ETHNIKKA's mission is to share, divulge and promote the knowledge of the different cultural groups that inhabit our planet, from every continent, religion and origin, to better understand the treasure of human diversity.
ETHNIKKA: Keeping ethnic Knowledge alive
Samson and Delilah's world is small- an isolated community in the Central Australian desert. When tragedy strikes they turn their backs on home and embark on a journey of survival. Lost, unwanted and alone, they discover that life isn't always fair, but love never judges.
Commentaries:
The film was filmed in and around Alice Springs. Described as a "survival love story" by the director, the film depicts two indigenous Australian 14 year olds living in a remote Aboriginal community who steal a car and escape their difficult lives by going to Alice Springs. The film competed in the Un Certain Regard section at the 2009 Cannes Film Festival, winning the Caméra d'Or ('Gold Camera Award' for best first feature film) at the 2009 Cannes Film Festival. Screen Australia announced on 29 September 2009 that the film has been nominated as Australia's official entry in the Academy Awards best foreign language film category.
The didgeridoo is a wind instrument developed by Indigenous Australians of northern Australia around 1,500 years ago and still in widespread usage today both in Australia and around the world. It is sometimes described as a natural wooden trumpet or "drone pipe". Musicologists classify it as a brass aerophone.
There are no reliable sources stating the didgeridoo's exact age. Archaeological studies of rock art in Northern Australia suggest that the people of the Kakadu region of the Northern Territory have been using the didgeridoo for less than 1,000 years, based on the dating of paintings on cave walls and shelters from this period. A clear rock painting in Ginga Wardelirrhmeng, on the northern edge of the Arnhem Land plateau, from the freshwater period shows a didgeridoo player and two songmen participating in an Ubarr Ceremony.
A modern didgeridoo is usually cylindrical or conical, and can measure anywhere from 1 to 3 m (3 to 10 ft) long. Most are around 1.2 m (4 ft) long. The length is directly related to the 1/2 sound wavelength of the keynote. Generally, the longer the instrument, the lower the pitch or key of the instrument.
"Didgeridoo" is considered to be an onomatopoetic word of Western invention. There are numerous names for this instrument among the Aboriginal people of northern Australia, with yiḏaki one of the better known words in modern Western society. Yiḏaki refers to the specific type of instrument made and used by the Yolngu people of north-east Arnhem Land. However, Yolngu themselves are currently using the synonym mandapul to refer to the instrument.
Authentic Aboriginal didgeridoos are produced in traditionally oriented communities in Northern Australia or by makers who travel to Central and Northern Australia to collect the raw materials. They are usually made from hardwoods, especially the various eucalyptus species that are endemic to the region. Sometimes a native bamboo, such as Bambusa arnhemica, or pandanus is used. Generally the main trunk of the tree is harvested, though a substantial branch may be used instead. Aboriginal didgeridoo craftsmen hunt for suitably hollow live trees in areas with obvious termite activity. Termites attack these living eucalyptus trees, removing only the dead heartwood of the tree, as the living sapwood contains a chemical that repels the insects. Various techniques are employed to find trees with a suitable hollow, including knowledge of landscape and termite activity patterns, and a kind of tap or knock test, in which the bark of the tree is peeled back, and a fingernail or the blunt end of a tool, such as an axe is knocked against the wood to determine if the hollow produces the right resonance.
Once a suitably hollow tree is found, it is cut down and cleaned out, the bark is taken off, the ends trimmed, and the exterior is shaped; this results in a finished instrument. This instrument may be painted or left undecorated. A rim of beeswax may be applied to the mouthpiece end. Traditional instruments made by Aboriginal craftsmen in Arnhem Land are sometimes fitted with a 'sugarbag' mouthpiece. This black beeswax comes from wild bees and has a distinctive aroma.
The didgeridoo is played with continuously vibrating lips to produce the drone while using a special breathing technique called circular breathing. This requires breathing in through the nose whilst simultaneously expelling stored air out of the mouth using the tongue and cheeks. By use of this technique, a skilled player can replenish the air in their lungs, and with practice can sustain a note for as long as desired. Recordings exist of modern didgeridoo players playing continuously for more than 40 minutes; Mark Atkins on Didgeridoo Concerto (1994) plays for over 50 minutes continuously.
Traditionally and originally, the didgeridoo was primarily played as an accompaniment to ceremonial dancing and singing. However, it was also common for didgeridoos to be played for solo or recreational purposes outside of ceremonial gatherings. For surviving Aboriginal groups of northern Australia, the didgeridoo is still an integral part of ceremonial life, as it accompanies singers and dancers in cultural ceremonies that continue. Today, the majority of didgeridoo playing is for recreational purposes in both Indigenous Australian communities and elsewhere around the world.
