Diggale
- Ismael Lo (author, composer, lead vocal, rhythm guitar, harmonica, chorus), EH. Malick Diouf (solo guitar, arrangments), Paul Thierry Oliveira (keyboard, arrangments), Alioune Wade (bass guitar), El Hadji Faye (percussion), Figaro Diagne (marimba), Abib Ndiaye (drums), Thirifays Claude (saxophone), Ramirez Jean Pierre (trumpet), Welch Jean Marc (trombone), Thione Ballago Seck (performer), Amy Bambe (chorus), Studio 2000, Samassa Records
- Authors: Ismael Lo (author, composer, lead vocal, rhythm guitar, harmonica, chorus) , EH. Malick Diouf (solo guitar, arrangments) , Paul Thierry Oliveira (keyboard, arrangments) , Alioune Wade (bass guitar) , El Hadji Faye (percussion) , Figaro Diagne (marimba) , Abib Ndiaye (drums) , Thirifays Claude (saxophone) , Ramirez Jean Pierre (trumpet) , Welch Jean Marc (trombone) , Thione Ballago Seck (performer) , Amy Bambe (chorus) , Studio 2000 , Samassa Records
- Date: 1999
- Subjects: Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130137 , vital:36379 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC38-02
- Description: Mbalax sound is characherised by Senegalese nder lead drum, sabar rhythm drum and tama talking drum percussion and African and Arabic vocalistic styling in the Wolof language that accompanies Western keyboard and other electronic guitar and brass instruments
- Full Text: false
- Date Issued: 1999
- Authors: Ismael Lo (author, composer, lead vocal, rhythm guitar, harmonica, chorus) , EH. Malick Diouf (solo guitar, arrangments) , Paul Thierry Oliveira (keyboard, arrangments) , Alioune Wade (bass guitar) , El Hadji Faye (percussion) , Figaro Diagne (marimba) , Abib Ndiaye (drums) , Thirifays Claude (saxophone) , Ramirez Jean Pierre (trumpet) , Welch Jean Marc (trombone) , Thione Ballago Seck (performer) , Amy Bambe (chorus) , Studio 2000 , Samassa Records
- Date: 1999
- Subjects: Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130137 , vital:36379 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC38-02
- Description: Mbalax sound is characherised by Senegalese nder lead drum, sabar rhythm drum and tama talking drum percussion and African and Arabic vocalistic styling in the Wolof language that accompanies Western keyboard and other electronic guitar and brass instruments
- Full Text: false
- Date Issued: 1999
Diongama
- Ismael Lo (author, composer, lead vocal, rhythm guitar, harmonica, chorus), EH. Malick Diouf (solo guitar, arrangments), Paul Thierry Oliveira (keyboard, arrangments), Alioune Wade (bass guitar), El Hadji Faye (percussion), Figaro Diagne (marimba), Abib Ndiaye (drums), Thirifays Claude (saxophone), Ramirez Jean Pierre (trumpet), Welch Jean Marc (trombone), Amy Bambe (chorus), Studio 2000, Samassa Records
- Authors: Ismael Lo (author, composer, lead vocal, rhythm guitar, harmonica, chorus) , EH. Malick Diouf (solo guitar, arrangments) , Paul Thierry Oliveira (keyboard, arrangments) , Alioune Wade (bass guitar) , El Hadji Faye (percussion) , Figaro Diagne (marimba) , Abib Ndiaye (drums) , Thirifays Claude (saxophone) , Ramirez Jean Pierre (trumpet) , Welch Jean Marc (trombone) , Amy Bambe (chorus) , Studio 2000 , Samassa Records
- Date: 1999
- Subjects: Popular music--Africa, West
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130142 , vital:36380
- Description: Mbalax sound is characherised by Senegalese nder lead drum, sabar rhythm drum and tama talking drum percussion and African and Arabic vocalistic styling in the Wolof language that accompanies Western keyboard and other electronic guitar and brass instruments
- Full Text: false
- Date Issued: 1999
- Authors: Ismael Lo (author, composer, lead vocal, rhythm guitar, harmonica, chorus) , EH. Malick Diouf (solo guitar, arrangments) , Paul Thierry Oliveira (keyboard, arrangments) , Alioune Wade (bass guitar) , El Hadji Faye (percussion) , Figaro Diagne (marimba) , Abib Ndiaye (drums) , Thirifays Claude (saxophone) , Ramirez Jean Pierre (trumpet) , Welch Jean Marc (trombone) , Amy Bambe (chorus) , Studio 2000 , Samassa Records
- Date: 1999
- Subjects: Popular music--Africa, West
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130142 , vital:36380
- Description: Mbalax sound is characherised by Senegalese nder lead drum, sabar rhythm drum and tama talking drum percussion and African and Arabic vocalistic styling in the Wolof language that accompanies Western keyboard and other electronic guitar and brass instruments
- Full Text: false
- Date Issued: 1999
Sarcasm, conflict and style in Mtywaku's plays
- Authors: Bokwe, Goliath Dumezweni
- Date: 1993
- Subjects: Xhosa drama -- History and criticism , Xhosa language -- Terms and phrases , Drama -- Black authors -- History and criticism , Playwriting
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3594 , http://hdl.handle.net/10962/d1002169 , Xhosa drama -- History and criticism , Xhosa language -- Terms and phrases , Drama -- Black authors -- History and criticism , Playwriting
- Description: The following main aspects of Mtywaku's plays have been dealt with in the dissertation: (i) Sarcasm (ii) Conflict (iii) Style.
