Study Guide

'Are'are Music
and

Shaping Bamboo

by Hugo Zemp

With a supplement of 2013 to the original

booklet published in 1993 and included in the

VHS cassette package distributed as the Society

for Ethnomusicology Audiovisual Series no. 1.

Contents
AREARE MUSIC
The Filmmaking Process 5
Structure and Contents 9

Prelude
THE FEAST 9

Part I: au, Music for Bamboo Instruments 10

PANIPE ENSEMBLES 10
SOLO BLOWN BAMBOOS 17
BEATEN BAMBOOS 19

Interlude
WATER GAME 21

Part II: oo, Slit Drum Music 21

Part III: nuuha, Songs
23
WOMENS SONGS 23
MENS SONGS 25
FINAL CREDITS 29

SHAPING BAMBOO
The Film Making Process 31
STRUCTURE AND CONTENTS 32
LOOKING FOR BAMBOO 33
MAKING AU TAHANA PANPIPES 34
MAKING AU PAINA PANPIPES 36
NOTES 39
REFERENCES 39
FINAL CREDITS 39

2011 Supplement 41
Introduction 1

Introduction specialists and can be consulted at the film

library of the CNRS Audiovisuel.
films which I consider more successful from a
technical, conceptual and aesthetic viewpoint.
For a filmmaker, whether he is making films of
Planning to return for further fieldwork in the fiction, documentaries or scientific films, the last
During my first fieldwork in the Solomon Solomon Islands in 1974, I decided to use film in a work he has done is often the one he prefers.
Islands in 196970, I worked for the first few more appropriate way. Not having had the chance
months with anthropologist Daniel de Coppet, to take a course in a film school, or of gaining
who introduced me to many aspects of Areare any formal training in film-making, I hired a
culture. Using a Beaulieu 16mm camera we shot 16mm camera in Paris (at that time light-weight
the film Areare Maasina, in which I collaborated camcorders were not available), and with help
as sound recordist. At the end of his fieldwork and advice from the ethnologist and filmmaker,
in September 1969, Daniel de Coppet left me the Dominique Lajoux and some practical exercises
16mm camera and some rolls of unused film. I which I carried out under his critical guidance,
took advantage of these to shoot the rushes for I learned the rudiments of cinematographic
two short films. One of them, Danses polynsiennes technique. I was thereby able to film Areare
traditionelles dOntong Java, shot during a brief Music and Shaping Bamboo during my field trips in
two-week stay in the atoll which is part of what 197475 and 197677.
anthropologists call the Polynesian Outliers,
shows a number of songs and dances. The other, Seventeen years after the beginning of the
Bambous souffls, bambous frapps, shot with the shooting and thirteen years after the completion
Areare, includes a short sequence on the making of the editing of these two films, it can hardly
of a large set of panpipes for the ensemble au be said that the writing and publication of this
paina, the playing of this ensemble and the solo study guide has been quick. But better late
playing of stamping tubes by Irisipau (who was than never! If I was not keen to undertake this
to be the principal protagonist of the two films task earlier, it was essentially for two reasons.
presented here). Firstly, the very limited distribution of the films
(usually arranged by myself for my university
Having this camera on the spot without being teaching) hardly encouraged spending much
able earlier to learn properly how to use itand time and effort on producing an accompanying
with only some knowledge of the notions of booklet. And secondly, unlike the distributors
still photography to help me in the evaluation of ethnographic films in the United States, the
of the framing, of light and depth of field producer and distributor for these films, the
the resulting rushes showed all the faults of a Audiovisual Service of the Centre National de
beginner, including over-use of the zoom lens. la Recherche Scientifique in France, made no
Work with a professional editor used to dealing provision for the publication of study guides to
with ethnographic films subsequently allowed accompany each film. It was necessary for me
me to discover the principles of cinematographic to wait for the establishment of the Audiovisual
editing. Series of the Society for Ethnomusicology to offer
the possibility of this publication.
These two short nine-minute films were not
distributed. Bambous souffls, bambous frapps Writing a study guide for films made so many
was replaced by the two films presented here years ago is not an easy task. The recollection of
which have much greater depth and which are some details concerning production and post-
better filmed. Despite all its cinematographic production may be blurred or modified, and even
faults, Danses polynsiennes traditionelles dOntong more important, my cinematographic procedures
Java remains an interesting document for dance have since evolved, and I have made other
Research with the 'Are'are 2

Research with the The traditional religious practice was the ancestor
cult. During my first stay in the country between

'Are'are 1969 and 1970, at least 90% of the population were

Christian, about half of them belonging to the
South-Sea Evangelical Church, a fundamentalist
The Areare people live in the southern part of church with Baptist allegiance, and the other half
Malaita in the Solomon Islands (in Melanesia). divided between followers of the Catholic Church
During the 1970s the population numbered and the Melanesian Church (of Anglican origin).
between 8,000 and 9,000. In earlier times the The followers of the Catholic and Melanesian
majority of the people inhabited small hamlets in Churches continued to perform traditional
the mountainous interior of the island, and some music. They participated in the traditional
lived on the edge of the lagoons of the south-west funeral festivities and panpipe ensembles
and of the Mara Masika Passage, the strait which could be heard at the inauguration of a church, a
separates Small Malaita from the main island. dispensary or a school. Attempts were also made
Since colonial times, many villages have been to introduce selected elements of traditional
established on the coast. music into church service. On the other hand, the
members of the SSEC, following the directives
The traditional economy consists essentially of the expatriate missionaries and Melanesian
of the shifting cultivation of tubers (taro, yams pastors, condemned all traditional music as Playing with a au tahana panpipe ensemble at the festival in
and sweet potatoes), the breeding of pigs for devil music, the spirits of the ancestors being honor of Areare Paramount Chief Ariki Nonoohimae Eerehau,
ceremonial festivities and fishing on the coast. described by them as devils. As a result, for all at Kiu village. Photo BSI (British Solomon Islands) News Sheet,
Colonization introduced the production of copra their music the followers of the SSEC had only no. 21, 1974.
for export and the breeding, on a small scale, of Protestant hymns of American origin and the
cattle. songs which some ethnomusicologists have called
Panpacific Pop, of neo-Polynesian inspiration, During the 1970s, when these two films were
Culturally homogenous, the country of the accompanied by guitar and ukulele. shot, the music enjoyed by the majority and
Areare can be systematically divided into two widely distributed through the radio, consisted
principal zones whose traditional political This popular music, which the young Areare of the cowboy songs of Australia, a local variant
organization diverges: the south where the sang, usually in pidgin English (the lingua of the Country and Western style. In the request
hereditary chiefs come from, and the north, franca of the Solomons) but also occasionally programs on local radio, which satisfied the
where big men emerge through their actions, in the Areare language, was widely spread wishes of those who knew how to write in English,
gathering around them friends and relatives, through the radio. From a musical viewpoint the Beatles were also frequently heard. In 1969
and increasing their prestige by giving funeral these compositions had no features that were the Solomon Islands radio station only devoted a
feasts in which food, shell money and music are specifically Areare or characteristic of the quarter of an hour a week to traditional music and
exchanged. The big men from the north and Solomon Islands. The Areare were very conscious oral literature.
from the south are referred to by the same term, that the musical style of the religious hymns and
aaraha. of these secular songs was imported, and called If during my work in the Solomon Islands, and
them nuuha ni haka or au ni haka, song of the in my two films, I devoted myself exclusively to
This two-fold division is also ref lected in the whites or music of the whites. On the other traditional music, it was for reasons of urgency
distribution of musical types: in the north, hand, the different types of traditional music, and solidarity with the traditional musicians.
there is only one type of vocal music for men each with its own name, were generally described
(divination song), while in the south there are collectively by the expressions music of custom The former British Solomon Islands Protectorate
three others (paddling song, pounding song, song or songs of custom (au or nuuha ni tootoraha), includes six main islands and about 100 smaller
with beaten bamboos). Among the four types of or even more simply as music of the land (of the ones. The total population is relatively small (less
panpipe ensembles found, one (au keto) is only ancestors), au ni hanua. than 150,000 in 1969), but it is characterized by
played in the north. great cultural and linguistic variety. Depending
Research with the Areare 3

upon the linguistic criteria used, there are the anthropologist Daniel de Coppet suggested
between 70 and 100 distinct languages. There that I should hear the sound recordings which he Several books are available in English on the
are perhaps as many musical cultures. The most had made during a two-year period of fieldwork immediate neighbors of the Areare: on the Saa
urgent task then was to document and study in the Solomon Islands. Enthused by the beauty of in the south (Ivens, 1927) and on the Kwaio in the
the traditional music before certain genres the music and complexity of the polyphony, and north (Keesing, 1977, 1978, Keesing and Corry,
disappeared or were radically transformed. New intrigued by the titles of the musical pieces, which 1980).
genres, such as church and popular music, are also suggested the existence of a music imitating the
changing, but it is easier, at the time when we wish sounds of both nature and culture, I decided to For the music of the Areare, study of the first
to study it, to find historical recordings, thanks accompany him on his next field trip. two mentioned of my articles below, published in
to the production of records, to the archives of the English in Ethnomusicology, seems essential for
missions and especially to the radio. When I arrived amongst the Areare, Daniel a deeper understanding of the musical concepts
was on his second stay; he spoke the language shown in the two films:
In common with the traditional musicians, I did perfectly, having completed a manuscript
not want to increase the standing of acculturated dictionary, and introduced me to its grammar. Areare Classification of Music Types and
music. This music, secular and religious, had He had already spoken to the Areare leaders Instruments (1978) examines the indigenous
no need of support: it was already sufficiently about my forthcoming visit, and a few days after taxonomy that I took as a framework for the film
sustained by the prestige attached to everything my arrival, theAreare brought me a large folder Areare Music and provides a semantic analysis of
that came from Europeans (political, economic, containing a wad of paper on which the names the terminology.
educational and religious domination). In order for the musical types were written out in their
to be able to study traditional music, I had to show language. They also made me a list with the Aspects of Areare Musical Theory (1979)
unambiguously that I was on the side of those who names of the villages where I should go to be able explains the notions of intervals, of melodic
performed it. I could not be a neutral observer. to record the best musicians. In this procedure segmentation and polyphonic organization. It
I chose the side of custom (poo ni tootoraha) at there was a concern for comprehensiveness also contains a detailed analysis of all the musical
1
the expense of the church side (poo ni sukuru) ; which I tried to satisfy by publishing a complete terms (notably the vernacular terms translated
this was a precondition necessary to gain the inventory of all the musical types, in written with English subtitles, like equiheptaphonic
confidence of the traditional musicians. form, on three 33 rpm records, three CDs and in seconds whose appearance on the screen often
the film. gives rise to exclamations of incredulity amongst
Today, now that the inventory of different musical the spectators).
genres used by the Areare is complete, it would For reasons of space it is not possible here to
be interesting to document and study the present summarize the research undertaken on the Another article, Melanesian Solo Polyphonic
situation, with the interactions, conf licts and ethnography and ethnomusicology of the Areare. Panpipes (1981) is more particularly devoted
eventually the intermingling between traditions The ethnographic context is analyzed in various to the making and the music of a single Areare
and popular music. A new film project, for which publications by Daniel de Coppet: the ceremonial instrumental type (scene 8 in this film), with
I have unfortunately not yet found the financial exchange (1968), the funeral cycles (1970a), the comparisons of instruments coming from other
resources, will be devoted to this. money and the symbolism of numbers (1970b), the Melanesian regions.
See the 2013 supplement, p. 41. -HZ first contacts with the navigators of the sixteenth
century (1973), their ideas about gardens (1976), A fourth article in English, Melanesia, 6:
This is not the place to review the history of my about pigs (1977) and about death (1981; Barraud, Solomon Islands (1980), written for a dictionary,
research with the Areare, except perhaps to Coppet, Iteanu and Jamous, 1984). A work which includes no new elements concerning Areare
make two points: the reasons why I suddenly we wrote together (Coppet and Zemp, 1978) is a music, but provides some information on the
went to the Solomon Islands, after having done photographic study of Areare society, with oral music characteristics of the island of Malaita
my original field work in West Africa, and the literature translated from the Areare language (presented in much more detail in two French
reasons why the classification of musical types complementing the information provided by articles, 1971a and 1972a), and a few brief notes
has such an important place in the film. During the pictures, and including an ethnographic and on the music of the peoples speaking Papuan
an anthropology seminar in which I presented ethnomusicological text written by the two co- languages in the northern Solomon Islands and a
my results on the music of the Dan (Ivory Coast), authors. Polynesian language on the Ontong Java atoll.
Research with the Areare 4

Another article, Echelles quiheptaphoniques The discography presented at the end of this
des fltes de Pan chez les Arar (Malaita, Iles booklet includes records of Areare music, as well
Salomon) (1973), although written in French, as those devoted to the traditional music of other
is easily accessible to English readers, since it is Melanesian people in the vicinity.
published in the Yearbook for International Folk
Music Council. The reading of pitch measures and See the 2013 supplement, p. 41. -HZ
intervallic calculations of panpipe tuning does not
require a deep knowledge of the French language.
This study concentrates on the equiheptaphonic
scale, dividing the octave into seven equidistant
degrees as well as on the difference between the
equiheptaphonic second and the major second Figure 1: Map of Malaita and Guadalcanal showing the territory of the
which coexist in Areare music. Areare and the territories of the other peoples living on the islands.

Other publications in French are probably less

available to readers in the United States and other
English speaking countries. They include:

Instruments de musique de Malaita, I & II

(1971, 1972a), which provides an inventory of
all the musical instruments known on Malaita
island. The article also shows how in the
geographical distribution of its instruments the
island of Malaita can be divided into two parts
corresponding to a linguistic division, and how
the spatial arrangement of musicians ref lects the
polyphonic organization of the music for panpipe
ensembles.

Fabrication de f ltes de Pan aux Iles Salomon

(1972b) is devoted to the manufacture of panpipes
by the Areare, compared to the manufacture
described in the literature for the northwestern
Solomon islands.

Deux huit voix: Polyphonies de f ltes de Pan

chez les Kwaio (Iles Salomon) (1982) analyses the
polyphony of a panpipe ensemble of the Kwaio
people, the Areares northern neighbors. The
structure of this two- to eight-part polyphony
(certainly a record in Melanesia and probably in
many other regions of the world) can be compared
to the organization of the two- to four-part
polyphony used by the Areare.
'Are'Are Music: The Filmmaking Process / First Shooting (JanuaryMarch 1975) 5

'Are'are Music
The Filmmaking
Process
FIRST SHOOTING (JANUARY-MARCH 1975)

The most elaborate music, which is also

considered the most important music by the
Areare, is that for panpipe ensembles. It would
be inconceivable to make a film without this
music, which is the most specific. The Areare use
four types of ensemble (while other people in the
Solomon Islands only use one or two), with the
widest repertoire. Like the slit drum ensembles,
the panpipe ensembles play essentially for
commemorative funeral feasts. Generally one
type of panpipe ensemble, sometimes two but
never all four appears at a feast, and a slit drum
ensemble performs if the village has one. In the
north of the Areare country where I stayed most,
there is no vocal music during these feasts.