Pair sticks, sometimes called clapsticks or bilma, establish the beat for the songs during ceremonies. The rhythm of the didgeridoo and the beat of the clapsticks are precise, and these patterns have been handed down for many generations. In the Wangga genre, the song-man starts with vocals and then introduces blima to the accompaniment of didgeridoo.
About Australian Indigenous Music
Indigenous Australian music refers to the music of Aborigines and Torres Strait Islanders. Music forms an integral part of the social, cultural and ceremonial observances of these peoples, and has been so for over 60,000 years.
Contemporary Indigenous Australian music has covered numerous styles, including rock and roll, country, hip hop, and reggae. Jimmy Little is regarded as the first Aboriginal performer to achieve mainstream success, with his debut 1964 song "The Royal Telephone" highly popular and successful It would be Yothu Yindi that would bring Indigenous music to the mainstream, with their 1991 song "Treaty", from the album Tribal Voice, becoming a hit. It would go on to reach #11 on the ARIA Singles Chart. The band's performances were based on the traditional Yolngu dance, and embodied a sharing of culture. The success of Yothu Yindi was followed in by Kev Carmody, Tiddas, Christine Anu, and numerous other Indigenous Australian musicians.
Indigenous Australian music is unique, as it dates back more than 60,000 years to the prehistory of Australia and continues the ancient songlines through contemporary artists as diverse as: David Dahwurr Hudson, Jimmy Little, Warumpi Band, Yothu Yindi, Tiddas, Wild Water, Christine Anu, Geoffrey Gurrumul Yunupingu, Saltwater Band, Nabarlek, Nokturnl, the Pigram Brothers, Coloured Stone, Blekbala Mujik, Kev Carmody, Archie Roach and Ruby Hunter.
The telemovie Mabo - is the David and Goliath story of Torres Strait Islander Eddie Koiki Mabo (1936-1992), who spearheaded the High Court challenge that once and for all overturned terra nullius - and resulted in the recognition of native title in Australia.
Eddie Mabo was shocked to discover the (Mer) MurrayIsland land, passed down to him over 15 generations was not legally his. So began the immense battle to get Australian law to recognise traditional land rights. The 10 year struggle came at great personal cost to Eddie and his family.
The telemovie went into production on October 24 2011 - and will air in 2012.
Mabo - an ABC TV / Blackfella Films telemovie of the true story of one man’s epic fight to change a nation, has attracted some of Australia finest actors.
- Jimi Bani (The Straits, R.A.N.) will star as Eddie Koiki Mabo,
- Deborah Mailman (Offspring, Rush, The Secret Life of Us) will play his wife Bonita,
- Colin Friels (The Eye of the Storm, Bastard Boys),
- William McInnes (East West 101, Curtin),
- Miranda Otto (The Lord Of The Rings: The Return Of The King, Cashmere Mafia, South Solitary),
- Ewen Leslie (Love My Way, Kokoda) and
- Tom Budge (Bran Nue Dae, The Pacific, East of Everything).
Mabo Day commemorates the anniversary of the 1992 High Court decision which changed Australia’s political and legal landscape. The decision reversed the notion of terra nullius (no one’s land) which had been in effect since the time of white settlement. (The idea of terra nullius meant that under British law all the land of Australia became Crown land. Aboriginal property rights were ignored as the land belonged to whomever the Crown granted or sold it to.)
Eddie Mabo’s ancestors lived for centuries on a group of three islands in the Torres Strait, near Cape York, known as the MurrayIslands. The islands were annexed by the Queensland Government in 1879 and so became part of Australia. This meant that white rule was absolute and the traditional elders had little power.
Little changed, however, in the way of life of the Murray Islanders as a result of this -people continued to live in their settled communities; they maintained their traditional beliefs and customs; there was a clear way of passing on their plots of land, and ways of settling disputes about legal matters. It was into this lifestyle that Eddie Mabo was born.
Edward Koiki Mabo was born in 1936 on MerIsland (or MurrayIsland) and, after his mother’s death, was given to his mother’s brother and his wife to raise.
From an early age, Koiki was taught about his family’s land.
“…it was handed down from generation to generation,they knew by the boundary lines and markers. There was a certain tree, or stones, heaps of rocks, different trees. They knew exactly where the place was”.
At the age of twenty-three he married Bonita Neehow and went on to raise ten children with her.