- Full Text:
- Date Issued: 1993
- Authors: Bokwe, Goliath Dumezweni
- Date: 1993
- Subjects: Xhosa drama -- History and criticism , Xhosa language -- Terms and phrases , Drama -- Black authors -- History and criticism , Playwriting
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3594 , http://hdl.handle.net/10962/d1002169 , Xhosa drama -- History and criticism , Xhosa language -- Terms and phrases , Drama -- Black authors -- History and criticism , Playwriting
- Description: The following main aspects of Mtywaku's plays have been dealt with in the dissertation: (i) Sarcasm (ii) Conflict (iii) Style.
- Full Text:
- Date Issued: 1993
Sing Hosanna (a medley of Praise)
- Peter Gabriels Muonagor (written, arranged, produced and composed by), Tosia Alesh (arranged and produced by), Studio 2000
- Authors: Peter Gabriels Muonagor (written, arranged, produced and composed by) , Tosia Alesh (arranged and produced by) , Studio 2000
- Date: 2000
- Subjects: Popular music , Music--Religious aspects--Chrisitianity , Africa Nigeria Lagos f-nr
- Language: English , Yoruba
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129531 , vital:36303 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC29-01
- Description: Solo and chorus singers singing Christian gospel songs accompanied by Nigerian band using traditional Nigerian rhythms and instruments
- Full Text: false
- Date Issued: 2000
- Authors: Peter Gabriels Muonagor (written, arranged, produced and composed by) , Tosia Alesh (arranged and produced by) , Studio 2000
- Date: 2000
- Subjects: Popular music , Music--Religious aspects--Chrisitianity , Africa Nigeria Lagos f-nr
- Language: English , Yoruba
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129531 , vital:36303 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC29-01
- Description: Solo and chorus singers singing Christian gospel songs accompanied by Nigerian band using traditional Nigerian rhythms and instruments
- Full Text: false
- Date Issued: 2000
Techniques of Xhosa music: a study based on the music of the Lumko district
- Authors: Dargie, David John
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Lumko district , Eastern Cape (South Africa) , Xhosa music , Musicology , AbaThembu , Ntsikana , Songs , Musical bows , Overtone singing
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2630 , http://hdl.handle.net/10962/d1001975
- Description: Part 1.Thesis: Chapter 1: The people of the Lumko district (the villages of Ngqoko and Sikhwankqeni) are AbaThembu, mostly of the Gcina clan cluster. Their history has caused them to be linked with (now vanished) San peoples in special ways, which have undoubtedly influenced their music. Chapter 2: The music of these people is centred around their religious and social life. This affects the way they classify their songs; and song classifications (and the way songs are used) affect their performance, in particular, the dance styles associated with the song classes. Chapter 3: A variety of musical instruments is used in the Lumko district, the most important being the musical bows. Once again, the use of these bows gives an insight into the musical influences that have affected the people historically. The ways the bows work are described, as well as ways to play them. Chapter 4: Overtone singing, not previously documented anywhere in traditional African music, is practised in certain ways by these AmaGcina. These, and other vocal techniques, are described. Chapter 5: From the terminology and the methods of conceptualisation about music in the Lumko district, it is possible to gain an insight into a truly Xhosa technical understanding of Xhosa music. Once again a historical insight is gained, because so many of the important terms are KhoiSan words. Chapter 6: A Western technological (i. e. musicological) understanding of the music is also necessary in a study of this nature. This chapter applies musicological concepts to an examination of the relationship between speech and song, of the usages in melody and scale, harmony theory, rhythm, polyphony, song form, instrumental roles and methods of performance. Chapter 7: This is the conclusion of the thesis. It sums up what has been studied: musical techniques, principles, the importance of Ntsikana 's song as a basis for musical comparisons, and the import of the historical aspects of the study - a possible glimpse of the music of the San. PART 2. MUSIC TRANSCRIPTIONS AND DESCRIPTIONS. The transcriptions of 62 songs provide the material for this study. The songs were chosen to represent all the major song classes used in the Lumko district, and to represent all the important music techniques as well. The songs are in fifteen categories. Each song is accompanied by its technical details, and sufficient commentary to make the song transcription intelligible and meaningful. Certain key songs are chosen as type-songs or other special examples, and are used as the bases for discussion on song style characteristics, principles of performance, bow adaptation, and so on. A general Introduction to Part 2 describes and accounts for the method of transcription, and also attempts to make it possible for the score reader not only to analyse, but also to perform the songs. In a further attempt to bring the transcriptions to life, a video recording of certain key songs and techniques, and audio tapes with examples taken from all the songs, accompany this study
- Full Text:
- Date Issued: 1987
- Authors: Dargie, David John
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Lumko district , Eastern Cape (South Africa) , Xhosa music , Musicology , AbaThembu , Ntsikana , Songs , Musical bows , Overtone singing
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2630 , http://hdl.handle.net/10962/d1001975