As already explained, in 1969 I collaborated,

as sound recordist, in the film Areare Maasina
made by Daniel and Christa de Coppet. This film
was devoted to the festivities for the launching
of a boat made by the Areare, which followed
Filming the au paina panpipe ensemble at Hauharii village, 1975. Photo Ada Zemp-Martinkus.
the pattern of the commemorative funeral feasts
and included the playing of a panpipe ensemble
au tahana and a slit drum ensemble. It seemed
pointless to remake a film on one feast, even CNRS sent me a camera and film stock for the man and one woman, were no longer used. Very
if I were to devote more space for music, since last three months of my stay in the Solomon few men still knew how to play the au ware, and
at all events there would only be one type of Islands. Between January and March 1975 there already, during my field trip in 1969 70 I had
panpipe ensemble (or two at most), and at best one were no feasts happening amongst the Areare not encountered a single woman who knew how
ensemble of slit drums. Being struck by the great and therefore no performances by panpipe or slit to play the mouth zither au pasiawa; (for the
richness and diversity of musical types, I thought drum ensembles. Solo instruments had become disc I was obliged to record a man playing). The
it would be better to complete an inventory, as I very rare and they were replaced by the guitar, panpipes with an irregular arrangement of tubes
had done in three LP records. which was more fashionable amongst young were no longer played during the harvesting
people. The obliquely held bundle panpipe au of almonds, and only the name bamboo of the
During my second field trip, between June 1974 ware and the mouth zither au pasiawa, played tradewind (season) (au ni aau) recalled this
and March 1975, the Audiovisual section of the traditionally for love magic, respectively by one use. The transverse f luteau porare was no longer
AreAre Music: The Filmmaking Process / First Shooting (JanuaryMarch 1975) 6
During the shooting of his explanations no one
played except by a few men in the southern region. not follow chronological order. To underline else was present except my sound recording
Only the vertically held bundle panpipes au waa the catalogue character of the film, I decided assistant and myself on the camera. He did not
and the stamping tubes au ni mako had remained to separate each genre by a numbered subtitle. address us, since we knew what he was going to
fairly popular and continued to be played for Working intensively in 197475 on indigenous say, but an unknown and invisible audience. This
entertainment. theories and having discovered in Irisipau (with artificial, professorial situation bothered me
whom I was living) a practicing musician who was during shooting and bothers me still when I see
.3
Given this situation I had to make a choice at ease with nearly all the musical instruments, the film
between giving up making a film and compiling who had an enormous knowledge of theory
a filmed inventory of all the musical types, but having ref lected deeply on the terminology,
outside their functional contexts. I chose the and who was acquainted with the myths on the EQUIPMENT
latter alternative. The absence of social context, origins of the instruments, I asked him to present
especially in the scenes with panpipe ensembles, a short introduction to each musical type for the The equipment consisted of an Eclair ACL 16mm
bothered me (and still bothers me) enormously. film. His knowledge of the customs in general camera, with three 60m magazines giving 5
That is why, when I was able to return in 197677 and of the music in particular was respected by minutes coverage each, and a Stellavox SP 3 stereo
to complete the shooting, I filmed some parts of a everyone. It was not for nothing that he had been tape recorder with quartz generated pilot track.
commemorative funeral feast, in which a panpipe chosen by the political and traditional Areare I filmed mainly with two fixed lenses: a 10mm
ensemble (au paina) is brief ly seen in its proper leaders as the first Custom teacher in a Custom wide angle and a standard lens with a focal length
context, and I integrated this scene in the prelude School where he taught in Areare language the of 25mm. A Honda generator, bought on the spot,
entitled The Feast. However, having taken part myths, customs, genealogies and music. provided the electricity to recharge the batteries.
in several feasts during my first trip of 196970, When it broke down I had to make a two-day
as well as in 1974 and 1977, and having also often Having a limited stock of film, I was afraid of journey there and back to charge the batteries at
recorded musicians out of context, I can affirm using too much of it on verbal explanations and the station of a Catholic Mission.
that the playing outside the normal social context not having enough left for the music. So I asked
alters neither the content nor the musical form. Irisipau to be brief and to concentrate all that he The camera which belonged to the Audiovisual
Apart from the absence of the noisy atmosphere wanted to say. As we had been working for several Department of the CNRS had to serve several
and of the people around the musicians, months on musical taxonomy and conceptions, researchers and filmmakers, and was not
recording out of context is not altogether a he proposed quite naturally what he had spoken available to me during the first six months of
disadvantage: the musicians chose the best to me about during earlier work sessions and my nine months field trip in 197475. It was sent
players from amongst themselves, and each piece to repeat what we had formalized together. Of to me only for the last three months. It included
of music was rehearsed several times before they course, he did not serve me the classification and an electronic clapperboard, a small bulb which
agreed to be recorded or filmed. During a feast all the concepts on the intervals and polyphonic lit up each time the switch was pressed and
beginners and less proficient musicians are not organization on a silver platter: these concepts simultaneously a bleep was recorded by the
excluded from the ensemble (with good reason, were elicited according to the methodology of tape recorder linked to the camera by means
2
since performing during a feast is the usual cognitive anthropology. Before shooting each of a cable. This should allow one to locate the
procedure for apprenticeship), and so the quality verbal explanation, I asked him what he wanted beginning of each shot for synchronizing image
of playing is often less good. to say, and as my stock of film dramatically and sound in editing, but because of a fault in the
diminished, I pleaded with him each time: soldering of the synchronization cable, a short
Having insufficient film stock and not knowing shorter, shorter! Sometimes he wrote out in circuit resulted in the camera bulb remaining
whether I would be able to return in the near Areare language the text that he proposed to lit. I realized that the viewfinder was brighter
future to complete the film (although I hoped to present and showed me the paper. Trying to recall than usual; but because of my lack of experience
do so), I decided to at least complete the survey what he had written, he sometimes hesitated, with this type of camera, I did not recognize the
of the instrumental music and to leave the vocal especially during the first filmed sequences problem immediately. Involved in the excitement
music for a later second shooting. (made in the order of the generally structure of the action I thus shot several rolls before,
of the film, that is to say, beginning with the feeling increasingly ill at ease, I took out the
Unlike a film showing a musical event, such ensemble au tahana). synchronizing cable in order to continue filming
as a feast, the scenes in an inventory film do with a hand-held clapperboard. I sent the first
AreAre Music: The Filmmaking Process / Equipment 7

rolls to be developed in France and when two feast, because we could not invite so many people As for the paddling song, Tahuniwapu, the only
months later I was in the capital of the Solomon from the surrounding villages (some people singer-helmsman who knew the songs with the
4
Islands to take the return plane, I received had to spend all day walking to attend) and play traditional words invoking the ancestor-sharks,
a telegram to say that all the first rolls were the panpipes (even on a screen) without eating told me that there were no longer any great canoes.
blackened and that there were no images! pork and taro puddings with coconut. These In fact the journeys between the islands which the
projections were greeted with enthusiasm but Areare used to undertake in earlier times, had
Because the cables were insufficiently isolated, also with cries and tears when a person who had been stopped by the central government because
I quickly abandoned the idea of using a mobile died since the shooting appeared on the screen. of the dangers. Moreover, the boats belonging to
microphone, especially since my assistant, not For me to be able to show and see again these the government and the Chinese, as well as the
being an experienced boom operator, could not images on a stretched out white sheet in a village boat built by the Areare themselves, had made
manage to hold the boom without moving his in the evening, under the open sky, was amongst canoe journeys on the high seas unnecessary. To
fingers and thus adding interference noise. I the most beautiful and moving memories of go along the coast, to navigate in the lagoons, or
therefore placed two cardioid microphones on a my stay on the island. The first projection took to go up a river, small canoes holding between two
tripod (one a condenser microphone which often place during a meeting of all of the political and and six people were sufficient. However, one large
broke down because of the dampness in the air traditional Areare leaders (aaraha), and thanks canoe was still in good condition, even if it had no
and the other a dynamic microphone; in editing to this projection I was able not only to continue prow and no stern. In order to preserve on film an
a single track was used), and I regulated the level the shooting but also my research amongst the image conforming to custom, the Areare leaders
of the sound recording and asked the assistant to Areare. wanted to restore this canoe, and we agreed on a
start up the tape recorder (we see him for a brief date for the shooting.
moment in Shot 56). If the sound source was very In fact the central government of the Solomon
weak and the mechanical noise of the camera Islands asked me to teach for a two-week
likely to become a problem, I used two shotgun workshop organized by UNESCO and intended FINAL EDITING
microphones on a tripod. This was necessary, for for Melanesian trainees (from the Solomon
example, when filming the bundle panpipes or Islands, New Caledonia, the New Hebrides Before talking about the aesthetic choices in
the womens singing. which are now called Vanuatuand Papua New editing, something should be said about the
Guinea). However the provincial council of strategy for shooting musical pieces (cf. Zemp
Malaita Island refused to grant me a permit for 1988). I have always filmed musical pieces
SECOND SHOOTING (JANUARY APRIL 1977) research, for reasons which were not explained complete in a single shot; the relatively short
in the letter of refusal. But after having shown duration of instrumental pieces and of womens
On my return from the field trip, Jean-Christian the provisionally edited version of the film to songs facilitates this. For the close-up shots of
Nicaise, an editor from the CNRS Audiovisual the Areare leaders, the latter met without my instruments played solo or for womens songs in
department, made an initial assembly of the being present to discuss the matter, decided to which only two people were in the frame, I used
rushes at which I was present each day. This write a letter to the provincial council of Malaita the camera on a tripod in order to obtain a stable
provisional editing included all the types of and to the central government, demanding that image (as I had done for Irisipaus explanations).
instrumental music with the corresponding I receive authorization to continue my research Having available only a light tripod of the
commentaries of Irisipau, except for the slit and filming. We agreed a date to organize the amateur type without a f luid head, I was not
drum ensemble and the panpipe ensemble au shooting of the sequences of vocal music and of able to make pans, and so the shots were always
takaiori panpipes (whose images had been spoiled the two instrumental ensembles which I had to necessarily in fixed frame. For the instrumental
by the cameras short-circuiting). film again. A commemorative funeral feast took ensembles (panpipes and slit drums), and for the
place a few days later and a political meeting, mens songs (which included numerous other
A copy on super 8 format of this assembly bringing together the chiefs from the south, had participants, as well as the two singers), I filmed
allowed me to present these first results to the been programmed, in the course of which I was with the camera on my shoulder and was therefore
Areare during my next mission. I made several able to film the traditional pounding of the taro able to do pans or tracking shots. For aesthetic
projections in the villages, with the generator accompanied by singing. reasons, I decided not to use the zooming facility
used to charge the camera batteries providing when, in the course of the second shooting, I had
the electrical current. This was the occasion for a at my disposal a zoom lens, and so I used this lens
AreAre Music: The Filmmaking Process / Final Editing 8

only in situations which did not allow a change of images from another shot. It is true that the pieces I also wished, since the initial project, to make
fixed-focus lens. were short (about 40 seconds), but the stability a short version in addition to the long version.
of the tempo is nevertheless remarkable. In For financial reasons (a very costly 16 mm
When a panpipe ensemble is playing, the percussion music like this, out of sinc of a single internegative of the first editing of 150 minutes
musicians always rehearse a piece softly image (one twenty-fifth of a second) can very would have been necessary), the short version was
before playing it at normal volume, two or clearly be perceived. never made. Now that the distribution is effected
four times according to the type of ensemble. essentially in the form of DVDs, the making of a
If the musicians do not know a piece well, this The womens songs, of short duration like the short version seems less necessary. The chapters
rehearsal serves to correct errors and to obtain static shots instrumental pieces, are filmed in and minute timing of the shots recorded in
better cohesion in the ensemble playing. If fixed shot and left this way in editing (except for this booklet will allow the viewer to choose the
the musicians are of a good standard, it would one song taken from two shots, Shots 187-188). sequences that he or she wishes to shorten, omit,
not even be necessary to do this rehearsal, and For the mens songs, which are much longer, I repeat, or see another time.
yet they always do it, playing the piece at a low preferred to use a mobile camera and to keep
volume level to the very end. I filmed these the sequence shots in editing (Scenes 19 and 20). I made in 2011 a short version of 88 minutes of the
rehearsals (although I had not recorded them For the canoe song, it was not possible for me to French version distributed by CNRS, and in 2012
for the publication of the records), and it seemed change my position inside the canoe, and in order of the English version (not distributed yet).
interesting to me to include them in the editing. to vary the angles in editing, I inserted filmed
This provided me with the occasion to show at images in playback (cf. the description affecting
the beginning of each piece a shot in which the scene 17).
complete panpipe ensemble could be seen within
the same framing. During shooting I systematically filmed several
pieces played by each musical type (four pieces
In the shooting I had filmed each instrumental in the case of the panpipe ensembles). Seeking
piece several times, in order to have some choice advice from ethnomusicologists about the
available during the editing. Usually I wanted to number of pieces to keep in editing, my director
reproduce a piece in a single shot, and in order to of research suggested the maximum. This was
avoid the change of shot systematically occurring no doubt good advice since, to satisfy the need
during the silences between the performances of documentation for music that is little known,
of a piece, more often than not I continued to it is better to use four pieces of music than one.
film the first notes of the following performance In any case, I would have found it a pity to keep
before stopping the camera. In editing, I then in the film a single piece of each musical type
cut after the first chord (cf. for example the cuts and to store the unused rushes of other pieces
between Shots 55-56 or 58-59 or again Shots 61-63). in cans which nobody would ever open again.
In the fixed-angle shots of pieces played by solo But the requirements for documentation are
instruments, when it came to editing, I cut within not necessarily the same as those for the public
a piece (for example between static shots 101-102, presentation of a film. I decided finally to keep
123-124, etc.). three pieces of each panpipe ensemble, and two
pieces of each type of singing (only one for the
This manipulation in editingwhich is no pounding song), the vocal music being much
doubt questionable for those ethnomusicologists longer than the instrumental pieces. Despite this
who only recognize the value of a pure research compromise, the film is still very long, much too
documentled to an unexpected discovery long for one continuous projection (although
concerning the stability of the tempo. In editing sometimes when I subsequently presented the
several pieces of music in which a trio of women film in its entirety I was surprised how few
play stamping tubes (scene 10), I was able to keep spectators left the room before the end).
the sound of one shot and to post-synchronize the
AreAre Music: The Structure and Contents of 'Are'Are Music / General Structure 9

THE STRUCTURE AND CONTENTS OF AREARE Part III: nuuha, Songs PRELUDE: THE FEAST
MUSIC: GENERAL STRUCTURE Womens Songs
Scene 14 roorowera Lullaby Shot 2 00:01:30
The film comprises three sections which Scene 15 nuuha iisisuu Love Song / Complaint Card: Prelude: The Feast
correspond to the three main categories of Scene 16 aamamata Funeral Lament
Areare music, together with a prelude and
interlude. Each type of music distinguished Mens Songs SCENE A. ARRIVAL OF THE GUESTS AND
by the Areare is announced with a separate Scene 17 nuuha aana hote Paddling Song PREPARATION OF THE FOOD
heading, numbered 1 to 20. In order to avoid Scene 18 kana Divination Song
confusion between the numbering of the types Scene 19 nuuha aana rapaha Pounding Song Shot 3 00:01:32
of music shown in the film and the numbering Scene 20 kiro Song with beaten Bamboos Same place as Shot 1. Pan shot showing some of the
of scenes for the requirements of analysis, I have houses in the village of Maimasi Waraana and the
given letters rather than numbers to the first platform erected for the commemorative funeral
scenes of the prelude. Scene-by-scene analysis feast, from which will be suspended the strings of
shell money offered by the guests at the feast.
Prelude: The Feast DISC 1
Scene A Arrival of the guests and preparation Shot 4 00:01:47
of the food TITLES AND INTRODUCTORY TEXT Arrival of the canoes for the feast.
Scene B The pigs
Scene C The Melanesian oven Shot 1 00:00:12 Shot 5 00:01:57
Scene D Meal and playing of a panpipe On the edge of Takataka Bay, view of some of Presentation of the root vegetables brought by a
ensemble the houses in the village of Maimasi Waraana. group of guests. The presenter is Aitohua, a singer
This image, taken from a slide, serves as the in scene 20 at the end of the film.
Part I: au, Music for Bamboo instruments background to Subtitle: Offerings of food by invited people.
Panpipe Ensembles - the name of my employer and producer of
Scene 1 au tahana Panpipe Ensemble the film: CNRS (National Center for Scientific Shot 6 00:02:28
Scene 2 au keto Panpipe Ensemble Research) The root vegetables are collected and carried away.
Scene 3 au takaiori Panpipe Ensemble - the title AreAre Music
Scene 4 au paina Panpipe Ensemble - the scrolling text: Shot 7 00:02:33 Shot 8 2:42
A comprehensive inventory of the twenty types of Men grating coconuts.
Solo Blown Bamboos traditional music of the Areare people on Malaita,
Scene 5 au porare Transverse Flute filmed in the Solomon Islands in 1975 and 1977. Shot 9 00:02:51 Shot 10 3:34
Scene 6 au waa Bundle Panpipe This film was conceived with the collaboration of Women preparing small puddings of taro and
Scene 7 au ware Bundle Panpipe the musicians. The explanations present Areare grated coconut, wrapping them in banana leaves
Scene 8 au ni aau Panpipe musical concepts in condensed form. before putting them in the oven to cook.
A first version of half of the documentary, filmed Subtitle: Puddings of tubers and grated coconut
Beaten Bamboos in 1975, was viewed in December 1976 by the for the oven.
Scene 9 au pasiawa Mouth Zither Areare Council of Chiefs which decided in session
Scene 10 au ni mako Stamping Tubes to give its accord and support to continue filming Shot 11 00:03:43 Shot 12 3:49
in 1977. The arrival in single file of a group of guests,
Interlude The Areare Council of Chiefs, headed by bringing a live pig and shell money, threaded with
Scene 11 kiro ni karusi Water Game Paramount Chief Ariki Nonoohimae Eerehau, vegetable fibers on leafy sticks.
decided that this film benefits the Areare people, Subtitle: Offerings of shell money (funeral feast).
Part II: oo, Slit Drum Music not only by making their music known abroad, but
Scene 12 oo mouta Solo Slit Drum also by contributing to education in their schools. We hear the sound of a slit drum ensemble
Scene 13 para ni oo Slit Drum Ensemble greeting the arrival of the pigs and then the sound
AreAre Music: The Structure and Contents of AreAre Music / General Structure 10