1974 proved to be a turning point for Eddie Mabo. During a conversation about his land on MurrayIsland, he was told that he didn’t own that land, and that it was Crown land. His response was 'No way, it’s not theirs, it’s ours.'
As a result, he and others decided to challenge the claim of terra nullius in the High Court. Central to his argument was the belief that the land had been stolen in the first place. He believed he could achieve justice through the courts.
Eddie Mabo claimed that he was the rightful heir and owner of the land owned by his father on MurrayIsland.
It would take ten years, and Eddie Mabo would not live to see or hear the result, but in 1992, the High Court brought down its decision. This decision included the words:
“…the Meriam people were entitled as against the rest of the world to the possession, occupation, use and enjoyment of (most of) the land of the MurrayIslands in the Torres Strait. In reaching this conclusion a majority of the Court held that the common law of Australia recognises a form of native title; where those people have maintained their connection with the land; and where the title has not been extinguished by acts of Imperial, Colonial, State, Territory or Commonwealth governments”.
In essence, the High Court recognised that Australia was occupied prior to white settlement, and that Aboriginal and Torres Strait Islander peoples had native title to these lands.
'Native title' is the term used to describe the common law rights and interests of Aboriginal and Torres Strait Islander people in land according to their traditions, laws and customs. The 1992 decision for the first time recognised the common law rights in land of Australia’s Indigenous peoples.
Native title isn’t a new type of land grant, but a common law right that predates white settlement of Australia. The common law, originally founded on custom and tradition, is the British system of judge-made law, based on precedent, and is over 800 years old.
Hula is a dance form accompanied by chant (oli) or song (mele). It was developed in the Hawaiian Islands by the Polynesians who originally settled there. The hula dramatizes or portrays the words of the oli or mele in a visual dance form.
There are many sub-styles of hula, with the main two categories being Hula 'Auana and Hula Kahiko.
There are also two main positions of a hula dance - either sitting (noho dance) or standing (luna dance). Some dances utilize both forms.
Hula is taught in schools or groups called hālau. The teacher of hula is the kumuhula, where kumu means source of knowledge, or literally just teacher. Often you will find that there is a hierarchy in hula schools - starting with the kumu (teacher), alaka'i (leader), kokua (helpers), and then the 'olapa (dancers) or haumana (students). Most, if not all, hula hālau(s) have a permission chant in order to enter wherever they may practice. They will collectively chant their entrance chant, then wait for the kumu to respond with the entrance chant, once he or she is finished, the students may enter. One well known and often used entrance or permission chant is Kunihi Ka Mauna.
Hula dancing is a complex art form, and there are many hand motions used to represent the words in a song or chant. For example, hand movements can signify aspects of nature, such as the swaying of a tree in the breeze or a wave in the ocean, or a feeling or emotion, such as fondness or yearning. Foot and hip movements often pull from a basic library of steps including the kaholo, ka'o, kawelu, hela, 'uwehe, and 'ami.
Legendary origins
There are various legends surrounding the origins of hula.
According to one Hawaiian legend, Laka, goddess of the hula, gave birth to the dance on the island of Moloka’i, at a sacred place in Ka’ana. After Laka died, her remains were hidden beneath the hill Pu’u Nana.
Another story tells of Hi’iaka, who danced to appease her fiery sister, the volcano goddess Pele. This story locates the source of the hula on Hawai’i, in the Puna district at the Hā’ena shoreline. The ancient hula Ke Ha’a Ala Puna describes this event.
Another story is when Pele, the goddess of fire was trying to find a home for herself running away from her sister Namakaokaha'i (the goddess of the oceans) when she finally found an island where she couldn't be touched by the waves. There at chain of craters on the island of Hawai'i she danced the first dance of hula signifying that she finally won.
One story is that Pele asked Laka to amuse her because Pele was bored. So right away Laka got up and began to move gracefully, acting out silently events they both knew. Pele enjoyed this and was fascinated. Thus Hula was born.
American Protestant missionaries, who arrived in 1820, denounced the hula as a heathen dance. The newly Christianized ali’i (royalty and nobility) were urged to ban the hula—which they did. However, many of them continued to privately patronize the hula. By the 1850s, public hula was regulated by a system of licensing.
The Hawaiian performing arts had a resurgence during the reign of King David Kalākaua (1874–1891), who encouraged the traditional arts. With the Princess Liliuokalani who devoted herself to the old ways, as the patron of the ancients chants (mele, hula), she stressed the importance to revive the diminishing culture of their ancestors within the damaging influence of foreigners and modernism that was forever changing Hawaii.