- Description: Part 1.Thesis: Chapter 1: The people of the Lumko district (the villages of Ngqoko and Sikhwankqeni) are AbaThembu, mostly of the Gcina clan cluster. Their history has caused them to be linked with (now vanished) San peoples in special ways, which have undoubtedly influenced their music. Chapter 2: The music of these people is centred around their religious and social life. This affects the way they classify their songs; and song classifications (and the way songs are used) affect their performance, in particular, the dance styles associated with the song classes. Chapter 3: A variety of musical instruments is used in the Lumko district, the most important being the musical bows. Once again, the use of these bows gives an insight into the musical influences that have affected the people historically. The ways the bows work are described, as well as ways to play them. Chapter 4: Overtone singing, not previously documented anywhere in traditional African music, is practised in certain ways by these AmaGcina. These, and other vocal techniques, are described. Chapter 5: From the terminology and the methods of conceptualisation about music in the Lumko district, it is possible to gain an insight into a truly Xhosa technical understanding of Xhosa music. Once again a historical insight is gained, because so many of the important terms are KhoiSan words. Chapter 6: A Western technological (i. e. musicological) understanding of the music is also necessary in a study of this nature. This chapter applies musicological concepts to an examination of the relationship between speech and song, of the usages in melody and scale, harmony theory, rhythm, polyphony, song form, instrumental roles and methods of performance. Chapter 7: This is the conclusion of the thesis. It sums up what has been studied: musical techniques, principles, the importance of Ntsikana 's song as a basis for musical comparisons, and the import of the historical aspects of the study - a possible glimpse of the music of the San. PART 2. MUSIC TRANSCRIPTIONS AND DESCRIPTIONS. The transcriptions of 62 songs provide the material for this study. The songs were chosen to represent all the major song classes used in the Lumko district, and to represent all the important music techniques as well. The songs are in fifteen categories. Each song is accompanied by its technical details, and sufficient commentary to make the song transcription intelligible and meaningful. Certain key songs are chosen as type-songs or other special examples, and are used as the bases for discussion on song style characteristics, principles of performance, bow adaptation, and so on. A general Introduction to Part 2 describes and accounts for the method of transcription, and also attempts to make it possible for the score reader not only to analyse, but also to perform the songs. In a further attempt to bring the transcriptions to life, a video recording of certain key songs and techniques, and audio tapes with examples taken from all the songs, accompany this study
- Full Text:
- Date Issued: 1987
Elle est occupee (remix maquis)
- Brighess (author, composer, lead singer, chorus, percussions), Turbo (chorus), Le Ziboua Stars (band), Cisky de Panza (chorus, guitar, arranger), Ras live I
- Authors: Brighess (author, composer, lead singer, chorus, percussions) , Turbo (chorus) , Le Ziboua Stars (band) , Cisky de Panza (chorus, guitar, arranger) , Ras live I
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Guinea Conakry f-gv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129305 , vital:36259 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC20-07
- Description: Male vocal group sing in traditional Guinean harmonies and sounds, accompanied by percussion, keyboard, bass and striking bell, overlaid with modern afrobeat rhythm
- Full Text: false
- Date Issued: 2000
- Authors: Brighess (author, composer, lead singer, chorus, percussions) , Turbo (chorus) , Le Ziboua Stars (band) , Cisky de Panza (chorus, guitar, arranger) , Ras live I
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Guinea Conakry f-gv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129305 , vital:36259 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC20-07
- Description: Male vocal group sing in traditional Guinean harmonies and sounds, accompanied by percussion, keyboard, bass and striking bell, overlaid with modern afrobeat rhythm
- Full Text: false
- Date Issued: 2000
Analysis of selected choral works by John Tavener with particular reference to the post-1977 works
- Authors: Imrie, Sally
- Date: 1998
- Subjects: Tavener, John Choral music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2642 , http://hdl.handle.net/10962/d1002307
- Description: This thesis deals with sacred choral music written by John Tavener, a British composer born in 1944. It touches briefly on the background of Tavener and his early works (i.e. from about 1960-1976) - two works from that period have been selected for analysis, Celtic Requiem and Nomine Jesu. The main body of the thesis is concerned with those works composed,.after 1977, which show the influence of the Orthodox Church and Byzantine hymnography on Tavener's stylistic development. The selected works from this period to be analysed are: Ode of St Andrew of Crete, Two Hymns to the Mother of God, Magnificat, Nunc Dimittis, The Uncreated Eros, Eonia and We Shall See Him As Heis.
- Full Text:
- Date Issued: 1998
- Authors: Imrie, Sally
- Date: 1998
- Subjects: Tavener, John Choral music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2642 , http://hdl.handle.net/10962/d1002307
- Description: This thesis deals with sacred choral music written by John Tavener, a British composer born in 1944. It touches briefly on the background of Tavener and his early works (i.e. from about 1960-1976) - two works from that period have been selected for analysis, Celtic Requiem and Nomine Jesu. The main body of the thesis is concerned with those works composed,.after 1977, which show the influence of the Orthodox Church and Byzantine hymnography on Tavener's stylistic development. The selected works from this period to be analysed are: Ode of St Andrew of Crete, Two Hymns to the Mother of God, Magnificat, Nunc Dimittis, The Uncreated Eros, Eonia and We Shall See Him As Heis.
