Papua New Guinea · Musical Instrument Making

Kundu and Garamut Drum Making — Papua New Guinea Wooden Drums

Kundu (hourglass drum, Tok Pisin generic term); Garamut (slit drum)

The making of two related but distinct Papua New Guinea wooden drum types: kundu, a portable, hourglass-shaped, membrane-headed hand drum made and used across most regions of the country; and garamut, a large, horizontal, hollow slit drum played by striking its exterior with sticks rather than a stretched membrane, historically serving as both a musical instrument and — through its documented capacity to transmit specific rhythmic messages over distances of many kilometers — a functional long-distance communication technology. This record closes a complete musical-instrument-craft gap in the archive's existing 5-record Papua New Guinea collection, which documents fiber looping, wood carving, bark cloth, shell carving, and mask-making, but no instrument tradition. Both drum types are fire-hollowed from a single log — burnt and scraped from the interior through a carved slit or opening — with kundu additionally requiring the fitting of a stretched animal-skin membrane (traditionally sea snake, monitor lizard, cassowary, pig, or shark skin, and in some regions introduced species including dog, cow, deer, or goat) over one or both ends. Garamuts in particular are documented as treasured, individually named cultural objects that can substantially outlast their makers — one documented example, photographed stored beneath a Kwoma village house in 1973, was relocated decades later into a newly-built men's house opened in 2016, having outlived the original structure entirely.

Risk level: Endangered · Not Listed

Alternate Names
Garamat (alternate spelling)
Geographic Center
Kundu drums are made across most regions of Papua New Guinea, with distinct regional style variations documented (Sepik River riverine communities producing highly detailed figurative carving reflecting clan and totemic identity; Telefomin border-highlands communities producing simpler, geometric, shield-motif decorated drums; other regions producing plain, undecorated forms); garamut construction and use is specifically associated with islander and coastal Melanesian Austronesian-language communities, including the East Sepik peoples
Community / Ethnic Group
Practiced across numerous distinct Papua New Guinea language groups and communities, with both drum types showing documented regional stylistic variation reflecting local clan identity, totemic tradition, and decorative convention
Estimated Origin
Kundu-type hourglass hand drums are documented as having reached inland highland regions by the early 20th century via inter-tribal trade networks, extending beyond their coastal origins; garamuts are documented as possibly having arrived in New Guinea with Austronesian-speaking peoples; iron and later steel tools, introduced through pre-colonial trade networks by the mid-19th century and expanded through formal colonization from the late 19th century onward, are documented as having significantly increased carving efficiency and accelerated both wood-carving and drum production generally across Papua New Guinea
Cultural Function
Kundu and garamut drums serve overlapping but distinct cultural functions: kundu drums accompany dances and ceremonies for religious and cultural purposes across a wide range of occasions, played solo, in ensemble with other kundus, or alongside flutes and other instruments; garamuts, given their considerable volume and the specific rhythmic patterns they can produce, historically functioned as a genuine long-distance communication technology, capable of conveying particular messages across many kilometers in addition to their musical and ceremonial role — a documented dual function distinguishing garamuts from most instruments in the CRAFT archive, which are documented primarily or exclusively for musical rather than communicative purpose; individual garamuts are frequently given personal names and accumulate their own histories and associated stories as treasured, long-lived cultural objects, described by specialist sources as sometimes outlasting the very buildings and, implicitly, the individual makers associated with them
Primary Materials
Wood — for kundu drums, a variety of local timbers depending on region; for garamuts specifically, heavy, durable, resonant hardwoods such as kwila (merbau), chosen for the instrument's required volume, resonance, and longevity as a treasured long-term cultural object
Primary Tools
Traditional fire (for controlled hollowing of the log interior); carving and scraping tools for interior cavity shaping and exterior decorative work; skin-stretching and securing tools for kundu membrane attachment; painting tools and natural pigments (charcoal, tree sap, clay) for exterior decoration
Process Overview
Suitable log selected and sourced, with garamut construction specifically requiring heavy, durable, resonant hardwood such as kwila; log interior fire-hollowed and scraped through a carved slit or opening to create the resonating cavity; for kundu, exterior additionally shaped into the characteristic narrow-waisted hourglass form; for kundu, animal-skin membrane (sea snake, monitor lizard, cassowary, pig, shark, or introduced species) stretched and secured over one or both ends; identifying patterns and, for garamut, totemic figures specific to the commissioning community carved into the exterior; decorative painted finishing applied using charcoal, tree sap, and clay
Traditional Applications
Musical accompaniment for dances and religious/cultural ceremonies (kundu); long-distance rhythmic communication of specific messages across many kilometers, alongside musical and ceremonial function (garamut); garamuts additionally serve as sacred objects, in many communities restricted to men's ritual houses with gender-based access taboos
Contemporary Applications
Continued traditional and contemporary musical and ceremonial use across Papua New Guinea; museum collection, exhibition, and cultural documentation; craft-tourism and collector markets for kundu drums specifically; documented craft-preservation and skills-transmission efforts (e.g. Cletus Ngaltkin's active teaching initiative) responding to acknowledged generational transmission decline
Notable Practitioners
Cletus Ngaltkin (kundu drum carver, Tavir cultural group, Tangai Island, Namatanai District, New Ireland Province — documented as one of only a small number of remaining practitioners with this skill on the island, actively working to pass on the traditional knowledge)
Key References
Timothy S.Y. Lam Museum of Anthropology, 'Papua New Guinea: Make a Drum'; Loop PNG, 'Kundu drum making skills slowly dying out'; Encyclopedia of Crafts WCC-Asia Pacific Region, 'Kundu and garamat drum-making'; Wikipedia, 'Garamut' and 'Kundu (drum)'; Bowers Museum collection records, 'Drum (Kundu)'
Verification Status
Verified