of a group of a panpipe ensemble au paina. The Shot 29 00:06:41 the film, is sitting.
pictures in Shots 11-13 are rather out of focus, but Shot 30 00:06:49 Subtitles: During such a feast, there is music.
the bringing of the shell money is an essential Young people take quarters of pre-cooked meat We Areare people of Malaita have: au , music
part of commemorative funeral feasts, which is from the fire (Shot 21). White-hot stones are for bamboo instruments; oo, slit drum music;
why these pictures have been kept. spread out (Shot 22), while other men bring large nuuha , vocal music.
banana leaves to cover the heated pebbles (Shot
Shot 13 00:04:12 23). The quarters of pre-cooked meat are put on the
A man attaches the shell money to the transverse leaves (Shot 24), then covered with a new layer of Part I: au, Music for Bamboo Instruments
bar of the platform. leaves (Shot 25), upon which hot stones are placed
with bamboo tongs (Shot 26). Then comes a new Shot 36 00:08:46
layer of leaves (Shot 27), a new layer of meat (Shot Card: Part I: Music for bamboo instruments au
SCENE B. THE PIGS 28) and a cover of leaves (Shot 29) fixed with sticks
(Shot 30). The oven is complete and the meat will Shot 37 00:08:54
Shot 14 00:04:19 continue to cook for several hours. Shot 38 00:09:39
The pigs, tied to stakes, waiting in the shade Irisipau continues his explanations:
beneath a roof, before being sacrificed. Subtitles: Each piece of instrumental music has
SCENE D. MEAL AND PLAYING OF A PANPIPE a title. The titles of certain pieces created in the
Shot 15 00:04:33 ENSEMBLE past are not known anymore. Nor is the name of
Shot 16 00:04:37 the composer. Certain pieces are composed based
According to tradition the pigs are strangled (the Shot 31 00:06:59 on all kinds of sounds: a bird calling, a woman
Christians cut their throats). Communal meal. On three rows of leaves spread lamenting a death, people working, the sounds
out lengthwise, the guests eat the cooked pork, the of the forest. Other pieces are named according
Shot 17 00:04:40 vegetables and the puddings. to the way they are played. We have two types of
The pigs bristle is burned, then scraped off with bamboo instruments: blown bamboos and beaten
shells. Shot 32 00:07:19 bamboos. Slit drums are also beaten. Among
Photograph of Ariki Nonoohimae Eerehau, the blown bamboos, there are two types: solo
Shot 18 00:04:48 Custom Chief of the Areare. instruments and ensemble instruments.
Shot 19 00:04:57
Two moments from the cutting up of a pig. Shot 33 00: 07:23
The guests resting. The sound of a panpipe PANPIPE ENSEMBLES
Shot 20 00:05:01 ensemble au paina, added by mixing, anticipates Shot 40 00:09:59
View of part of the village with people. the following shot. Shot 41 00:10:03
Shot 42 00:10:11
Shot 34 00:07:29 Shot 43 00:10:17
SCENE C. THE MELANESIAN OVEN Panpipe ensemble au paina, comprising eight Shot 44 00:10:20
musicians arranged in two rows (cf. scene 4). A Shot 45 00:10:23
Shot 21 00:05:09 young girl is crouched in the middle, having a Shot 46 00:10:29
Shot 22 00:05:20 kind of stereophonic listening position for the Shot 47 00:10:36
Shot 23 00:05:32 two parts of the polyphony. Shot 48 00:10:43
Shot 24 00:05:42 Irisipau continues his explanations (Shots 40
Shot 25 00:05:51 Shot 35 00:08:19 to 48), with inserted images illustrating his
Shot 26 00:05:59 The same ensemble, seen through a wide-angle talk: guests at the feast (Shot 41), a woman with
Shot 27 00:06:11 lens. Pan across the platform, with young people a necklace of shell beads (Shot 42), a man with a
Shot 28 00:06:29 on it, to the verandah of a house where Irisipau, diadem of shells (Shot 43), women bringing the
the musician who is to be the guide throughout shell money (Shot 44), the meal (Shot 45), men in
AreAre Music: au, Music for Bamboo Instruments/Panpipe Ensembles 11

front of the platform (Shot 46), an old woman with the technique of pulsating blowing (Shot 53).
ornaments on her nose and ears (Shot 47). Subtitles: One, two, three (etc.). The eighth tube
makes the octave. We do not blow each tube
Subtitles: Panpipe ensembles do not play at odd separately like this. We play two tubes at once
moments, but only at feasts when many people producing a second. We dont play a steady tone,
gather together. The people who come to the feast like this: We blow with pulsating breath. Because
put on their ornaments, the women, the men too, we play many harmonic seconds and large
and they offer shell money. We prepare food for intervals, the au tahana is the most difficult of
everyone, and after the meal, the musicians begin all the panpipe ensembles.
to play. People watch and listen and are pleased
with the music which is the ornament of the feast.
The music strikes directly to peoples hearts. Shot 54 00:13:10
There are four kinds of panpipe ensembles: au Irisipau describes the two-part polyphonic
tahana, au paina, au keto, au takaiori . playing, each part being doubled at the octave:
Subtitles: Four men play in two parts: pau ni
au (main part) and aaritai (second part). The
SCENE 1: AU TAHANA PANPIPE ENSEMBLE instruments for the two parts are identical. The Scene 1: au tahana Panpipe Ensemble. Two musicians playing
smaller instrument is an octave (aano suri) apart the same polyphonic part, in parallel octaves, on a large and
Shot 49 10:54 from the larger one. The players of the two parts small panpipe.
Card: 1. Ensemble of 4 Panpipes - au tahana face each other. First we practice each piece softly,
then play it out loud twice through.
Shot 50 10:58
Irisipau presents a panpipe from the au tahana Shots 55 to 63: playing of the ensemble au tahana.
ensemble. The four musicians are filmed in front of
Subtitles: The au tahana is the oldest of our Irisipaus house in Raroasi.
panpipe ensembles. Each instrument has 14
tubes. Their lower ends are closed. These two Shot 55 00:13:47
ends, extending beyond the node, protect the Shot 56 00:15:02
instrument. All intervals are equal. They are Shot 57 00:16:18
called rapi au (lit. twin bamboos). The piece entitled:
Subtitle: POLISHING SHELL BEADS
Shot 51 11:34 The piece was composed following the rhythm of
CARD with written text. polishing shell beads on a stone.
Subtitles: The basic scale of panpipe ensembles
is equiheptaphonic, the octave being divided In Shot 55 (00:13:47), the four musicians rehearse
into 7 equidistant pitches. The equiheptaphonic the piece softly. Shot 56 (00:15:02) shows first the
second, which is slightly smaller than the major two musicians playing the main part pau ni au
second of the Western tempered scale, is called in (performed by Ooreana and Kinipaea), then a
Areare: rapi au, twin bamboo. panoramic shot of the two players of the aaritai
(Irisipau and Warahane). In the background
Shot 52 11:53 we see Waiwaimai, the sound assistant wearing Fig. 2 - AU TAHANA PANPIPE ENSEMBLE. Arrangement of
Shot 53 12:08 headphones. Return to a panoramic shot with instruments during performance (seen from above). The player
Irisipau continues by showing the octave the two players of the pau ni au. Repetition of of the smallest instrument is always found on the right hand
(Shot 52), the harmonic ornaments at the the piece in Shot 57 (00:16:18) showing Irisipau side of the musician playing the same polyphonic part on the
equiheptaphonic second obtained by blowing playing the aaritai part. larger instrument (this diagram, like figures 3-7, is taken from
simultaneously into two neighboring tubes, and Zemp 1972a).
AreAre Music: au, Music for Bamboo Instruments/Panpipe Ensembles 12

Shots 58 to 60. Piece entitled:

Subtitle: THE COCK
In Shot 58 (00:17:36), the four musicians rehearse
the piece. Shot 59 (00:18:29) shows Irisipau
playing the aaritai part. Shot 60 (00:19:35) shows
the two pau ni au players.

Shots 61 to 63. Piece entitled:

Subtitle: BLOWING ALL AROUND (the pipes)
Cf. the transcription of this piece, which uses all
the pipes of the instrument, hence its title, given
in Zemp (1979:40)
In Shot 61 (00:20:24), the four musicians rehearse
the piece. Shot 62 (00:21:43) begins with the two
players of the pau ni au and pans towards the
two players of the aaritai. In Shot 63 (00:22:58)
Warahane plays the small instrument of the Scene 2: AU KETO PANPIPE ENSEMBLE
aaritai.

SCENE 2. AU KETO PANPIPE ENSEMBLE

Shot 64 00:24:08
Card: 2. Ensemble of 6 Panpipes au keto

Shot 65 00:24:12
Shot 66 00:24:44
Irisipau presents the instruments of the au keto
ensemble.
Subtitles: The au keto ensemble comprises
instruments with 7 or 8 tubes. All intervals are
equal: These are thirds (hoa ni au). Six musicians
play in three parts: too au, maa ni au, rihe. The
too au and the rihe have some tubes the same
length. The maa ni au and the rihe or the too au
together produce equiheptaphonic seconds.

Shots 67 to 73
Performance of the au keto ensemble, filmed at
Raroasi (the names of the musicians are given in
the credits at the end).

Shot 67 00:25:31
Shot 68 00:27:48
The piece entitled:
Subtitle: ENDING TWICE Fig. 3 - AU KETO PANPIPE ENSEMBLE. Diagram of the pipe lengths.
Cf. the transcription of the cadential formula of
AreAre Music: au, Music for Bamboo Instruments/Panpipe Ensembles 13

this piece (Zemp 1979:20). ZONE 2

In Shot 67 the six musicians are filmed with a
high-angle shot to show their grouping in a circle
(seen from zone 1 of fig. 4). First the soft playing,
then the loud playing (as the camera tracks
forward). For the repeat (Shot 68) there is a change
of axis: the camera is now placed in zone 2 and
films first the two maa ni au players and then pans
to the two too au players.

Shot 69 00:29:09
Shot 70 00:32:02
The piece entitled:
Subtitle: GROANS OF PORARE
In Shot 69 the six musicians rehearse the piece,
then play it loudly (as the camera tracks forward).
In Shot 70 a repeat.

Shot 71 00:33:45
Shot 72 00:34:27
Shot 73 00:3523
The piece entitled:
Subtitle: ENDING ON A CUT-OFF
In Shot 71, the six musicians rehearse the piece.
In Shot 72, when they play loudly, the camera is in
zone 2 and frames the player of the large maa ni au
on the right, with the little maa ni au in the middle
and the large rehe on the left. Repeat of the piece in
Shot 73.

SCENE 3. AU TAKAIORI PANPIPE ENSEMBLE

Shot 74 00:36:13
Card: 3. Ensemble of 10 Panpipes au takaiori

Shot 75 00:36:18
Shot 76 00:36:51
Shot 77 00:38:20
Shot 78 00:39:51
Irisipau presents the instruments of the au ZONE 1
takaiori ensemble.
Subtitles: In the au takaiori ensemble 10 men play
in four parts: hoo, pai au, rihe sii, rihe puri. All Fig. 4 - AU KETO PANPIPE ENSEMBLE. Diagram of the spatial arrangement of the instruments during performance (seen from above).
intervals are equal: a third, a third, a third (Shot 75). The main zones indicating the camera positions are numbered 1 and 2.
This instrument here, hoo, has four tubes. This one
here, pai au, has five tubes. The hoo and the pai au
AreAre Music: au, Music for Bamboo Instruments/Panpipe Ensembles 14

together produce equiheptaphonic seconds. Shall

I play so that you can hear them? These two small
instruments are an octave apart from the large hoo.
Ill play again. For the pai au its the same: the two
small instruments are an octave apart (Shot 76).
This instrument is the rihe sii; it has seven
tubes. And this is the rihe puri, it has eight
tubes. These two instruments together produce
equiheptaphonic seconds, as with the hoo and the
pai au. The playing of rihe sii moves towards the
bass. Playing the rihe puri tends towards the treble.
The small rihe sii is an octave apart from the large.
Ill play so you can hear it. The small rihe puri is
also an octave apart (Shot 77). We first practice the
piece softly, then play it at normal volume four
times. Dancers tap leaf parcels to the beat of the hoo
and pai au parts. In other pieces they tap the beat of Scene 3: au takaiori panpipe ensemble
the rihe sii and the rihe puri (Shot 78).

Shots 79 to 86. Performance of panpipe ensemble

au takaiori, filmed in Hauharii.

Shots 79 to 81. The piece entitled:

Subtitle: SACRED (from sacred frogs calls)

Shot 79 00:40:20
Shot 80 00:42:31
Shot 81 00:43:27
Cf. the transcription of this piece given by Zemp
(1979:47). This piece is of the rehe type: that it is to
say it begins with the two instruments rehe and
suri au which play the two melodic parts, while
another instrument with four tubes (hoo) plays a
single pitch and the pai au with five tubes plays
alternately an equiheptaphonic second higher
and lower than the hoo (cf. Zemp 1979:28). Note
that in the published transcription of this piece
(Zemp 1979) the rehe sii and rehe puri panpipes are
referred to by their alternative names rehe and
suri au. The rhythmic accompaniment, provided
by striking leaf parcels, follows the regular
rhythm of the pai au and the hoo.

In Shot 79 the piece is rehearsed softly first, while

the male and female dancers remain in their
places; then the piece is played loudly twice. At Fig. 5 - AU TAKAIORI PANPIPE ENSEMBLE. Diagram of the pipe lengths.
AreAre Music: au, Music for Bamboo Instruments/Panpipe Ensembles 15

the beginning of the shot, the camera, in zone 1,

is first directed towards row B, then pans towards
row A. At the moment when the musicians begin
to play the piece loudly, the camera swings
back and shows rows A and B, between which
the dancers advance. At the end of the shot, the
camera tracks forward on row B. In Shot 80, when
the musicians play the piece for the third time
loudly, the camera is situated in zone 2 and films
row A. In Shot 81 the camera is again in zone 1 and
frames row B, and at the end there is a close-up of
the player of the largest pai au.

Shot 82 00:44:21
Shot 83 00:45:58
Shot 84 00:46:11
Shot 85 00:46:48
Shot 86 00:47:31
Piece entitled:
Subtitle: MOTH
This piece belongs to the maa ni au type, that is to
say it begins with the two instruments pai au and
hoo which play an ostinato (cf. Zemp 1979:28). The
beating of the leaf parcels follows the rhythm of
this ostinato on the pai au and hoo.

Shot 82 shows the two rows seen from zone 1, while

the musicians first rehearse the piece and then
play it loudly for the first time. In Shot 83, the
camera is closer. Shot 84 begins with a close-up of
the little boy playing the small hoo with four tubes;
(out of frame, he kicks a dog that is whining, then
he laughs); then the camera pans to row B. We then
see, in the foreground, in profile, the player of the
largest pai au instrument: this is Irisipau, a son of
Warousu, who has the same name as the musician
who is the main protagonist of this film. In Shot
85, the same Irisipau is seen from the front, and
the camera successively shows close-ups of all
the musicians in row B. In the final repeat of the
piece (shot 86), the camera (situated in zone 2) is
directed towards row A, then it pans towards row B
at the end. Fig. 6. - au takaiori panpipe ensemble. Diagram of the arrangement of the instruments during playing (seen from above). The two
rows of musicians facing each other are marked by letters A and B, while the principal zones, indicating the camera positions, are
numbered 1 and 2. To facilitate the identification of the polyphonic parts, the description of the cinematographical shots refers to
those letters and numbers.
AreAre Music: au, Music for Bamboo Instruments/Panpipe Ensembles 16

SCENE 4. AU PAINA PANPIPE ENSEMBLE

Shot 87 00:48:23
Card: 4. Ensemble of 8 panpipes au paina

Shot 88 00:48:27
Shot 89 00:49:24
Irisipau presents the instruments of the au
paina ensemble.
Subtitles: In the au paina ensemble, the first
tube is not blown. There are three kinds of
interval: the third, the equiheptaphonic
second, and the major second (hari au).
Major second, equiheptaphonic second,
third, equiheptaphonic second, third,
major second, equiheptaphonic second.
One, two, three, four, five: the sixth tube
is an octave apart from the first. We play
equiheptaphonic seconds.
Eight men play in two parts: pau ni au (main
part) and aaritai (second part). Each part is
played on four instruments of different sizes:
kii , aaripoe, rara ni hero, kikimeo . With the
kii , the tubes are blown one by one. It isnt
possible to play harmonic equiheptaphonic
seconds, because the tubes are too large.
With the aaripoe one can play harmonic
equiheptaphonic seconds. The rara ni hero
is blown with pulsating breath. The same is
true for the kikimeo .

Shots 90 to 96. Playing of the panpipe

ensemble au paina, comprising eight
musicians arranged in two rows
corresponding to the two parts of the Scene 4 : AU PAINA PANPIPE ENSEMBLE.The four musicians playing the same polyphonic part in octave parallels on four panpipes
polyphony, each part being played by four of different sizes.
musicians in four different registers in
successive octaves. Filmed in Raroasi.

Shot 90 00:50:28
Shot 91 00:52:35
The piece entitled:
Subtitle: FUNERAL LAMENT BY
OKOOHIMANE
Cf. the transcription of this piece given by
Zemp (1979:42), and the sung version in scene
AreAre Music: au, Music for Bamboo Instruments/Panpipe Ensembles 17

16 of this film. In Shot 90, seen from zone 1, the

eight musicians rehearse the piece. On the right
the row of musicians playing the pau ni au part
begins the piece; on the left the row of aaritai.
Tracking forward to the aaritai. In Shot 91 the
repeat is filmed from zone 2 with a pan from the
pau ni au row towards the aaritai row.

Shot 92 00:53:38
Shot 93 00:54:40
Shot 94 00:55:51
The piece entitled:
Subtitle: SHOUTS WHILE CARRYING POSTS
FOR A HOUSE IN KUKUKU
In Shot 92, the eight musicians, viewed from zone
2, rehearse the piece. In Shot 93, Namohaniai,
playing the aaritai part on the small instrument
called kikimeo, sings (weeps) his part at times. To
assert his attachment to tradition, he often goes
naked in daily life, and always during feasts. In
Shot 94 the four musicians playing the pau ni au
seen from zone 1.

