Welcome to Russel Soaba's world

Welcome to Russell Soaba’s world.
He is the portrait of the odd man out, an individual, and a great thinker.
Russell Soaba is also one of the greatest, if not the greatest, writer in Papua New Guinea.
His works, particularly novels Maiba and Wanpis, are studied in universities around the world by students of literature and philosophy.
Followers of the existentialism philosophy around the world dote on the writings of Russell Soaba.
It is, however, a paradox that Russell Soaba is not even recognised in his own country Papua New Guinea for his great contribution to the country’s literature.
However, now, followers of Soaba can find more of his writings online on his two blogs The Anuki Country Press and Soaba's Storyboard.
Two more welcome additions to the growing PNG blogosphere and literature!

Russell Soaba’s world

Welcome to Russell Soaba’s world.
He is the portrait of the odd man out, an individual, and a great thinker.
Russell Soaba is also one of the greatest, if not the greatest, writer in Papua New Guinea.
His works, particularly novels Maiba and Wanpis, are studied in universities around the world by students of literature and philosophy.
Followers of the existentialism philosophy around the world dote on the writings of Russell Soaba.
It is, however, a paradox that Russell Soaba is not even recognised in his own country Papua New Guinea for his great contribution to the country’s literature.
In 2006, he was awarded a Papua New Guinea independence medal, something that was supposed to have been given in 2000 but deferred because of the troubles on the University of PNG campus.
For this he is grateful, and adds that it is something for all the writers of Papua New Guinea, both young and old.
The 58-year-old, who speaks in parables, was born the “day after the 4th of July in 1950”.
“I think it’s about time,” he tells me in a rare interview.
“The only writer we have honoured, but in that matter for some other reason, is Sir Paulias Matane, with Michael Somare, Rabbie Namaliu, these people.
“But they are being honoured for some other reason than writing, and that’s the saddest thing.
“What these men must realise is that we deserve the same type of recognition as they do, even though they may think that the work they do differs from us.
“If you look at it closely, it all boils down to one important aspect of our society, and that is ‘communal service’.
“Every other journalist or scribe does exactly the same thing.
“So we must all be recognised on an equal footing.
“Ultimately, there is no denying that we all serve our community with the same amount of determination, commitment and dedication.
“What’s the difference between a good accountant who gets all his figures correct at the end of the day, and a writer who records the same sort of events in our lives, but in a different form?”
“It always comes back to what I always complain about.
“A writer is an unofficial ombudsman of the country.
“That means duties more in the area of human relationship.
“By that, I mean that as an ombudsman, or as an unofficial ombudsman, he does not set out to correct his neighbour, rather, what he is doing as that type of ombudsman, is lightly tapping a colleague on the shoulder and saying ‘listen brother, let’s no overdo this. It might have some negative results for both of us’.
“A writer is an ombudsman in that sense.
“He’s likely to correct a brother, who is likely to make a serious mistake.
“He’s acting more as a friend than a colleague or neighbour.”

Soaba then speaks three parables to me - that of the girl who does not serve him at Big Rooster, Asian efficiency as compared to his owned beloved country, and Alotau laziness – to point out the very serious attitude problem Papua New Guinea has.
“We as Papua New Guineans have this very bad attitude,” he says.
“If we change these bad attitudes, how much more easier, better and happier it would be?
“Looking at the way a writer looks at the society he lives in, and how he feels about certain things, why are things suddenly so wrong?
“We can’t blame the politicians too much.
“He is merely behaving like why is he a politician.
“The real wrong lies within out attitudes.
“I could write a long, long book about these bad attitudes we have as Papua New Guineans.
“You’re seeing the writer passing over as an unofficial ombudsman; a friend who cares to give some good advice because he cares about you.
“I see all of our writers as unofficial ombudsman of the society we live in.
“It comes back to the age-old slogan that ‘the pen is mightier than the sword’.
“Its might is seen when there’s so much of small detail faithfully recorded without any grudges, put with a great amount of passionate zeal.
“Because of its sense of simplicity, it lasts forever.”
Soaba, Australian-educated high school student from Cape Vogel in the Milne Bay Province, talks fondly about his schooling days including the visit of Prince Charles to Martyrs Memorial High School in 1967.
“We were able to push him and given him a nudge.
“It was quite an experience.”
In 1968 and 1969, this precociously-talented Papua New Guinean was awarded an Anglican Church Scholarship to Australia to complete 11 and 12 at Baldwyn High School in Melbourne.
“Around that time I read in the Melbourne Age about 10,000 Years in a Lifetime (by Albert Maori Kiki) and I became excited about a Papua New Guinean writing a book,” Soaba tells me with emotion.
“And then I read I bit in Melbourne about Uli Bier (literature lecturer) influencing on (UPNG) campus.
“Even when I qualified to enter any Australian university then, I discovered that it would be far more exciting if I came back to UPNG.
“I was able to terminate the church scholarship, come back, and apply for government scholarship at the university.
“In 1970, I became so excited meeting Leo Hannett, Uli Bier, Arthur Jawodimbari, Rabbie Namaliu, a certain angry student politician called John Kasaipwalova, and a certain angry young man from outside called Michael Somare.
“These people I felt thrilled in meeting in person in the years 1970 and 1971.
“And of course, the personality who really thrilled me most was Vincent Eri, author of the first Papua New Guinean novel called The Crocodile.
“There was another quite personality I felt proud to meet: that was the poet Kumulau Tawali, and also another poet called Jack Lahui.