Hula changed drastically in the early 20th century as it was featured in tourist spectacles, such as the Kodak Hula Show, and in Hollywood films. However, a more traditional hula was maintained in small circles by older practitioners. There has been a renewed interest in hula, both traditional and modern, since the 1970s and the Hawaiian Renaissance.
Hula Kahiko
Ancient hula, as performed before Western encounters with Hawai’i, is called kahiko. It is accompanied by chant and traditional instruments.
Hula kahiko, often defined as those hula composed prior to 1893 which do not include modern instruments, encompasses an enormous variety of styles and moods, from the solemn and sacred to the frivolous. Many hula were created to praise the chiefs and performed in their honor, or for their entertainment. Types of hula kahiko include ‘āla’apapa, ha’a, ‘olapa, and many others.
Many hula dances are considered to be a religious performance, as they are dedicated to or honoring a Hawaiian goddess or god. As was true of ceremonies at the heiau, the platform temple, even a minor error was considered to invalidate the performance. It might even be a presage of bad luck or have dire consequences. Dancers who were learning to do such hula necessarily made many mistakes. Hence they were ritually secluded and put under the protection of the goddess Laka during the learning period. Ceremonies marked the successful learning of the hula and the emergence from seclusion.
Hula kahiko is performed today by dancing to the historical chants. Many hula kahiko are characterized by traditional costuming, by an austere look, and a reverence for their spiritual roots.
Hawaiian history was oral history. It was codified in genealogies and chants, which were memorized and passed down. In the absence of a written language, this was the only available method of ensuring accuracy. Chants told the stories of creation, mythology, royalty, and other significant events and people.
Traditional female dancers wore the everyday pā’ū, or wrapped skirt, but were topless. Today this form of dress has been altered. Dancers might also wear decorations such as necklaces, bracelets, and anklets, as well as many lei (in the form of headpieces (leipo'o), necklaces, bracelets, and anklets (kupe'e)).
Traditional male dancers wore the everyday malo, or loincloth. They also wore necklaces, bracelets, anklets, and lei.
The materials for the lei worn in performance were gathered in the forest, after prayers to Laka and the forest gods had been chanted.
The lei and tapa worn for sacred hula were considered imbued with the sacredness of the dance, and were not to be worn after the performance. Lei were typically left on the small altar to Laka found in every hālau, as offerings.
Instruments and implements:
Ipu—single gourd drum
Ipu heke—double gourd drum
Pahu—sharkskin covered drum; considered sacred
Pūniu—small knee drum made of a coconut shell with fish skin (kala) cover
‘Ili’ili—water-worn lava stone used as castanets
‘Ulī’ulī—feathered gourd rattles (also ‘ulili)
Pū’ili—split bamboo sticks
Kāla’au—rhythm sticks
The dog's-tooth anklets sometimes worn by male dancers could also be considered instruments, as they underlined the sounds of stamping feet.
Hula ‘auana
Hula as it evolved under Western influence, in the 19th and 20th centuries, is called ‘auana (a word that means "to wander or drift"). It is accompanied by song and Western-influenced musical instruments such as the guitar, the ‘ukulele, and the double bass.
The mele of hula ‘auana are generally sung as if they were popular music. A lead voice sings in a major scale, with occasional harmony parts.
The primary influences were Christian morality and melodic harmony. Hula ‘auana still tells or comments on a story, but the stories may include events since the 1800s. The subject of the songs is as broad as the range of human experience. People write mele hula ‘auana to comment on significant people, places or events or simply to express an emotion or idea.
The costumes of the women dancers are less revealing and the music is heavily Western-influenced.
The musicians performing hula ‘auana will typically use portable acoustic stringed instruments.
‘Ukulele—four-, six- or eight-stringed, used to maintain the rhythm if there are no other instruments
Guitar—used as part of the rhythm section, or as a lead instrument
Steel guitar—accents the vocalist
Bass—maintains the rhythm
Occasional hula ‘auana call for the dancers to use implements, in which case they will use the same instruments as for hula kahiko. You will often see a hula 'auana with the dancers using ‘Ulī’ulī (feathered gourd rattle).
Meet the Natives is a reality television show that first aired in September 2007 on Channel 4 in the United Kingdom. This series included five tribesmen: Yapa, Joel, JJ, Posen and Albi, from the island of Tanna (Vanuatu) who travel to England to participate in an experiment which Guy Adams of The Independent called reverse anthropology.
The series has three episodes in which they visited a Norfolk pig farm, a Manchester estate, and ChillinghamCastle in Northumberland.