Shot 95 00:57:05
Shot 96 00:58:47
The piece entitled:
Subtitle: GROANS OF KENIOHIA
In Shot 95, the eight musicians, viewed from zone
2, rehearse the piece. At the moment when they
start playing loudly, tracking along the pau ni au
row. In Shot 96, the aaritai row.

SOLO BLOWN BAMBOOS

Shot 97 00:5939
Card: Solo blown bamboos

Shot 98 00:59:42
Irisipau speaks.
Subtitles: Solo blown bamboos arent played
at feasts, but for the personal pleasure of the
musician.
Fig. 7. - AU PAINA PANPIPE ENSEMBLE. Diagram shows the position of the instruments during performance (viewed
from above). The principal zones indicating the position of the camera are numbered 1 and 2.
AreAre Music: au, Music for Bamboo Instruments/Solo Blown Bamboos 18

SCENE 5. AU PORARE TRANSVERSE FLUTE The same piece, then Nonoikeni changes a pipe
on the spot and plays the piece entitled:
Shot 99 00:59:55 Subtitle: KETO PIECE (from the au keto
Card: 5. Transverse f lute au porare ensemble)

Shot 100 00:59:59 Shot 110 01:04:05

Irisipau presents the transverse flute: Shot 111 01:04:35
Subtitles: The transverse flute has both ends closed. Shot 112 01:05:12
It has two holes: a mouth hole and a finger hole. The same piece, then in Shot 111 the musician
changes two pipes on the spot and plays (Shot 112)
Shots 101 to 105 the piece entitled:
Teararae plays the transverse f lute in Tarapaina. Subtitle: LAMENT

Shot 101 01:00:15 Shot 113 01:05:29 Scene 5: AU PORARE TRANSVERSE FLUTE
Shot 102 01:00:39 Shot 114 01:06:04
The piece entitled: The same piece, played alternately with and
Subtitle: THE EAGLE without marked pulsation of breath.

Shot 103 01:00:58

Shot 104 01:01:25 SCENE 7. AU WARE BUNDLE PANPIPE
The piece entitled:
Subtitle: THE OWL Shot 115 01:06:38
Card: 7. Bundle panpipeau ware

SCENE 6. AU WAA BUNDLE PANPIPE Shot 116 01:06:41

Shot 117 01:07:14
Shot 105 01:0137 Irisipau presents the obliquely held bundle
Card: 6. Bundle panpipe au waa panpipe.
Subtitles: The second type of bundle panpipe,
Shot 106 01:01:42 au ware , has 3 or 4 tubes. The lower end is wide
Irisipau presents the vertically held bundle open: the mouth hole is tiny. There are two types Scene 6: AU WAA BUNDLE PANPIPE
panpipe. of interval: equiheptaphonic second, and third.
Subtitle: There are two kinds of bundle panpipes: One turns the instrument while playing, which
the first, au waa , has seven tubes. The eighth tube is why the people from the south call it: turning
is interchangeable. Both ends are wide open. bamboo. When I blow the lower tube, air enters
the tube adjacent to it. If I cover this second tube,
Shots 107 to 114. Performance of bundle panpipe the sound in no good. If it is left open, the sound
au waa, by Nonoikeni, filmed in Raroasi. is good. If I blow here, air enters the 2 adjacent
tubes. If I cover these two tubes, the sound is no
Shot 107 01:02:07 good. If theyre left open, the sound is good.
Shot 108 01:02:34 Shots 118 to 119. Piai plays the bundle panpipe au
The piece entitled: ware in Tarapaina.
Subtitle: NARRATIVE SONG (of the Kwaio
people) Shot 118 01:08:01
Alternating instrumental playing and wordless
Shot 109 01:03:10 singing, the musician performs the piece entitled: Scene 7 AU WARE BUNDLE PANPIPE
AreAre Music: au, Music for Bamboo Instruments/Solo Blown Bamboos 19

Subtitle: THE PARROT The piece entitled:

Subtitle: HORNBILL
Shot 119 01:09:27
The piece entitled:
Subtitle: LAMENT
BEATEN BAMBOOS

SCENE 8. AU NI AAU PANPIPE Shot 128 01:1352

Card: Beaten bamboos
Shot 120 01:10:30
Card: 8) Panpipe au ni aau
SCENE 9. AU PASIAWA MOUTH ZITHER
Shot 121 01:10:34
Shot 122 01:11:26 Shot 129 01:13:55
Irisipau presents the solo played panpipe. Card: 9. au pasiawa Mouth zither
Subtitles: As with ensemble panpipes, the au
ni aau has one row of tubes. The lower ends are Shot 130 01:13:59 SCENE 8: AU NIAAU PANPIPE
closed. The tubes are not ordered by decreasing Irisipau presents the mouth zither.
size, but irregularly. These two tubes are tuned at Subtitles: There are two kinds of beaten bamboos.
the octave. These two are also tuned at the octave. The mouth zither is made of a bamboo tube
These three produce equiheptaphonic seconds. open at both ends. The two strings are made
These two also. These two produce a third. This from a single fiber wound around two knobs.
particular instrument has seven tubes, but the Two bridges support the strings. If the bamboo
number of tubes can vary by region. When the is f lexible, the bridges are unnecessary. The
almonds are ripe, a man climbs the almond tree instrument is held between the lips. We beat the
and calls people with his panpipe to pick them. A strings like this. This instrument is played for
man may also play it to announce his arrival in a enjoyment.
village.
Shot 131 01:14:59
Shots 123 to 128. Manemaetara playing a panpipe Shot 132 01:15:32
au ni aau in Takataka. Teararae plays an untitled piece on the mouth
zither.
Shot 123 01:11:51 Subtitle: (UNTITLED PIECE)
Shot 124 01:120S The magical use of this instrument, traditionally
Shot 125 01:12:26 played by women, has been lost. I could no longer
The piece entitled: find any women who knew how to play it. Teararae
Subtitle: MEO (name of a bird) had not really mastered the instrument, but I
Cf. the transcription of this piece given by Zemp nevertheless filmed him in order to be able to
(1981:401) include this instrument in the filmed inventory. SCENE 9: AU PASIAWA MOUTH ZITHER
In Shot 125, the musician makes a slight mistake,
indicating his error with a little smile in his eyes,
while continuing to play. SCENE 10. AU NI MAKO STAMPING TUBES

Shot 126 01:12:52 Shot 133 01:15:51

Shot 127 01:13:22 Card: 10) Stamping tubes au ni mako
AreAre Music: au, Music for Bamboo Instruments/Beaten Bamboos 20

Shots 134 to 139. Irisipau, in front of his house in his right hand, aaritai with his left hand. In
Raroasi, playing stamping tubes. ensemble playing three people play in three
parts: keetou , aaritai and hoo . Each hand
Shot 134 01:15:56 beats with two tubes at the octave. We play for
Irisipau emerges from his house, opens his enjoyment.
bag and takes out two stones and the stamping
tubes. As he places the tubes between his toes and Shots 143 to 150.
between his fingers, the films audience generally Trio of women playing stamping tubes.
reacts with exclamations of surprise, and when he
begins to play the first piece, they often applaud. Shot 143 01:22:22
In order to contrive this effect of surprise, I edited Shot 144 01:23:01
in Irisipaus explanations for this scene after and Shot 145 01:23:09
not before his playing. Shot 146 01:23:21
The piece entitled: The piece entitled:
Subtitle: SHOUTS OF KAHEARAWA Subtitle: DROP BY DROP
In Shot 143, we first see Iieresi playing the main
Shot 135 01:17:51 part keetou then the camera tracks back to show the
Shot 136 01:18:22 whole trio, on the right the aaritai part (the second Scene 10: AU NI MAKO STAMPING TUBES. Solo playing.
Shot 137 01:18:40 part, as in the panpipe ensembles), played by Aarisi,
The piece, composed by Irisipau inspired by his and in the middle the hoo part played by Wasitarao.
wifes voice, and entitled: At the beginning of the repeat of the same piece,
Subtitle: THE WEEPING OF HOUASIA Shot 144 shows in the foreground the player of the
aaritai part waiting for the start of the keetou part
Shot 138 01:19:32 (out of frame); in the background is the hoo player.
Shot 139 01:20:22 In Shot 145, another close-up of the aaritai player,
The piece based on the melody of a divination then in Shot 146 a cut to a shot of the whole group
chant and entitled: (with the same framing as Shot 143).
Subtitle: DIVINATION SONG
In this piece, to the audiences surprise and to Shot 147 01:23:39
mine (since I had never seen this done before Shot 148 01:24:17
taking this shot), Irisipau gives a demonstration The same piece that Irisipau played solo (in Shot
of another way of playing, knocking the tubes 138 and 139), entitled:
together for a moment instead of knocking them Subtitle: DIVINATION SONG
on the stones. Conscious of his effect, at the end he In Shot 147 we have first a close-up of the aaritai
smiles with contentment. player and then the camera travels back to take
into frame on the right the keetou and on the left
Shot 140 01:21:16 the hoo. When the same piece is repeated, in Shot
Shot 141 01:21:34 148, there is a change of angle with the aaritai
Shot 142 01:21:52 now on the left, the keetou in the middle and the
Irisipau presents the stamping tubes. hoo on the right.
Subtitle: Stamping tubes comprise 12 bamboo
tubes. There are two ways to play them: in Shot 149 01:24:55 Scene 10: AU NI MAKO STAMPING TUBES. Trio playing.
ensembles, or solo. The lower ends are closed. Shot 150 01:25:16
They are beaten against a stone. When a man Shot 151 01:25:25
plays them alone, he uses ten tubes and plays Shot 152 01:25:33
in three parts: hoo with his feet, keetou with The piece entitled:
AreAre Music: au, Music for Bamboo Instruments/Beaten Bamboos 21

Subtitle: THE TURTLE Shot 156 00:01:04

Close-up of the aaritai (Shot 149), then cutting to Shot 157 00:01:15
the keetou and then panning to the players face The rhythm entitled:
(Shot 150), then cutting to the aaritai players face Subtitle: BEATING IN THREES
and then panning to the (gloomy!) face of the hoo
player (Shot 151). When the piece is repeated, the Shot 158 00:01:40
group shot shows the hoo on the left, the keetou on Shot 159 00:01:57
the right and the aaritai in the middle. Shot 160 00:02:12
This rhythm is named after the leaf parcels which
men and women beat while dancing to the sound
DISC 2 of the panpipe ensemble au takaiori.
Subtitle: BEATING PARCELS OF LEAVES (from
Interlude au takaiori ensemble).

Shot 153 00:00:10 Shot 161 00:02:28

Card: Interlude Shot 162 00:02:38
Shot 163 00:02:45
SCENE 11. KIRO NI KARUSI WATER GAME The rhythm entitled: Scene 11: KIRO NI KARUSI WATER GAME
Shot 154 00:00:15 Subtitle: BEATING TO AND FRO
Card: 11) Water game kiro ni karusi

Shot 155 00:00:19 Part II: oo, Slit Drum Music

Irisipau presents the water game.
Subtitles: Water games: when women or children Shot 164 00:02:58
bathe in the river, and they are content in the Card: Part II: Slit drum music oo
water, they amuse themselves by playing games.
One moment they splash loudly, the next, more
gently. Splashing makes lovely sounds, like bamboo SCENE 12. OO MOUTA SOLO SLIT DRUM
instruments and slit drums. And in fact, the sounds
of water games are classed between the sounds of Shot 165 00:03:04
bamboo instruments and those of slit drums. Card: 12) Solo Slit drum oo mouta

Shots 156 to 163. Womens water game in the river Shot 166 00:03:08
next to the village of Hauharii. After showing Shot 167 00:03:28
the film, the audience often asked where were Irisipau presents a wooden slit drum and beats a
the drums that they could hear. Unfortunately I rhythm intended to send a message.
framed these shots too narrowly and neglected Subtitles: The slit drum is hollowed out of a tree
to make a broader shot showing within the same trunk. We beat the male side. The solo played slit Scene 12: OO MOUTA SLIT DRUM
frame the women in the water as well the absence drum is used to send messages, like the piece I
of people on the river bank. There were of course will play: EVERYONE COME!
no drums. Irisipaus last sentence, speaking of
the slit drums and comparing their sound with The signals beaten solo on a wooden slit drum are
the sound of the water game, may have misled the not based on the imitation of the spoken language
audience. In fact, of course, all the sounds of the (as is the case with most of the African talking
water game are the result of hand clapping on the drums), but consists of rhythms to which sense
water and beneath the water. is arbitrarily attributed. The drum language
AreAre Music: au, Music for Bamboo Instruments/Slit Drum Music 22

of the Kwoma in New Guinea function on the Shots 170177 The playing of a slit drum ensemble
same principles (cf. Zemp and Kaufmann 1969). filmed in Hauharii.
On the other hand, as in the pieces of music for
panpipe ensembles, the pieces played by the slit Shot 170 00:04:20
drum ensemble during the feast were composed Close-up of Warousu, playing the slit drum tarai
according to the sound of nature and culture, (to lead), then a pan across the four main drums.
including human speech. Here the primary The piece entitled:
function is a musical one and not a signaling Subtitle: FOOD DISTRIBUTION
one (it does not involve sending a message to the
surrounding villages) even if the words are not Shot 171 00:05:02
neutral, and it might be thought that when the Close-up of the largest slit drum, called nunuha,
piece entitled Words of Rauahanua (Shot 175) which in the ending piece has a rhythm different
is beaten, the musicians are establishing a link from the other drums and gives the terminating cue.
with that female culture hero who was originally Subtitle: STANDARD ENDING PIECE
an inventor of stone tools, and thus responsible
for the making of slit drums. Another piece, Shot 172 00:05:25
composed by Irisipau in 1969, at the request of Close-up of Warousu; in the background we see
the political leaders, imitates the rhythm of the several players around a rikiriki drum. The piece
words Areare Massina and thus celebrates the entitled:
launching the boat of that name (cf. the film of Subtitle: YELLING
the same title). Warousu, the leader of the slit
drum ensemble in Hauharii, shouts the words in Shot 173 00:06:32
alternation with the beating on his drum, before View of the four main drums, then a pan to
the other players take up the rhythm. If a piece Supamae, one of Warousus sons who is playing
does not include words, he shouts onomatopoeic the tori drum. At the end we see Supamae turn his
sounds (like teke teke rei). Each piece of music is head towards the nunuha player in order to better
followed by the same ending piece. (For analyses grasp his closing formula and to be able to end at
of solo slit drum signals as well as of rhythms of the same time (he does the same each time when Fig. 8.: PARA NI OO SLIT DRUM ENSEMBLE. Diagram showing
ensemble pieces, see Zemp 1997). he is playing the Standard Ending piece). the spatial arrangement of the instruments and of the
Subtitle: STANDARD ENDING PIECE drummers. All the shots were taken from zone 1.

SCENE 13. PARA NI OO SLIT DRUM ENSEMBLE Shot 174 00:06:53

Shot 168 00:03:45 First the camera remains on Supamae, then when
Card: 13) Slit Drum Ensemblepara ni oo the Ending Piece begins, it pans towards the
nunuha player. The piece entitled:
Shot 169 00:03:50 Subtitle: INVOKING ANCESTORS
Irisipau continues to speak: Followed by:
Subtitles: The slit drum ensemble plays for feasts Subtitle: STANDARD ENDING PIECE
while the pigs are carried in. But there are lots
of other pieces. The 4 large instruments are Shot 175 00:07:50
arranged in a square: the nunuha facing the tori . Close-up of Maheana playing the suta drum, then
The suta facing the waramou. The tarai (who during the Standard Ending Piece the camera
leads) is to one side. The rikiriki are beaten by pans to Supamae on the tori drum. The piece
children. We beat the small instruments with entitled:
thin sticks, and the big ones with thick coconut Subtitle: WORDS OF RAUAHANUA (the
branches. mythical creator of drums) followed by: Scene 13: para ni oo Slit drum ensemble.
AreAre Music: au, Music for Bamboo Instruments/Slit Drum Music 23

Subtitle: STANDARD ENDING PIECE song most often performed in other parts of the
world by a single singer (for example the lullaby
Shot 176 00:09:16 or the funeral lament). The comparison with
Close-up of Warousu, followed by a panoramic panpipe music concerns not only the polyphony
shot of the four main drums, tracking forward to but also the fact that the melodies of the songs
a small rikiriki drum played by three young men. include no improvisation; only the words are
The piece entitled: more or less free, according to the circumstances
Subtitle: CARRYING A VICTIM of the song. In general it is the singer of the main
voice pau ni au who sings the words, while the
Shot 177 00:10:04 singer of the aaritai sings with closed mouth or
View of the four main drums, then a pan across possibly just vowel sounds. In the canoe song, it is
to a rikiriki drum, played here by three old men the helmsman in charge of the canoe who invokes
(and not by children who are learning, as was his ancestors by singing the first part, and in the
customary as Irisipau said). These men, who had divination chant it is the diviner. In the pounding
been vigorous drummers in their youth, insisted song where the function of the first singer is not
on participating in the film even though they no to call personally to these spirits, the singer of
longer had the strength to play the big drums. the second part can take up again the words of the Scene 14: ROOROWERA LULLABY
Subtitle: STANDARD ENDING PIECE song if he wishes (Scene 19). In the case of womens
songs, sometimes two singers alternate the words,
or, in some passages, sing different words at the
Part III: nuuha, Songs same time (Scene 16).

