Music of Kiribati

The music of Kiribati has been less affected by Western culture than most other Pacific island cultures since Europeans did not arrive in Kiribati until 1892.[1] The national anthem of Kiribati is "Kunan Kiribati" (Song of Kiribati), by I.T. Uriam; it was adopted upon independence in 1979.[2]

Kiribati folk music is generally based on chanting or other forms of vocalizing, accompanied by body percussion. Public performances in modern Kiribati are generally performed by a seated chorus, accompanied by a guitar. However, during formal performances of the standing dance (Te Kaimatoa) or the hip dance (Te Buki) a wooden box is used as a percussion instrument. This box is constructed so as to give a hollow and reverberating tone when struck simultaneously by a chorus of men sitting around it. Traditional songs are often love-themed, but there are also competitive, religious, children's, patriotic, war and wedding songs.[3] There are also stick dances (which accompany legends and semi-historical stories.[1] These stick dances or 'tirere' (pronounced seerere) are only performed during major festivals.

In 1963 Gerd Koch filmed on Tabiteuea traditional dances and songs of the ruoia series: the kawawa, the introductory song and dance; the kamei with a dance leader, the wan tarawa and the kabuakaka; and a bino song and dance complete with accompanying arm movements. Koch also filmed traditions songs and dances on Onotoa and Nonouti.[4][5]

Bata Teinamati has been described as one of Kiribati's most notable musicians.[6]

  1. ^ a b "Music from Kiribati". Encarta. Archived from the original on 2009-08-29. Retrieved September 29, 2005.
  2. ^ "Kiribati". National Anthem Reference Page. Retrieved September 29, 2005.
  3. ^ Cite error: The named reference Jane was invoked but never defined (see the help page).
  4. ^ "IWF Wissen und Medien". Film Archives Online. Retrieved 5 February 2014.
  5. ^ "70 Silent Films by Gerd Koch from the Gilbert Islands". Göttingen University.
  6. ^ "Country profile: Kiribati", The Guardian, April 22, 2009