Meet the Natives: USA is a spin off of the UK version of this television series in which the tribesmen travel to the United States, this time on a quest to learn more about the land and also share their ideas and beliefs. Meet the Natives: USA aired on the Travel Channel in November and December 2009.
The 6 episodes for the American series are:
1. "Montana"
For their first stop, the tribesmen traveled to a cattle farm in Montana. During their visit, they learned how Americans raise and maintain farms. The tribe did not like the fact that medicine is injected into the cows that people actually eat for the fear of "spoiling the body".
2. "New York"
The men visited New York's upper class area where they meet Bunny, who lives alone while her husband is away on business and her children are away at college. Bunny introduces them to the art of painting. The tribe starts to realize that America lives off of money. They take interest in an individual who is homeless and quickly explain how their culture would not allow for an individual to be homeless.
3. "Peoria"
In Peoria, the tribesmen get the chance to experience Thanksgiving. While helping cook the meal, they have some concerns with the way in which the food had been stored. They were particularly concerned with using a plastic oven bag to cook the turkey in for the fear of being poisoned. They also were shocked that people ate food that has been stored in tin cans for months, maybe even years. They realized that the way Americans cook is very different from the way they are used to cooking.
4. "OrangeCounty”
The men travel to Orange County, California where they experience the life of being pampered with pedicures, facials and mud baths. They also play golf, observe a home Botox party, and ride roller coasters at Knott's Berry Farm. They notice that there is a lot of food available as well as the usage of cars for almost everything.
5. "FortStewart"
The tribesmen travel to FortStewart and Washington, D.C., where they learn more about the war that America is fighting and they also give advice on keeping peace. They explain that they do not agree with people fighting other people and they vigorously tried to relay the message that America should put the guns down and keep peace. They speak with Colin Powell to try to get their message across to the people of America.
6. "Reflections"
The group reflects back on the experience they had while visiting America. They express that they know there are some differences, but for the most part people in America are loving and very welcoming individuals. They also reflect back on the "big animals" of America, such as the buffalo, and their first time seeing snow. While in the U.S they loved eating ice cream and sweets such as candy. They are preparing to go back home and tell the rest of their tribe about their experience and everything they learned about American culture.
American series cast:
Chief Mangau is the chief of the tribe who is the elder and leader of their tribe. He was sent with the others by his father, the supreme chief of the tribe back in Tanna. His purpose of going on this journey with the other four men was to serve as a leader and to help keep the rest of the men on track. He is the oldest of the five men at the age of 65 years old.
Keimua serves as the "head dancer" of the group. Back in Tanna he helps coordinate dance routines and teaches the children of the tribe how to do the traditional dances. In America he brings smiles to many faces with charm and love for dancing.
Sam is the "medicine man" of the tribe and serves as somewhat of a doctor of the tribe. During his visit to the United states he was specifically interested in how Americans treat themselves of different infections and diseases. He gave advice and shared the different treatments that his tribe has traditionally used throughout the tribes history.
Kuai serves as the "happy man" of the tribe. He is known for spreading happiness and jokes. In Tanna his purpose is to help keep the tribe happy in times of sadness and also everyday life. While in the United States he kept the families that they were staying with laughing and kept the field open for memorable moments.
Namus is the translator of the group. Holding one of the most important roles of the group he helps to connect the two worlds together. Without him the experience may have been very different for the tribe and the families in America. As a young child he had gone away to school to learn English. He is also the youngest of the group at the age of 27 years old.
"Tom Navy" is one of the major reasons for the tribesmen's visit to the United States. The tribe has learned that America is at war and they want to return the message of keeping peace that the U.S had given them once before. During World War II, the Americans helped to keep the tribe at peace during a time when the tribe was fighting. "Tom Navy" is described as an African American serviceman who helped the tribe during this time. During their visit to America the tribe had wished to meet Tom Navy to thank him for his help, provided during hard times. The show's executive producer, Charlie Parsons, guessed that back during the war there was a man by the name of Tom, who was from the Navy and his name was understood by the tribe as being Tom Navy.
In the UK series, the tribesmen meet finally and off-camera, Prince Philip, who they adore as a god. The Prince Philip Movement is a religious sect followed by the Yaohnanen tribe on the southern island of Tanna in Vanuatu.
The Yaohnanen believe that Prince Philip, Duke of Edinburgh, the consort to Queen Elizabeth II, is a divine being; the pale-skinned son of a mountain spirit and brother of John Frum. According to ancient tales the son travelled over the seas to a distant land, married a powerful lady and would in time return. The villagers had observed the respect accorded to Queen Elizabeth II by colonial officials and came to the conclusion that her husband, Prince Philip, must be the son from their legends.