Shot 178 00:10:23

Card: Part III: VOCAL MUSIC nuuha WOMENS SONGS

Shot 179 00:10:29 Shot 180 00:11:51

Sitting under the verandah of the mens house of Card: Womens songs
Warousu, Irisipau speaks.
Subtitles: In our tradition singing is important SCENE 14. ROOROWERA LULLABY
for bamboo music. When a man composes a
piece, he sings it first before playing it on the Shot 1810 0:11:55
instrument. If the song doesnt work out on the Card: 14. Lullaby roorowera
panpipe, he doesnt make an instrumental piece
from it. Beyond this, there exist songs tied to Shot 182 00:11:58
different circumstances, and thus we have seven Irisipau speaks:
types of songs. According to our custom, mens Subtitle: There are 3 types of womens song. The
songs are forbidden to women. But womens first is the lullaby. A long time ago, lullabies
songs are not forbidden to men. We dont sing in were sung in imitation of the musical pieces
large groups: only 2 people sing at the same time. of panpipe ensembles. The mother, father or
There are 2 parts as for the panpipe ensembles au grandmother sang while rocking a crying baby.
tahana and au paina . Certain types of song may Thats how lullabies began.
be sung by only one person, for example the love
song, when the heart is happy. Shot 183 00:12:38
Sitting in front of the same house used for
The Areare like polyphony so much that they shooting Irisipaus explanations about the songs,
prefer to sing in two parts even those kinds of a woman with her baby sings a lullaby. She is
AreAre Music: nuuha / Songs 24

Sisiwa, Irisitapas wife, who I had recorded in Shot 187 00:18:15

1969 at Ainiasi in the mountains. She was one Shot 188 00:19:37
of the few women who knew how to sing lullabies Two young women, Aarisi and Iieresi (who were
and especially funeral laments; this is why I had seen elsewhere in the film playing stamping
asked her to come to Hauharii, for the purposes of tubes, Shots 143 to 152), sitting on a fallen tree
the film. trunk, sing in the garden. Aarisi (on the right),
Subtitle: THE SNAKE WOMEN sings the pau ni au part with the words.
I have no legs / to get up with you. / Dont cry! / I Subtitle: Dont embrace me while lying! / Dont
have no arms / to carry you in. / I have no breasts / kiss me while lying! / Man, you cannot please me! /
to nourish you with. / Dont cry! Dont kiss me while lying! / Man, you cannot please
me! / Dont wink at me! / Dont embrace me while
Shot 184 00:14:41 lying! / in order to have my body! / so that I abandon
Sisiwa (on the right) sings with Nonohanapata a myself to you completely! / Go back! Go back!
lullaby in two-part polyphony (which does not
appear to have had a calming effect on the baby on
this occasion). SCENE 16. AAMAMATA FUNERAL LAMENT
Subtitle: (UNTITLED LULLABY)
Oh! dont cry, / my dear child! Sleep peacefully! Shot 189 00:20:20 Scene 15: Nuuha Iisisuu Love Song/Complaint
/ Mama has gone to fetch vegetables. / Papa is Card: 16. Funeral Lament aamamata
coming back. Oh! dont cry! My sweet little girl!
/ Papa has gone to the garden to work for you. / Shot 19000:20:25
Mama has gone to fetch vegetables. / Mama has Irisipau speaks.
gone to fetch taro roots. / Sleep peacefully, tiny Subtitles: In the olden days, funeral laments
Siwahaneia. didnt exist. When someone died, there was only
real weeping. Women wept, men too: nothing but
real weeping. When Purukau invented the bundle
SCENE 15. NUUHA LISISUU LOVE SONG / panpipe au ware , the sound of the instrument
5

COMPLAINT was so beautiful that those who heard it became

sad. That is when women began to imitate the
Shot 185 00:17:17 instrument by singing in two parts. This is how
Card : 15. Love Song/Complaint nuuha iisisuu they created the funeral laments. In the laments,
women enumerate all the good things the
Shot 186 00:17:20 deceased did for them. A sadness comes over them
Irisipau speaks. and they weep genuinely. Funeral laments began
Subtitles: The love song is something new. When in this way.
a young girl sings about a boy with whom she has
f lirted, oh! She spoils his renown! And the boy According to tradition, funeral laments were sung
who sings about a girl he has f lirted with does the after a death and during the first funeral rites Scene 16: aamamata Funeral Lement
same: he spoils the renown of that girl. In the past (incineration or laying out in a canoe), in contrast
people simply sang panpipe tunes, because the to the commemorative funeral ceremonies
custom was strict. There were no love songs. But if which marked the end of mourning. But long
a girl or a boy sings about working, or about daily after the death, two women were able to resume
life, in accordance with custom, well, thats fine! a song whose words had been made up especially
Singing properly provokes no angry feelings. for a deceased person. Some of these songs have
Thats the way it is. remained in the repertoire and are known by the
name of the women who composed them.
AreAre Music: nuuha / Songs 25

Shot 191 00:21:29 Shot 195 00:26:02

The same two women who had performed the Irisipau speaks:
lullaby (in Scene 14) are sitting in front of the Subtitles: Paddling songs are for people of the
same house, singing a funeral lament in two sea. When they leave on a voyage, they employ
parts. Nonohanapata, sitting on the left, sings the Racing magic. The helmsman sings, and he
second part (aaritai), with the words alternating calls all the ancestor-sharks using Racing
sometimes with Sisiwa who sings the first part magic. He sings alone. In a second song, the man
(pau ni au). We see their bodies gently swaying as seated next to him sings the second part. The
in the lullabies. songs fortify the bodies of the paddlers. With
Subtitle: LAMENT BY OKOOHIMANE Racing magic, the helmsman calls upon the
Oh! my brother! / I couldnt even give you ancestor-sharks to protect the canoe in the event
medicines! / I couldnt even arrange divination, of a storm or of wild sharks attacking the canoe.
nor sacrifice a pig for you, alas! / My beloved, if There are three kinds of song. The first is for the
only I could have cured an illness, / that would departure. The second for the long stretch on the
have been fine. / Alas! It was the gun that killed open sea. The third when they draw near to their
you, in truth! / You werent sick. / Alas! my destination.
beloved! / Alas! Puahanikini, my beloved! / Oh! Scene 17: Nuuha aana hote paddling song
the sun has set at midday! / You are stretched out Shot 196 00:27:24
here wearing your necklace! / We couldnt even Shot 197 00:28:18
prepare any medicines for you. / Alas! alas! Shot 198 00:28:29
This two-part song has been taken up again in the Shot 199 00:31:43
repertoire for the panpipe ensemble au paina (cf. Shot 200 00:31:54
the piece of the same title, in Shots 90 and 91 on In a large canoe with planks, propelled by twelve
DISC 1). paddlers on the calm waters of the Maramasika
Passage, between the main island of Malaita and
Shot 192 00:23:36 the island of Small Malaita, Tahuniwapu, at the
The same two women sing another lamentation, helm, sings an invocation to the ancestor-sharks
with the same distribution of polyphonic parts. (i.e., certain sharks which the Areare believe
Subtitle: LAMENT BY MAHASIWA to be the incarnation of their ancestors). The
Oh! my dearest, alas! / You are no longer with decorated prow and the stern were remade for
me! / My whole heart, alas! / has broken! / Today, this film, and the decorations, having magical
my dearest / is no longer with us! / Today, / we no power, are evoked in the two songs filmed here.
longer see you. / Oh, my friend! / With whom else When one of the men sitting near the helmsman
can I be friend the way I was with you? cries out an invocation to an ancestor-shark and
exhorts the paddlers, I preferred to translate
the words that he shouted (subtitles in Roman
MENS SONGS characters) rather than the words of the song (in
italics) which are in any case repeated, since the
Shot 193 00:25:53 two cannot be translated simultaneously.
Card: Mens Songs
First I filmed the song in its entirety, lasting
SCENE 17. NUUHA AANA HOTE PADDLING all of 5-1/2 minutes, with a 60 meter magazine,
SONG giving the stop signal at the end of the roll. The
image, which I kept in editing (shots 196 and
Shot 194 00:25:59 198), unfortunately lacks depth of field because
Card: 17. Paddling Song nuuha aana hote
6
of inaccurate calibration on the zoom lens.
AreAre Music: nuuha / Songs 26

Next, after putting the tape recorder in play-back My own fish, undulate like the f lying fish! but also because of the rhythm of the paddles.
position and asking the men to paddle in the same My own fish, jump like the f lying fish! In the first song the paddles knock more or less
tempo, I returned to film the paddlers from the My own fish, glide like the serpent! loudly against the side of the canoe when the men
My own fish, f loat like wood!
7
back (Shot 199) , and I changed my place inside the plunge them into the water; in the second song,
canoe (Shot 197). Then I placed myself in a small My own fish, push, that we arrive during the paddles are also struck outside the water on
canoe to film the paddlers from the outside (Shot daylight! the edge of the canoe. The areare distinguish
200). My own fish, strike far away for me! between about ten different rhythms (mani hote,
My own fish, may the sun not rise before we meaning literally paddle pieces or pieces for
Subtitle: DEPARTURE SONG arrive! paddling).
Go, Racer-of-the-seas! (name of an ancestor- My own fish, here is land before my eyes!
shark) My own fish, may he race back and forth! Subtitle: SONG FOR THE LONG STRETCH
4 blood-red porpoises! Racer-of-the-seas! My own fish, Racer-of-the seas! (The text of the song invokes Racing magic by
My own fish! Racer-of-the-seas! Push the back of the canoe! Racer-of the seas! enumerating the parts of the canoe.)
4 superimposed porpoises! Racer-of-the-seas! My own fish, Racer-of the seas!
4 inlaid pearl-shell discs! Racer-of-the-seas! Such is the voyage by canoe! Strike at the back of
My own fish! the canoe! Push!!! SCENE 18. KANA DIVINATION SONG
To whom belongs Racing magic?
The magic of Slippery Woman! Shot 201 00:32:18 Shot 208 00:34:18
Rapid-spitting Woman! Shot 202 00:32:46 Card: 18. Divination Song kana
(List of names for the mythic woman who was the Shot 203 00:32:55
source of Racing magic.) The song continues, Shot 204 00:33:11 Shot 209 00:34:22
un-subtitled. Then: Shot 205 00:33:33 Irisipau speaks. Towards the end of the shot,
Come to me! Make the canoe resound! Make the Shot 206 00:33:49 a slight panning shows Namohaniai, giving a
canoe race and roll! So we can stick our paddles Shot 207 00:34:09 demonstration of the percussion rhythms which
into the sand! Like the eel in the river! Like the This canoe song is in two-part polyphony. As with accompany the divination song, beaten with a
snake gliding in the forest! Leap like the f lying the preceding song, I first filmed throughout the stick on the wood of a bow. We saw Namohaniai, a
fish! Glide! May the tubers roast on the beach entire duration of a 60 meter magazine without well-known diviner, playing the little panpipe in
before nightfall! May the food be distributed changing the camera position, with a close-up of the au paina ensemble (Scene 4); he is the younger
before nightfall! the helmsman singing the main voice and a pan brother of Warousu, the leader of the slit drum
(Invocation to an ancestor-shark:) towards the singer of the second voice sitting in ensemble (Scene 13).
Push the stern of the canoe! Undulate like the front of the helmsman (Shots 202 and 204); here Subtitles: Among the four types of mens song, the
bonito (fish)! Leap on the crest of the waves! there is the same problem of lack of focal depth divination song is the most important. It takes
Spring to the front of the canoe! Strain like a (already mentioned for the preceding song). place inside a house, without lighting the fire.
hunting dog! Inserts, filmed in playback inside the canoe Why is the fire unlit? Because the diviner who
My own fish, hunts without stopping! (Shots 201 and 205) alternate with views taken sings invokes the ancestors, so they will show
My own fish, grasps the prow! from a second canoe (Shots 203, 206 and 207). him the answers he seeks during the seance:
My own fish, snake in the forest! The literal translation of the words of this song is the propitious day for a feast, or the cause of an
My own fish, race and undulate! incomprehensible without lengthy annotations, illness. The ancestors show this to the diviner,
Dont splash, up front! Well die from getting wet! which are impossible to put in the film in real and he sees it. The diviner sings the main part,
My own fish, race back and forth! time. This is why for the second song I decided to and another man sings the second part. They
My own fish, races making the canoe resound! let the viewer see the images without burdening beat with sticks the wood of a bow, and the men
My own fish, with the light gait of a young girl! them with subtitles that might have remained present growl, so this will sound in accord with
My own fish, races with anger! obscure. the divination song. Namohaniai will show the
My own fish, races making the canoe resound! way to beat the bow.
My own fish, garfish zips forward! The two songs filmed here are different not only (Namohaniai says:)
My own fish, rush like the garfish! in the fact that they are sung solo or in two parts, The beating Divide the wood goes like this:
AreAre Music: nuuha / Songs 27

(demonstrates) Shot 211 00:37:41

and the beating Tee like this : Card: 19. Pounding Song nuuha aana rapaha
(demonstrates)
Lets go! Once more the beating Tee, Irisipau ! Shot 212 00:37:45
(demonstrates, with Irisipau playing the second Irisipau speaks.
part) Subtitle: The pounding song is sung by people
from the south for a big feast. They pound taro
Shot 210 00:35:52 roots, and the two men who began to pound beat a
A divination song, in which we hear the diviner bamboo pole and sing in two parts. Many people
Namohaniai singing the main part (kana), while come to pound and dance with joy.
a second man sings the second part without words
(aape), and other men growl (nunuhia). As Irisipau Shot 213 00:38:12
explains, the divination song is performed In a sequence shot of 436 we see Waihata singing
inside a house with all the lights out, in complete the first part and Rapeiasi (cf. Scene 17) singing
darkness. To reconstitute such a song in daylight the second voice of a pounding song. They strike
or with artificial light would completely change up the song as they begin to pound the taro in the
its nature. Having attended several divination mortar. They then leave the pounding to other
sances inside a house, I thought finally that in men, while they pick up a long bamboo pole from Scene 18: Kana Divination Song
order to restore the total obscurity it would be the ground and they each beat it with a stick.
better not to show any images at all and to leave Men dance around the mortar with gestures that
the screen completely black. For the sound I they say imitate the f light of the frigate bird,
used an extract from the complete recording of a taking turns with each other to plunge the four
divination sance which lasted five hours. pestles, two by two, into the mortar. This ritual
Subtitles: EXTRACT OF A SEANCE FOR THE pounding during a feast (the women pound the
ILLNESS OF KAWEAAHUNA tubers only for everyday eating) took place in
I return like a tune to these words about front of the Custom House in Naorua, at the end
Kaweaahuna, in truth! I return like a tune, of a customary and political gathering of the
Grandfather Pooramo of the place called chiefs and big men from the southern part of the
Hiinori, Grandfather Narihamae, Grandfather Areare country.
Nukuaaria, I return like a tune, Grandfather Subtitle: Dig in those pestles!
Poromaimaki, I return like a tune: What will You, who are standing close by!
happen to your granddaughter? Six days hence, This is for the great chiefs!
in truth! this woman, Kaweaahuna, will she die They like to hear it!
in the end? She is already lying down! Will we Its the custom of the children of Kanahata!
have to tie her wrists (after death), and make I am no stranger to it!
her funeral bier? In truth! six days hence, will The mortar for 800 taros!
we have to bury her? light the cremation fire? At Aawanapina, / at Pauriuuwo, / at Hurekepana,
destroy her gardens? (sign of mourning), build / at Tapiroua, / at Pirupirumato.
her tomb? and weep for her gardens? In truth! This is for the great chiefs! Scene 19: Nuuha aana rapaha pounding song
(For larger excerpts of this sance and comments The sons of chiefs /
by the diviner Namohaniai, see Zemp 1995: 129- from the point of Malaita!
142). (Enumeration of place names)
This is for the great chiefs!
The sons of chiefs!
SCENE 19. NUUHA AANA RAPAHA POUNDING The whole pile of food!
SONG The areca nuts they gathered!
AreAre Music: nuuha / Songs 28

