Songs (te anene) and above all dances (te mwaie) are held in high regard.
Music
Kiribati folk music is generally based on chanting or other forms of vocalising, 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.There are also stick dances (which accompany legends and semi-historical stories. These stick dances or 'tirere' (pronounced seerere) are only performed during major festivals.
Dance
The uniqueness of Kiribati when compared with other forms of Pacific island dance is its emphasis on the outstretched arms of the dancer and the sudden birdlike movement of the head. The Frigate bird (Fregata minor) on the Kiribati flag refers to this bird-like style of Kiribati dancing. Most dances are in the standing or sitting position with movement limited and staggered. Smiling whilst dancing is generally considered vulgar within the context of Kiribati dancing. This is due to its origin of not being solely as a form of entertainment but as a form of storytelling and a display of the skill, beauty and endurance of the dancer.
Outside perspectives
Edward Carlyon Eliot, who was Resident Commissioner of the Gilbert & Ellice Islands (now Kiribati & Tuvalu) from 1913 to 1920 describes this period in his book "Broken Atoms" (autobiographical reminiscences) Pub. G. Bles, London, 1938.
Sir Arthur Grimble wrote about his time working in the British colonial service in Kiribati (then the Gilbert Islands) from 1914 to 1932 in two popular books A Pattern of Islands (1952) and Return to the Islands (1957). He also undertook academic studies of Gilbertese culture.
J. Maarten Troost's more recent autobiographical experiences on the Tarawa Atoll are documented in his book The Sex Lives of Cannibals (2004).
Music
Kiribati folk music is generally based on chanting or other forms of vocalising, 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.There are also stick dances (which accompany legends and semi-historical stories. These stick dances or 'tirere' (pronounced seerere) are only performed during major festivals.
Dance
The uniqueness of Kiribati when compared with other forms of Pacific island dance is its emphasis on the outstretched arms of the dancer and the sudden birdlike movement of the head. The Frigate bird (Fregata minor) on the Kiribati flag refers to this bird-like style of Kiribati dancing. Most dances are in the standing or sitting position with movement limited and staggered. Smiling whilst dancing is generally considered vulgar within the context of Kiribati dancing. This is due to its origin of not being solely as a form of entertainment but as a form of storytelling and a display of the skill, beauty and endurance of the dancer.
Outside perspectives
Edward Carlyon Eliot, who was Resident Commissioner of the Gilbert & Ellice Islands (now Kiribati & Tuvalu) from 1913 to 1920 describes this period in his book "Broken Atoms" (autobiographical reminiscences) Pub. G. Bles, London, 1938.
Sir Arthur Grimble wrote about his time working in the British colonial service in Kiribati (then the Gilbert Islands) from 1914 to 1932 in two popular books A Pattern of Islands (1952) and Return to the Islands (1957). He also undertook academic studies of Gilbertese culture.
J. Maarten Troost's more recent autobiographical experiences on the Tarawa Atoll are documented in his book The Sex Lives of Cannibals (2004).