“In a way, I felt proud to be among this famous group of PNG writers.
“That was it.
“Since then I attended Uli Bier’s creative writing classes.
“He exercised that same sort of influence he had in Nigeria.
“His presence merely motivated PNG writers to emerge into worldwide recognition like Vincent Eri, Albert Maori Kiki, and the plays of Leo Hannett, Arthur Jawodimbari and John Kasaipwalova.
“Writing flourished at that time.
“Since then I have enjoyed the privilege of being among these famous people.
“Since then, of course, I consider myself as a writer.
“But whether or not a successful or great writer, that is highly questionable.”
Soaba’s greatest works are Wanpis (1977) and Maiba 1986 – around the world - and poem anthologies Naked Thoughts (1978 and Kwamra (2000), among various others.
“Since then, I sort of became lazy, not really lazy, but too much of teaching commitments,” he laughs.
“As such, much of the writing that I do has dwindled.
“It’s good to work and write at the same time.”
The government, Soaba feels, must give more support to writers.
“What the government of Papua New Guinea must do is institutionalise a writers’ and artists’ endowment fund, a grant programme,” he tells me.
“The government of PNG has no choice but do what is honourable by creating a grant programme for our writers and artists throughout the country.
“There is a place where this can be housed.
“This is the National Cultural Commission.
“The National Cultural Commission does have a Literature Board.
“What the government needs to do is use the literature board as the clearing house for this grant programme.
“The Somare government must recognise that, along with any government that comes along into power.
“It’s only honourable that they entertain it, support it in the best way possible.
“Consider the percentage of tax that government solicits out from business houses, companies, corporations.
“What I would ask for is 2 per cent tax money to go towards the writers’ grant scheme.
“The government can enjoy its 98 per cent.
“We have been ignored for too long.”
I ask Soaba about how he describes in writing, which I – personally – would describe as way beyond its time.
“My writing is highly personal, very intimate,” he replies,
“It addresses the individual man than the community as a whole.
“This is because I believe that this is where things start.
“Everything starts off with an individual and progresses to two people, on three, and then the community.
“Also, the characters that I create are these Papua New Guinean individuals.
“So really, if I concentrate on an individual, that doesn’t mean that I am working alone.

“In fact I’m speaking for the whole population.
“Each of these individuals gets born, cries to be heard, becomes an individual, and becomes a Papua New Guineans man or woman.
“Their fears, the hardships that they go through, their romantic experiences, tragedies, and all these things that is most human to us.”
So how this he feel about his books being studied around the world by students of literature and philosophy?
“The books themselves are studied not only in literature out there, but also in philosophy, social work and cultural studies.
“There are a great number of universities throughout the world who use the novel Maiba as a textbook.
“There is a women’s university in the USA who use the book Maiba every now and then as a textbook.
“I recall how pleased I felt with that school at one time.
“The principal wrote to me about the book, and that they were happy to teach the book at the school, they regarded me as an up-and-coming African woman writer.
“I replied and said ‘thank you’,” Soaba laughs wickedly.
His future?
“I am really anxious to publish one more novel before I call it quits
“I have had an offer from an Italian publisher who wants to translate Maiba and Wanpis into Italian.
“I also have recently selected a biographer to write my biographer.
“The other thing I would like to add is that I want to encourage our young writers of today to write seriously about us as Papua New Guineans.
“Give ourselves some kind of identity on the face of the world.”

Russell Soaba’s world

Welcome to Russell Soaba’s world.

He is the portrait of the odd man out, an individual, and a great thinker.