- Full Text:
- Date Issued: 1998
Endothermy and chorusing behaviour in the African platypleurine cicada Pycna semiclara (Germar, 1834) (Hemiptera: Cicadidae)
- Villet, Martin H, Sanborn, Allen F, Phillips, P K
- Authors: Villet, Martin H , Sanborn, Allen F , Phillips, P K
- Date: 2003
- Language: English
- Type: text , Article
- Identifier: vital:6892 , http://hdl.handle.net/10962/d1011652 , http://dx.doi.org/10.1139/z03-119
- Description: Cicadas use acoustic signals to find mates and therefore offer a phylogenetically independent opportunity to test the generality of ideas about acoustic communication that were developed from studies of other animals. Pycna semiclara (Germar, 1834) (Hemiptera: Cicadidae) is a forest-dwelling platypleurine cicada that uses its calling song to form choruses and attract mates. Additionally, P. semiclara produces an encounter call that is involved in courtship and also in spacing males within choruses. Males generally call from exposed trunks and branches within the understory but clear of the undergrowth and fight with other males that call within about 50 cm of them. Choruses sing sporadically throughout the day but focus most of their calling activity into half-hour bouts at dawn and dusk. Body size and ambient temperature had no significant effect on spectral or temporal characteristics of the calling song. Body temperature measurements indicate that P. semiclara thermoregulates endothermically, with a body temperature of more than 22 °C above ambient temperature being measured during calling activity at dusk. Such endothermy provides an advantage to the cicadas by allowing them to call during crepuscular hours when atmospheric conditions are most optimal for acoustic communication and predation risks are minimal. Coincidentally, endogenously regulating body temperature allows the temporal characteristics of the call to be unaffected by ambient temperature changes.
- Full Text:
- Date Issued: 2003
- Authors: Villet, Martin H , Sanborn, Allen F , Phillips, P K
- Date: 2003
- Language: English
- Type: text , Article
- Identifier: vital:6892 , http://hdl.handle.net/10962/d1011652 , http://dx.doi.org/10.1139/z03-119
- Description: Cicadas use acoustic signals to find mates and therefore offer a phylogenetically independent opportunity to test the generality of ideas about acoustic communication that were developed from studies of other animals. Pycna semiclara (Germar, 1834) (Hemiptera: Cicadidae) is a forest-dwelling platypleurine cicada that uses its calling song to form choruses and attract mates. Additionally, P. semiclara produces an encounter call that is involved in courtship and also in spacing males within choruses. Males generally call from exposed trunks and branches within the understory but clear of the undergrowth and fight with other males that call within about 50 cm of them. Choruses sing sporadically throughout the day but focus most of their calling activity into half-hour bouts at dawn and dusk. Body size and ambient temperature had no significant effect on spectral or temporal characteristics of the calling song. Body temperature measurements indicate that P. semiclara thermoregulates endothermically, with a body temperature of more than 22 °C above ambient temperature being measured during calling activity at dusk. Such endothermy provides an advantage to the cicadas by allowing them to call during crepuscular hours when atmospheric conditions are most optimal for acoustic communication and predation risks are minimal. Coincidentally, endogenously regulating body temperature allows the temporal characteristics of the call to be unaffected by ambient temperature changes.
- Full Text:
- Date Issued: 2003
An analysis of pacing and sequencing of reading instruction in three grade 1 classrooms where isiXhosa is the language of learning and teaching
- Authors: Masola, Athambile
- Date: 2012
- Subjects: Reading (Elementary) -- Study and teaching -- Foreign speakers -- Research -- South Africa Literacy -- Education (Primary) -- Research -- South Africa English language -- Study and teaching -- South Africa -- Foreign speakers
- Language: English
- Type: Thesis , Masters , MEd
- Identifier: vital:1420 , http://hdl.handle.net/10962/d1003301
- Description: Reading development in the Foundation Phase (FP) is central to children’s success as they progress through school. However, evaluations in South Africa such as the Annual National Assessments (ANAs) and the Progress in International Reading Literacy Study (PIRLS) (2006) show that reading achievement in the Foundation Phase is low, especially for children learning with African languages as their home language. This thesis examines pacing and sequencing in three Grade 1 literacy classes where isiXhosa is the language of learning and teaching (LOLT). The research took the form of a case study, focusing on the teachers’ classroom practice and how they understand their practice. Documents related to reading development in the Foundation Phase are analysed with regard to pacing and sequencing, examining how the curriculum frames literacy for teachers in the Foundation Phase. The teachers’ understanding in relation to their social context is also an important part of this research. In the thesis the way in which the teachers sequence and pace learning is analysed, drawing on Bernstein’s notions of internal and external framing, and Bourdieu’s notion of the habitus. The intended curriculum and the implemented curriculum are then compared. The results confirm that in low socio‐economic status (SES) schools, the level of poverty has an impact on teaching practice. The results also show that pacing and sequencing are reliant on the degree of planning amongst teachers. The level of development amongst learners also plays a role in how teachers organise their practice in order to differentiate the teaching of reading for all learners. The understanding that teachers have about their teaching practice are layered and influenced by their experiences, history and memories as teachers. The thesis concludes that there is a need to develop teachers’ understanding of planning and organising the teaching of reading, especially when the learners are from poor communities and do not get support in the home. In order for teachers to improve their practice, it is important for them to have the opportunity to reflect on and understand their practice.