The betel leaves they tore off ! song from which women were excluded, as is
Like giants! also the case with the music for panpipes or slit
The sons of Tohemane, / the sons of Meemeeumu. drums. During another feast in which I took part,
It is the custom / for the sons of chiefs / from the the two singers were practitioners of the ancestor
point of Malaita. cult, and only men accompanied them in beating
bamboos on the ground or against the hand.
Subtitles: Lead me to the village!
Oh, I dance the kiro at Ootawasi!
SCENE 20. NUUHA AANA KIRO, SONG WITH Lead me to the village!
BEATEN BAMBOOS Oh Houramu, lead me!
Oh, I am in frenzy, at Uuitahia.
Shot 214 00:43:00
Card: 20. Song with Beaten Bamboos nuuha Shot 217 00:47:26
aana kiro At the beginning of the shot is a close-up of the
two singers beginning another song in front
Shot 215 00:43:04 of the chief s house. Then the camera tracks
Irisipau speaks. back to show in greater detail the rhythm of
Subtitles: The songs with beaten bamboos, like the pounding of two long bamboo tubes, one of Scene 20: Nuuha aana kiro, Song with beaten bamboos
pounding songs, take place during big feasts which imitates the movement of digging sticks
organized by the chiefs. Two men sing in two used in the gardens. I knew that the chief was
parts, and four men each beat a large bamboo on going to interrupt the singing in order to pay the
the ground. And lots of people, women and men, musicians. Because I wished to shoot only one
beat a bamboo against one hand, like this: sequence shot, and since I had at my disposal only
five minutes of film, I arranged with the singers
Shot 216 00:43 34 DISC 1 and the chief to give the signal for the end of the
In the village of Maimasi Waraana, at the end of a song. While framing the scene with my right eye
commemorative funeral feast (cf. the first scenes in the view finder of the camera, I kept my left
of the film, DVD 1), a group of kiro goes up a little eye on the watch on my left arm, and after three
slope and stop in front of the chief s house before minutes gave the signal to stop. As the chief came
returning home. The two singers, Aitohua and from behind I had to step back to have him in
Waiaru, being at the head of the group beat short shot. He paid the musicians with the traditional
bamboos against the palms of their hands; two money (shell beads threaded on a piece of string)
men (and not four as Irisipau says) stamp longer and Australian dollar bills. Other people brought
bamboos on the ground, followed by a larger raw tubers and quarters of cooked pork, as well as
number of men and women beating the bamboos a live pig.
against the palms of their hands and/or holding
tree branches. Two other men perform a dance To understand the chief s words, it is necessary to
symbolizing combat between the attackers (the know that such payment of musicians is always
dancer with a long pole) and the defenders (the part of a cycle of exchanges: for example if A goes
dancer with a bow and arrow) of the village. to play or sing for a funeral feast organized by B
and receives money and food, years later when A
It should be added that the two singers, as well organizes the commemorative funeral in honor
as the group that accompany them, come from a of his father or another relation, he must give back
Catholic village, which explains why the women to B who has come to play, a part of what he had
could participate by beating the bamboos in their received before.
hands. According to tradition, kiro was a ritual
AreAre Music: nuuha / Songs 29

After the remuneration, the singers and their FINAL CREDITS OF 'ARE'ARE MUSIC 4. au paina Panpipe ensemble
acolytes return and go back down the hill, to the ARUHANE, IRISIPAU, KOKAI, NAMOHANIAI
same place where Shots 1, 3 and 4 at the beginning OAHURA, OOREANA, SUPAMAE, WATERAE
of the film were taken. When the kiro group Shot 218 00:52:46
arrived on the seashore, the 60 meters of film Shot 21900:53:09 5. au porare Transverse flute
were finished and a few seconds were missing Shot 22000:54:39 TEARARAE
preventing filming of the true end of the musical Background for scrolling final credits
event when the participants of the group threw - Photo Ada Zemp-Martinkus, 1975 6. au waa Bundle panpipe
the bamboos and branches into the sea. - Excerpts of the film NONOIKENI
- Photo BSI (British Solomon Islands) News Sheet, no. 21, 1974.
I had filmed several songs in front of the chief s 7. au ware Bundle panpipe
house. But it was not necessary to keep all of PIAI
them for film editing. With the first sequence Research, photography and sound
shot of 340 and the last of 500, I managed to Hugo ZEMP 8. au ni aau Solo panpipe
show the actions and interaction of the different Ethnomusicology research of the C.N.R.S. MANEMAETARE
actors (singers, musicians, dancers, spectators Department of ethnomusicology
and chief) with continuity and without cut- Muse de lHomme, Paris 9. au pasiawa Mouth zither
away shots. Of all the musical scenes in the film TEARARAE
these two sequence shots are the ones which still Sound Assistant
satisfy me the most today. I would have liked to Edwin WAIWAIMAE 10. au ni mako Stamping tubes
have filmed other areare music in this way if IRISIPAU
circumstances had permitted it. Editing AARISI, IIERESI, WASITARAO
Subtitle: Tomorrow morning, Ill go home! Jean-Christian NICAISE
Oh, you, Nihopararia! 11. kiro ni karusi Water game
Oh, you, Iu! Negative cutting AARISI, IIERESI, OOKORAWA, PATAASIA, TOORUPONI,
Ill go home! Simone JOUSSE WASITARAO, OKAARARAHE
Beyond Suupaita,
Beyond Uuitahia, Mixing 12. oo mouita Slit drum solo
(Enumeration of place names) H. CHASSAIN, Franois DIDIO IRISIPAU

Subtitles: REMUNERATION OF THE MUSICIANS Explanations 13. para ni oo Slit drum ensemble
This coconut, my brother Iu contributed towards IRISIPAU WAROUSU
it, and the sons (of the deceased), and all his Teacher at the Custom School of Raroasi from 1970 to 1975 HUTAPURI, KOKAI, MAHEANA, SUPAMAE
brothers and children who live in this area
without money, here at Maimasiwaarana. For Performers 14. roorowera Lullaby
the money which you, Wairua, and you, aitohua, SISIWA, NONOHANAPATA
offered to us, here is a gift in return! (Will 1. au tahana Panpipe ensemble
someone take away this pig!) KINIPAEA, OOREANA, WARAHANE, IRISIPAU 15. nuuha iisisu Love song / complaint
AARISI, IIERESI,
2. au keto Panpipe ensemble
P. KAMUINIMA, S. KAMUINIMA, KINIPAEA, RARIHAMAE, 16. aamamata Funeral lament
RUKARAE, SIRIHAARU SISIWA, NONOHANAPATA

3. au takaiori Panpipe ensemble 17. nuuha aana hote Paddling song

HUTAIPURI, KOKAI, NAMOINIMA, TAHISIKENI, TAUMAE, TAHUNIWAPU, RAPEIASI
WATERAE, ARUHANE, IRISIPAU, IRISIPAU, OAHURA
AreAre Music: Credits 30

18. kana Divination song

NAMOHANIAI, KAURAI

19. nuuha aana rapaha Pounding song

WAIHATA, RAPEIASI

20. nuuha anna kiro Song with beaten bamboos

AITOHUA, WAIARU

Many thanks to

Jean-Dominique LAJOUX, for his cinematographic advice,

Daniel de COPPET, with whom the researches on the Areare
culture are made in close collaboration
the Areare Council with the Paramount Chief Ariki Nonoohimae
EEREHAUU
David KAUSIMAE, Member of Parliament, Areare West district.

CNRS and Hugo Zemp 1979

Video restoration 2011

Jean-Christian Nicaise and Hugo Zemp
Shaping Bamboo: The Film Making Process/ The Shooting 31

measures from his arm and his fingers. Although (with sticks) and another way of making a pipe

Shaping Bamboo he knew very well that this was exactly what I had
been seeking for a long time, he had concealed
his knowledge until that moment. Having no
(by joining together two halves in the case of the
longer pipes).

more film and being at the end of my stay, I had to Wishing to work in peace while he was making

The Film Making postpone until later the project of making a film
of this, and we agreed to meet again during my
the panpipes, Irisipaudecided to work at the
verandah of Warousus mens house, overlooking

Process next trip.

Two years later, I was staying in the village of

the village. Irisipau usually worked alone,
with occasional help from Supamae, one of
Warousus sons. I now regret having filmed only
THE SHOOTING Hauharii, where Irisipau came to join me. We the technical process of manufacture and not
decided to go and look for some bamboo on our having kept some film to shoot scenes of what
Ever since my first fieldwork in the Solomon return from a commemorative funeral feast in was happening around: the everyday life in the
Islands, I had been interested in the making a coastal village. This provided the opportunity village, the children who were bathing in the
of panpipes. In several villages I observed the to begin the film with a journey by canoe, river and whose cries were sometimes heard, the
manufacture of instruments for the four types introducing the audience to the geographical visitors who came to see how the work was going,
of ensembles and of instruments used for solo environment in which the Areare live. the pauses to chew betel leaves and areca nut and
playing (Zemp 1972b, Zemp 1981), and I bought the conversations between Irisipau and Supamae,
newly made panpipes for the Muse de lHomme Having as always a very limited stock of film, it his assistant, when he was present (which was
(Zemp 1972a). I even filmed a short sequence was necessary from the start to draw up a detailed rare). This would have made the film more
(of which 3 minutes remained after editing), plan for the shooting. In any case, there was of lively, while still retaining its technical value in
showing the manufacture of a large panpipe course no question of filming the manufacture of describing the making and tuning of panpipes.
for the au paina ensemble (Bambous souffls, all the instruments of every panpipe ensemble.
bambous frapps). In each case the maker took Even with an inexhaustible supply of film, that
his measurements from old instruments, either would have been absurd. The pointless repetition THE EDITING
with a plant fiber applied to the exterior of the of the same actions would risk drowning the
pipes, or with a rigid stem introduced inside the crucial stages of the process and at the same time The editing was done immediately after that of
pipes (Zemp 1972b). The question of knowing boring the viewer. It seemed to me sufficient Areare Music, by the same editor, Jean-Christian
how originally, when there were not yet any to film in its entirety the manufacture of Nicaise, and I was present throughout during the
models, panpipes could have been tuned to such two instruments belonging to two different sessions. In a film on the making of a musical
an artificial scale, dividing the octave into seven ensembles, which are distinguished by their instrument, the editing necessarily follows
equidistant degrees, remained unanswered. different scales, size and binding, and to film chronological order. The only problem was to
partially two other instruments tuned an octave present all its stages, in a comprehensible way,
I had been told that in earlier times some makers higher or lower. while showing the fastidious work without
knew how to take their measurements from the boring the spectator with pointless repetitions.
human body, but I found nobody to do this. At I chose first to film the manufacture of a For reasons explained above, I had already in
the end of my second field trip a small amount of panpipe for the au tahana ensemble, because shooting carried out a kind of editing in camera,
film was left which I wanted to use to shoot the of its equiheptaphonic scale and because of its carefully selecting the crucial stages in the
process of tying the pipes together, so that with binding, which is done with a single long plant manufacturing process. But it was still necessary
this research footage, I would have a visual record fiber; (the instruments for the au keto and au to make some stringent cuts. After showing the
to assist me in a written description. I therefore takaiori ensembles have the same scale divided essential stages in the making of a large panpipe
asked Irisipau, with whom I was working at the between two instruments which make up a pair, for the au tahana ensemble, it was unnecessary to
time, to tie up the tubes of a panpipe for the au as well as the same type of binding). Secondly, show more than the tuning of a few of the small
tahana ensemble. He took some bamboo tubes, I chose the manufacture of a large panpipe for tubes in the higher octave, showing later how it
and to my amazement, cut them without reference the au paina ensemble, which shows another differed from the making of an instrument for the
to an older instrument, instead taking the tuning (pentatonic scale) another type of binding au paina ensemble.
Shaping Bamboo: The Film Making Process/ The Editing 32

For this last sequence I wondered how to present of a panpipe. After asking myself the question Scene 12. Binding a large panpipe of the au paina
the order of making and assembling the largest whether each phrase was really essential, I then ensemble
instrument for this ensemble of eight panpipes thought up a narration limited to the absolute Scene 13. Playing of the au paina ensemble
of four different sizes. I finally struck on the minimum, which would not last more than seven
idea of animating graphics based on diagrams minutes out of a total duration of thirty-five
previously published (Zemp 1972a and b), some minutes; this seemed to me, and still seems, an Scene-by-scene Analysis
of which are reproduced here in the commentary acceptable compromise.
for scenes 1 to 4 of the film Areare Music. For
reasons of analogy, I also made an animation The original French text was translated and CREDITS AND INTRODUCTORY TEXT
showing the order of making panpipes for the au recorded by John Wright, a folk musician
tahana ensemble, although since it includes fewer of British origin, who at the time was doing Shot 1 00:00:10
instruments, this was not strictly necessary for an research on the jews harp at the Dpartment On the edge of Takataka Bay, the village of
understanding of the manufacturing process. dethnomusicologie in the Muse de lHomme. Maimasi Waraana (fixed still pictures as
background).
When viewing the rough-cut, we were still
frustrated by having seen so many bamboo pipes VI. STRUCTURE AND CONTENTS TITLES: title and the introductory presentation:
cut in all sorts of variations without being able to SHAPING BAMBOO
hear the music for these instruments. During the For the purposes of analysis the film is sub- A film about panpipe making among the Areare
shooting I did not have enough film to include divided into scenes which are not indicated in the people on Malaita, filmed in the Solomon Islands
the first performance with the new instruments, film itself. in 1975 and 1977.
and still less to include the adjustments in tuning
which were made bit by bit during subsequent Looking for Bamboo with
performances. In order to include nevertheless Scene 1. Canoe journey Irisipau
a sequence of playing for each of the two panpipe Scene 2. Walk in the forest
ensembles, I selected some shots from the rushes Scene 3. Cutting bamboo from the grove Supamae,
filmed during the preceding mission, which had Scene 4. Return to the village Irisitapaa
not been used in the film Areare Music. a film by
Making au tahana Panpipes Hugo Zemp
Scene 5. Measuring and cutting tubes for
THE NARRATION a large panpipe of the au tahana This film was conceived with the collaboration
ensemble of the musicians. Sequences of panpipe playing
After observing the making of panpipes in situ Scene 6. Graphic animation (au tahana filmed in 1975 were viewed by the AreAre
on a number of occasions, and after viewing and ensemble) Council of Chiefs, which decided in session to
reviewing the rushes and film during the editing Scene 7. Measuring and cutting tubes for give its accord and support to continue filming
process, the different stages were quite clear to a small panpipe of the au tahana in 1977.
me. However, the spectator who sees the film ensemble
for the first time risks seeing only the repeated Scene 8. Binding a large panpipe of the au The Areare Council of Chiefs, headed by
gestures of a man ceaselessly cutting bamboo tahana ensemble Paramount Chief Ariki Nonoohimae Erehau,
tubes. Conscious at the time of the controversy, Scene 9. Playing of the au tahana ensemble decided that this film benefits the areare people,
which still continues today, about commentaries not only by making their music known abroad,
that risk overburdening the image, and Making au paina Panpipes but also by contributing to education in their
preferring for my part to have no commentary Scene 10. Graphic animation (au paina schools.
at all, it seemed nonetheless necessary to draw ensemble)
the spectators attention to the essential stages, Scene 11. Measuring and cutting a large panpipe
the different techniques of cutting and the for the au paina ensemble.
procedures for tuning during the manufacture
Shaping Bamboo: Scene-by-Scene Analysis / Looking for Bamboo 33

