| Abstract: | This paper examines Biangai (Morobe Province, Papua New Guinea) expressions and transformations of environmental imaginaries through women's mourning songs (yongo ingi) and the songs of string bands. Biangai personhood, once intimately connected to garden lands and trees, hunting and forest paths, is increasingly influenced by global capitalism. Through their songs, they betray an increased tension between acting as an individual person and acting in terms of kin based relationality. While yongo ingi still memorialize the social spaces and land rights of the deceased, they also express conflicts in Biangai engagement with gold mining. Biangai string bands emerged just prior to Papua New Guinea's Independence in 1975, with the first band recording and releasing a national cassette in 1982. Dominated by young men, they depict the intersection of local music with a Melanesian modernity composed of compensation payments, gold mining, love, travel, and marketing. Both yongo ingi and string bands inform each other and provide insight into how local music engages images of both global economy and global ecology. By examining the uses, meanings, and performative contexts of these songs, this paper contributes to our understanding of the role of such expressive forms in connecting persons and their environment. |
