Walk A Mile In My Shoes
Barefoot Divas is a collective of six women with a connection to the indigenous people's of Australia, New Zealand, and Papua New Guinea. The vocal group is comprised of Aboriginals Ursula Yovich and Emma Donovan, Maori's Whirimako Black, Maisey Rika and Merenia. Ngaiire represents the Papua New Guinea connection. The opening vocal track by Maisey Rika is rather contemplative without any instrumentation. The serenity is short-lived, as "Never Forget" brings an amped-up, R&B and gospel composition to light. The Spanish-tinged, "Fortuna," is driven by the world fusion repertoire representing Greek, Chilean, and Peruvian elements. The work is largely vocal with a poetic, social commentary. However, the combination of vocals and contemporary instrumentation represents an edgy mix of world fusion worth listening to over and over. There are fourteen tracks in all. The recording was recorded live in 2012 at the Sydney Festival. This project could not have been possible without the group's creator, manager, and producer, Vicki Gordon. ~ Matthew Forss
Wednesday, July 10, 2013
Wednesday, January 20, 2010
Re-Counting Knowlege in Song: Change Reflected in Kaulong Music by Birgit Druppel. Institute of Papua New Guinea Studies: Boroko, Papua New Guinea, 2009. 324pp. CD included.
The present ethnomusicological study of Kaulong, Papua New Guinea is a culmination of several years of field research for Birgit Druppel's doctoral dissertation in 1998. The result is an in-depth analysis of traditional song, dance, and customs of the Kaulong area. Birgit provides ample commentary and insightful discussion regarding the many aspects surrounding social customs, instruments, songs, and dances. Particular attention is made to regional music/dance forms, including singing sia, murmur, and tumbuan. An instrument organology section is provided for pan pipes, Jew's harps, conch shells, insects (beetles), and other instruments. Musical notation is provided, along with cultural notes on instrument uses during special occasions (i.e. marriage, youth, hunting, feasts, etc.). The book includes numerous black/white photos, along with several colored plates. Due to the in-depth, and often technical nature of this study, a good grasp of Papua New Guinean ethnomusicology and folklore would be recommended for most readers. Yet, the book is laid out fairly well, with chapters devoted to pre-European cultural influences, vocal and instrumental music, post-independent music, and a short summary. Notably, an appendix conatins the biographies of the musicians. An informative glossary is also helpful for defining technical and cultural terms. An index and refence list is included for additional resources. A CD featuring 45 different songs, dances, celebrations, and instruments is included. The CD tracks are also referenced throughout the text and add another dimension to Birgit's already well-written and referenced monograph. Learn about Kaulong music today! ~ Matthew Forss