Russell Soaba is also one of he greatest, if not the greatest, writer in Papua New Guinea.

His works, particularly novels Maiba and Wanpis, are studied in universities all over the world by students of literature and philosophy.

Followers of the existentialism philosophy all over the world dote on the writings of Russell Soaba.

It is, however, a paradox that Russell Soaba is not even recognised in his own country Papua New Guinea for his great contribution to the country’s literature.

Only recently, he was awarded a Papua New Guinea independence medal, something that was supposed to have been given in 2000 but deferred because of the troubles on the University of PNG campus.

For this he is grateful, and adds that it is something for all the writers of Papua New Guinea, both young and old.

The 56-year-old, who speaks in parables, was born the “day after the 4th of July in 1950”.

“I think it’s about time,” he tells me in a rare interview.

“The only writer we have honoured, but in that matter for some other reason, is Sir Paulias Matane, with Michael Somare, Rabbie Namaliu, these people.

“But they are being honoured for some other reason than writing, and that’s the saddest thing.

“What these men must realise is that we deserve the same type of recognition as they do, even though they may think that the work they do differs from us.

“If you look at it closely, it all boils down to one important aspect of our society, and that is ‘communal service’.

“Every other journalist or scribe does exactly the same thing.

“So we must all be recognised on an equal footing.

“Ultimately, there is no denying that we all serve our community with the same amount of determination, commitment and dedication.

“What’s the difference between a good accountant who gets all his figures correct at the end of the day, and a writer who records the same sort of events in our lives, but in a different form?”

“It always comes back to what I always complain about.

“A writer is an unofficial ombudsman of the country.

“That means duties more in the area of human relationship.

“By that, I mean that as an ombudsman, or as an unofficial ombudsman, he does not set out to correct his neighbour, rather, what he is doing as that type of ombudsman, is lightly tapping a colleague on the shoulder and saying ‘listen brother, let’s no overdo this. It might have some negative results for both of us’.

“A writer is an ombudsman in that sense.

“He’s likely to correct a brother, who is likely to make a serious mistake.

“He’s acting more as a friend than a colleague or neighbour.”

Soaba then speaks three parables to me - that of the girl who does not serve him at Big Rooster, Asian efficiency as compared to his owned beloved country, and Alotau laziness – to point out the very serious attitude problem Papua New Guinea has.

“We as Papua New Guineans have this very bad attitude,” he says.

“If we change these bad attitudes, how much more easier, better and happier it would be?

“Looking at the way a writer looks at the society he lives in, and how he feels about certain things, why are things suddenly so wrong?

“We can’t blame the politicians too much.

“He is merely behaving like why is he a politician.

“The real wrong lies within out attitudes.

“I could write a long, long book about these bad attitudes we have as Papua New Guineans.

“You’re seeing the writer passing over as an unofficial ombudsman; a friend who cares to give some good advice because he cares about you.

“I see all of our writers as unofficial ombudsman of the society we live in.

“It comes back to the age-old slogan that ‘the pen is mightier than the sword’.

“Its might is seen when there’s so much of small detail faithfully recorded without any grudges, put with a great amount of passionate zeal.

“Because of its sense of simplicity, it lasts forever.”

Soaba, Australian-educated high school student from Cape Vogel in the Milne Bay Province, talks fondly about his schooling days including the visit of Prince Charles to Martyrs Memorial High School in 1967.

“We were able to push him and given him a nudge.

“It was quite an experience.”

In 1968 and 1969, this precociously-talented Papua New Guinean was awarded an Anglican Church Scholarship to Australia to complete 11 and 12 at Baldwyn High School in Melbourne.

“Around that time I read in the Melbourne Age about 10,000 Years in a Lifetime (by Albert Maori Kiki) and I became excited about a Papua New Guinean writing a book,” Soaba tells me with emotion.

“And then I read I bit in Melbourne about Uli Bier (literature lecturer) influencing on (UPNG) campus.

“Even when I qualified to enter any Australian university then, I discovered that it would be far more exciting if I came back to UPNG.

“I was able to terminate the church scholarship, come back, and apply for government scholarship at the university.

“In 1970, I became so excited meeting Leo Hannett, Uli Bier, Arthur Jawodimbari, Rabbie Namaliu, a certain angry student politician called John Kasaipwalova, and a certain angry young man from outside called Michael Somare.

“These people I felt thrilled in meeting in person in the years 1970 and 1971.

“And of course, the personality who really thrilled me most was Vincent Eri, author of the first Papua New Guinean novel called The Crocodile.

