Showing items 1121 - 1140 of 1192

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Wa lwendu chombele (We are going somewhere)

  • Authors: Large group of Kanyoka men and women , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Instrumental music , Africa Democratic Republic of Congo Kandakanda f-cg
  • Language: Kanyoka
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/134449 , vital:37155 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0020-01
  • Description: Although the slit drum, or gong, is used for sending messages among this Congo tribe which lives beside the Bushimaie tributary of the Sankuru, itself a tributary of the Kasai, the great southern aem of the Congo River, it is also used as an accompaniment for dances. It is not known for certain whether it is used to communicate with the dancers during the course of a dance, as is the common practice in West Africa; but from present evidence this appears to be unlikely among the Kanyoka. Kalibambo dance song with 2 Silimba xylophones, 1 slit drum, 3 gobolet drums, handbeaten and 2 basket rattles.
  • Full Text: false
  • Date Issued: 1957

Wa sara ndeka wuranda ukuwawa (You stay alone and bitter)

Wa sikane izanye muzozwa (Girls, come and listen)

  • Authors: Andirea Sitole and Petros Simango , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Music--Mozambique , Africa Mozambique Nova Luzitania f-mz
  • Language: Ndau
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/136288 , vital:37358 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR029-12
  • Description: "Girls come and listen to this song of disappointment. I came to Masina on account of my poverty (literally my 'locusts'). I say Masenra is my father! He was looking for white cloth in the fields. He is coming from Kwachingunde, He is a Sithole (family name), he came from Portuguese East with Mansera who is now an induna, I shall now go back to Portuguese East and tell Masenra that I am going back home. I am going to marry a girl at Mashona's village and she is very beautiful. Ritamashawa is her name. Although you hurt me what can you do to me. The great drum answers the small one." The singer constantly cuts off the last syllable of his last words in the phrase, thus making them appear to be iambic which is not the case. Self-delectative song with Mbira dza waNdau with 3 manuals and bell.
  • Full Text: false
  • Date Issued: 1957

wa ya ye ku chika. Chishiba mai walene (The water that does not move)

  • Authors: Large group of of Luba men and women , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Songs, Luba-Lulua , Luba (African people) , Cultural anthropology , Luba-Lulua language , Africa Democratic Republic of Congo Kasai f-cg
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/137812 , vital:37562 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR039-10
  • Description: The item starts with the sound of the double bell and a weighted drum, follwed by the recitative statement by the leader. Eventually the full chorus begins with a simple repeated refrain. The pauses in the drum rhythm mark the moment when one of the drummers throws up his drum into the air, catches it again betwenn his knees and continues the rhythm without losing tempo. It is a clever piece of showmanship and clearly enjoyed by the participators in the dance. Mambala dance song with 5 goblet drums, closed, pinned, weighted, with mirlitons, hand beaten and 1 double bell and basket rattle.
  • Full Text: false
  • Date Issued: 1957

Wadianda wa Bena Shimba (We are the people of Bena Shimba)

  • Authors: Group of 9 Bena Shimba women , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Luba (African people) , Northern Lunda (African people) , Folk music , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Bakwanga f-cg
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/139183 , vital:37712 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0047-01
  • Description: This group belonged to the Bena Shimba clan. As well as tipping and sometimes singing into their gourds through a length of metal pipe or tube, the gourd-blowers also struck the sides of the gourds with their hands. The gourds of this group were handsomely decorated with metal studs arranged in patterns. When asked when they performed this song, the answer was, "we sing it for funerals, but also on any sad occassion, for example when a man has to pay a large sum of money to another. Lament with 3 singing gourds (Chipuri), 1 basket rattle (-12.54-), hand clapping (-12.03-) and 1 bottle (-12.17-).
  • Full Text: false
  • Date Issued: 1957

Wafumuwane mukazgaka wa chihowe

Wai mwanangu (Where is my son?)

Walianzi sunu Gengere (Where did you eat Gengere)

Waluwendo chombelo

Wangwa walila (The baby is crying)

Wanyongoba (The worry)

Watasala warila nanzifile

Watasala warila nanzifile

Waye-aye

Wayisebenzela Ijoyini (He worked for the 'contract')

  • Authors: Nozi Kencele (14 years) and Gcaleka girls , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Folk music--South Africa , Field recordings , Xhosa (African people) , Folk music , Africa South Africa Idutywa f-sa
  • Language: Xhosa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/151076 , vital:39027 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR063-02
  • Description: The girl playing the mouth bow was left-handed. Her friends standing beside her sang the refrain and also did the roaring sounds in the throat which are so typical of the Xhosa people. The word Ijoyini, from the English word 'join', refers to the contract to work on the gold mines, their major source of employment. Mtshotsho dance for young boys and girls, with Ikinki musical bow.
  • Full Text: false
  • Date Issued: 1957

Wdoyika u-Ntusangili

Wdoyika u-Ntusangili

Wdoyika u-Ntusangili

We mukashi Namulenga, nshakupile kuwama (My wife, Namulenga, I did not marry you for beauty)

  • Authors: Edmond Cileshe and his wife , Hugh Tracey
  • Date: 1957
  • Subjects: Folk songs, Ambo (Zambia) , Folk songs, Bemba , Topical songs , Africa Zambia Mufulira f-za
  • Language: bemba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/135210 , vital:37249 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0024-02
  • Description: "My wife, Namulenga, I did not marry you for your beauty. Cook some food now, the cock has already crowed." The player was blind and his wife sat beside him tapping the back of his instrument with a stick and singing. He himself held his Mumamba on the ground and beat the base of it with his right knee as he played. Tuning of the instrument as follows:- 368, 340, 308, 280, 252, 232, 210, 190, 170, 154, 140 vps. Nfunkutu dance song with Mumamba mbira bell.
  • Full Text: false
  • Date Issued: 1957

We mulanda e muchalo chelamba (There is sadness in the Lamba country)

  • Authors: Group of 11 Aushi men. , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Folk songs, Ambo (Zambia) , Kalela (Dance) , Africa Zambia Fort Roseberry f-za
  • Language: Aushi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/134394 , vital:37139 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0019-13
  • Description: The Lamba country is virtually the heavily wooded district along the course of the upper Kafue river, where all the Northern Rhodesian copper belt mines are situated. The 3 drums were made from steel oil drums of different sizes from 4 gallons to 20 gallons. Their heavy reverberation made it almost impossible to record them effectively with the singers. Each drummer played his own rhythm which in 2 cases included blows on the side of the drum as well as on the membrane. Although double-headed, they were stood up on end for the performance, only one membrane being struck. Kalela dance song with 3 bass drums, cylindrical, laced, 2 wooden beaters each, double-headed.
  • Full Text: false
  • Date Issued: 1957
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