CHARLES MAIMAROSIA
In the Solomon Islands archipelago lies the south Malaita Island where the Are’are language is spoken. Local born Charles Maimarosia remains deeply rooted to his homeland and despite his current residence in Melbourne, Australia, he continues to champion the native sounds of his country and spread the message of his history and ancestors through his complex and intoxicating music which is exemplified by his sophomore album, Hote’ Hote.
Your single Roropau is an adaptation of a AreAre lullaby and expands upon the notion of connection, parental, and generational love. As anyone can attest, the power of childhood songs can be deeply emotive but coupled with an indigenous aspect, it takes on an added depth. What was the guiding force behind your selection of Roropau and wanting to share it with the greater world?
Roropau holds deep emotional and cultural significance for me and my people. This Are’are lullaby has been passed down for generations, soothing children while carrying the voices of our ancestors and the love of past generations.
I chose Roropau because I wanted to share that sense of warmth, security, and belonging with the world. Childhood songs shape our earliest memories, and when they are infused with indigenous melodies, language, and storytelling, they become a bridge between the past and present.
Music, to me, is about both preservation and sharing. Beyond the bond between parent and child, Roropau embodies the wisdom elders pass down through song. By bringing it to life again, I hope to offer it as a gift—not just to future generations of Are’are people, but to the world.
Special thanks to Andrew Robinson for his beautiful chord progressions and to everyone who contributed to Roropau and my album.
Your signature sound is rooted in the traditional Are’are style, can you elaborate as to what specific practices that entails and the instruments you would typically use?
The Are’are musical tradition is centered around panpipes, which come in different types and tunings. Here are some of the key instruments in our tradition:
1. ‘Auu Rerepi – One of the oldest panpipe ensembles, played at festivals and weddings by eight people, each handling a different set of pipes. The instruments are tuned in pentatonic scales, creating melodies that answer each other like the pistons of an engine.
2. ‘Auu Tahana – A five-person ensemble, with pipes tuned in natural minor scales, producing sounds reminiscent of jazz and blues.
3. ‘Auu Waa – A solo instrument made of 12 pipes bound together. Players rotate it to change notes, producing haunting melodies that mimic whispers.
4. ‘Auu Keto – A panpipe set used during migrations in the 1600s and 1700s. It has seven different musical modes (Ionian, Dorian, Phrygian, etc.), allowing up to 70 musicians to play together.
5. ‘Auu Ni Auu – Played only during nali nut harvesting season. The sound signals to the community that they are welcome to gather and collect nuts.
6. Parani O’o (Log Drums) – Large wooden drums used for communication, counting, and ceremonies. Each clan has its own rhythms and names for their drum sets.
7. ‘Auu Ni Mako (Tapping Tubes) – Played mainly by women, often as they sit together after a day of work. The melodies carry themes of love and romance.
8. Kiro Ni Kahu (Water Percussion) – A unique rhythm played by women in rivers. The sound represents the voices of minerals, crystals, and the life-giving waters that connect the mountains to the sea.
Each of these instruments has its own role in Are’are music society, carrying stories of nature and history, and daily life.
What approaches did you take when working on the album in order to honour your traditional musical heritage and fusing both modern and western sounds so as to retain the best of Are’are and that of modern recording?
To honor my traditional heritage while incorporating modern elements, I started by researching back home. I spoke with elders, listened to their stories, and learned about the deeper meanings behind our music. There’s so much wisdom in these songs, stories of our people, our land, and our ancestors.
The recording process was made possible by Wantok Musik Label. David Bridie and his team arranged the studio sessions, while Andrew Robinson worked on the chord progressions. I wrote the lyrics, played the guitar and panpipes, and recorded my vocals. My mates, talented musicians joined us in the studio, adding bass, drums, guitar and their names are on the credits list on Hote Hote album cover, raemanoha paina ( thank you so much for your wonderful talents).
This was a team effort, I couldn’t have done this alone. Wantok Musik handled the recording schedule, helped refine the arrangements, and ensured everything came together smoothly. David Bridie, a true mentor, made sure Andrew Robinson and I were creating something special.
My goal was to stay true to the essence of Are’are music while making it accessible to a global audience. By blending traditional melodies with modern arrangements, and to reach that goal I need a strong team like Wantok Musik is always there for me, I hope to connect people to our culture in a way that feels both authentic and timeless
