OLAC Record: Traditional Sulka Mgaieng Feast Songs

OLAC Record
oai:paradisec.org.au:SG1-003

Metadata

Title: Traditional Sulka Mgaieng Feast Songs

Access Rights: Open (subject to agreeing to PDSC access conditions)

Bibliographic Citation: Steven Gagau (collector), Steven Gagau (data_inputter, depositor, researcher), Paul Tevlone (consultant, recorder, translator), 1977. Traditional Sulka Mgaieng Feast Songs. MPEG/VND.WAV/JPEG/TIFF. SG1-003 at catalog.paradisec.org.au. https://dx.doi.org/10.26278/f6k2-dk59

Contributor (compiler): Steven Gagau

Contributor (consultant): Paul Tevlone

Contributor (data_inputter): Steven Gagau

Contributor (depositor): Steven Gagau

Contributor (recorder): Paul Tevlone

Contributor (researcher): Steven Gagau

Contributor (translator): Paul Tevlone

Coverage (Box): northlimit=-4.88454; southlimit=-5.49282; westlimit=151.865; eastlimit=152.272

Coverage (ISO3166): PG

Date (W3CDTF): 1977-01-01

Date Created (W3CDTF): 1977-01-01

Description: Traditional song "Mgaieng" performed the night before a feast the next day, Kilalum, 1977. Recorded by J.P.P.T. "Singsing Mgaieng" blong nait bipo long feast long dei bihain. SIDE A & B: People from Kilalum village and others from neighboring villages of Ivai, Guma, Klampun, Setvai, etc. singing Mgaieng songs on the eve of traditional Bride Price feast ceremony, from about 8 pm to 6am to signify commencement of celebrations to take place the next day. Mgaieng songs are collection of traditional songs that when performed in a choir like fashion (standing position) to the beat of kundu drums and other traditional instruments, combines both singing and dancing all night for about 10 to 12 hours till sun rise. One of the significant reason of “Mgaieng Singing & Dancing” the night before an actual traditional ceremony or an event take place, customarily speaking, is to officially announce to the public that after months and even years of preparation the day has come, please come and join us and be part of the celebrations tomorrow. Also, and especially for the organizers and the host village, the magaieng singing provides them with a reality check that preparations have gone well and also get them in celebration mood for the main event the coming day, shine or rain the ceremony will have to go ahead as plan. The Mgaieng songs were performed in Kilalum village as the first stage event preceding the double traditional Bride Price ceremony for four couples, namely; Tadius Koko and his wife to be Maria Kop and Joseph Yankau and his wife to be Sgur, to take place the next day. The recording of the mgaieng songs was done in 1977 during the double traditional bride price ceremony of four couples, namely, Tadius Koko and his wife Maria Kop & Joseph Yankau and his wife Sgur. As a customary tradition, the wife or wives relatives would be invited by their husband (s) relatives to lead the Mgaieng singing & dancing. During the night of mgaieng singing and dancing, traditional food, drinks, tobacco, buai nut is provided and served in plentiful amounts throughout the night non-stop till daybreak. Traditional mumu roasted whole pigs is also served during the night as sign of appreciation of the mgaieng singing and dancing. The mgaieng songs comprise so many different songs and been composed on so many things, happenings, occasions, events, sea, gardens, birds, relationships, etc. During the night of mgaieng singing and dancing, the brides & the brides grooms names are mentioned in some of the songs being sung throughout the night, and the expectation is for them (ie; bride & groom) to join the dancing party. During the night as well, preparations for the main ceremony continues until the next day. Sometimes depending on the type of occasion, the tumbuans call “Keipa” come out and dance during the Mgaieng singing and dancing night as well, adding hype to the building celebration mood to the main event. The Mgaieng songs have to be sung in the proper right tune and in precise rhythm to the beat of the kundu drums. Sometimes the tumbuan dancing songs call “Kavres” can also be sung during the Mgaieng singing and dancing night. When mgaieng singing and dancing is perform by women only during feast ceremonies to invite and command tumbuans to perform in public, apart from the mgaieng dancing sequence uniqueness, it is a very attractive and heart pumping