LOOKING FOR BAMBOO SCENE 2. WALK IN THE FOREST

SCENE 1. CANOE JOURNEY
Shot 10 00:02:46
Shot 2 00:00:56 Shot 11 00:02:50
Shot 3 00:01:09 Shot 12 00:03:03
Shot 4 00:01:15 Shot 13 00:03:09
Shot 5 00:01:23 Shot 14 00:03:16
Shot 6 00:01:44 Shot 15 00:03:22
Shot 7 00:01:58 Shot 16 00:03:44
Shot 8 00:02:08 Shot 17 00:04:02
Shot 9 00:02:16 Shot 10, showing the village of Hauharii (filmed
Along the northern shore of Takataka Bay (Shot 2) as background from a slide), proved necessary in
and the river Roapou. Mangroves near the mouth editing to make the link between the scene of the
of the river (Shot 3). Four men paddle in a planked journey in the canoe and the scene of the forest
canoe (Shots 4-7). Arrival and disembarkation at walk.
the village of Hauharii (Shots 8-9).
Irisipau and his friends Irisitapaa and Supamae Scene 3. CUTTING BAMBOO FROM THE GROVE
This scene was shot in January 1977 after walk in the forest, on their way to looking for
returning from a commemorative funeral feast in bamboo tubes higher up the mountain. Different
the village of Maimasi Waraana (cf. the scenes in stages of their journey in the forest are shown: a
the Prelude and Scene 20 of the film Areare Music). f looded path (Shot 11), a bridge of fortune (Shots
Three of the men in the canoe will go and look for 12-13), mud (Shot 14), a riverbed (Shot 15) and a
bamboo tubes in the following scenes: these men hillside (Shots 16-17). Having endured many
are (from front to back) Irisipau, Supamae and long walks in the forest, I could not stop myself
Irisitapaa. I had then been living for four months shooting a close-up of a foot stuck in the mud and
in the village of Hauharii, situated on the banks even made a slight detour to film a river crossing
of the river Roapou, and Irisipau, who lived in on a tree trunk.
another village, had agreed to give me enough
of his time to film the making of panpipes. The places where the forest had been cleared
Supamae, an excellent panpipe player, the son of to make a garden (Shots 16-17) provide a more
Warousu and the nephew of my host Namohaniai extended vista than does the thick forest itself.
(cf. the film Areare Music), returned to his village, Shot 17 is a view overlooking Takataka Bay, from
while Irisitapaa, another musician, was to stop at where we left by canoe.
Hauharii before returning to his village further
north. The pictures shot from a second canoe On the soundtrack for Shots 14 and 15 we hear
provide an opportunity to see the surrounding two men whistling in two parts a piece from the
and f luvial countryside, as well as one of the two repertoire for the panpipe ensemble au paina.
means of transport used in the Areare country - The recording had been made during the taking
the canoe (the other being walking, Scene 2). This of another shot, which was finally cut in editing.
first scene does not include any narration, so that Walking in the forest, I often heard a man
8
the viewer has time to enter into the film. whistling a panpipe tune, immediately joined by
Shot 10 00:02:45 another man whistling the second part. It seems
valid therefore to add this sound to other images
where the mens mouths are not seen. It was only
at the mixing stage, when all the sound tapes were
brought together for the projection of the picture
Shaping Bamboo: Scene-by-Scene Analysis / Looking for Bamboo 34

on a screen, that I noticed an error which only more wind. The picture of the arrival at the village the tube enclosing the column of air, which is
very close scrutiny could reveal: the men walking (Shot 25) was shot at the side of Warousus house, exposed to breakage.
in the river bed could not whistle in two parts overlooking the village, where the following Shot 31 00:08:34
because two of the three men were smoking. episodes of the panpipe making were later filmed. Shot 32 00:08:39
Narration: (Shots 17-18) Areare people Narration: (Shot 27) In the village the green Shot 33 0:08:46
distinguish several species of bamboo which they bamboo will dry in the sun about ten days. After cutting the lower end of the third tube below
use for house-building, cooking, also for carrying the node (Shot 32), he blows into the first two pipes
and storing water. Only two species, one of which to check their tuning; then he puts the third tube
grows in the mountains, are suitable for making MAKING AU TAHANA PANPIPES alongside the first two to assess its length and
panpipes. to cut the embouchure (Shot 33). We see in the
SCENE 5. MEASURING AND CUTTING TUBES first shots of this scene, as in the following shots,
FOR A LARGE PANPIPE OF THE AU TAHANA the particular way of holding the knife (here a
SCENE 3. CUTTING BAMBOO FROM THE GROVE ENSEMBLE machete blade without a wooden handle); this
comes from the way stone tools, that were in use
Shot 18 00:04:17 Shot 28 00:06:49 until the twentieth century, had been held. The
Shot 19 00:04:28 Irisipau chooses the first bamboo to shape. left-hand holds the bamboo from below or above
Shot 20 00:04:53 Narration: Irisipau is one of the rare musicians and turns it inwards, while the right hand pushes
Shot 21 00:05:09 who still know how to make new panpipes using the knife down from above and in the opposite
Arriving at the bamboo grove, the three men measurements taken from the human body. Most direction.
choose their bamboos, cutting them with of the other musicians take their measurements Narration: (Shot 33) The width of the fingers
machetes and removing the foliage. from existing instruments. is used to measure the difference in length
Narration: (Shots 20-21) In the Areare language, The cubit is the measurement used for the first of adjacent tubes. The tubes are very slightly
the verb which we translate by to cut designates tube of the two large panpipes played in the au conical. When the bamboo is shaped, the node is
the actions of felling trees with an axe, of tahana ensemble. retained at the smallest diameter.
chopping wood, and of cutting bamboo with
a machete. To prevent damage to the bamboo Shot 29 00:07:26 Shot 34 00:09:21
nodes, the leaves are cut off in the direction in Before continuing cutting, he cleans the outside Shot 35 00:09:52
which they grow. of the node whose roughness impedes him. When Shot 36 00:10:59
the cutting has been done, he checks that the He checks the sound of the first three tubes
length of the tube corresponds exactly to a cubit. (Shot 34) and cleans the inside with a stem whose
SCENE 4. RETURN TO THE VILLAGE Narration: The expression in the AreAre end has been frayed. Then with the width of his
language which designates this particular way fingers he measures the difference in length
Shot 22 00:05:25 of shaping bamboo means, in a larger sense, to between the second and third pipes and shortens
Shot 23 00:05:34 make panpipes. For it is shaping the bamboo the third (Shots 35 and 36).
Shot 24 00:05:46 that transforms it from raw vegetable material Narration: This technique of shortening very
Shot 25 00:05:57 into a musical instrument. slightly a tube already shaped and of smoothing
Shot 26 00:06:35 off the edge of the mouth-hole is called shaving
Shot 27 00:06:44 Shot 30 00:08:13 the bamboo by the Areare.
The three men load the bamboo sticks on their Then he cuts the lower extremity, several finger-
shoulders and leave. When they arrive at the widths below the node. Shot 37 00:11:12
village they put the green bamboos on the roof of Narration: The lower ends of the tubes of a Narration: The first four tubes are now finished.
a house to let them dry. For reasons of editing we panpipe are closed by bamboo nodes. Since the To measure the fifth, Irisipau takes the fourth as
have included here Shot 23, which was actually two longest tubes tend to break when a panpipe is his reference... then the third. The measurement
made on another day when the three friends had handled, they are cut a few finger-widths below of each new tube is taken in relation to the
gone to look for bamboo on another mountain. We the node. Thus it is the lower part, rather than previous ones.
notice that on this particular day there was a little
Shaping Bamboo: Scene-by-Scene Analysis / Making Au Tahana Panpipes 35

Shot 38 00:12:05 Narration: A temporary binding holds the tubes SCENE 7. MEASURING AND CUTTING A SMALL
Shot 39 00:12:22 in place while the new instrument is played PANPIPE FOR THE AU TAHANA ENSEMBLE
Shot 40 00:12:28 during fine tuning. Irisipau notices that one of
Irisipau continues cutting (Shot 38), then places the tubes is tuned too low, and shortens it. Shot 48 00:17:36
the first eight pipes on his knees, using the widths Shot 49 00:17:45
of his fingers to check the difference in length of Shot 43 00:14:45 Shot 50 00:17:59
the neighboring tubes (Shot 40). Then he verifies He shaves off the excess length of the tube and Shot 51 00:18:14
that the eighth tube is twice as short as the first, once again checks the tuning by playing a passage Shot 52 00:18:56
blows into the two tubes to check the octave and of the melody that includes this sound. Irisipau measures the length of the first tube on
then takes the eight tubes in his hand to play a the instrument that he has just finished; then
melody, at low volume (Shot 40). Shot 44 00:15:39 he bends the plant fiber in half, thus obtaining
Each time I see the film I cannot help admiring the Shot 45 00:16:04 the length required for the first tube on the little
mastery with which Irisipau, when he arrives at the Shot 46 00:16:27 panpipe tuned an octave higher (Shot 48). He
end of the eighth tube, manages to make it exactly In the last three shots of the scene Irisipau cleans applies the measure to a bamboo and first cuts
half the length of the first and thus an octave higher, the inside of the tubes with water and a f lexible the embouchure (Shots 49 and 50). We then see
just by measuring the difference in length between and porous stem. him doing the same thing for a shorter tube (Shot
each tube with his fingers, and by correcting the 51). Meanwhile, his friend Supamae polishes the
tuning of the equiheptaphonic second. embouchures on a stone (Shots 51 and 52).
Narration: (Shots 38-40) The scale of this panpipe SCENE 6. GRAPHIC ANIMATION (AU TAHANA Narration: (Shots 51 and 52) Supamae polishes
is equiheptaphonic, that is, the octave is divided ENSEMBLE) the upper edge of the tubes of the second large
into seven equidistant pitches. The intervals are panpipe so the musicians wont cut their lips on
slightly smaller than whole tones of the Western Shot 47 00:16:40 the edge of the mouth holes.
diatonic scale. As Irisipau says: All the intervals This shot was made image by image, following When the fourth panpipe is finished, Irisipau
look different: it begins with a large interval, the classical technique for cinematographic and his friends play a number of pieces of music
then it diminishes progressively. But they will animation by Jean-Christian Nicaise (the to check and adjust the tuning. For although
all hear alike. The eighth tube, half the length films editor) and by myself, using makeshift the human body provides the measurements for
of the first, is an octave above. Irisipau checks equipment. the length of the tubes, the final judge of tuning
the tuning by playing a piece with the range of an Narration: The au tahana panpipe ensemble remains the ear.
octave. is made up of four instruments on which the
musicians play a two-part polyphony: each part is
Shot 41 00:13:19 doubled at the octave. We have just seen Irisipau SCENE 8. BINDING A LARGE PANPIPE OF THE
Irisipau cuts the twelfth tube and checks its make the first panpipe. After having played it a AU TAHANA ENSEMBLE
sound. short while to check the tuning, he corrects the
pitches and then makes a second instrument, Shot 53 00:19:48
Shot 42 00:14:34 using the measurements of the first. He and his Shot 54 00:20:02
After having made a temporary binding, he assistant Supamae next play in two parts and, if Shot 55 00:20:14
checks the tuning of the complete set of fourteen necessary, he readjusts the tuning. Now, Irisipau Shot 56 00:20:24
tubes. is going to make the third panpipe, dividing in Narration: Irisipau begins the permanent
Afraid (quite rightly) of not having enough half the measurements of the first instrument. binding which is twined from vine fibers. To
film to shoot the way of making a temporary He measures the length on the outside of the tube, begin with, the stick and fiber binding, which
binding, I skipped this stage in the making of taking into account the thickness of the node. is temporary, keeps the tubes in place (Shot 53).
the instruments for the au tahana ensemble Once several rows of new twining hold them
with less reservations, because the same type of together, the temporary binding is cut off (Shots
stick-binding will be shown in Scene 12, which 55 and 56).
is concerned with the panpipes for the au paina
ensemble.
Shaping Bamboo: Scene-by-Scene Analysis / Making Au Tahana Panpipes 36

Shot 57 00:20:29 MAKING AU PAINA PANPIPES Shot 68 00:26:24

Trying out the holding position and the playing Shot 69 00:26:28
facility of the panpipe and continuing the SCENE 10. GRAPHIC ANIMATION (AU PAINA Shot 70 00:26:35
binding. ENSEMBLE) Cutting the two tubes to fit together.
Narration: The end of the upper section to be
Shot 5800:21:00 Shot 62 00:23:08 inserted is reduced in diameter around the
Short of film stock I was not able to include the Narration: The au paina ensemble includes eight outside, while the corresponding end of the lower
binding process in its entirety. As I had brought panpipes on which the musicians play a two- section must be wrapped for reinforcement,
away the new instruments, I filmed this shot after part polyphony; each part is quadrupled at the before its inner diameter can be enlarged by
returning to France so that I would still be able to octave. The scale here is pentatonic. The longest scraping.
show a completed binding. tube of each instrument indicated by dashes
Narration: Panpipes are stored above the hearth on the diagram is never blown: in the case of Shot 71 00:26:40S
in the house, which explains their smoky black the larger panpipes, this tube is gripped beneath Shot 72 00:26:49
patina. the left arm so the musician can maintain a good Shot 73 00:26:56
hold on the instrument. Irisipau first makes one Shot 74 00:27:12
of the two instruments called rara ni hero, a bit Shot 75 00:27:30
SCENE 9. PLAYING OF THE AU TAHANA longer than a cubit. Then he makes a second one Shot 76 00:27:49
ENSEMBLE of the same size. He and his assistant play them in Irisipau scrapes the inside of the nozzle (Shots
two parts, and having adjusted the tuning by ear, 71-72), cleans the tube with a reed and with water
Shot 59 00:21:06 he makes the two aaripoe twice as large, tuned an (Shot 73, then cleans the tube which is open on
Shot 60 00:21:30 octave below, and the two kikimeo, twice as small, each side while Supamae blocks one end with
Shot 61 00:22:09 tuned an octave above. He is now preparing to his hand (Shot 74). Then Irisipau fits the two
Four musicians playing the piece entitled Drop make a kii , one of the ensembles two largest parts together to make a single tube (Shot 75) and
by Drop. According to custom this piece was instruments, by doubling the length of the tubes applies the glue (Shot 76).
played twice. Shot 59 is a close-up of Irisipau of an aaripoe . Narration: This glue, extracted from the fruit of
playing the second part of the polyphony (aaritai) the parinarium tree, of the rosasae family, is also
on the large panpipe. In Shot 60, the frame is used to caulk canoe planks.
enlarged and alongside Irisipau we see Aruhane, SCENE 11. MEASURING AND CUTTING
who is playing the same polyphonic part on the A LARGE PANPIPE FOR THE AU PAINA Shot 77 00:28:10
small instrument. Seen from behind, the player ENSEMBLE Shot 78 00:28:27
of the large pau ni au. In Shot 61, when the piece Shot 79 00:28:35
is repeated, the camera turns behind Irisipaus Shot 63 00:24:24 To complete the fitting together, he knocks the
back to frame the two players of the pau ni au part Using a plant fiber, Irisipau measures the second joined up tube on a stone; this probably reminds
opposite, while Irisipau remains on the right- tube of an aaripoe instrument, doubles the length him of the playing of stamping tubes, since he
hand side in the frame. and looks for two tubes to assemble a single pipe beats out a rhythm, smiling. Irisipau checks
sounding at the lower octave. the sound of the fitted-together tube, and with
This scene, like the equivalent scene concerned Narration: The first four tubes of the largest Supamae who takes the corresponding tube for
with the playing of the au paina ensemble, had panpipe are longer than any of the sections the smaller instrument, he verifies the octave.
been filmed two years earlier, during the shooting between the nodes of the bamboo. This means
of the film Areare Music. Since the instruments that these tubes must be made from two pieces of To make a tube from a single piece of bamboo
at that time had a black patina, it was necessary in bamboo, inserted one inside the other. between two nodes, this time he does not use
the narration for Shot 58 to explain the difference a plant fiber measure, but places the bamboo
in color. Shot 64 00:25:24 directly on to the tube tuned an octave above and
Shot 65 00:25:47 doubles the measurement.
Shot 66 00:26:02
Shot 67 00:26:15
Shaping Bamboo: Scene-by-Scene Analysis / Making Au Paia Panpipes 37

Scene 11: Measuring and cutting a large panpipe for the au paina ensemble.
Shaping Bamboo: Scene-by-Scene Analysis / Making Au Paia Panpipes 38

SCENE 12. BINDING A LARGE PANPIPE FOR THE FINAL CREDITS OF THE FILM SHAPING BAMBOO
AU PAINA ENSEMBLE
Photography and sound
Shot 80 00:28:53 Hugo ZEMP
All the tubes for the larger instrument are put Ethnomusicology research group of the C.N.R.S.
down in order on the ground. Irisipau bends a Department of ethnomusicology, Muse de lHomme, Paris
strip of bamboo in two and introduces the two
largest tubes between the two branches of the bent Sound Assistant
stick. Edwin WAIWAIMAE
Narration: The first binding of the instrument
played in au paina ensembles is permanent. This Editing
stick, bent in the form of a U, guarantees a more Jean-Christian NICAISE
secure fastening than the unreinforced twining
as used for instruments of the other ensembles. Negative cutting
Simone JOUSSE
Shot 81 00:29:19
Shot 82 00:29:45 Mixing
Shot 83 00:30:19 H. CHASSAIN, Franois DIDIO
Shot 84 00:30:50
Shot 85 00:31:05 English translation of French narration and Voice
After fitting the twelfth tube, he ties the John WRIGHT
instrument together with plant fiber (Shot 83),
reinforces the fixing with criss-cross binding
(Shot 84) and breaks the two ends of the stick Au tahana Panpipe ensemble
which overlap (Shot 86). IRISIPAU, KINIPAEA, OOREANA, WARAHANE

Au paina Panpipe ensemble

SCENE 13. PLAYING OF THE AU PAINA ARUHANE, IRISIPAU, KOKAI, NAMOHANIAI
ENSEMBLE OAHURA, OOREANA, SUPAMAE, WATERAE

Shot 86 00:31:43
Shot 87 00:32:16 Many thanks to
Shot 88 00:32:46
Eight musicians play twice through the piece Jean-Dominique LAJOUX, for his cinematographic advice,
entitled The Pigs Squealing. Shots 86 and 87 Daniel de COPPET, with whom the researches on the Areare
show the four musicians who are playing the culture are made in close collaboration
second part of the polyphony (aaritai). For the the Areare Council with the Paramount Chief Ariki Nonoohimae
repeat, Shot 89 shows all eight musicians, with the EEREHAUU
pau ni au rank on the right hand side. David KAUSIMAE, Member of Parliament, Areare West district.

