Kakrom (1977-78)
Anefal, Sebastian L. (1978). Kakrom (1977-78). Kakrom (Report). Colonia, Yap: Yap District Department of Education Administration. pp. 1–64.
- Has attachment: File:JW54FM5K.pdf
Abstract: "Kakrom" (long time ago) was a bi-annually published collection of stories, interviews, myths and culutral tales, produced by students in Yap District, TTPI. It was the product of the students' efforts to extract information from the Yapese people in the various villages on the island. Three editions were published, one each for 1976-77, 1977-78, and 1978-79.
The Unique Female Garment (p. 1) by Romeo Joel describes the distinctive female skirt known locally as *thu‘*, woven from hibiscus and banana fibers and dyed with natural pigments. It explains how the garment varies by village and status, and how it functions not only as clothing but also as a marker of rank and propriety within Yapese society.
War and Weapons (p. 6) by Thomas Marmar outlines the weapons traditionally used on Yap, such as spears, slings, and clubs, and situates them in the context of inter-village conflict and ritual dueling. The article stresses the role of warfare in asserting prestige and discipline, while also noting the rules and taboos that constrained violence.
The Art of Canoe-Building (p. 12) by Martha Tinan highlights the centrality of canoe craftsmanship to Yapese life, describing six traditional types of canoe: Popow, Chugpin, Gawel, Thowab, Minyungchig, and Bulel. The piece underscores how canoes enabled transport, trade, and fishing, and how canoe-building knowledge was passed down through apprenticeships in villages such as Worila‘, Maap.
How Canoe-Building Was Originally Learned by Yapese (p. 17) by Martha Tinan explains the mythic origins of canoe knowledge on Yap, tracing it to ancestral instruction from spirit beings and legendary navigators. The tale blends cosmology with practical history, situating canoe-building as both a sacred gift and a foundation of island life.
Dancing: The Pride & the Practice (p. 20) by Fanian Bamgin surveys the many forms of dance on Yap, emphasizing how performances function as communal displays of discipline, respect, and beauty. It explains the training, rehearsals, and protocols involved, while noting how dances affirm both village identity and island-wide unity.
Yobung – A Dance from Kanfay (p. 23) by Fanian Bamgin documents Yobung, a dance specific to the village of Kanfay in Maap, describing its rhythm, choreography, and the occasions on which it is performed. The piece highlights how such local dances preserve cultural diversity within the broader Yapese repertoire.
The Two Bamboo Dances of Gilman: the Wulirey & the Koitiy (pp. 24–25) by Fanian Bamgin introduces two bamboo-stick dances from Gilman, outlining their performance style and their place in village celebrations. It underscores the precision and coordination required, reflecting how dance serves as both entertainment and disciplined art.
Yammow: The Bamboo Dance of Dalipebinaw (p. 27) by Elizabeth Giptney describes Yammow, a bamboo-stick dance performed in Dalipebinaw. It details the timing, rhythm, and communal participation required, showing how the dance serves as an expression of both village identity and broader Yap cultural pride.
The Most Exotic Scented Island Leis (p. 28) by Louis Falan describes the crafting of leis from fragrant island flowers and plants, noting the distinct materials used on Yap compared to the Outer Islands. It highlights the lei’s role in ceremonies, courtship, and festive exchanges, underscoring its importance as a sensory expression of welcome and honor.
Funeral Customs (p. 34) by Tamdad outlines Yap funeral practices, from preparation of the body to mourning rituals and the distribution of food and goods. It emphasizes the balance between grief and continuity, with ceremonies reinforcing kinship ties and affirming the authority of chiefs and clans.
Cyrtosperma Grows Faster Today (p. 40) by Alberta Leemed reports on the cultivation of Cyrtosperma, the giant swamp taro, noting improved growth rates in modern times due to selective planting and new gardening techniques. It emphasizes the crop’s importance in ensuring food security on Yap and its symbolic role in prestige exchanges.
The Stone Money of Yap (p. 44) by Jim J. Gap revisits the history and cultural role of Yap’s famous stone money. Written from Balebat, Rull, with an example from Kaday, Weloy, it explains how the discs were quarried on Palau, transported at great risk, and integrated into systems of wealth, status, and ceremony.
The Teeth Staining Custom (p. 51) by Mike Tilig describes the tradition of staining teeth black as a marker of beauty, maturity, and social identity. It explains the methods and materials used and the custom’s gradual decline under outside influence.
Poem (p. 55) by Sebastian L. Anefál closes the volume with a reflective literary piece that complements the cultural articles, providing a personal and artistic note to the issue.
