MW6-064 - Songs and Interview with Stenlly ToKulupa, Tavui No.1

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:

一号磁带：斯坦利·托库卢帕（Stenlly ToKulupa）的音乐背景与创作历程
A面与B面：
斯坦利·托库卢帕出生于1937年火山喷发之前——他仍记得孩童时期目睹此次喷发的场景，但不确定自己的出生年份。他在塔武伊1号村长大，1947年进入塔武伊小学就读，1950年前往克雷瓦特读中学。1948年，斯坦利开始自学吉他与尤克里里，每日花费2先令租用吉他用于学习。此后他掌握了五调、三调、蓝山调、西班牙调等吉他演奏技法：最初通过复刻其他音乐人演奏的曲目学习，这些曲目大多源自广播节目，随后他不断复刻这些音乐，直至最终创作出属于自己的作品。其音乐素养亦源自"特纳布艾"（tena buai）这一传统途径——该传统与祖先的精神信仰紧密相连，涵盖歌曲与舞蹈创作及表演所需的天赋与技艺。通过这一途径，斯坦利能够演奏《瓦尔巴特》（Warbat）、《武通》（Wutung）等传统曲目，以及用弦乐演绎的当代西方乡村音乐。
1970年，斯坦利组建了自己的弦乐乐队"拉巴巴泰·洋基蜘蛛"（Rababatai Yankee Spiders），并在RCA录音室（RCA studios）进行了录制；此后他又在塔武伊地区的1号、2号、3号等相邻村落组建了其他弦乐乐队。他的诸多作品以夸努阿语（Kuanua）与托克皮辛语（Tok Pisin）创作，主题涵盖人生经历、周遭情境与各类事件、自然与环境、生物等，每首音乐的故事中都蕴含着可供传递与表达的讯息。
1959年，斯坦利在使用炸药爆破捕鱼的过程中遭遇事故，导致双手截肢且失明，但他仍坚持音乐创作，仅靠演唱为乐队创作歌曲——在20世纪60年代至80年代，他们通过演出赚取了微薄的收入。其创作的作品包括为残疾人卡巴卡达（Kabakada）营地创作的邀约曲目、男子抛弃亲属女子的感情破裂题材作品，以及与马陶甘协会（Mataungan Association）相关的政治动荡题材作品——该协会代表了澳大利亚殖民统治时期当地原住民的权利，其领导者为时任东新不列颠省政客约翰·卡普坦（John Kaputin）与奥斯卡·塔穆尔（Oscar Tamur）。
弦乐乐队的演出常举办于村落的舞会活动中，这类活动被称为"茶会筹款晚会"（cup tea），会提供食物与饮品，用于筹备婚礼等村落仪式或私人聚会的经费。这类活动通常从傍晚6点持续至次日清晨6点，主办方会邀请多支弦乐乐队轮流演出，为整晚直至破晓的观众提供娱乐。弦乐乐队之间存在竞争氛围，同时表演者也会通过精湛的演奏吸引观众乃至女性的关注。
这类音乐也带动了舞蹈活动的发展，南太平洋地区、外籍人士及赴海外的当地民众引入了当时流行的圆舞曲（waltz）与狐步舞（foxtrot）舞蹈文化。此外，托莱人（Tolai）的信仰体系中，存在将自然世界与超自然世界相连的祖先与精神联结，这也影响着音乐表演的表现力。在夸努阿语中，与音乐表演相关的词汇包括"卡卡莱"（kakailai）与"马拉根"（malagene）；而诸如"朗戈隆"（langorong）、"卡邦"（kabang）、"塔尔"（tar）、"卡瓦瓦尔"（kavavar）、"米达尔"（midal）等力量，则被应用于表演者与乐器之上，搭配"塔巴里亚"（tabaria）与"马鲁埃"（marue）等吟唱。演出中用于示意结束歌曲的常见警示信号或"瓦基兰"（vakilang）包括"taxi"与"hula"。
本次记录的相关讨论围绕其音乐创作与传播的影响展开，包括他在国内其他地区乃至海外学习、演奏音乐的经历。（史蒂文·加高（Steven Gagau），2019年5月）
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