MW6-021 - Interview with Pilemon ToKilang and Osnil Tavil

Tape# 1: Background and Musical Journey of Pilemon ToKilang and Stories with Osnil Tavil. Side A & B; Pilemon ToKilang was born in Viviran village in early 1900s' when his father was serving as an ordained Methodist pastor. It was the time of German New Guinea rule then Australian administration after the first world war. He was named after a chief Pilemon ToKilang who was instrumental in the introduction of the Christianity faith to Viviran during the time of batter trading from inland foods in taro in exchange for coastal foods of fish and the item of "kabang"or powdery white substance made from reef coral used for chewing bettle nuts or "buai". The Viviran ToKilang requested from chiefs and people of Vunamami to obtain the Christian church faith "Lotu" to the people of Viviran then for the Toma valley area. Pilemon started his early years working with expatriate colonisers, played sports mainly soccer and exposed to guitar music towards mid 1930s'. They guitar styles were 5-key, 3-key, blue mountain strumming and picking with composed Kuanua songs performing in various places in Gazelle Peninsula. Pilemon learnt and practiced and introduced traditional music Äbot"song and dance not part of the Tolai culture but brought in from New Ireland in the Siar area of Namatanai and Duke of York islands. The "Abot" music was introduced by people working in Kokopo and Rabaul in plantations and working for colonial masters during the German and Australian administrations. The Tolai people such as Pilemon from Vunamami were pioneers of this typle of music which was popular in Nodup, Matupit and Raluana areas. The ÄBot" music differs ïn its style to the traditional Tolai songs and dance practiced such as "Kulau, Vutung, Pinpidik, Bilolo, Goigoi" etc. These dances have its connections also from the Namatanai area of New Ireland. The "Abot" dance style can be performed by both male and female in circle format around the slit drum "garamut"with men in inner and women in the outer. The other introduced traditional dance from New Ireland is "Kaka"or coconut shells with different style in its song and dance. Various Äbot"songs demonstrated or from earlier recordings played power bands include; Han buruk, Kaka, Haus bensin, Engineer boy England and are mixed in languages of combination of Tok Pisin, Siar, Namatanai/New Ireland, Ramoaina, Duke of Yoks and Kuanua, Gazelle Peninsula. (Steven Gagau, July 2019). Language as given:

磁带1：皮莱蒙·托基兰（Pilemon ToKilang）的生平背景与音乐历程，以及与奥斯尼尔·塔维尔（Osnil Tavil）相关的故事。A面与B面；
皮莱蒙·托基兰于20世纪初出生在维维兰（Viviran）村庄，彼时他的父亲是一名按立的卫理公会（Methodist）牧师。该地区当时正处于德属新几内亚统治时期，一战后则由澳大利亚接管行政权。他的名字源自一位同名酋长皮莱蒙·托基兰，这位酋长在以内陆芋头换取沿海渔获与“kabang”——一种由珊瑚礁磨制的白色粉末，用于搭配槟榔（buai）咀嚼——的物物交易时代，推动了基督教在维维兰地区的传播。这位维维兰的托基兰酋长曾向武纳马米（Vunamami）的酋长与民众请求，为维维兰乃至托马谷（Toma valley）地区引入基督教信仰"Lotu"。
皮莱蒙早年曾与外籍殖民者共事，主要参与足球运动，并在20世纪30年代中期接触到吉他音乐。当时的吉他演奏技法涵盖五调、三调、蓝山弹唱与拨弦，他还创作了库阿努阿（Kuanua）语歌曲，并在格泽尔半岛（Gazelle Peninsula）各地进行演出。皮莱蒙学习并推广了传统的阿博特（Äbot）歌舞——该歌舞并非托莱（Tolai）本土文化的组成部分，而是从新爱尔兰省纳马塔奈（Namatanai）的西亚尔（Siar）地区与约克公爵群岛（Duke of York Islands）传入的。“Äbot”音乐由在科科波（Kokopo）、拉包尔（Rabaul）种植园劳作，以及在德属与澳属殖民时期为殖民当局服务的人群传入。来自武纳马米的皮莱蒙等托莱民众是这类音乐的先驱，该风格曾在诺杜普（Nodup）、马图皮特（Matupit）与拉卢阿纳（Raluana）地区广为流行。
阿博特（Äbot）歌舞的风格与托莱传统歌舞截然不同，后者如“Kulau”“Vutung”“Pinpidik”“Bilolo”“Goigoi”等，同样源自新爱尔兰省的纳马塔奈地区。阿博特歌舞可由男女共同表演，表演者围绕筒鼓（garamut）围成圆圈，男性居于圈内，女性则在圈外。另一种从新爱尔兰传入的传统舞蹈是卡卡（Kaka）——即借助椰子壳表演的舞蹈，其歌舞风格亦独具特色。
诸多阿博特（Äbot）歌曲——或源自早期录音，或由动力乐队（Power Bands）演绎——包括《Han buruk》《Kaka》《Haus bensin》《Engineer boy England》，歌词混合了托克皮辛（Tok Pisin）、西亚尔语、纳马塔奈/新爱尔兰语、拉莫阿纳语（Ramoaina）、约克公爵群岛方言与格泽尔半岛库阿努阿语。（史蒂文·加加乌（Steven Gagau），2019年7月）。所用语言说明如下：