea
Area: Pacific

http://www.language-archives.org/item.php/oai:paradisec.org.au:MW6-064
Up-to-date as of: Fri Sep 29 2:09:23 EDT 2023

Metadata
Title:		Songs and Interview with Stenlly ToKulupa, Tavui No.1
Access Rights:		Open (subject to agreeing to PDSC access conditions)
Bibliographic Citation:		Michael Webb (collector), Steven Gagau (data_inputter), Michael Webb (interviewer), Stenlly ToKulupa (speaker), 1993. Songs and Interview with Stenlly ToKulupa, Tavui No.1. MPEG/X-WAV. MW6-064 at catalog.paradisec.org.au. https://dx.doi.org/10.26278/K64R-8223
Contributor (compiler):		Michael Webb
Contributor (data_inputter):		Steven Gagau
Contributor (interviewer):		Michael Webb
Contributor (speaker):		Stenlly ToKulupa
Coverage (Box):		northlimit=-4.12339; southlimit=-4.2559; westlimit=152.128; eastlimit=152.263
Coverage (ISO3166):		PG
Date (W3CDTF):		1993-08-09
Date Created (W3CDTF):		1993-08-09
Description:		Tape#1: Music Background and Journey of Stenlly ToKulupa Side A & B: Stenlly ToKulupa was born before 1937 volcano eruption as he remembered seeing it as a small boy and not sure of his birth year.He grew up in his Tavui No.1 village and started school in 1947 at Tavui elementary then in 1950 he went on to Kerevat for intermediate school education. Stenlly was self-taught playing the guitar and ukulele in 1948 usually by hiring guitars to learn from at a cost of 2 shillings per day. He then had the skills to play the guitar styles of 5-key, 3-key, Blue Mountain, Spanish key with firstly copycat songs from other music heard that were played by others mainly from radio broadcasts then copied their music till later composed his own songs. His musical development has also been from traditional means through "tena buai" where its has ancestral spiritual connections for talent and skills in composition and performance of song and dance. Through this avenue Stenlly can perform music for traditional songs such as Warbat, Wutung and contemporary songs on strings like western country music. He later started his own string band in 1970 known as "Rababatai Yankee Spiders" where he did recordings with RCA studios then later went on to set up other string bands in adjacent villages in the Tavui area known as No.1, No.2, No.3 villages. His various songs composition were in Kuanua and Tok Pisin were mainly on life experiences, situations and events that occurred, nature and environment, living creatures where there is a message in the stories to be told and expressed in music. In 1959, Stenlly had a fishing accident involving dynamite explosions for killing fish as a way of catching them in the sea that resulted in loss of his hands and eyesight but continued with his music then with compositions and vocal singing only to songs for his band where they earn a little bit of income for performances in the 1960s' to 1980s'. Examples of compositions were from invitations to compose for a Kabakada camp for disabled people, a broken relationship of man leaving behind a relative women to politically related unrest of the Mataungan Association which stood for local native rights in the Australia colonial administration led by past East New Britain politicians of John Kaputin and Oscar Tamur. String band performances were in organised in villages for dance parties called "cup tea" for fundraising with food and drinks, village ceremonies like weddings or private function type gatherings. These events are usually go from 6pm to 6am and the organisers invite multiple string bands to take turns in performances for entertainment of the audiences or crowds during the course of the evening till day break. There is also the element of competition amongst string bands and also the act of attracting attention of the best of music performance as well as females towards the performers. The music also encourages dancing and many external influences of the South Seas and expatriates and local people who go overseas have introduced the dance culture of waltz and foxtrot that were popular then. There are also certain ancestral and spiritual relationships that influences and connects the natural world to supernatural world which the Tolai has their belief systems towards expressive power of performance in music. These include such terms in Kuanua for music performances of "kakailai" and "malagene" or song and dance through forces of attraction to the music such as "langorong" and other powers of "kabang", "tar", kavavar", "midal" applied to the performers and instruments with chants of "tabaria", "marue". Some common signals of warning or "vakilang" to end a song during performances are "taxi" or "hula". General conversations were around the influence of his music through composition and learning songs and playing them fro other parts of the country or overseas. (Steven Gagau, May 2019). Language as given:
Format:		Digitised: yes Media: Sony UX Cassette Tape Audio Notes: Tape Machine: Tascam 122MK3 Soundcard: RME HDSPe AIO A/D Converter: RME AD1-2 Pro FS File: 24bit, 96kHz, stereo Length: Side A 00:31:48 Side B 00:32:00 Listening Quality: Poor. Tape demonstrates evidence of tape flutter, occasional drop out, change in pitch and background hiss. Some is due to sticky tape syndrome and deterioration, some is due to faults with original recording device (possible low batteries). However, speech remains clear and discernible.
Identifier:		MW6-064
Identifier (URI):		http://catalog.paradisec.org.au/repository/MW6/064
Language:		Kuanua
Language:		Tok Pisin
Language (ISO639):		ksd
Language (ISO639):		tpi
Rights:		Open (subject to agreeing to PDSC access conditions)
Subject:		Kuanua language
Subject:		Tok Pisin language
Subject (ISO639):		ksd
Subject (ISO639):		tpi
Subject (OLAC):		language_documentation
Subject (OLAC):		text_and_corpus_linguistics
Table Of Contents (URI):		http://catalog.paradisec.org.au/repository/MW6/064/MW6-064-B.mp3
		http://catalog.paradisec.org.au/repository/MW6/064/MW6-064-A.wav
		http://catalog.paradisec.org.au/repository/MW6/064/MW6-064-B.wav
		http://catalog.paradisec.org.au/repository/MW6/064/MW6-064-A.mp3
Type (DCMI):		Sound
Type (OLAC):		primary_text
OLAC Info
Archive:		Pacific And Regional Archive for Digital Sources in Endangered Cultures (PARADISEC)
Description:		http://www.language-archives.org/archive/paradisec.org.au
GetRecord:		OAI-PMH request for OLAC format
GetRecord:		Pre-generated XML file
OAI Info
OaiIdentifier:		oai:paradisec.org.au:MW6-064
DateStamp:		2022-12-09
GetRecord:		OAI-PMH request for simple DC format
Search Info
Citation:		Michael Webb (compiler); Steven Gagau (data_inputter); Michael Webb (interviewer); Stenlly ToKulupa (speaker). 1993. Pacific And Regional Archive for Digital Sources in Endangered Cultures (PARADISEC).
Terms:		area_Pacific country_PG dcmi_Sound iso639_ksd iso639_tpi olac_language_documentation olac_primary_text olac_singing olac_text_and_corpus_linguistics
Inferred Metadata
Country:		Papua New Guinea
Area:		Pacific