- Full Text:
- Date Issued: 2012
- Authors: Masola, Athambile
- Date: 2012
- Subjects: Reading (Elementary) -- Study and teaching -- Foreign speakers -- Research -- South Africa Literacy -- Education (Primary) -- Research -- South Africa English language -- Study and teaching -- South Africa -- Foreign speakers
- Language: English
- Type: Thesis , Masters , MEd
- Identifier: vital:1420 , http://hdl.handle.net/10962/d1003301
- Description: Reading development in the Foundation Phase (FP) is central to children’s success as they progress through school. However, evaluations in South Africa such as the Annual National Assessments (ANAs) and the Progress in International Reading Literacy Study (PIRLS) (2006) show that reading achievement in the Foundation Phase is low, especially for children learning with African languages as their home language. This thesis examines pacing and sequencing in three Grade 1 literacy classes where isiXhosa is the language of learning and teaching (LOLT). The research took the form of a case study, focusing on the teachers’ classroom practice and how they understand their practice. Documents related to reading development in the Foundation Phase are analysed with regard to pacing and sequencing, examining how the curriculum frames literacy for teachers in the Foundation Phase. The teachers’ understanding in relation to their social context is also an important part of this research. In the thesis the way in which the teachers sequence and pace learning is analysed, drawing on Bernstein’s notions of internal and external framing, and Bourdieu’s notion of the habitus. The intended curriculum and the implemented curriculum are then compared. The results confirm that in low socio‐economic status (SES) schools, the level of poverty has an impact on teaching practice. The results also show that pacing and sequencing are reliant on the degree of planning amongst teachers. The level of development amongst learners also plays a role in how teachers organise their practice in order to differentiate the teaching of reading for all learners. The understanding that teachers have about their teaching practice are layered and influenced by their experiences, history and memories as teachers. The thesis concludes that there is a need to develop teachers’ understanding of planning and organising the teaching of reading, especially when the learners are from poor communities and do not get support in the home. In order for teachers to improve their practice, it is important for them to have the opportunity to reflect on and understand their practice.
- Full Text:
- Date Issued: 2012
A new light on the pre-colonial history of South-East Africa, where the 'Other' is the European and the 'Silence' has a voice, based on evidence from shipwreck survivor narratives 1552-1782
- Authors: Vernon, Gillian Noël
- Date: 2009
- Subjects: Shipwrecks -- South Africa -- History Shipwrecks -- Mozambique -- Personal narratives
- Language: English
- Type: Thesis , Doctoral , PhD (History)
- Identifier: http://hdl.handle.net/10353/7930 , vital:30924
- Description: The aim of this dissertation is to extract information from shipwreck survivor narratives, which will add to the known body of knowledge of the pre-colonial history of Southern Africa during the years 1552 to 1782. The discourse analysis focuses on the voice of the African peoples where the Europeans are the 'Strangers', the 'Other', reversing the view that the people of non-European cultures were termed as the 'Other'. Indigenous inhabitants of south-east Africa, south of Kosi Bay, first encountered Europeans in 1552 when a Portuguese ship was wrecked at present-day Port Edward. Subsequently, eight more Portuguese ships were wrecked between Plettenberg Bay and Kosi Bay between the years 1554 to 1647. Two Dutch ships landed on the shore, one south of the Bay of Natal in 1686, and the other being wrecked near the mouth of the Keiskamma River in 1713. There were also two English ships, with one striking the rocks on Bird Island in Algoa Bay in 1755 and the other, the more famous Grosvenor of 1782, coming aground at Lambazi Bay, north of the Mzimvubu River. The survivor groups were large, varying in size from 72 to 500, and most included a large complements of slaves. The survivors of the Portuguese ships made their way to present-day Mozambique where the Portuguese had trading outposts. The survivors of the Dutch ships, as well as those of the Grosvenor tried, with limited success, to make their way to Cape Town. The survivors from two of the Portuguese wrecks and the English group on Bird Island, constructed small ships and managed to sail away.
- Full Text:
- Date Issued: 2009
- Authors: Vernon, Gillian Noël
- Date: 2009
- Subjects: Shipwrecks -- South Africa -- History Shipwrecks -- Mozambique -- Personal narratives
- Language: English
- Type: Thesis , Doctoral , PhD (History)
- Identifier: http://hdl.handle.net/10353/7930 , vital:30924
- Description: The aim of this dissertation is to extract information from shipwreck survivor narratives, which will add to the known body of knowledge of the pre-colonial history of Southern Africa during the years 1552 to 1782. The discourse analysis focuses on the voice of the African peoples where the Europeans are the 'Strangers', the 'Other', reversing the view that the people of non-European cultures were termed as the 'Other'. Indigenous inhabitants of south-east Africa, south of Kosi Bay, first encountered Europeans in 1552 when a Portuguese ship was wrecked at present-day Port Edward. Subsequently, eight more Portuguese ships were wrecked between Plettenberg Bay and Kosi Bay between the years 1554 to 1647. Two Dutch ships landed on the shore, one south of the Bay of Natal in 1686, and the other being wrecked near the mouth of the Keiskamma River in 1713. There were also two English ships, with one striking the rocks on Bird Island in Algoa Bay in 1755 and the other, the more famous Grosvenor of 1782, coming aground at Lambazi Bay, north of the Mzimvubu River. The survivor groups were large, varying in size from 72 to 500, and most included a large complements of slaves. The survivors of the Portuguese ships made their way to present-day Mozambique where the Portuguese had trading outposts. The survivors of the Dutch ships, as well as those of the Grosvenor tried, with limited success, to make their way to Cape Town. The survivors from two of the Portuguese wrecks and the English group on Bird Island, constructed small ships and managed to sail away.
