The glory days of Papua New Guinea arts and literature
By MALUM NALU
The 1960s and 1970s are remembered as a creative epoch in Papua New Guinea
history when some of the country’s best-ever poetry, prose, performances and
publications were produced.
These memories were rekindled at the Book2Buk2 conference at the University of PNG
this week by the great Peter Trist, a household name in PNG literature and
radio production at that time, as he took a spellbound audience at UPNG’s main
lecture theatre on a nostalgic trip down memory lane.
Trist, now 74 but still looking fit as a fiddle,
specifically discussed the influence of the inimitable Ulli Beier and his
equally-unflappable wife Georgina on the
development of PNG literature and also found time to talk to The National about his own experiences
in radio production.
Beier, still alive but not strong enough to travel at age
88, asked his good friend Trist to travel to PNG from Australia and make the presentation
on their behalf.
Trist hopes that the memories of those glory days of PNG
arts and literature will be a rallying call to the present generation of
creative Papua New Guineans.
“It could show them that was achieved once, can be done
again!” he extols.
“I know that would be my wish, and also Ulli’s
“The past, for all of us, is just another country – but is
also very useful.
“It contains our history and experiences that can be
inspirational, and of great value to the present time.”
An emotional Trist broke down while speaking about memories
of another day of the UPNG campus which he first entered 44 years ago.
“Along an often-muddy track leading from Boroko to the
‘swamp lands’ (as Waigani was known), this university grew rapidly as the first
centre of higher education in the country,” he recalled.
“Under the determined leadership of Dr John Gunther, the
first vice-chancellor, I was fortunate to be part of the inaugural staff from
1966.
“Some outstanding academics were soon assembled by Dr
Gunther.
“These included Charles Rowley, Ken Inglis, Anthony
Clunies-Ross, Gerry Ward, Frank Johnston, Ruth Latikefu, Ralph Bulmer and Ulli
Beier
Decolonising The Mind by the great Ulli Beier
“In Decolonising the
Mind, his vivid memoir covering those early years (1967-74), Beier recalls
the sense of excitement and promise felt among students (only 300 or so) and
staff at this university.
“This was understandable, as independence was approaching.”
Beier, as the inaugural senior lecturer in literature, had a
problem: where were the books relevant and accessible for his students?
Existing publications on PNG in those days were hard to
find, with propaganda pamphlets from the Australia department of territories
– insisting on the enlightenment of Australian colonial rule – not appealing.
Early novels were often racist and unrealistic, by writers
such as Beatrice Grimshaw, while adventure yarns by Errol Flynn (who wisely
gave up writing, for a career as a Hollywood
star), were inappropriate.
Equally unappealing were missionary tracts, World War 11
narratives from American and Australian perspectives rather than Melanesian,
and of course anthropological tomes by Margaret Mead, Malinowski and others.
None of these publications offered Beier any promising
material for young and enthusiastic PNG students.
In the university preliminary year in 1967, students were
taught sufficient English skills to follow a university course, with those who
opted to study literature armed with a tape recorder to record and translate
oral literature from their village.
Some of these translations were later collected and
published as parts of the Papua Pocket
Series, which are now being republished by the UPNG Bookshop.
Aia, Mekeo songs by the great Papuan ‘poet laureate’
Allan Natachee, first published in 1968, and reprinted by UPNG Bookshop in 2006
Beier produced 25 volumes of poetry, and the series was
continued (after his return to Nigeria)
by Prithvindra Chakravarthi, with a further 11 volumes, making 36 in all, and
have become collectors’ items worthy of republication.
In 1967, Vincent Eri, then a student, brought Beier a story
about Moveave in the Papua Gulf, and was encouraged to expand the story into a
novel.
Thus Vincent Eri became the author of the first Papua novel The Crocodile.
Another literary achievement during those crucial years was
the autobiography Kiki: Ten Thousand
Years in a Lifetime by Albert Maori Kiki.
The first PNG literary magazine was launched in this period.
