Samoans - Culture - Music

Music

Modern pop and rock have a large audience in Samoa, as do several native bands; these bands have abandoned most elements of Samoan traditional music, though there are folky performers. Recently, the Samoan population has seen a resurgence of old Samoan songs, remixed in the style of Hawaiian reggae, but with some traditional elements, such as the use of the pate and the chord structure still in use.

Initially in Samoan music, “there were just two instruments in use; the pate, a hollowed out log drum that comes in various sizes, and the fala, a rolled up mat beaten with sticks. In addition to this was the human voice. This limited range of instrumentation had no effect on the importance of music in Samoan life. Because there was no written language many stories and legends were propagated through song and the complex rhythms from the pate are essential in the performance of many Samoan dances. In fact in many dances, the dancers themselves add to the rhythm by clapping their hands, and dependent upon the way in which the hand is held produce a range of different sounds. Ttwo instruments were developed that are now synonymous with Samoan music, the selo and the ukulele. The selo is a stringed instrument made from a broomstick, or similar object, attached to a largish box, bucket or other object that acts as a sounding board. A single length of string joins the top of the stick to the box, which plucked to produce a sound similar to that of a bass. The ukelele is a small guitar-like instrument but with only four strings. It can be found in two forms, one which is like a miniturised guitar, the other where the body is made from half a coconut shell.” Western string instruments such as guitars are also now widely available across the Pacific Islands, with many bands performing and recording both acoustic and amplified music in Samoa since the 1970s. Younger generations continue to perform in string bands as well as gravitate towards genres such as rap, R&B, gospel and soul.

As with many South Pacific peoples Samoans are heavily religious. Over 90% of all Samoans in Samoa and Amerika Samoa are Christian with over 90% of that population attending church weekly. Similarly high numbers are seen across the Samoan diaspora. Samoan choral music is vital in every religion practiced by Samoans and a number of prominent composers,are well known amongst all Samoans whether composing simple hymns or a classical "Salamo" (Psalms), a multi-movement choral piece. The most notable of these are from the Ekalesia Faapotopotoga Iesu i Samoa (EFIS or CCJS, the Congregational Church of Jesus in Samoa), the Ekalesia Faapotopotoga Kerisiano i Samoa (EFKS or CCCS, the Congregational Christian Church of Samoa), the Ekalesia Faapotopotoga Kerisiano i Amerika Samoa (EFKAS or CCCAS, the Congregational Christian Church of Am. Samoa), and the Ekalesia Metotisi i Samoa (Methodist Church in Samoa). The two pioneers and prolific composers of church music were HC Mata'utia Pene Solomona (EFIS, Apia)and his nephew Elder Dr. Ioselani Pouesi (EFIS, Apia; EFKS, Fasitoouta). They began writing music for EFIS in 1941 and for the first EFIS hymnal "Pese ma Viiga i le Atua" (220 hymns, pub.1953) and also composed music for the EFKS, EFKAS, Catholic, and Methodist churches. Prof. Ueta Solomona (Mata'utia Pene Solomona's son)who had recently retired from the University of Fiji in 2008 was one of the music committee members who also composed music for the EFKS hymnal. Namulauulu Dr. Paul Pouesi (Elder Ioselani Pouesi's son) is currently serving EFKAS in Vatia and EFIS in Pago Pago as Minister of Music. He published his second hymn book "Ole Pese Fou i le Alii" (445 hymns and psalms, pub.2005) dedicated to the EFKAS 25th Anniversary. Flo Wendt continues to write and record music for EFIS choir in Fagatogo. Dr. Polo Manuma and his father Viavia Manuma wrote music for their EFIS choir in Pago Pago. The music of all the above composers are also published in the EFIS Hymnal 'Pese ma Viiga i le Atua' 2nd Edition (361 hymns and psalms, pub.1994 – music compiled by Namulauulu Paul Pouesi). Samoan Gospel music is a newer sub-genre in the Genre of "Pese Lotu" (Samoan Church music). Heavily influenced by African-American gospel it is most utilized in the Samoan Assemblies of God churches (Lotu PatiPati) although the style is very popular amongst youth groups (Autalavou) in several different religions amongst Samoan people known for its often upbeat and Black gospel influence. Although originally most pieces were written for choir and Piano or organ, electronic keyboards and synthesizers are very popular. Brass and orchestral accompaniment though less common in early church music are often specified by composers today. Typically though, Samoan Christian music is most commonly heard in the daily Samoan worship held by most Samoan families around the world. In the Samoa's themselves this time is sacred as most villages and towns ban any traffic through the streets during evening family worship or simply "Lotu". Families raise their voices in song without accompaniment which can heard all throughout the village. Whether out of love for God or out of unbreakable tradition; families, young and old, sing the hymns of old or newer songs of praise to preface their prayers to God.

The nearly three decades of Samoan involvement in street dance and rap music in the United States has significantly impacted cultural production in other places where Samoans settled, particularly New Zealand. Nesian Mystik, a New Zealand hip-hop outfit with several Polynesian members, features Samoan-Chinese member Sabre Strickson-Pua. Boo-Yaa T.R.I.B.E., featuring several Samoan brothers from Carson, California have been working with music since 1988. Boo-Yaa came into the hip hop game at the same time as the world renown Ice Cube, and they often resemble the West Coast hip hop style.

Wales based u.k alternative rock band 'Samoans', feature no actual people of a Samoan descent, the name is understood to be an ironic statement due to their pale complexion.