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Aku dewile nu wakate pwana dewile

  • Authors: Zande men , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Zande , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Buta f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167822 , vital:41513 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0123-05
  • Description: The music for the Zande round dance. All the dancers perform the same steps in unison, short quick steps to and fro, turning into file and then facing inwards again, gradually moving around in an anti-clockwise direction. The enthusiasm of the Zande men and women for their Kponingbo xylophone dance has to be experienced to be fully appreciated. The dancers are caught in the swirl of the music and compel sympathetic action from everyone within earshot. The tuning of the xylophone was:- 976, 880, 784, 672, 584, 488, 440, 392, 336, 292, 244 vs. Zande dance with Kponingbo xylophone, 11 loose notes on 2 banana stalks, and hand bells.
  • Full Text: false
  • Date Issued: 1952

Bagangali

  • Authors: Bakia Pierre , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Mangbetu , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Buta f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167368 , vital:41472 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0122-05
  • Description: "I am the only son of my father. My wife, laugh just once so that I may see your teeth." Ngbanda Mandefu, the other harp player, a tall bearded man got up and danced in a style reminiscent of a Cossack dance, snapping his fingers and stamping now and then. Bakia Pierre is a large quietly spoken man who works in a Portuguese butchers shop in the small town of Buta. His songs were greeted with great applause and satisfaction by his fellow Zande in the circle. Topical song, with vertical angular Kundi harp, 5 strings.
  • Full Text: false
  • Date Issued: 1952

Bagbane

Bagbele

  • Authors: Zande men , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Zande , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Nguru f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167840 , vital:41515 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0123-07
  • Description: The double headed drums may be beaten at either end according to the pitch of note required by the player. The metal bells are pod shaped 3 long and are fixed onto wooden handles. They are similar in shape to most dancing bells in Southern Africa which are worn elsewhere as anklets. The dancing of the Sudanic tribe of Zande people is most attractive. It is a round dance in which the movements of the dancers are not exaggerated but the routines are subtle and complex. The slit drums in this region are made with feet and do not need insulating from the ground as with the simple cylindrical slit drums elsewhere. The feet emerge from the body of the slit drum at nodel points and so do not interfere with the resonance of teh drum. Bagbele dance , with large slit drum, footed, 3 double headed cross laced conical drums, 4 pairs metal bells on carved handles.
  • Full Text: false
  • Date Issued: 1952

Bandiya yo

  • Authors: Nakule ,and two other players and dancers , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Zande , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Nguru f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167803 , vital:41511 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0123-03
  • Description: These loose note xylophones are played by three ad sometimes four men sitting on either side of the instrument. The Zande dance is performed in a circle to the cheerful sound of the xylophone. All the dancers move in union with small steps in a set pattern which ensures that the circle moves around gradually in an anti-clockwise direction. A characteristic gesture by Zande dancers is the holding out of the hands, palms upwards gently raising and lowering the forearms in time with the music. Zande dance with Kponingbo xylophone.
  • Full Text: false
  • Date Issued: 1952

Baningba

  • Authors: Iyenga Francois and friend Eleo , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Zande , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Bondo f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167422 , vital:41478 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0122-11
  • Description: The Zande are a Sudanic people and are found along the north eastern border of the Congo and Southern Sudan. They are an active military tribe with great influence and power in the whole of this area, their young men being noted for their bravery. This tune set to a topical song is in the common Zande dance measure and a Zande audience hearing it would be likely to start their attractive dance action in spite of the accompanying instrument being a Likembe and not a xylophone which is commonly used for dancing on account of its greater volume of sound. The player tuned up his instrument begining with the tone centre 440 vs. The order of notes from left to right was:- 880, 648, 488, 360, 244, 220, 180, 324, 440, 584, 720, 292 vs. Topical song with 2 Ekembe, 12 note Likembe Mbiras.
  • Full Text: false
  • Date Issued: 1952