dance to watch and be part of, and especially for the performing women folks it’s a bit of a show off dance to entertain and display their dancing talent and style to both their own kind and their men folks as well. Also, the mgaieng singing and dancing when performed by women only during feast ceremonies, is perform at a very high tempo and speed, called “Sess” meaning, covering a lot of area in speed dancing, both forward and backwards. The two lead women, and sometimes can be four (4) lead women who each beat a kundu drum, two on each side facing each other and behind them will be a number of women on each side holding hands in pairs singing and dancing behind their leaders who conducts from the front. In fact the mgaieng singing and dancing presents quite a sight to watch when both sides go at each other in forward and reverse gear dancing, pushing each other to the limit. You have to be very fit to dance to the mgaieng songs, unlike the mumbrik sing and dance also by women is performed in slow motion. Both the mgaieng and mumbrik singing and dancing can only be performed by women only at feasts or ceremonies where and when the tumbuan have been invited to perform. Therefore, the only main reason to perform a mgaieng or mumbrik dance during a feast or ceremony is to command and invite the tumbuan to come out of its secret hiding place to display itself and perform for the public. Seeing and witnessing the tumbuan performing its dance is always the highlight of the occasion that can be talked about for a long time and a memory you will never forget. There are two languages in play, Sulka & Mengen. However, most of the songs are predominantly sung in the Sulka language. Sulka is the dominant language in the whole of the wide bay area and in East Pomio area. The material “Recordings” are more preservation objective in fear of culture loss and for safe keeping for traditional learning & education and in the hope that becomes available to be accessed by future Sulka tribe generations. The significance of “Mgaieng” in meaning refers to a woman or women who have gone through all of the required initiation process according to the Sulka tribe customs and traditions to become a woman of high social standing (stature) that command adoration and respect within both the men and women folk of the clan she belongs and also within the sulka tribe society. So the mgaieng songs were originally meant to be sung by women only and during the initiation of a chosen “Mgaieng” being initiated, so to speak. The mgaieng songs were then given more power by the women folk of the Sulka tribe, who they (women) would dressed up in traditional celebration attire and sing and dance during traditional feasts ceremonies to lure and literally command a sacred tumbuan (commonly referred to as a “Gaienkuo or Spirit”) from its hiding place and or place of residency to dress up in all its colors of glory and appear in public to perform its sacred dance, and showing off its colors ( call “Krain”) to the public and especially to the women who have been preparing, composing and practicing the Mgaieng songs for months to the day of the event. During the sacred spirit tumbuan entering the dance arena, women form a line and dance facing the tumbuan as a sign of welcome and invitation, and leading the tumbuan and dancing in reverse to the middle of the arena. The men then sing specifically composed songs and clap for the tumbuan to dance. If a woman or women, man or men admire the tumbuan’s dance and its colorful appearance so much, the owner and host of the feast ceremony is customarily obligated to acknowledge them in kind with traditional gifts or shell money (a custom system call “koutol”) as gesture for their appreciation. (Paul Tevlone, May 2021). Language as given: Sulka

Format: Digitised: yes Media: Audio Audio Notes: Operator: Nicholas Fowler-Gilmore Tape Machine: Tascam 122. A/D Converter: RME ADI-2 Pro fs Sound Card: RME HDSPe AIO File: 24bit96kHz, Stereo Length: Side A: 0:15:57 Side B: 0:15:59 Speed: 1 7/8 ips Listening Quality: Ok. Music. Mono recording, converted to duel mono. (Advised by Steve G that Left channel on tape was unrelated)

Identifier: SG1-003

Identifier (URI): http://catalog.paradisec.org.au/repository/SG1/003

Language: Sulka

Language (ISO639): sua

Rights: Open (subject to agreeing to PDSC access conditions)