When the cult formed is unclear, but it is likely that it was sometime in the 1950s or 1960s. Their beliefs were strengthened by the royal couple's official visit to Vanuatu in 1974, when a few villagers had the opportunity to observe the Prince from afar. At the time the Prince was not aware of the cult, but the matter was eventually brought to his attention by John Champion, the British Resident Commissioner in Vanuatu between 1975 and 1978.
The Resident Commissioner suggested that the Prince send them a portrait of himself. A signed official photograph was duly dispatched. The villagers responded by sending a traditional nal-nal club. As requested, the Prince in return sent them a photograph of himself posing with the weapon. Another photograph was sent in 2000. All three photographs were kept by Chief Jack Naiva, who died in 2009.
On September 27, 2007, British television station Channel 4 broadcast Meet the Natives, a reality show about five Tanna natives of the Prince Philip Movement on a visit to Britain; their visit culminated in an off-screen audience with Philip, where gifts were exchanged, including a new photograph of the Prince.
Yaohnanen people were featured on the second season of the Spanish television series "Perdidos en la Tribu" (Lost in the Tribe), on which they cohabitated with a Spanish family during the course of 21 days, teaching them their customs and culture, and also in the first season of the same Portuguese series called "Perdidos na Tribo".
San Francisco Tribal is an association of tribal art dealers from the San Francisco Bay Area. The association is comprised of 13 experts in African art, Oceanic art, Asian art, pre-Columbian art and North American Indian art. The members offer a wide range of high quality sculpture, masks, textiles, ceramics, weapons, shields and jewelry from ancient and traditional cultures and are committed to a standard of excellence and professional conduct.
San Francisco Tribal member dealers guarantee the quality and authenticity of everything they sell. From pre-Columbian to tribal Asian, the dealers have sold important works of tribal art to renowned museums and private collections worldwide. San Francisco Tribal enhances accessibility to this important community and promotes the Bay Area as a major destination for collectors of fine tribal and textile art. To this end, San Francisco Tribal presents tribal art exhibits that showcase the diverse specialties of its members and maintains this website with information about the dealers and the works of art they have for sale.
Participating SFT dealers: Dave DeRoche, Erik Farrow, Joe Loux, Vicki Shiba,
Frank Wiggers, James Willis
Guest Dealers: Peter-Michael Boyd, Taylor A. Dale, Joshua Dimondstein, Sandra Horn
and Ari Maswell, Mark Johnson, Lewis-Wara Gallery, K.R. Martindale
Tribe (known as Going Tribal in the United States) is a documentary television series co-produced by the BBC and the Discovery Channel, and hosted by former British Royal Marine Bruce Parry.
In each series, Parry visits a number of remote tribes in such locales as the Himalayas, Ethiopia, West Papua, Gabon and Mongolia, spending a month living and interacting with each society. While there, Parry adopts the methods and practices of his hosts, participating in their rituals and exploring their cultural norms. This often enables him to form personal bonds with the members of each tribe.
Parry tries to learn the basics of the tribe's language but is also accompanied by a translator.
The series is co-produced by BBC Wales and the Discovery Channel. A second series aired in July, 2006 and the third began on 21 August 2007 on BBC2, and ended on 25 September 2007.
Parry was awarded the BAFTA Cymru "Best On-Screen Presenter" award in 2008 for his work on the 'Penan' Episode. A BAFTA Cymru "Best Camera: Not Drama" award was also awarded for Gavin Searle's work in the same episode.
Tribe (Going Tribal) follows former Royal Marine and expedition leader Bruce Parry as he tests the physical limits of living with ancient tribes in some of the world's most remote areas.
Parry sheds social trappings (and sometimes his Western clothes) by living alongside people from the virtually unexplored areas of the Himalayas, Ethiopia, West Papua, Gabon and Mongolia. To the degree possible, while spending a month immersed in each society, Parry also tries to adopt the methods and practices of his hosts.
Parry enthusiastically embraces jungle hunting and the rituals of the warrior, being taught by strangers how to survive using bows, arrows, blowpipes, dogs, spears, traps, snares and clubs. He must cook and eat his catch using traditional methods such as hot stones, waxy leaves and bamboo pots.
Parry is accompanied by a translator, but learns the basics of tribal language. The series is accompanied by subtitles. Viewers hear unique languages and watch the sometimes-graphic practices of living and surviving in the jungle among some of the world's disappearing cultures.
Going Tribal is co-produced by the BBC Wales and the Discovery Channel.