Bia akponingbo

  • Authors: Zande men , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Zande , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Buta f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167831 , vital:41514 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0123-06
  • Description: The music for the Zande round dance. All the dancers perform the same steps in unison, short quick steps to and fro, turning into file and then facing inwards again, gradually moving around in an anti-clockwise direction. The enthusiasm of the Zande men and women for their Kponingbo xylophone dance has to be experienced to be fully appreciated. The dancers are caught in the swirl of the music and compel sympathetic action from everyone within earshot. The tuning of the xylophone was:- 976, 880, 784, 672, 584, 488, 440, 392, 336, 292, 244 vs. Zande dance with Kponingbo xylophone, 11 loose notes on 2 banana stalks, and hand bells.
  • Full Text: false
  • Date Issued: 1952

Bia bagbele

  • Authors: Zande men , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Zande , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Nguru f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167846 , vital:41516 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0123-08
  • Description: The double headed drums may be beaten at either end according to the pitch of note required by the player. The metal bells are pod shaped 3 long and are fixed onto wooden handles. They are similar in shape to most dancing bells in Southern Africa which are worn elsewhere as anklets. The dancing of the Sudanic tribe of Zande people is most attractive. It is a round dance in which the movements of the dancers are not exaggerated but the routines are subtle and complex. The slit drums in this region are made with feet and do not need insulating from the ground as with the simple cylindrical slit drums elsewhere. The feet emerge from the body of the slit drum at nodel points and so do not interfere with the resonance of teh drum. Bagbele dance , with large slit drum, footed, 3 double headed cross laced conical drums, 4 pairs metal bells on carved handles.
  • Full Text: false
  • Date Issued: 1952

Bia gaza

  • Authors: Zande men , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Zande , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Nguru f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167869 , vital:41518 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0123-10
  • Description: The conical drums were all called either Gaza or Ndimo (-14-03303-). The slit drum is Gugu or Bugu (-12.183-). The beaters of the conical drums are called Luiringwa Gaza. The method of playing the slit drum is unusual, as the player sits astride his drum and may even rest one leg its length. The small ebony carvings from this district demonstrate this stance. Dance song performed with large wooden slit drum with feet, 3 conical drums, cross laced and double headed, metal hand bells.
  • Full Text: false
  • Date Issued: 1952

Bia Kpe I

  • Authors: Zande women , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Zande , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Nguru f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167977 , vital:41527 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0123-13
  • Description: A daughter weeps for her father whom she will never meet again. 'Bia' means 'a song' and 'Kpe' means 'tears'. Literally - a song of tears. The song is sung around the body of the dead person. There is little to indicate from the style and manner of singing that they indicate sorrow or mourning. To an outsider, Zande mourning songs sound as unconcerned with death as similar songs in other African tribes. Mourning song.
  • Full Text: false
  • Date Issued: 1952

Bia Kpe II

  • Authors: Zande women , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Zande , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Nguru f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167986 , vital:41528 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0123-14
  • Description: A daughter weeps for her father whom she will never meet again. 'Bia' means 'a song' and 'Kpe' means 'tears'. Literally - a song of tears. The song is sung around the body of the dead person. There is little to indicate from the style and manner of singing that they indicate sorrow or mourning. To an outsider, Zande mourning songs sound as unconcerned with death as similar songs in other African tribes. Mourning song.
  • Full Text: false
  • Date Issued: 1952

Bia ku ngbazua

  • Authors: Mulapala Kpeli, with Chief Gatanga, Mongonika and Zande men , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Mangbetu , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Buta f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167359 , vital:41471 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0122-04
  • Description: "A soilder of Ngbazu (Chief Gatanga's father) reported to Ngbazua's elder brother Dagatanga, also a Chief that Ngbzua would not listen to Dagatanga's advice. Dagatanga was offended and the incident gave rise to much trouble." The tuning of the harp includes five notes of a pentatonic scale, the octave above the tonic being omitted. These Zande harp songs seem to slide into an informal start, the singers taking their time into the swing of the melody. Topical song, vertical angular Kundi harp, 5 strings.
  • Full Text: false
  • Date Issued: 1952