“There was another quite personality I felt proud to meet: that was the poet Kumulau Tawali, and also another poet called Jack Lahui.

“In a way, I felt proud to be among this famous group of PNG writers.

“That was it.

“Since then I attended Uli Bier’s creative writing classes.

“He exercised that same sort of influence he had in Nigeria.

“His presence merely motivated PNG writers to emerge into worldwide recognition like Vincent Eri, Albert Maori Kiki, and the plays of Leo Hannett, Arthur Jawodimbari and John Kasaipwalova.

“Writing flourished at that time.

“Since then I have enjoyed the privilege of being among these famous people.

“Since then, of course, I consider myself as a writer.

“But whether or not a successful or great writer, that is highly questionable.”

Soaba’s greatest works are Wanpis (1977) and Maiba 1986 – studied all over the world - and poem anthologies Naked Thoughts (1978 and Kwamra (2000), among various others.

“Since then, I sort of became lazy, not really lazy, but too much of teaching commitments,” he laughs.

“As such, much of the writing that I do has dwindled.

“It’s good to work and write at the same time.”

The government, Soaba feels, must give more support to writers.

“What the government of Papua New Guinea must do is institutionalise a writers’ and artists’ endowment fund, a grant programme,” he tells me.

“The government of PNG has no choice but do what is honourable by creating a grant programme for our writers and artists throughout the country.

“There is a place where this can be housed.

“This is the National Cultural Commission.

“The National Cultural Commission does have a Literature Board.

“What the government needs to do is use the literature board as the clearing house for this grant programme.

“The Somare government must recognise that, along with any government that comes along into power.

“It’s only honourable that they entertain it, support it in the best way possible.

“Consider the percentage of tax that government solicits out from business houses, companies, corporations.

“What I would ask for is 2 per cent tax money to go towards the writers’ grant scheme.

“The government can enjoy its 98 per cent.

“We have been ignored for too long.”

I ask Soaba about how he describes in writing, which I – personally – would describe as way beyond its time.

“My writing is highly personal, very intimate,” he replies,

“It addresses the individual man than the community as a whole.

“This is because I believe that this is where things start.

“Everything starts off with an individual and progresses to two people, on three, and then the community.

“Also, the characters that I create are these Papua New Guinean individuals.

“So really, if I concentrate on an individual, that doesn’t mean that I am working alone.

“In fact I’m speaking for the whole population.

“Each of these individuals gets born, cries to be heard, becomes an individual, and becomes a Papua New Guineans man or woman.

“Their fears, the hardships that they go through, their romantic experiences, tragedies, and all these things that is most human to us.”

So how this he feel about his books being studied all over the world by students of literature and philosophy?

“The books themselves are studied not only in literature out there, but also in philosophy, social work and cultural studies.

“There are a great number of universities throughout the world who use the novel Maiba as a textbook.

“There is a women’s university in the USA who use the book Maiba every now and then as a textbook.

“I recall how pleased I felt with that school at one time.

“The principal wrote to me about the book, and that they were happy to teach the book at the school, they regarded me as an up-and-coming African woman writer.

“I replied and said ‘thank you’,” Soaba laughs wickedly.

His future

“I am really anxious to publish one more novel before I call it quits

“I have had an offer from an Italian publisher who wants to translate Maiba and Wanpis into Italian.

“I also have recently selected a biographer to write my biographer.

“The other thing I would like to add is that I want to encourage our young writers of today to write seriously about us as Papua New Guineans.

“Give ourselves some kind of identity on the face of the world.”