Elegantly produced and designed by Georgina Beier, Kovave was published 1969-1971.
On the Beier’s return in 1974, a new journal was established
called Gigibori (1974-1978) with an
emphasis on PNG culture.
“During this time,” Trist remembers, “Ulli had become
director of the Institute
of PNG Studies.
“Here, his drive to produce relevant PNG material increased.
“The institute published 72 general publications on
folklore, architecture, art, religion and music; 36 discussion papers on
topical cultural, social and political issues; Wanpis, a novel by Russel Soaba; many works by John Kolia and the
journal Gigibori.
“The areas of theatre, radio production and performance
promotion was where I had the closest association and support from Ulli Beier.
“Here at the university, in 1967, I founded the Drama and
Arts Society.
“Our aim was to involve the university with the wider
community and provide entertainment.
“This endeavour co-incided with Ulli’s arrival on campus, so
he was asked to join the society.
“Students involved included Leo Hannett, Meg Taylor, Kathy
Abel, Ekeroma Age, Leontine Ovia, Jerry Tamate, Rabbie Namaliu, Kumulau Tawali,
Kakah Kais, Pia Leitao, Russell Soaba, John Waiko, Tony Siaguru, John Saunana,
Peter Malala, John Kadiba, Elijah Titus, Janet Regione, Apisai Enos and Arthur
Jawodimbari.
“Many of these people were writers, whose plays were
produced, and others excellent actors.
“Most went on to outstanding careers after university.”
One memorable production was of Leo Hannett’s political
parable, The Ungrateful Daughter, in
which Hannett played an important role.
Students from Beier’s writing classes were motivated to use
drama to express their concerns, and to reach an audience through productions
by the Drama and Arts Society.
“Soon after came student’s own plays such as John Waiko’s The Unexpected Hawk; Rabbie Namaliu’s
comedies The Good Woman of Konedobu
and Kannibal Tours; Kumulau Tawali’s Manki Masta; Russel Soaba’s Scattered by the Wind; and Arthur
Jawodimbari’s The Sun.
“Most of these plays were performed in the forum area near
the library, where the concrete steps formed a sort of amphitheatre.
“Later, a performing space known as the Outdoor Theatre was
formed on the campus grounds, and was used for plays, dancing and festivals.
“With the formation of the Creative Arts Centre close to the
university (again an initiative of Georgina
and Ulli Beier’s) with its National Theatre Company led by Arthur Jawodimbari,
the drama role of the university was transferred.
“I was appointed as part of the arts centre board with Arthur,
Nora Vagi Brash, Jonbili Tokome, Rose Kekedo and William Takaku.”
Plays like MyBrother,
My Enemy by John Kasaipwalova (a satirical look at the conflict on PNG’s
border with what was then Irian Jaya), Peter Kama Kerpi’s Voices from the Ridge, comedies from Nora Vagi Brash such as Which Way, Big Man? were successfully
presented by the company and its paid troupe of actors/dancers.
“Ulli gave that great PNG actor/writer William Takaku his
Nigerian comedy The Fall (very
loosely based on Genesis),” Trist adds.
“Takaku translated the dialogue into Pidgin and the play’s
settings and characters into PNG references.
“The Fall’s
forbidden fruit, which in the Nigerian version was the fruit of the palmwine,
became PNG’s betelnut,
“Pekato Bilong Man,
as Takaku called his adaptation, was a great success and the play was included
in a country-wide tour.
“Unfortunately, many of the scripts for these plays were not
printed, and are now only memories.
“These ‘lost treasures’ include another William Takaku
adaptation.
“This was the classic Greek drama Medea, with dialogue changed to Pidgin and the Greek setting
transposed to the PNG Highlands.
“The play’s ‘outsider’, Medea, was played by the Australian
actress Helen Jones, whom William had met while both were students at NIDA in Sydney.
“Helen bravely performed in Pidgin and traveled with the
company on tour with this play.
“Sadly, this script was not preserved or printed.
“Examples like these show the need to have a printed record
of drama scripts, for future performers.”
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