Subject: Sulka language

Subject (ISO639): sua

Subject (OLAC): language_documentation

historical_linguistics

Table Of Contents (URI): http://catalog.paradisec.org.au/repository/SG1/003/SG1-003-A.wav

http://catalog.paradisec.org.au/repository/SG1/003/SG1-003-B.mp3

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http://catalog.paradisec.org.au/repository/SG1/003/SG1-003-tapelabel_B.jpg

http://catalog.paradisec.org.au/repository/SG1/003/SG1-003-tapelabel_B.tif

http://catalog.paradisec.org.au/repository/SG1/003/SG1-003-tapelabels.jpg

http://catalog.paradisec.org.au/repository/SG1/003/SG1-003-tapelabels.tif

http://catalog.paradisec.org.au/repository/SG1/003/SG1-003-A.mp3

Type (DCMI): Sound

OLAC Info

Archive: Pacific And Regional Archive for Digital Sources in Endangered Cultures (PARADISEC)

Description: http://www.language-archives.org/archive/paradisec.org.au

GetRecord: OAI-PMH request for OLAC format

GetRecord: Pre-generated XML file

OAI Info

OaiIdentifier: oai:paradisec.org.au:SG1-003

DateStamp: 2025-08-23

GetRecord: OAI-PMH request for simple DC format

Search Info
Citation: Steven Gagau (compiler); Steven Gagau (data_inputter); Steven Gagau (depositor); Steven Gagau (researcher); Paul Tevlone (consultant); Paul Tevlone (recorder); Paul Tevlone (translator). 1977. Pacific And Regional Archive for Digital Sources in Endangered Cultures (PARADISEC).
Terms: area_Pacific country_PG dcmi_Sound iso639_sua olac_historical_linguistics olac_language_documentation

Inferred Metadata
Country: Papua New Guinea
Area: Pacific

http://www.language-archives.org/item.php/oai:paradisec.org.au:SG1-003
Up-to-date as of: Sat Aug 23 0:35:05 EDT 2025