- Full Text:
- Date Issued: 2009
A case study of feedback strategies in The Open Learning Systems Trust (OLSET) Radio Learning Programmes
- Authors: Kenyon, Jennifer Berry
- Date: 1999
- Subjects: English language -- Study and teaching -- Foreign speakers , Educational broadcasting , Radio in education -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2352 , http://hdl.handle.net/10962/d1002634 , English language -- Study and teaching -- Foreign speakers , Educational broadcasting , Radio in education -- South Africa
- Description: The following is a case study of three Foundation Phase teachers' classroom practice while using the Open Learning Systems Education Trust (OLSET) Radio Learning Programmes, "English In Action" Level Two materials with their Grade Two learners. This case study describes and analyses the feedback strategies of the three teachers. The radio learning programmes have been developed to provide teachers with an effective interactive set of materials to assist their learners in the acquisition of English. These audio materials also provide teachers with opportunities to be creative and responsive to their learners' specific needs. The feedback strategies described in this study are the teachers' use of their learners' mother tongue, correction oflearner error, and use of praise and encouragement during the three Teacher-Led Activity (TLA) segments of the radio programmes. These TLAs give teachers approximately 12 minutes per lesson during which they are called on to manage the materials according to their learners' specific needs. The TLAs are specifically designed to give learners the opportunity to use and respond to English in particular contexts. This study examines three teachers' feedback to their learners in order to find out what kind of feedback has been made. An attempt has also been made to analyse the nature of the feedback. It was found, from the description and analysis of the teachers' feedback, that when teachers used their learners' mother tongue this was more often used to translate words or phrases which were part of the radio narrator's instructions to the learners and these translations were then repeated in English. Teachers corrected very few learner errors. The most common form of correction was to model the correct form and have the learners repeat this. In spite of claiming that correction of errors was important and all three teachers said they did correct their learners' errors, there was very little evidence of this practice in the sample described in this study. The use of praise and encouragement was a strategy that all three teachers claimed they practised but almost no instances of the use of praise were described. The three teachers used only the word "good" to praise any of their learners' efforts and, in fact, all three used this only twice in each of the three lessons described in this study. In terms of language learning a number of factors have been compared. Some of these include teachers' repetition oflearners' answers and their correction oflearner responses by modelling. They were also observed allowing a variety of learner response as well as ensuring a number of individual learners were able to respond. These factors appear to have enhanced the language learning in the classrooms. However, it was also observed that the teachers needed more support in order to develop more explicit strategies to use their learners' mother tongue, to praise learners and to correct learner error purposefully in their classroom practice. There is a need for guidance to be given teachers in the development and use of open-ended questions and strategies which could encourage the development of higher order language skills in their learners. These findings will influence OLSET's teacher development curriculum. It is envisaged that strategies and activities designed to provide teachers with opportunities to reflect on their own practice with regard to the feedback they provide will be incorporated into the workshops and teacher support systems provided by OLSET's teacher development team.
- Full Text:
- Date Issued: 1999
- Authors: Kenyon, Jennifer Berry
- Date: 1999
- Subjects: English language -- Study and teaching -- Foreign speakers , Educational broadcasting , Radio in education -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2352 , http://hdl.handle.net/10962/d1002634 , English language -- Study and teaching -- Foreign speakers , Educational broadcasting , Radio in education -- South Africa
- Description: The following is a case study of three Foundation Phase teachers' classroom practice while using the Open Learning Systems Education Trust (OLSET) Radio Learning Programmes, "English In Action" Level Two materials with their Grade Two learners. This case study describes and analyses the feedback strategies of the three teachers. The radio learning programmes have been developed to provide teachers with an effective interactive set of materials to assist their learners in the acquisition of English. These audio materials also provide teachers with opportunities to be creative and responsive to their learners' specific needs. The feedback strategies described in this study are the teachers' use of their learners' mother tongue, correction oflearner error, and use of praise and encouragement during the three Teacher-Led Activity (TLA) segments of the radio programmes. These TLAs give teachers approximately 12 minutes per lesson during which they are called on to manage the materials according to their learners' specific needs. The TLAs are specifically designed to give learners the opportunity to use and respond to English in particular contexts. This study examines three teachers' feedback to their learners in order to find out what kind of feedback has been made. An attempt has also been made to analyse the nature of the feedback. It was found, from the description and analysis of the teachers' feedback, that when teachers used their learners' mother tongue this was more often used to translate words or phrases which were part of the radio narrator's instructions to the learners and these translations were then repeated in English. Teachers corrected very few learner errors. The most common form of correction was to model the correct form and have the learners repeat this. In spite of claiming that correction of errors was important and all three teachers said they did correct their learners' errors, there was very little evidence of this practice in the sample described in this study. The use of praise and encouragement was a strategy that all three teachers claimed they practised but almost no instances of the use of praise were described. The three teachers used only the word "good" to praise any of their learners' efforts and, in fact, all three used this only twice in each of the three lessons described in this study. In terms of language learning a number of factors have been compared. Some of these include teachers' repetition oflearners' answers and their correction oflearner responses by modelling. They were also observed allowing a variety of learner response as well as ensuring a number of individual learners were able to respond. These factors appear to have enhanced the language learning in the classrooms. However, it was also observed that the teachers needed more support in order to develop more explicit strategies to use their learners' mother tongue, to praise learners and to correct learner error purposefully in their classroom practice. There is a need for guidance to be given teachers in the development and use of open-ended questions and strategies which could encourage the development of higher order language skills in their learners. These findings will influence OLSET's teacher development curriculum. It is envisaged that strategies and activities designed to provide teachers with opportunities to reflect on their own practice with regard to the feedback they provide will be incorporated into the workshops and teacher support systems provided by OLSET's teacher development team.