The write stuff now and into the future

It is while doing my annual end-of-year clean-up over the Christmas/New Year (2006/2007) period that I find a couple of old Kovave magazines from the early 1970s buried under a mountain of paper, novels and assorted paraphernalia.
I flick through the old Kovave magazines, hand-me-downs from my late father, and the memories of another day come to mind.
It is like being transported back to the halcyon days of Papua New Guinea literature in pre-1975.
For those who came in late, Kovave was arguably the best-ever literary publication of the young University of PNG, featuring some of our greatest talent such Vincent Eri, Albert Maori Kiki, Kumulau Tawali, John Kasaipwalova, Leo Hannett, Rabbie Namaliu, Russell Soaba, John Kadiba, John Kaniku, and many others.
Apart from Kovave, their work was also featured on the National Broadcasting Commission’s popular not-to-be missed Sunday night dramas and other literary programmes.
I lie on my mountain of paper and let my mind wander back to those days when such powerful writings so influence my young mind.
My wife wakes me up from my reverie and I fast-forward back to the future just like I am in a time machine.
Coincidentally, I happen to meet senior UPNG literature lecturer and established writer Dr Steven Winduo - who is a good friend of mine and part of the campus literary crowd in the 1980s – at the market that afternoon and we make it a point to meet some time.
Dr Winduo now wears many hats including being director of the Melanesian and Pacific Studies (MAPS) Centre at UPNG, and chairman of the National Literature Board, to name a few.
He believes that PNG literature is undergoing a renaissance after a literary lull between the ‘80s and ‘90s.
“I can see that there is a wave of new voices of PNG literature since last year when we started the National Literature Board,” Dr Winduo says.
“National Literature Board is under the auspices of the National Cultural Commission, so, we began to run the national literature competition
“When it started we had more than 300 entries.
“We had about six novels, a lot of short stories, poems and plays.
“That indicates to me that people are writing.
“But what they need is the support of the government as well as people in places such as UPNG to help them.
“This is very important because over the years, between the ‘70s and ‘90s, there was a literary gap.
“Commentators were saying that literature was dead in PNG, that the ‘80s and ‘90s was almost like ‘death’.
“I came through from that generation of a literary lull.
“People believed Papua New Guineans didn’t have the creative power anymore.
“But 2000 and beyond, individual writers began to publish.

“I think 2000 and onwards, we began to see new writers coming out.
“Some of them are very good.”
Dr Winduo’s MAPS Centre has a publishing programme in place; however, this has been limited because of funding constraints.
This is something that he feels strongly about.
“If we don’t give writers that opportunity (to publish), the work of a lot of people with literary talent will not see the light of day.”
Dr Winduo is also mindful that critical reading of quality works by Papua New Guineans is not done.
“This concerns me as a scholar.
“Otherwise, creativity is there.”
He also acknowledges the work of the Divine Word University in Madang in supporting literature.
“Balanced with scholarly work, fiction and non-fiction, I believe the university should play a central role in fostering and in developing cultural consciousness in PNG,” he adds.
“In some ways, my centre plays a major role and I’m very confident of seeing a lot more writing coming out.
“UPNG still runs Savannah Flames literary journal.
“It’s supposed to come out once a year.
“This is one avenue for writers to submit their works for publication.
“That’s the only journal that encourages creative writing.
“That’s now supported by MAPS Centre.
“Apart from that, I see the future as plentiful, but how do we cultivate it is the question?
“If you think about it, writing is now powerful.
“There are so many things happening in our country, so get the pen and write.”
Dr Winduo also feels that PNG writers are not given ample recognition, as well as financial endowment.
“One of my views is that I really want to see the government recognise our writers.
“Give them a medal or something.
“Maybe have totem poles named after them.
“Look at Russell Soaba, who was given a 30th anniversary independence medal (in 2006).
“It took the government so many years to recognise this writer.
“Albert Maori Kiki, Vincent Eri and others are recognised all over the world but they are not recognised in their own country.
“The other issue is that the government should look at creating an endowment fund for the arts, which is really a kind of funding mechanism to support all arts, including the literary art.
“The endowment fund can be used to support publishing houses.
“Without the endowment, it’s a bottleneck situation.
“For example, we at MAPS, are working with very limited funding.
“Literature and the arts have been very poor recipients of private sector support.”

Papua New Guinea literature took a giant step forward in May 2006 when the first-ever writers’ workshop was held at the Holiday Inn, Port Moresby, organised by the National Literature Board and the National Cultural Commission.
More than 80 aspiring and established writers rubbed shoulders in a long-overdue event.
Dr Winduo was away in New Zealand at that time, however, gave his full support to the event.
“That (workshop) should have been in the ‘80s,” he says.
“The feedback I got is that writing is there.
“It’s the support that the government gives as well as UPNG that is needed.
“I see the future of literature opening up.
“This is a concerted effort by like-minded people and institutions who are saying ‘let’s work together’.
“Literature goes into other activities and feeds its consciousness.
“The ability of Papua New Guineans is there”

The write stuff now and into the future

It is while doing my annual end-of-year clean-up over the Christmas/New Year (2006/2007) period that I find a couple of old Kovave magazines from the early 1970s buried under a mountain of paper, novels and assorted paraphernalia.

I flick through the old Kovave magazines, hand-me-downs from my late father, and the memories of another day come to mind.

It is like being transported back to the halcyon days of Papua New Guinea literature in pre-1975.

