| Description |
Tape#1: Traditional Tolai Composition, Song and Dance explained by Vincent ToLiman with supporting comments of Julie ToLiman of Toma.
Side A: A "Tena Buai" in its concept and practice applies to a variety of traditional songs and dances namely; Libung, Vutung, Parpari, Pinpidik, Patete, Kulau.
The Libung (groups of dancers forming two lines "papa ra vat or two rows of four) for instance is similar in the sounds of singing, theme and style of dancing to the Tubuan but preparation is more public and village based whereas the Tubuan (one dancer) is secretive and from the bush version of song and dance.
The "tena buai" is linked to the spiritual world and known as "turangan" where the melodies and inspiration to the traditional dances possesses spiritual connection in the practice of singing and dancing in the particular type of dance prepared and performed to an audience.
The "tena buai" follows a practice that each type of dance has a particular line and style of performance from "bita buai" or its foundation. So there is an element of specialisation and identity to that style, sounds, theme and practice of that particular type of dance.
The foundation of these dances were and how they are being practiced in Toma area has historical connection to Reimber area of the North Coast of the Gazelle Peninsula. The sones and dances were actually bought and acquired by grandfather, William ToLiman, the paramount chief "Luluai" of Toma clans from Tade Pilipo, paramount chief in the Reimber clans. They were adopted through traditional exchange of significant amounts of rings of shell money to obtain possession of these various songs and dances.
The "bita buai" as spiritual foundation is either "ToInara" or "ToPuapuongo" so what was acquired by paramount chief ToLiman was ToInara. Other clans acquired ToPuapuongo also in the Toma area like ToGuria from Rabagi.
The ToInara "bita buai" were a package for "buai na malagene" (dances), "malira" (love charm to attracting women". "matmat or tabatabar" (sourcery or poisen for killing people).
The process of the acquisition was about 8 selective clansmen led by ToLiman and met with Tade Pilipo and his clansmen to release, train and demonstrate these songs and dances through spiritual connection on a "loga" or alter sent to the spirits of origin of ToInara. It was was the symbol of musicianship linked to ToInara through a big snake to send from North Coast to Toma through the 8 men present to continue as "tena buai" and passing on to next generations include Vincent as a beneficiary and participant of this art and music culture as "buai na minamai". It represents identity and ownership of the ToLiman clan and the art of song and dance becomes like copyright with permission and privileges authorised by ToLiman clan in Toma area. The style, theme and melodies of these ToInara songs and dances will be identical to where it came from and maintained so is recognisable at performances and any copying of these attracts heavy fines traditionally.
Any transaction to use these songs and dances will be by set price of shell money and not negotiable.
In preparations and performances the leader of the dances usually perform magic or "malira" for attraction by the audience or onlookers. It is referred to a "a gugu" or "langoron" where it presents itself as best liked performances and entertainment to everyone.
ToLiman's principle however was pure and actual performance demonstrated to see the quality of song and dance from its creation, preparation and presenting to the audience its attractiveness and power of traditional art and culture.
Side B: The pre-dancing performance practice referred to as "a gugu" is separate from the actual dancing performance. Its the painting of dancer's bodies for colouring with common substances of "tar" for red colour, "bubu", "kavavar". The type of items held in hands for the dancing "inaba" helps in the style and practice of dancing "mapina". Inviting and displaying the spiritual power through use of "tegete" and "midal" in the dressing and presentation of dancers. The young coconut juice is used with other magical substances are used by dance leaders or frontliners to spit to the air, to the ground and everywhere whilst waving what they are holding. So the "gugu" is an attraction pulling people to like the dancing and repellent for external forces trying to destroy the dancing through magical means or "malira".
Each form or type of dance is unique in beats, melody, pattern or arrangement of song and performance but is always systematic in its nature. The composer of the dance is the mastermind of the performance of song and dance "malagene" and is referred to as "kabiloko" or its metaphor is "spiderweb due to its art of fitting in beats, words, pattern sound, melody of performance in orderly and systematic manner.
The "malagene" or traditional song and dance is structured in a format of pattern and tone set for performance in the order of how dance is presented namely; "kao", patapata", a ur" and "mapina".
The process of the "malangene" from its movement and arrangement is in the format of 4 men/women line positions of the two rows of left and right for total eight dancers with 1st row "vavaluai", 2nd "a kikip", 3rd "a butur" and 4th "mur bat" and can apply to whichever type of dance performance described earlier. Each dancer will be acknowledged earlier for their part by a "varlapang" with "buai" and "kakulai" as traditional practice. A "kakulai" is a yellow leaf type ( 3 or 4 leaves tips) which is traditionally more significant to the everyday "daka" that goes with buai chewing. This is well prepared before the performance event called "a vartak". A first time type of dance performance is called " a puar kulau" but all the patterns and styles are consistent over the generations in the ToInara song and dance practice from "tena buai", "bita buai", "buai na malagene" process in Tolai song and dance art and culture.
The dance performance pattern goes in the process from the two lines moving from back to the front in the order of "garagarana" or introduction, "vatutuk" or next stage prelude to "olaolo" or actual main dancing with optional extension of dancing of "vangvanguna" as seen relevant by composer.
The dancers are prepared and selected on level of skill so it is an honour if you pass the test. The outcome of the performance whether excellent, outstanding, average or poor is easily assessed and picked up by a Tolai and is a reflection of credibility and wisdom of the composer, dancers alike and overall the status of the clan where it originates. If you are tagged as "a melem", you are acknowledged for the art of song and dance outstanding or excellent performance, then you are held in high esteem by the Tolai society and the credit given is recognised.
(Steven Gagau, January 2019) |
| Cite as |
Michael Webb (collector), Steven Gagau (data_inputter), Michael Webb (interviewer), Vincent Toliman (speaker), Julie Toliman (participant), 1993. Interview with Vincent ToLiman, Toma. MPEG/VND.WAV. MW6-044 at catalog.paradisec.org.au. https://dx.doi.org/10.26278/G7T6-P134 |