- Full Text:
- Date Issued: 1999
Nani Bwabongo
- Priscilia Ngando (lead vocal), Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars), Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar), Dany Mouanga, Eric Sefu (solo guitar), Aubin Sandjo, Paul Balong (keyboard), Abel Massock, Fabo Claude, Nono (chorus), Cyrille Baudoin Koudh (composer), Aubin Sandjo (drum, percussion, keyboard), Alhadji Mallam Issa (talking drum), Moussa Haissam
- Authors: Priscilia Ngando (lead vocal) , Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars) , Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar) , Dany Mouanga, Eric Sefu (solo guitar) , Aubin Sandjo, Paul Balong (keyboard) , Abel Massock, Fabo Claude, Nono (chorus) , Cyrille Baudoin Koudh (composer) , Aubin Sandjo (drum, percussion, keyboard) , Alhadji Mallam Issa (talking drum) , Moussa Haissam
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cameroon Yaounde f-cm
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130792 , vital:36479 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC47-02
- Description: Popular songs from Cameroon, featuring female vocal accompanied by keyboard, chorus, guitar, percussion and talking drum, playing West and Central African rhythms
- Full Text: false
- Date Issued: 2000
- Authors: Priscilia Ngando (lead vocal) , Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars) , Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar) , Dany Mouanga, Eric Sefu (solo guitar) , Aubin Sandjo, Paul Balong (keyboard) , Abel Massock, Fabo Claude, Nono (chorus) , Cyrille Baudoin Koudh (composer) , Aubin Sandjo (drum, percussion, keyboard) , Alhadji Mallam Issa (talking drum) , Moussa Haissam
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cameroon Yaounde f-cm
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130792 , vital:36479 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC47-02
- Description: Popular songs from Cameroon, featuring female vocal accompanied by keyboard, chorus, guitar, percussion and talking drum, playing West and Central African rhythms
- Full Text: false
- Date Issued: 2000
Dikalo
- Priscilia Ngando (lead vocal), Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars), Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar), Dany Mouanga, Eric Sefu (solo guitar), Aubin Sandjo, Paul Balong (keyboard), Abel Massock, Fabo Claude, Nono (chorus), Priscilia Ngando (composer), Aubin Sandjo (drum, percussion, keyboard), Alhadji Mallam Issa (talking drum), Moussa Haissam
- Authors: Priscilia Ngando (lead vocal) , Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars) , Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar) , Dany Mouanga, Eric Sefu (solo guitar) , Aubin Sandjo, Paul Balong (keyboard) , Abel Massock, Fabo Claude, Nono (chorus) , Priscilia Ngando (composer) , Aubin Sandjo (drum, percussion, keyboard) , Alhadji Mallam Issa (talking drum) , Moussa Haissam
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cameroon Yaounde f-cm
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130836 , vital:36486 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC47-03
- Description: Popular songs from Cameroon, featuring female vocal accompanied by keyboard, chorus, guitar, percussion and talking drum, playing West and Central African rhythms
- Full Text: false
- Date Issued: 2000
- Authors: Priscilia Ngando (lead vocal) , Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars) , Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar) , Dany Mouanga, Eric Sefu (solo guitar) , Aubin Sandjo, Paul Balong (keyboard) , Abel Massock, Fabo Claude, Nono (chorus) , Priscilia Ngando (composer) , Aubin Sandjo (drum, percussion, keyboard) , Alhadji Mallam Issa (talking drum) , Moussa Haissam
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cameroon Yaounde f-cm
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130836 , vital:36486 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC47-03
- Description: Popular songs from Cameroon, featuring female vocal accompanied by keyboard, chorus, guitar, percussion and talking drum, playing West and Central African rhythms
- Full Text: false
- Date Issued: 2000
Oluwa Funmi
- Peter Gabriels Muonagor (written, arranged, produced and composed by), Tosia Alesh (arranged and produced by), Studio 2000
- Authors: Peter Gabriels Muonagor (written, arranged, produced and composed by) , Tosia Alesh (arranged and produced by) , Studio 2000
- Date: 2000
- Subjects: Popular music , Music--Religious aspects--Chrisitianity , Africa Nigeria Lagos f-nr
- Language: English , Yoruba
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129536 , vital:36304 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC29-02
- Description: Solo and chorus singers singing Christian gospel songs accompanied by Nigerian band using traditional Nigerian rhythms and instruments
- Full Text: false
- Date Issued: 2000
- Authors: Peter Gabriels Muonagor (written, arranged, produced and composed by) , Tosia Alesh (arranged and produced by) , Studio 2000
- Date: 2000
- Subjects: Popular music , Music--Religious aspects--Chrisitianity , Africa Nigeria Lagos f-nr
- Language: English , Yoruba
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129536 , vital:36304 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC29-02
- Description: Solo and chorus singers singing Christian gospel songs accompanied by Nigerian band using traditional Nigerian rhythms and instruments