For those who came in late, Kovave was arguably the best-ever literary publication of the young University of PNG, featuring some of our greatest talent such Vincent Eri, Albert Maori Kiki, Kumulau Tawali, John Kasaipwalova, Leo Hannett, Rabbie Namaliu, Russell Soaba, John Kadiba, John Kaniku, and many others.

Apart from Kovave, their work was also featured on the National Broadcasting Commission’s popular not-to-be missed Sunday night dramas and other literary programmes.

I lay on my mountain of paper and let my mind wander back to those days when such powerful writings so influence my young mind.

My wife wakes me up from my reverie and I fast-forward back to the future just like I am in a time machine.

Coincidentally, I happen to meet senior UPNG literature lecturer and established writer Dr Steven Winduo - who is a good friend of mine and part of the campus literary crowd in the 1980s – at the market that afternoon and we make it a point to meet some time.

Dr Winduo now wears many hats including being director of the Melanesian and Pacific Studies (MAPS) Centre at UPNG, and chairman of the National Literature Board, to name a few.

He believes that PNG literature is undergoing a renaissance after a literary lull between the ‘80s and ‘90s.

“I can see that there is a wave of new voices of PNG literature since last year when we started the National Literature Board,” Dr Winduo says.

“National Literature Board is under the auspices of the National Cultural Commission, so, we began to run the national literature competition

“When it started we had more than 300 entries.

“We had about six novels, a lot of short stories, poems and plays.

“That indicates to me that people are writing.

“But what they need is the support of the government as well as people in places such as UPNG to help them.

“This is very important because over the years, between the ‘70s and ‘90s, there was a literary gap.

“Commentators were saying that literature was dead in PNG, that the ‘80s and ‘90s was almost like ‘death’.

“I came through from that generation of a literary lull.

“People believed Papua New Guineans didn’t have the creative power anymore.

“But 2000 and beyond, individual writers began to publish.

“I think 2000 and onwards, we began to see new writers coming out.

“Some of them are very good.”

Dr Winduo’s MAPS Centre has a publishing programme in place; however, this has been limited because of funding constraints.

This is something that he feels strongly about.

“If we don’t give writers that opportunity (to publish), the work of a lot of people with literary talent will not see the light of day.”

Dr Winduo is also mindful that critical reading of quality works by Papua New Guineans is not done.

“This concerns me as a scholar.

“Otherwise, creativity is there.”

He also acknowledges the work of the Divine Word University in Madang in supporting literature.

“Balanced with scholarly work, fiction and non-fiction, I believe the university should play a central role in fostering and in developing cultural consciousness in PNG,” he adds.

“In some ways, my centre plays a major role and I’m very confident of seeing a lot more writing coming out.

“UPNG still runs Savannah Flames literary journal.

“It’s supposed to come out once a year.

“This is one avenue for writers to submit their works for publication.

“That’s the only journal that encourages creative writing.

“That’s now supported by MAPS Centre.

“Apart from that, I see the future as plentiful, but how do we cultivate it is the question?

“If you think about it, writing is now powerful.

“There are so many things happening in our country, so get the pen and write.”

Dr Winduo also feels that PNG writers are not given ample recognition, as well as financial endowment.

“One of my views is that I really want to see the government recognise our writers.

“Give them a medal or something.

“Maybe have totem poles named after them.

“Look at Russell Soaba, who was given a 30th anniversary independence medal.

“It took the government so many years to recognise this writer.

“Albert Maori Kiki, Vincent Eri and others are recognised all over the world but they are not recognised in their own country.

“The other issue is that the government should look at creating an endowment fund for the arts, which is really a kind of funding mechanism to support all arts, including the literary art.

“The endowment fund can be used to support publishing houses.

“Without the endowment, it’s a bottleneck situation.
“For example, we at MAPS, are working with very limited funding.

“Literature and the arts have been very poor recipients of private sector support.”

Papua New Guinea literature took a giant step forward last May when the first-ever writers’ workshop was held at the Holiday Inn, Port Moresby, organised by the National Literature Board and the National Cultural Commission.

More than 80 aspiring and established writers rubbed shoulders in a long-overdue event.

Dr Winduo was away in New Zealand at that time, however, gave his full support to the event.

“That (workshop) should have been in the ‘80s,” he says.

“The feedback I got is that writing is there.

“It’s the support that the government gives as well as UPNG that is needed.

“I see the future of literature opening up.

“This is a concerted effort by like-minded people and institutions who are saying ‘let’s work together’.

“Literature goes into other activities and feeds its consciousness.