More from Papua New Guinea

  • Abelam Woven Ceremonial Mask MakingMask, Puppet & Costume · Critically Endangered

    The Abelam people of the East Sepik Province produce the nggwalndu — an extraordinary combination of woven fiber mask face and painted fiber conical superstructure that can reach 3-4 meters in height.

  • PNG Tapa Cloth Making (Oro Province — Beaten Bark Cloth)Weaving & Textiles · Critically Endangered

    Tapa (beaten bark cloth) is made throughout the Pacific — but Papua New Guinea's Oro Province (formerly Northern Province) maintains a distinct PNG tapa tradition using the paper mulberry tree (Broussonetia papyrifera) with a specific…

  • Kula Ring Shell Ornament Carving (Milne Bay — Soulava and Mwali)Metalwork & Jewelry · Critically Endangered

    The Kula ring is the vast ceremonial exchange system of the Milne Bay islands (Trobriand Islands, Woodlark, Louisiade Archipelago) described by Bronisław Malinowski in his foundational anthropological study — a system where specific shell…

  • Bilum Looped Bag Making (Papua New Guinea Highlands)Basketry & Woven Fiber · Endangered

    The bilum (string bag) of Papua New Guinea is the most widely used object in PNG culture — carried by women from the Highlands to the coast, used for babies, produce, possessions, and ceremony.

  • Sepik River Wood Carving (Spirit House — Haus Tambaran)Woodwork & Carving · Critically Endangered

    The haus tambaran (spirit house) of the Sepik River region of PNG is the most elaborately carved architectural structure in Melanesia — its facade, posts, and internal elements covered in carved and painted spirit figures (tambarans),…

  • Malagan Funerary Carving — New Ireland Memorial SculptureWoodwork & Carving · Vulnerable

    The carving of elaborate wooden funerary sculptures — among the most technically complex carvings documented anywhere in Oceanic art — created for malagan, a complex, months-or-years-in-preparation series of memorial ceremonies held in…

All techniques in Papua New Guinea →

Related musical instruments elsewhere

  • Charango LutherieBolivia · Extinct — Revival Exists

    The construction of the charango, a small ten-string Andean lute historically built with a dried armadillo-shell resonator back and now predominantly hand-carved or laminated from wood, a material shift driven by international…

  • Caixas de Marabaixo Drum Making (Mazagão Velho, Amapá)Brazil · Vulnerable

    The making of caixas de Marabaixo — the traditional drums central to Marabaixo, the Afro-Brazilian musical, dance, and religious tradition of Mazagão Velho and the wider quilombola community of Amapá state, Brazil's northernmost state on…

  • Turkish Ney Making — Sufi Flute Instrument TraditionTürkiye · Vulnerable

    The Turkish ney making tradition — the making of the specific end-blown reed flute from the Arundo donax reed that is the central instrument of the Mevlevi Sufi tradition (the whirling dervishes of Konya), whose specific bore geometry,…

  • Wa Bamboo Musical Instrument MakingMyanmar · Critically Endangered

    The Wa people of northern Shan State (on the Myanmar-Yunnan border) maintain a bamboo musical instrument making tradition encompassing the bamboo flute set (khong — played in ensemble), the buffalo horn trumpet (used in headhunting…

  • Cremona Violin MakingItaly · Vulnerable

    The making of bowed string instruments — primarily violin, viola, and cello — in Cremona using hand tools, historically sourced tonewoods, and varnish traditions inherited from the workshops of Stradivari, Guarneri, and Amati, with each…

  • Albanian Lahuta — Epic Instrument Making TraditionAlbania · Critically Endangered

    The Albanian lahuta making tradition — the production of the specific single-string bowed instrument used by the Albanian Gheg epic poets (lahutarë) to accompany the oral recitation of the Albanian epic cycle (the kângë kreshnikësh — songs…

All musical instruments techniques →