Series 1
# UK Title US Title Plot
1 Adi Lost Tribe: The Adis Travelling to north eastern India. The episode involves the sacrifice of a bull.
2 Suri Dangerous Game: The Suri Parry travelled to Ethiopia.
3 Kombai Living with Cannibals Parry travelled to West Papua.
4 Babongo African Vision Quest Parry travelled to Gabon.
5 Darhad Horse Masters of Mongolia Parry travelled to Mongolia. He witnessed a shamanic ritual.
6 Sanema Waking the Spirits Parry travelled to Brazil. He took part in a ritual involving hallucinogenic drugs.
Series 2
# UK Title US Title Plot
7 Nyangatom Return to Africa Parry returned to Ethiopia, to stay with the tribe who are sworn enemies of the Suri, whom Parry had met in the previous series.
8 Hamar Rites of Passage: The Hamar Parry stayed in Ethiopia.
9 Dassanech Crocodile Hunting Parry again remained in Ethiopia.
Series 3
# UK Title US Title Plot
10 Matis Hunting with the Jaguar Tribe Parry visited Brazil in South America.
11 Nenets Nomads of the Siberian Tundra Parry travelled to Russia.
12 Anuta Lost Island of Anuta Parry travelled to the Solomon Islands.
13 Akie Life in the African Bush: The Akie Parry travelled to Tanzania in Africa.
14 Layap Journey to the Clouds: Bhutan Parry travelled to Bhutan in Asia.
15 Penan Ghosts of the Forest Parry travelled to Sarawak, Borneo.
About Bruce Parry:
Commissioned by the British Royal Marines in May 1988, Bruce Parry completed one year of management, leadership and commando training before spending several years as a troop commander.
In the Royal Marines, Parry specialized as a physical training instructor and became the youngest officer ever to be in charge of all physical aspects of Royal Marines commando training. He also served in Norway and Iraq before retiring as a lieutenant after six years of service.
As an expeditioner, the 35-year-old resident of England has personally organized and led more than 15 major expeditions to extreme parts of the world. Parry has extensive remote experience in the desert, arctic, jungle and mountains.
In film and television productions, Parry has worked as a location manager, assistant director, camera operator, director and host.
In addition, Parry hosted BBC's Extreme Lives: Cannibals and Crampons, the award-winning film about his journey into the heart of Irian Jaya, and he has recently appeared in an award-winning kids' series called Serious Jungle.
Living Area: Vanuatu Islands (former New Hebrides)
Population: 240.000
Language: Bislama
Comments:
The Republic of Vanuatu (French: République de Vanuatu, Bislama: Ripablik blong Vanuatu), is an island nation located in the South Pacific Ocean. The archipelago, which is of volcanic origin, is some 1,750 kilometres (1,090 mi) east of northern Australia, 500 kilometres (310 mi) northeast of New Caledonia, west of Fiji, and southeast of the Solomon Islands, near New Guinea.
Vanuatu was first inhabited by Melanesian people. Europeans discovered the islands in 1605 with the arrival of a Spanish expedition led by Fernandes de Queirós in Espiritu Santo. In the 1880s France and the United Kingdom claimed parts of the country, and in 1906 they agreed on a framework for jointly managing the archipelago as the New Hebrides through a British-French Condominium. An independence movement arose in the 1970s, and the Republic of Vanuatu was created in 1980.
The nation's name was derived from the word vanua ("land" or "home"), which occurs in several Austronesian languages, and the word tu ("stand"). Together the two words indicated the independent status of the new nation.
Vanuatu culture retains a strong diversity through local regional variations and through foreign influence. Vanuatu may be divided into three major cultural regions. In the north, wealth is established by how much one can give away. Pigs, particularly those with rounded tusks, are considered a symbol of wealth throughout Vanuatu. In the centre, more traditional Melanesian cultural systems dominate. In the south, a system involving grants of title with associated privileges has developed.
Young men undergo various coming-of-age ceremonies and rituals to initiate them into manhood, usually including circumcision.
Most villages have a nakamal or village clubhouse which serves as a meeting point for men and as a place to drink kava. Villages also have male and female-only sections. These sections are situated all over the villages; in nakamals, special spaces are provided for females when they are in their menstruation period.
The traditional music of Vanuatu is still thriving in the rural areas of Vanuatu. Musical instruments consist mostly of idiophones: drums of various shape and size, slit gongs, as well as rattles, among others. Another musical genre that has become widely popular during the 20th century in all areas of Vanuatu, is known as string band music. It combines guitars, ukulele, and popular songs.