Bia kundi

  • Authors: Muyapala Kpeli , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Mangbetu , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Buta f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167404 , vital:41476 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0122-09
  • Description: Unlike most harps of this design, this one was held upright with the point of the body on the performers knees, the neck pointing away from him, the strings in a vertical postition and not horizontal. They do not hold their tuning for long and must be returned before each performance. Long song with vertical, angular Kundi harp of 5 strings. and Andzolo metal hand bells.
  • Full Text: false
  • Date Issued: 1952

Bia vula – Ani kiti vula, ani naga

Bia vula – Baele na ngbangba

Dale mu bele sa

  • Authors: Muyapala Kpeli , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Zande , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Buta f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167409 , vital:41477 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0122-10
  • Description: Unlike most harps of this design, this one was held upright with the point of the body on the performers knees, the neck pointing away from him, the strings in a vertical postition and not horizontal. They do not hold their tuning for long and must be returned before each performance. Long song with vertical, angular Kundi harp of 5 strings. and Andzolo metal hand bells.
  • Full Text: false
  • Date Issued: 1952

Dekuku na degusiya kimakoyo

  • Authors: Bakia Pierre , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Mangbetu , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Buta f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167377 , vital:41473 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0122-06
  • Description: "He took a wife chosen from amongst the girls of his own village, when she was very young, but another man stole her away from him." Ngbanda Mandefu, the other harp player, a tall bearded man got up and danced in a style reminiscent of a Cossack dance, snapping his fingers and stamping now and then. Bakia Pierre is a large quietly spoken man who works in a Portuguese butchers shop in the small town of Buta. His songs were greeted with great applause and satisfaction by his fellow Zande in the circle. Topical song, with vertical angular Kundi harp, 5 strings.
  • Full Text: false
  • Date Issued: 1952

Gatanga mea kpiono ya geduele

  • Authors: Zande men and women , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Zande , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Nguru f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167858 , vital:41517 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0123-09
  • Description: This dance is performed at full moon, an old Zande custom. The Borassus palm bells are made from the hard shell of the fruit, one end being sawn off for this purpose. Two short lengths of stick are hung inside the shell and the result is similar in shape and size to cow bells used in many countries of the world. Ths size of these Zande Akiri bells was approximately three and half long and three broad. Zande dance with Bugu slit drum, 3 Ndimu double headed, conical cross laced drums, metal hand bells, and Akiri bells made of the borassus palm with wooden clappers.
  • Full Text: false
  • Date Issued: 1952

Gibolo

  • Authors: Mongonika and Zande men and woman , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Zande , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Nguru f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167813 , vital:41512 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0123-04
  • Description: Mongonika sang the solo phrases to this dance which is called by the same name as himself. He is a clerk at the Chief's office and dressed himself in the traditional barkcloth 'breeches' and beads for the dances. The breeches are made from a five to six foot lenght of barkcloth about 4 feet wide which is drawn up loosely between the legs spread out before and after abd secured by a belt. The result is a rather voluminous dress typical of many tribes in North Eastern Congo. Tuning of Kponingbo:- 664, 568, 469, 392, 360, 332, 284, 248, 196. Mongonika dance with Kponingbo xylophone, 9 notes.
  • Full Text: false
  • Date Issued: 1952

Gitare na Congo

  • Authors: Bakia Pierre , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Mangbetu , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Buta f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167395 , vital:41475 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0122-08
  • Description: The 'guitar' alluded to in the song is the Kundi. The song is about a blacksmith who beat on his anvil and sang as he did so saying: "My anvil is the real 'guitar' of the Congo. I play it to show how I love my work." It is in this Northern district of the Congo that the art of blacksmithing is unsurpassed. The decorative spears and knives are the pride of the people and feature largely in the list of social and marriage gifts between familes. The singer was given a highly commended prize for this item in the 1952 Osborn Awards for the best African musician of the year. Topical song with Kundi vertical angular harp, 5 strings.
  • Full Text: false
  • Date Issued: 1952
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