“The ability of Papua New Guineans is there”

Ulli Beier, great Papua New Guinea art mentor dies

By MALUM NALU
The great Papua New Guinea art mentor, Ulli Beier, died in Sydney on Sunday aged 88.

The great Ulli Beier

He will be remembered fondly by many PNG artists, writers, scholars and students.
The arts complex at the main campus of the University of PNG is named in his honour.
Many great Papua New Guineans came under his tutelage including 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.
The 1960s and 1970s are remembered as a creative epoch in PNG’s history when some of the country’s best-ever poetry, prose, performances and publications were produced.
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.
The influence of the inimitable Beier and his equally-unflappable wife Georgina on the development of PNG literature during that era is still remembered by many people.
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.
On the Beier’s return in 1974, Ulli became director of the institute of PNG Studies, and a new journal was established called Gigibori (1974-1978) with an emphasis on PNG culture.
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 also developed under Beier.
He was to have travelled to PNG last August to make a presentation at a book conference at UPNG, however, was not strong enough to travel at age 88, and asked his good friend Peter Trist to travel to PNG from Australia and make the presentation on their behalf.

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.”

A Tribute to Kumalau Tawali

His name is echoed over and over again.
Through a tribesman's heartbeat
Through the beat of the garamut
Or a crescendo of waves cascading along the shores of PNG

Sometimes you hear his name whispered
Across the silence of the ocean
Especially when the moon is high
And the turtles are on shore
Gently kicking sand in the air
But spoiling for a fight to survive

But most times you hear his name mentioned
In the classroom
And at orientation meetings
When a new batch of young men and women
Comes to colleges and universities
To study to learn and to write.

That is Kumalau Tawali.
And that is how he is known
Here in PNG
And all over the world.

In reality he is the soul of the nation.

I am always conscious of Kumalau as that man in attendance at each gathering of writers, artists, musicians, dancers and choreographers. He is the one seated at the gate and next to the garamut announcing the arrival of PNG scribes and intellectuals. The feast is at its peak. People of all walks of life come along to the gathering and Kumalau's poetry in correlative accompaniment of the garamut beat announces the presence of all.

That is how I picture those colorful days of 1970, 1971, 1972 and beyond. The poet indeed, as the dawn singer would, proclaimed the arrival of PNG Literature. At that time names such as Vincent Eri, Albert Maori Kiki, Ignatius Kilage, Michael Somare and others came into prominence through the written word. These were followed by John Kasaipwalova, Leo Hannett, John Waiko, Rabbie Namaliu, John Kadiba, Percy Chatterton, August Kituai, Wauru Degoba, Bedus Mapun, John Kaniku, Arthur Jawaodimbari, Jack Lahui, John Kolia, Bonita Jill Tiwekuri, Sally Anne Bagita, Josephine Abaijah, and Alice Wedega et al. Some years later we would hear other names such as Nora Vagi Brash, Loujaya Dunar, Toby Kagl, Michel Mel, Steven Edmund Winduo, Regis Stella, Carol Kidu, Moses Maladina and, of course, the list braces to build on.

But the poet has accomplished what he had set out to do. It was to put on record Papua New Guinea's true sentiment of what being a Papua New Guinean really means. How we feel about the weather, the environment, the topography that surrounds, the rivers we swim in and the seas that bring in a wealth of food and pleasure. How we view ourselves as contemporary citizens of our country. Kumalau said it all through his poetry, being one of the first of Papua New Guinea's poets to do so. His work is studied at universities everywhere, among them the famous poem "The Bush Kanaka Speaks", which often poses as one of the country's most significant commentaries ever made in its bid to gain political independence from Australia. His other works have been translated into many languages, and have also been represented in the pages of some of the most prestigious publications in the world.

- Russell Soaba.

The glory days of radio in Papua New Guinea

By MALUM NALU

Like many other Papua New Guinean children of the 1960s, 1970s and 1980s era, I grew up on a constant diet of radio and the voice of that great National Broadcasting commission icon Peter Trist.
Trist, for those who came in late, was the man behind those famous NBC drama and radio programmes of that bygone era.