The cuisine of Vanuatu (aelan kakae) incorporates fish, root vegetables such as taro and yams, fruits, and vegetables. Most island families grow food in their gardens, and food shortages are rare. Papayas, pineapples, mangoes, plantains, and sweet potatoes are abundant through much of the year. Coconut milk and cream are used to flavor many dishes. Most food is cooked using hot stones or through boiling and steaming; very little food is fried.
Known for their Cargo Cult:
A cargo cult is a religious practice that has appeared in many traditional pre-industrial tribal societies in the wake of interaction with technologically advanced cultures. The cults focus on obtaining the material wealth (the "cargo") of the advanced culture through magic and religious rituals and practices. Cult members believe that the wealth was intended for them by their deities and ancestors. Cargo cults developed primarily in remote parts of New Guinea and other Melanesian and Micronesian societies in the southwest Pacific Ocean, beginning with the first significant arrivals of Westerners in the 19th century.
Cargo cult activity in the Pacific region increased significantly during and immediately after World War II, when the residents of these regions observed the Japanese and American combatants bringing in large amounts of material. When the war ended, the military bases closed and the flow of goods and materials ceased. In an attempt to attract further deliveries of goods, followers of the cults engaged in ritualistic practices such as building crude imitation landing strips, aircraft and radio equipment, and mimicking the behaviour that they had observed of the military personnel operating them.
Over the last sixty-five years, most cargo cults have disappeared. However, some cargo cults are still active including:
The John Frum cult on Tanna island (Vanuatu)
The Tom Navy cult on Tanna island (Vanuatu)
The Prince Philip Movement on Tanna island (Vanuatu)
Yali's cargo cult on Papua New Guinea (Madang-region)
The Paliau movement on Papua New Guinea (Manus island)
The Peli association on Papua New Guinea
The Pomio Kivung on Papua New Guinea
An example of a Cargo Cult is the John Frum Cult:
The religion centering around John Frum arose in the late 1930s, when Vanuatu was known as the New Hebrides. The movement was heavily influenced by existing religious practice in the SulphurBay area of Tanna, particularly the worship of Keraperamun, a god associated with MountTukosmera, Tanna's highest mountain. In some versions of the story, a native named Manehivi, under the alias "John Frum", began appearing among the native people of Tanna while dressed in a Western coat, making promises of houses, clothes, food, and transport. Others contend that John Frum was a kava-induced spirit vision. Said to be a manifestation of Keraperamun, John Frum promised the dawn of a new age, in which all white people, including missionaries, would leave the New Hebrides, and that the native Melanesians would gain access to the material wealth that white people enjoyed. For this to happen, however, the people of Tanna had to reject all aspects of European society (money, Western education, Christianity, work on copra plantations) and return to traditional kastom (a word for native Tannese customs).
In 1941, followers of John Frum rid themselves of their money in a frenzy of spending, left the missionary churches, schools, villages and plantations, and moved further inland to participate in traditional feasts, dances and rituals. European colonial authorities sought to suppress the movement, arresting Frum, humiliating him publicly, imprisoning him, and ultimately exiling him, along with other leaders of the cult, to another island in the archipelago.
Despite this, the movement gained popularity in the early 1940s, when some 300,000 American troops were stationed in the New Hebrides during the Second World War, bringing with them large amounts of supplies, or "cargo". After the war, and the departure of the Americans, followers of John Frum built symbolic landing strips to encourage American aeroplanes to once again land and bring them "cargo". Versions of the cult that emphasize the American influence interpret "John Frum" as a corruption of "John from (America)" (although it could be John from anywhere), and credit the presence of black Americans as influencing the idea that John Frum could be black.
In 1957, a leader of the John Frum movement, Nakomaha, created the "Tanna Army", a non-violent, ritualistic organisation which organised military-style parades, their faces painted in ritual colours, and wearing white t-shirts with the letters "T-A USA" (Tanna Army USA). This parade still takes place every year on February 15.
The cult is still active today. The followers believe that John Frum will come back on a February 15 (the year of his return is not known), a date which is observed as "John Frum Day" in Vanuatu.
In the late 1970s, John Frum followers opposed the imminent creation of an independent, united nation of Vanuatu. They objected to a centralised government which they feared would favour Western modernity and Christianity, felt to be detrimental to local customs. The John Frum movement has its own political party, led by Song Keaspai. On John Frum Day in February 2007, the John Frum Movement celebrated its 50th anniversary. Chief Isaak Wan Nikiau, its leader, was quoted by the BBC from years past as saying that John Frum was "our God, our Jesus," and would eventually return.
