The Evolution of Polpolot: Innovation and Continuity in a Baluan Song Form

Abstract

Recent developments in the polpolot song style from Baluan Island (Manus Province, Papua New Guinea) constitute examples of simultaneous innovation and continuity, in both performance format and language usage. Polpolot is one of three traditional two-part vocal forms from Baluan, whose usage has been in gradual decline over the late 20th century, as younger generations have eschewed them for newer, introduced song forms. Whereas the original language of polpolot is an archaic form of the indigenous language, Ngolan Paluai, a body of polpolot that concerns PNG’s transition to political independence in 1975 uses Tok Pisin, the official language of the new nation. This fact draws interesting correlative lines between the evolutions in song form and language. At the Balopa Festival in 2006, a local clan chief, Mela Popeu, presented a 12-member polpolot choir. While an innovation, the choir constitutes a clear developmental line from the original polpolot and represents continuity in a way that the introduced song forms do not. Moreover, the language of the choir’s repertoire was principally contemporary (as opposed to archaic) Ngolan Paluai, with one song in English. These song texts were concerned with welcoming visitors to Baluan for the Festival. This choice of languages is simultaneously looking inward and outward; the use of contemporary indigenous language is inclusive of the younger generations of Baluan and the use of English looks outward, past broader PNG, to a potentially international audience.