Metadata
Title:		Traditional Sulka Mgaieng Feast Songs
Access Rights:		Open (subject to agreeing to PDSC access conditions)
Bibliographic Citation:		Steven Gagau (collector), Steven Gagau (data_inputter, depositor, researcher), Paul Tevlone (consultant, recorder, translator), 1977. Traditional Sulka Mgaieng Feast Songs. MPEG/VND.WAV/JPEG/TIFF. SG1-003 at catalog.paradisec.org.au. https://dx.doi.org/10.26278/f6k2-dk59
Contributor (compiler):		Steven Gagau
Contributor (consultant):		Paul Tevlone
Contributor (data_inputter):		Steven Gagau
Contributor (depositor):		Steven Gagau
Contributor (recorder):		Paul Tevlone
Contributor (researcher):		Steven Gagau
Contributor (translator):		Paul Tevlone
Coverage (Box):		northlimit=-4.88454; southlimit=-5.49282; westlimit=151.865; eastlimit=152.272
Coverage (ISO3166):		PG
Date (W3CDTF):		1977-01-01
Date Created (W3CDTF):		1977-01-01
Description:		Traditional song "Mgaieng" performed the night before a feast the next day, Kilalum, 1977. Recorded by J.P.P.T. "Singsing Mgaieng" blong nait bipo long feast long dei bihain. SIDE A & B: People from Kilalum village and others from neighboring villages of Ivai, Guma, Klampun, Setvai, etc. singing Mgaieng songs on the eve of traditional Bride Price feast ceremony, from about 8 pm to 6am to signify commencement of celebrations to take place the next day. Mgaieng songs are collection of traditional songs that when performed in a choir like fashion (standing position) to the beat of kundu drums and other traditional instruments, combines both singing and dancing all night for about 10 to 12 hours till sun rise. One of the significant reason of “Mgaieng Singing & Dancing” the night before an actual traditional ceremony or an event take place, customarily speaking, is to officially announce to the public that after months and even years of preparation the day has come, please come and join us and be part of the celebrations tomorrow. Also, and especially for the organizers and the host village, the magaieng singing provides them with a reality check that preparations have gone well and also get them in celebration mood for the main event the coming day, shine or rain the ceremony will have to go ahead as plan. The Mgaieng songs were performed in Kilalum village as the first stage event preceding the double traditional Bride Price ceremony for four couples, namely; Tadius Koko and his wife to be Maria Kop and Joseph Yankau and his wife to be Sgur, to take place the next day. The recording of the mgaieng songs was done in 1977 during the double traditional bride price ceremony of four couples, namely, Tadius Koko and his wife Maria Kop & Joseph Yankau and his wife Sgur. As a customary tradition, the wife or wives relatives would be invited by their husband (s) relatives to lead the Mgaieng singing & dancing. During the night of mgaieng singing and dancing, traditional food, drinks, tobacco, buai nut is provided and served in plentiful amounts throughout the night non-stop till daybreak. Traditional mumu roasted whole pigs is also served during the night as sign of appreciation of the mgaieng singing and dancing. The mgaieng songs comprise so many different songs and been composed on so many things, happenings, occasions, events, sea, gardens, birds, relationships, etc. During the night of mgaieng singing and dancing, the brides & the brides grooms names are mentioned in some of the songs being sung throughout the night, and the expectation is for them (ie; bride & groom) to join the dancing party. During the night as well, preparations for the main ceremony continues until the next day. Sometimes depending on the type of occasion, the tumbuans call “Keipa” come out and dance during the Mgaieng singing and dancing night as well, adding hype to the building celebration mood to the main event. The Mgaieng songs have to be sung in the proper right tune and in precise rhythm to the beat of the kundu drums. Sometimes the tumbuan dancing songs call “Kavres” can also be sung during the Mgaieng singing and dancing night. When mgaieng singing and dancing is perform by women only during feast ceremonies to invite and command tumbuans to perform in public, apart from the mgaieng dancing sequence uniqueness, it is a very attractive and heart pumping dance to watch and be part of, and especially for the performing women folks it’s a bit of a show off dance to entertain and display their dancing talent and style to both their own kind and their men folks as well. Also, the mgaieng singing and dancing when performed by women only during feast ceremonies, is perform at a very high tempo and speed, called “Sess” meaning, covering a lot of area in speed dancing, both forward and backwards. The two lead women, and sometimes can be four (4) lead women who each beat a kundu drum, two on each side facing each other and behind them will be a number of women on each side holding hands in pairs singing and dancing behind their leaders who conducts from the front. In fact the mgaieng singing and dancing presents quite a sight to watch when both sides go at each other in forward and