CNRS and Hugo Zemp 1979

Video restoration 2011

Jean-Christian Nicaise and Hugo Zemp
Shaping Bamboo: Scene-by-Scene Analysis / Notes 39

NOTES REFERENCES

1. Sukuru, pidgin English for school, is used by the Melanesians of the Solomon 1. Books and Articles
Islands to mean Missions and Church, the first schools being founded by Christian
missionaries. Barraud, Ccile, Daniel de Coppet, Andr Iteanu and Raymond Jamous. 1984. Des
relations et des morts. Quatre socits vues sous langle des changes. In Differences,
2. The surprise and even incredulity which some spectators have expressed after valeurs, hierachie. Textes offerts Louis Dumont, ed. Jean-Paul Galley. Paris: Editions EHSS.
the projection of the film is due in part to the fact that only the results and not the
work of elicitation itself is shown in the film. Many westerners, including even some Coppet, Daniel de. 1968. Pour une tude des changes crmoniels en Mlansie.
ethnomusicologists, are doubtful that musicians from a society without writing could LHomme 6(4):45-57.
elaborate such coherent musical concepts. I recall, however, that Steven Feld, who had
studied with the Kaluli people of Papua New Guinea a system of thought comparable, Ibid. 1970a. Cycles de meurtres et cycles funraires. Esquisse de deux structures
although different in detail since it related to music that was essentially vocal and not dchange. In Echanges et Communication, Mlanges offerts Claude Lvi-Strauss, II, ed.
instrumental as in the case of the Areare, told me that an eminent elder colleague Jean Pouillon and Pierre Maranda. The Hague and Paris: Mouton, pp. 759-789.
had questioned the results of our research and had suggested that we had invented
them. Speaking for myself, and without prejudging the imaginative faculties of Ibid. 1970b. 1, 4, 8, 9, 7. La monnaie: prsence des morts et mesure du temps. LHomme,
Steven Feld, I must say that in addition to the terminology involving, for example, the 10(1):17-39.
equiheptaphonic second or the polyphonic organization in two, three or four parts,
it would also have been necessary to invent the interval and polyphonic styles which Ibid. 1973. Premier troc, double illusion. LHomme 12 (1-2):10-22.
went with this terminology; and this would have exceeded my capacity for invention.
In the 1970s, our interest in classifications and indigenous theories was no doubt in the Ibid. 1976. Jardins de vie, jardins de mort en Mlansie. Traverses 5/6:166-177.
air, following work done in cognitive anthropology. Many works published by other
researchers have, moreover, shown that the level of elaboration of musical concepts Ibid. 1977. Des porcs et des hommes. Traverses 8:60-70.
amongst the Kaluli and the Areare are not at all exceptional.
Ibid. 1981. The Lifegiving Death. In Mortality and Immortality: the Anthropology and
3. This is the reason why in my later films I sought other means of allowing the Archaeology of Death, eds. S.C. Humphreys and H. King. London: Academic Press. pp. 175-
expression of the native word. 204.

4. In 1969 I recorded the singing of a helmsman who, having become a Catholic, omitted Coppet, Daniel de, and Hugo Zemp. 1978. Ar ar, un peuple mlansien et sa musique.
to invoke the shark-ancestors; this recording, published in disc form, was criticized by Paris: Le Seuil (Collection Les jours de lHomme).
those of the Areare who had remained faithful to their ancestor cult.
Ivens, W.G. 1927. Melanesians of the south-east Solomon Islands. London: Kegan Paul.
5. Here Irisipau refers to a myth concerning the origins of musical instruments (cf.
Coppet and Zemp 1978:12). Keesing, Roger M. 1977. Kwaio Religion. Honiara (Solomon Islands): Cultural Association
of the Solomon Islands.
6. In this sequence I used a zoom lens so that I could change the focal length without
having to change lens. Ibid. 1978. Elotas Story: The Life and Times of a Solomon Islands Big Man. St. Lucia:
University of Queensland Press.
7. A slight difference in the rhythm of the paddlers movement between the pictures and
the sound recording necessitated some post-synchronization in Shot 199 which was not Keesing, Roger M., and Peter Corry. 1980. Lightning Meets the West Wind: The Malaita
very successful; (the editor only kept the noise of the paddle strokes on the edge of the Massacre. Melbourne: Oxford University Press.
canoe and mixed between these strokes the noise of the water recorded in his bathroom).
Zemp, Hugo. 1971a. Instruments de musique de Malaita (I). Journal de la Socit des
8. A television producer to whom I presented this film liked the pictures at the beginning Ocanistes, 30:31-53.
but, noticing the absence of narration, asked me why the film had not been finished
Shaping Bamboo: Scene-by-Scene Analysis / Notes 40

Ibid. 1971b. Un orgue olien de Guadalcanal. Objets et Mondes (La Revue du Muse de 1973a. Musique mlansienne, Arar vol. 3. One 33 t./30 cm disc. Collection Muse de
lHomme), 9(2):221-226. lHomme, Vogue LDM 30105.

Ibid. 1972a. Instruments de musique de Malaita (II). Journal de la Socit des Ocanistes, 1973b.Fataleka and Baegu Music, Malaita, Solomon Islands. One 33 t./30 cm disc. Unesco
34, pp. 7-48. Collection - Musical Sources, Philips 6586018.

Ibid. 1972b. Fabrication de fltes de Pan aux Iles Salomon. Objets et Mondes (La Revue 1974. Musique de Guadalcanal, Solomon Islands. One 33 t./30 cm disc. Ocora-IFMC, OCR 74.
du Muse de lHomme) 12(3):247-268.
1978a.Polyphonies des Iles Salomon (Guadalcanal et Savo). One 33 t./30 cm disc.
Ibid. 1973. (In collaboration with J. Schwarz.) Echelles quiheptaphoniques des fltes
de Pan chez les ar ar (Malaita, Iles Salomon). Yearbook of the International Folk Music 1978b.Arar, un peuple mlansien et sa musique. One 17 cm flexible disc, included in the
Council, 5:85-121. book of the same title by D. de Coppet and H. Zemp.

Ibid. 1978. Areare Classification of Musical Types and Instruments. Ethnomusicology, 1990a.Polyphonies des Iles Salomon (Guadalcanal et Savo). New edition revised and
22(1):37-67. Reprinted in The Garland Library of Readings in Ethnomusicology, vol. 7: A enlarged on compact disc of Zemp (1978a). Collection CNRS-Muse de lHomme, 1990.
Century of Ethnomusicological Thought. New York & London: Garland, 1990. Le Chant du Monde LDX 274 663.

Ibid.1979. Aspects of areare Musical Theory. Ethnomusicology, 23(1):6-48. 1990b.Iles Salomon. Musique Fataleka et Baegu de Malaita. New edition revised on compact
disc of Zemp (1973b). Auvidis-Unesco D 8027. Cassette D 58027.
Ibid.1980. Melanesia, 6: Solomon Islands. The New Grove Dictionary of Music and
Musicians, 12:92-96. London: Macmillan. 1993.Musiques de Guadalcanal, Iles Salomon. New edition revised and enlarged on
compact disc of Zemp (1974). Ocora C 580049.
Ibid.1981. Melanesian solo polyphonic panpipe music. Ethnomusicology, 25(3):383-418.

Ibid. 1982. Deux huit voix: polyphonies de fltes de Pan chez les Kwaio (Iles
Salomon). Revue de Musicologie (Numro spcial Andr Schaeffner. It also appeared 3. Films
at the same time as a separate work under the title Les Fantaisies du voyageur, XXXIII
variations Schaeffner), 68 (1-2):275-309. Coppet, Daniel de, and Christa de Coppet. 1971. Areare Maasina. 16 mm, color, 28
minutes. Sound by H. Zemp. Distribution: CNRS Images.
Ibid.1988. Filming Music and Looking at Music Films. Ethnomusicology, 32(3):393-427.
Zemp, Hugo. 1973a. Danses polynsiennes traditionnelles dOntong Java. 16 mm, color, 9
Zemp, Hugo, and Christian Kaufmann. 1969. Pour une transcription automatique des min. Comit du Film Ethnographique; CNRS Audiovisuel.
langages tambourins mlansiens. LHomme, 9(2):38-88.
Ibid. 1973b. Bambous frapps, bambous souffls. 16 mm, color with synchronized sound, 9
min. Comit du Film Ethnographique.; CNRS Audiovisuel.
2. Audio Recordings (LP discs and CDs)

All recordings and accompanying notes in French and English by Hugo Zemp.

1971. Fltes de Pan mlansiennes, Arar vol. I. One 33 t./30 cm disc. Collection Muse de
lHomme, Vogue LDM 30104.

1972. Fltes de Pan mlansiennes, Arar vol. 2. One 33 t./30 cm disc. Collection Muse de
lHomme, Vogue LDM 30105.
Shaping Bamboo: Scene-by-Scene Analysis / Supplement 41

2011 Supplement CHANGES SINCE THE SEVENTIES

In the introduction of the study guide published in 1993, I brief ly mentioned

the reasons why I studied and filmed exclusively traditional Areare music,
RESTORATION and wrote about the situation of Christian religious and international pop
music. I developed the topic in the introduction to my book (1995: 9-21). At
While preparing the distribution of the English version for DER, I asked the end of the sixties and in the seventies, there was a fundamental break
the CNRS Imagesthe new name of CNRS Audiovisuelto restore the films. between two categories of music. The first was au ni tootoraha, music of
It appeared that the 16 mm prints were heavily damaged and completely the custom, called also au ni hanua, music of the land (of the ancestors),
irrecoverable, as they are almost black. There was no budget to make a respectively nuuha, song, in place of au if singing was dominant. The
new video scanning directly from the color negatives, and anyhow the second type, au ni haka, music of the white people (or nuuha, song)
negatives were probably also damaged. The only solution was to start from designated international pop and Christian hymns. The term used for white
former analogical video transfers. The CNRS technician charged with the people is haka, literally ship, as the whites came by ship to the islands. Thus
restoration, Jean-Christian Nicaise, is the very same one who edited the the pop songs with guitar or ukulele accompaniment (Panpacific pop), sung
films over two periods between 1976 and 1979. by young people in pidgin or even in Areare language, were considered to be
foreign, coming by ship.
In the eighties, the 16 mm prints were transferred on analogical video, first
on U-Matic which was later copied on U-Matic SP, later on BETA or BETA SP. During that period, there were no attempts to create new music with old
Thus there were at least two or three generations of analogical copies, which instruments like, for instance, panpipes. In the 1993 edition of the study
explains the loss of quality. It is particularly frustrating, as the originals had guide, I wrote about a new film project to document the interactions,
been shot in 16 mm. The latest BETA cassettes were copied on DVCAM and conf licts and eventually the intermingling between traditions and popular
put on Final Cut Pro for the restoration. music. I did not find the financial resources for a fourth fieldwork period,
and got involved with other projects. It would have been interesting, and
The images of the English version of Areare Music were more damaged than still is, to look if and which main characteristics of traditional areare music
those of the French one; that is the reason why the technician worked on the making have been kept or modified (equiheptatonic scales, contrapuntal
French version, covering the French subtitles with English ones over black polyphony, dissonant equiheptatonic seconds played simultaneously,
boxes. He corrected the strong magenta dominant and also used a method to pulsating blowing of panpipes, slowing down at the end of pieces, etc.).
diminish the fast f lickering of snow and to slightly increase its sharpness.
At each cut between two shots, the splice of the 16-mm negative editing was Today, the internet allows us to get a glance at new panpipe playing right
visible; 2 to 5 frames had to be cut out. I shortened many shots, made a new from the late 20th and early 21st centuries. In the classroom, the film
sound mix, cutting out pre-echo, and worked on finer adjustments of the Areare Music could be discussed in relation to modern transformations of
color. music for concerts and festival shows, but also for village cultural events.
New ensembles appeared, combining different instrument types and
Being aware of the bad quality of optical sound in 16 mm films, especially new organological inventions, using conventional Western scales and
regrettable for music, I had insisted since the beginning on showing the harmonies, folkloristic costumes and stage choreography.
films with a double-band projector, i.e. a second reel of a perforated magnetic
sound simultaneously rolling with the celluloid reel of the images. In the On YouTube there are many clips on new Solomon Islands panpipe music,
eighties, the video scanning of my 16 mm films was made in the audiovisual and in particular of two Areare groups who made successful tours in
department of a University which did not have the necessary equipment to Australia, Europe and America. A few links:
scan the magnetic sound of the double band. Unfortunately, it resulted not
only in a greatly reduced sound quality of the original Stellavox recordings
and in additional background noise of optical sound, but also in an
increased scratching sound as repeated projections occurred during the
time before the video transfers could be made.
Shaping Bamboo: Scene-by-Scene Analysis / Supplement 42

Narasirato Pan Pipers narrators, who are main figures in the films, are:
- Irisipau, who comments each musical type, plays in the au tahana and au takaiori
http://www.youtube.com/watch?v=FMspIsLEOvY panpipe ensembles, and plays the solo stamping tubes. He is also makes panpipes;
- Warousu, big man of north Areare, a specialist in au takaiori panpipes, and lead
http://www.youtube.com/watch?v=mPZ4p1jO2T4 drummer;
- Namohaniai, his brother, who plays and sings in the au paina panpipe ensemble;
http://www.youtube.com/watch?v=J4IX8Wnv670 - Tahuniwapu, big man of southern Areare, helmsman and main singer of the
paddling song, organizer of the pounding song.
Wasi Ka Nanara Pan Pipers
http://www.youtube.com/watch?v=COZce2ZKRhY 1996 The/An Ethnomusicologist and the Record Business, Yearbook for
Traditional Music, vol. 28: 36-56.
http://www.youtube.com/watch?v=t1mWPDkzBew The article discusses my experience as researcher and editor of a record series about
different cultural groups, and in particular with the Areare people.
10th Pacific Festival of Arts in American Samoa, 2008
http://www.youtube.com/watch?v=_YptIQSdWME 1997 Composer et interprter des rythmes : Musique et langage tambourin
chez les Arar, Cahiers de Musiques traditionnelles 10: 192-235 (with musical
Pan Pipes from Santa Isabel (island of the Western Solomons) transcriptions and sonagrams).
http://www.youtube.com/watch?v=_JabkmOAjOE Pieces for slit drum ensembles have titles, as do all pieces of instrumental music.
Narratives relate the origin of the composition, its iconic links with the natural
Lady Pan-pipers in the Solomon Islands? (Sisters of the Church of Melanesia) or human environment. Once the composer of a slit-drum piece has found the
http://www.missionandjustice.org/lady-pan-pipers-in-the-solomon-islands/ rhythmical motif, he chooses one of three basic forms, repeats it, in some cases varies
it, and combines the rhythmical segments following a strict order. Some pieces of
ensembles reproduce a few words, sometimes anecdotal, and without any intention
to send messages. Unlike the music played at a feast, pieces of drum language are
ADDITIONAL REFERENCES CONCERNING TRADITIONAL AREARE MUSIC struck on a single instrument. Signs identifying localized genealogies are composed,
BY HUGO ZEMP like pieces for drum ensembles, of sounds linked to the natural environment. On the
other hand, signs transmitting specific messagesthe announcement of a death, a
1994. Iles Salomon. Musique arar / Solomon Islands. Areare Panpipes theft or an interdict brokenbear no relationship to spoken language, but directly
Ensembles. 2 CDs, booklet in French/English, 90 p., Collection CNRS/Muse symbolize the concept they represent. (A French article of 1969, mentioned in the
de lHomme. Le Chant du Monde LDX 274961.62. References of the 1993 SEM Study Guide about another Melanesian drum language,
This 2-CD set presents stereo recordings of the panpipe ensembles which can also be has recently been translated into English: Hugo Zemp and Christian Kaufmann,
found in the film Areare Music (older mono recordings are on the 1971 and 1972 LPs). Towards an Automatic transcription of Melanesian Drum Languages [a Kwoma
Example, Papua New Guinea], Kulele 4: Occasional Papers on Pacific Music and Dance,
1995a Iles Salomon: Musiques intimes et rituelles arar / Solomon Islands: Institute of Papua New Guinea Studies, 2010).
Areare Intimate and Ritual Music. 1 CD, booklet in French/English, 112 p.,
Collection CNRS/Muse de lHomme, Le Chant du Monde CNR 274963. 1998 Bundle Panpipes of the Solomon Islands, in: The Garland Encyclopedia
This CD presents stereo recordings of all the other musical genres which can also be of World Music, vol. 9 (Australia and the Pacific Islands): 398-401. Eds.
found in the film Areare Music (older mono recordings are on the 1973 LP). Adrienne Kaeppler and Jacob Love. New York: Garland. (With musical
transcriptions and sonagrams).
1995b. Ecoute le bamboo qui pleure: rcits de quatre musiciens mlansiens The article analyses the music of one of the two bundle panpipes in use in areare: the
(Arar, Iles Salomon). Paris, Gallimard (Laube des peuples), 219 p. obliquely blown one with four tubes. This exceptional instrumentprobably unique
Four musicians tell life stories, myths and other narratives about music. The in the world, known only among three neighboring peoples of the island of Malaita
introduction describes the history of the research, discusses traditional music in allows polyphonic playing with overtones.
the modern life of the seventies, and presents the narrators. In the annex, samples
of three translation modes: morpheme-by-morpheme translation, ethnographic
translation with all repetitions, and the final translation kept in the book. The four
Areare Music / Shaping Bamboo / Acknowledgements and Credits 43

ACKNOWLEDGMENTS AND CREDITS The 2-DVD set Areare Music + Shaping Bamboo is available from

Guide written by: Hugo Zemp

Translated from French by: Frank Dobbins, Goldsmiths College, University of London

Color photos: Hugo Zemp

Map and diagrams: Jean Laurent, Muse de lHomme, Paris 101 Morse Street
Watertown, MA 02472
Initial edition published as:
No. 1 in the Audiovisual Series of the Society for Ethnomusicology phone: (617) 926-0491
Series Editor: John Baily fax: (617) 926-9519
Copyright 1994 Hugo Zemp and Society for Ethnomusicology web: www.der.org

DVD edition:
Copyright 2013 Hugo Zemp and Documentary Educational Resources
Designed and assembled by: Frank Aveni and Carolyn Wirth