The great Peter Trist

In those days, before video killed the radio star, Sunday night dramas were a must and every time one of those popular dramas came on, entire families would be huddled around their radio sets.
Many fine actors emerged on radio drama, some from staff of the NBC, others from auditions, including my good mate David ‘Buffalo’ Haro in Lae, Cecily Kekedo, Joseph N’Draliu, Pauline Beni Hau’ofa, Kilore Susuve, Alofa Vaki, Douglas Gabb, Memafu Kapera and – possessing one of the richest radio voices – the late Sevese Morea.
Trist was also the man behind the famous school broadcast programmes of that era, including the unforgettable Peter, Kinibo and Dagu, in which he played the villain Doriga.
The NBC cupboard, sadly, is now bare of those iconic radio programmes.
On Tuesday last fortnight, I had the long-overdue honour of meeting my childhood hero at the University of PNG campus, where he presented a paper at a two-day book workshop in which he discussed the influence of the inimitable Ulli Beier and his wife Georgina on PNG playwriting, poetry prose, performance and publications in the 1960s and 1970s.
Now aged 74, Trist first came to PNG in 1957 and left in 1984, and has not been back since.
As we sit down in the UPNG forum, his old stomping grounds which he first came to in 1966, memories of another day come rushing back.
I am also a product of UPNG, having first come here in 1986, but that was many years later after Trist had left.
“I first came to PNG in 1957,” he tells me.
“I worked with the Australian administration in those days as a clerk with Customs and Department of Native Affairs.
“In 1966, Dr John Gunther (then vice-chancellor of UPNG) invited me to come out and join the administration staff of the university.
“He said that he knew that I’d done a lot of theatre work in Moresby.
“I did the first integrated production with Papua New Guineans and Australian expatriates at the old arts theatre in town.
“It was a product of Gilbert and Sullivan, HMS Pinafore.
“That was controversial and some of the white members resigned in protest, arguing ‘where would the natives get dressed for the show’?
“I issued an ultimatum that unless the Papua New Guinean actors were welcomed, I would refuse to direct the show.
“The play went ahead and was a great success, with mixed audiences enjoying the show.
“Jon Bili Tokome and Cecily Kekedo were among the cast.”
It was then decided that Trist could go ahead and establish a Drama and Arts Society at UPNG.
In 1974, he joined the NBC, and thus began an unforgettable era in the history of PNG radio.
“The (NBC) chairman at that time, Sam Piniau, asked me to form the Drama and Features Department,” Trist remembers.
“I wanted Papua New Guinea material and actors and musicians.
“I arranged for the NBC to pay these artists for their contributions.
“Therefore, it was on a professional, rather than amateur basis.”
The NBC was persuaded to have a clear motivational “carrot” to promote people to send scripts with payments for any scripts used in broadcasting.
There was also payment for actors taking part in radio drama.
Trist remembers that on the day of their “open audition”, after a newspaper advertisement, a long line of hopeful, would-be actors, stretched from the NBC studios almost to Boroko.
Local playwrights such as Russell Soaba, Benjamin Umba, Pius Tikili, Roslyn Bobom, Norah Vagi Brash and the very-prolific John Kolia contributed.
A memorable drama serial based on actual historic events was Albert Toro’s The Sugarcane Days.
This told the story of Molen, who was kidnapped as a young man by the notorious ‘blackbirders’ and conscripted into virtual slavery on a Queensland sugar plantation.
Toro told the events from the perspective of Molen, as an old man, remembering the trials of his servitude as a ‘kanak’.
The great Bougainvillean actor, the late Jon Bili Tokome, played the role of Molen, with strength and sensitivity, while Roslyn Bobom was equally memorable as his mother.
“Cultural programmes were contributed by Ulli Beier at the institute of PNG Studies on topics such as music, folklore, art and customs,” Trist says.
“They were scripted and broadcast.”
Folklore in Melanesia, for example, was a six-part series examining themes in Melanesian myth on topics such as death, creation, the moon, the coming of the Europeans – presented by Beier and Karkah Kais – and was dramatised with acted sequences.
Scripts for this series, and for others, were produced by the institute.
Arts in the Third World, The World through Poetry, and Worship through Music were other successful NBC/IPNGS co-productions.
“I left Papua New Guinea in 1984 to return to Australia to care for my ageing parents,” Trist says.
“In Australia, I continued to direct and produce plays to encourage young people to express themselves through theatre.”
I ask Trist what are the highlights of his 27 years in PNG.
“Highlights would be the formation years at the University of PNG and to witness the very first graduation of qualified Papua New Guineans,” he says.
“It was John Gunther’s vision to get this place going.
“This is my first time back since leaving in 1984, so you can imagine the emotions running through me.”
Trist says that to rekindle those glory days of radio drama and programmes in PNG, there must be strong corporate support.
“It’s time for corporate support,” he says.
“You Papua New Guineans are among the most-creative people in the world.”