Hostname: page-component-848d4c4894-nmvwc Total loading time: 0 Render date: 2024-06-22T17:25:54.715Z Has data issue: false hasContentIssue false

Coming Out of the Stone: Dangerous Heritage and the Death of the Twinhox Band

Published online by Cambridge University Press:  06 December 2018

Extract

On the morning of 10 January 2005, a group of people boarded an open dinghy at Namatanai, located about halfway down the east coast of mainland New Ireland in Papua New Guinea. On board were the young brothers Tony and Paul Wol, musicians of the newly formed band Twinhox of Kavieng. Buoyant with the recent recording of their debut album Sorpendeng in the nation's capital, Port Moresby, the brothers had been visiting their mother's relatives in New Hanover for Christmas and New Year celebrations and were now bound for Lihir Island, returning to the home of their parents. The boat never arrived, and the travellers were never found.

Abstract in tok pisin

Abstract in Tok Pisin

Long nambawan mun long 2005, túpela brata, Tony na Paul Wol, bilong singsing grup Twinhox of Kavieng (bilong Papua Niugini) i bin lus long solwara. Long ples bilong túpela, Lihir Ailan, pianti toktok i bin kamap long dispela, hau túpela i bin kišim bagarap olsem, na pianti i bin toktok long sait bilong singsing túpela i bin wokim, wanem pawa i stap insait long dispela singsing, na husat i gat rait long wokim. Insait long dispela pepa, mitupela lukluk gut long dispela, mitupela lukluk long ol haptok insait long dispela singsing, na mitupela skelim olsem dispela pasin tumbuna i save bagarapim man, tasol tu, dispela pasin tumbuna i save kisim bagarap. Mitupela ting olsem ol tumbuna singsing na save bilong taim bilong tumbuna i gat pawa yet. Na pawa i stap yet long ol dispela kain singsing taim ol man i tanim long stail bilong nau tu, bikos tingting na save bilong ol dispela kain singsing i kamap long graun we ol pawa na save bilong tumbuna i stap.

Type
Articles
Copyright
Copyright © 2012 by the International Council for Traditional Music

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References Cited

Bainton, Nicholas A. 2010 The Lihir Destiny: Cultural Responses to Mining in Melanesia. Canberra: ANU E Press.Google Scholar
Bainton, Nicholas A., Ballard, Chris, and Gillespie, Kirsty 2012The End of the Beginning? Mining, Sacred Geographies, Memory and Performance in Lihir.” The Australian Journal of Anthropology 23:2249.CrossRefGoogle Scholar
Bainton, Nicholas A., Ballard, Chris, Gillespie, Kirsty, and Hall, Nicholas 2011Stepping Stones across the Lihir Islands: Developing Cultural Heritage Management in the Context of a Gold Mining Operation.” International journal of Cultural Property 18:81110.CrossRefGoogle Scholar
Evans-Pritchard, Edward E. 1976 Witchcraft, Oracles, and Magic among the Azande. Oxford, Clarendon Press.Google Scholar
Eves, Richard 1998 The Magical Body: Power, Fame and Meaning in a Melanesian Society. Amsterdam: Harwood Academic Press.Google Scholar
Eves, Richard 2004The Play of Powers Made Visible: Magic and Dance in New Ireland.” Ethnos 69/3:341–62.Google Scholar
Eves, Richard 2009Speaking for Itself: Art, Meaning and Power in New Ireland, Papua New Guinea.” The Australian Journal of Anthropology 20:178–97.CrossRefGoogle Scholar
Gillespie, Kirsty 2008 Ae Tinil Wen Lihir: Music of Lihir. Recordings by Kirsty Gillespie (2008) and Otto Schlaginhaufen (1908). Notes by Kirsty Gillespie and Nicholas Bainton. Lihir Gold Limited LHR001. 1 compact disc.Google Scholar
Gillespie, Kirsty 2011 “Breaking the Tikol? Code-switching, Cassette Culture and a Lihirian Song Form.” In Austronesian Soundscapes: Performing Arts in Oceania and South-East Asia, ed. Abels, Birgit, 193204. Amsterdam: University of Amsterdam Press.CrossRefGoogle Scholar
Gunn, Michael 1997 Ritual Arts of Oceania: New Ireland in the Collections of the Barbier-Muller Museum. Milan: Skira editore.Google Scholar
Gunn, Michael, and Peltier, Philippe 2006 Eds. New Ireland: Art of the South Pacific. Paris: Musée du quai Branley.Google Scholar
Hemer, Susan R. 2011Local, Regional and Worldly Interconnections: The Catholic and United Churches in Lihir, Papua New Guinea.” The Asia Pacific Journal of Anthropology 12/1:6073.CrossRefGoogle Scholar
Kahn, Miriam 1990Stone-faced Ancestors: The Spatial Anchoring of Myth in Wamira, Papua New Guinea.” Ethnology 29/1: 5166.CrossRefGoogle Scholar
Kingston, Sean 2007Dangerous Heritage: Southern New Ireland, the Museum and the Display of the Past.” In The Future of Indigenous Museums, ed. Stanley, Nick, 4769. New York: Berghahn.Google Scholar
Küchler, Susanne 2002 Malanggan: Art, Memory and Sacrifice. Oxford: New York: Berg.Google Scholar
Lincoln, Louise 1987 Assemblage of Spirits: Idea and Image in New Ireland. New York: G. Braziller.Google Scholar
Moyle, Richard M. 2003 Nā Kkai Takū: Takū's Musical Fables. Collected by Richard M. Moyle, with English translations by Natan Nake and Tekaso Laroteone. Apwitihire: Studies in Papua New Guinea Musics, 7. Boroko: Institute of Papua New Guinea Studies.Google Scholar
Strathern, Andrew 1979Men's House, Women's House: The Efficacy of Opposition, Reversal, and Pairing in the Melpa Amb Kor Cult.” Journal of the Polynesian Society 88/1 (March): 3751.Google Scholar
Twinhox 2004 Twinhox of Kavieng: Sorpendeng: Volume 1. Cyclone Digital Studios / CHM Supersound Studios CDSCHM12016. 1 cassette.Google Scholar
Wagner, Roy 1986 Asiwinarong: Ethos, Image, and Social Power among the Usen Barok of New Ireland. Princeton, New Jersey: Princeton University Press.CrossRefGoogle Scholar
Ziegler, Susan 2006 Die Wachszylinder des Berliner Phonogramm Archivs. Berlin: Ethnologisches Museum, Staatliche Museen.Google Scholar