reverse gear dancing, pushing each other to the limit. You have to be very fit to dance to the mgaieng songs, unlike the mumbrik sing and dance also by women is performed in slow motion. Both the mgaieng and mumbrik singing and dancing can only be performed by women only at feasts or ceremonies where and when the tumbuan have been invited to perform. Therefore, the only main reason to perform a mgaieng or mumbrik dance during a feast or ceremony is to command and invite the tumbuan to come out of its secret hiding place to display itself and perform for the public. Seeing and witnessing the tumbuan performing its dance is always the highlight of the occasion that can be talked about for a long time and a memory you will never forget. There are two languages in play, Sulka & Mengen. However, most of the songs are predominantly sung in the Sulka language. Sulka is the dominant language in the whole of the wide bay area and in East Pomio area. The material “Recordings” are more preservation objective in fear of culture loss and for safe keeping for traditional learning & education and in the hope that becomes available to be accessed by future Sulka tribe generations. The significance of “Mgaieng” in meaning refers to a woman or women who have gone through all of the required initiation process according to the Sulka tribe customs and traditions to become a woman of high social standing (stature) that command adoration and respect within both the men and women folk of the clan she belongs and also within the sulka tribe society. So the mgaieng songs were originally meant to be sung by women only and during the initiation of a chosen “Mgaieng” being initiated, so to speak. The mgaieng songs were then given more power by the women folk of the Sulka tribe, who they (women) would dressed up in traditional celebration attire and sing and dance during traditional feasts ceremonies to lure and literally command a sacred tumbuan (commonly referred to as a “Gaienkuo or Spirit”) from its hiding place and or place of residency to dress up in all its colors of glory and appear in public to perform its sacred dance, and showing off its colors ( call “Krain”) to the public and especially to the women who have been preparing, composing and practicing the Mgaieng songs for months to the day of the event. During the sacred spirit tumbuan entering the dance arena, women form a line and dance facing the tumbuan as a sign of welcome and invitation, and leading the tumbuan and dancing in reverse to the middle of the arena. The men then sing specifically composed songs and clap for the tumbuan to dance. If a woman or women, man or men admire the tumbuan’s dance and its colorful appearance so much, the owner and host of the feast ceremony is customarily obligated to acknowledge them in kind with traditional gifts or shell money (a custom system call “koutol”) as gesture for their appreciation. (Paul Tevlone, May 2021). Language as given: Sulka
Format:		Digitised: yes Media: Audio Audio Notes: Operator: Nicholas Fowler-Gilmore Tape Machine: Tascam 122. A/D Converter: RME ADI-2 Pro fs Sound Card: RME HDSPe AIO File: 24bit96kHz, Stereo Length: Side A: 0:15:57 Side B: 0:15:59 Speed: 1 7/8 ips Listening Quality: Ok. Music. Mono recording, converted to duel mono. (Advised by Steve G that Left channel on tape was unrelated)
Identifier:		SG1-003
Identifier (URI):		http://catalog.paradisec.org.au/repository/SG1/003
Language:		Sulka
Language (ISO639):		sua
Rights:		Open (subject to agreeing to PDSC access conditions)
Subject:		Sulka language
Subject (ISO639):		sua
Subject (OLAC):		language_documentation
Subject (OLAC):		historical_linguistics
Table Of Contents (URI):		http://catalog.paradisec.org.au/repository/SG1/003/SG1-003-A.wav
		http://catalog.paradisec.org.au/repository/SG1/003/SG1-003-B.mp3
		http://catalog.paradisec.org.au/repository/SG1/003/SG1-003-B.wav
		http://catalog.paradisec.org.au/repository/SG1/003/SG1-003-tapelabel_A.jpg
		http://catalog.paradisec.org.au/repository/SG1/003/SG1-003-tapelabel_A.tif
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		http://catalog.paradisec.org.au/repository/SG1/003/SG1-003-tapelabels.tif
		http://catalog.paradisec.org.au/repository/SG1/003/SG1-003-A.mp3
Type (DCMI):		Sound
OLAC Info
Archive:		Pacific And Regional Archive for Digital Sources in Endangered Cultures (PARADISEC)
Description:		http://www.language-archives.org/archive/paradisec.org.au
GetRecord:		OAI-PMH request for OLAC format
GetRecord:		Pre-generated XML file
OAI Info
OaiIdentifier:		oai:paradisec.org.au:SG1-003
DateStamp:		2025-08-23
GetRecord:		OAI-PMH request for simple DC format
Search Info
Citation:		Steven Gagau (compiler); Steven Gagau (data_inputter); Steven Gagau (depositor); Steven Gagau (researcher); Paul Tevlone (consultant); Paul Tevlone (recorder); Paul Tevlone (translator). 1977. Pacific And Regional Archive for Digital Sources in Endangered Cultures (PARADISEC).
Terms:		area_Pacific country_PG dcmi_Sound iso639_sua olac_historical_linguistics olac_language_documentation
Inferred Metadata
Country:		Papua New Guinea
Area:		Pacific