- Full Text: false
- Date Issued: 2000
Testimony
- Peter Gabriels Muonagor (written, arranged, produced and composed by), Tosia Alesh (arranged and produced by), Studio 2000
- Authors: Peter Gabriels Muonagor (written, arranged, produced and composed by) , Tosia Alesh (arranged and produced by) , Studio 2000
- Date: 2000
- Subjects: Popular music , Music--Religious aspects--Chrisitianity , Africa Nigeria Lagos f-nr
- Language: English , Yoruba
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129549 , vital:36305 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC29-03
- Description: Solo and chorus singers singing Christian gospel songs accompanied by Nigerian band using traditional Nigerian rhythms and instruments
- Full Text: false
- Date Issued: 2000
- Authors: Peter Gabriels Muonagor (written, arranged, produced and composed by) , Tosia Alesh (arranged and produced by) , Studio 2000
- Date: 2000
- Subjects: Popular music , Music--Religious aspects--Chrisitianity , Africa Nigeria Lagos f-nr
- Language: English , Yoruba
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129549 , vital:36305 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC29-03
- Description: Solo and chorus singers singing Christian gospel songs accompanied by Nigerian band using traditional Nigerian rhythms and instruments
- Full Text: false
- Date Issued: 2000
No woman no cry
- Tonton Mac, Sugar Flavor, Caporal F (lead vocals), Suzanne Khar Fofana Ass II, Bouba (chorus), El hadji Cissokho, Babouli Cissokho (kora), Laye Kane, Urbain Lambert (guitar), Jazzy M (scratch), Studio 2000
- Authors: Tonton Mac, Sugar Flavor, Caporal F (lead vocals) , Suzanne Khar Fofana Ass II, Bouba (chorus) , El hadji Cissokho, Babouli Cissokho (kora) , Laye Kane, Urbain Lambert (guitar) , Jazzy M (scratch) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof , French , English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129423 , vital:36287 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC28-01
- Description: Hip hop song sung in English, French and Wolof
- Full Text: false
- Date Issued: 1999
- Authors: Tonton Mac, Sugar Flavor, Caporal F (lead vocals) , Suzanne Khar Fofana Ass II, Bouba (chorus) , El hadji Cissokho, Babouli Cissokho (kora) , Laye Kane, Urbain Lambert (guitar) , Jazzy M (scratch) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof , French , English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129423 , vital:36287 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC28-01
- Description: Hip hop song sung in English, French and Wolof
- Full Text: false
- Date Issued: 1999
Saloum Ghetto
- Tonton Mac, Sugar Flavor, Caporal F (lead vocals), Suzanne Khar Fofana Ass II, Bouba (chorus), El hadji Cissokho, Babouli Cissokho (kora), Laye Kane, Urbain Lambert (guitar), Jazzy M (scratch), Sama Flavor (composed by), Studio 2000
- Authors: Tonton Mac, Sugar Flavor, Caporal F (lead vocals) , Suzanne Khar Fofana Ass II, Bouba (chorus) , El hadji Cissokho, Babouli Cissokho (kora) , Laye Kane, Urbain Lambert (guitar) , Jazzy M (scratch) , Sama Flavor (composed by) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129459 , vital:36293 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC28-05
- Description: Hip hop song sung in English, French and Wolof
- Full Text: false
- Date Issued: 1999
- Authors: Tonton Mac, Sugar Flavor, Caporal F (lead vocals) , Suzanne Khar Fofana Ass II, Bouba (chorus) , El hadji Cissokho, Babouli Cissokho (kora) , Laye Kane, Urbain Lambert (guitar) , Jazzy M (scratch) , Sama Flavor (composed by) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129459 , vital:36293 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC28-05
- Description: Hip hop song sung in English, French and Wolof
- Full Text: false
- Date Issued: 1999
Histoire Sans Fin
- Tonton Mac, Sugar Flavor, Caporal F (lead vocals), Suzanne Khar Fofana Ass II, Bouba (chorus), El hadji Cissokho, Babouli Cissokho (kora), Laye Kane, Urbain Lambert (guitar), Jazzy M (scratch), Sama Flavor (composed by), Studio 2000
- Authors: Tonton Mac, Sugar Flavor, Caporal F (lead vocals) , Suzanne Khar Fofana Ass II, Bouba (chorus) , El hadji Cissokho, Babouli Cissokho (kora) , Laye Kane, Urbain Lambert (guitar) , Jazzy M (scratch) , Sama Flavor (composed by) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof , French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129468 , vital:36296 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC28-06
- Description: Hip hop song sung in English, French and Wolof
- Full Text: false
- Date Issued: 1999
- Authors: Tonton Mac, Sugar Flavor, Caporal F (lead vocals) , Suzanne Khar Fofana Ass II, Bouba (chorus) , El hadji Cissokho, Babouli Cissokho (kora) , Laye Kane, Urbain Lambert (guitar) , Jazzy M (scratch) , Sama Flavor (composed by) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof , French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129468 , vital:36296 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC28-06
- Description: Hip hop song sung in English, French and Wolof
- Full Text: false
- Date Issued: 1999
Lendemain
- Tonton Mac, Sugar Flavor, Caporal F (lead vocals), Suzanne Khar Fofana Ass II, Bouba (chorus), El hadji Cissokho, Babouli Cissokho (kora), Laye Kane, Urbain Lambert (guitar), Jazzy M (scratch), Sama Flavor (composed by), Studio 2000
- Authors: Tonton Mac, Sugar Flavor, Caporal F (lead vocals) , Suzanne Khar Fofana Ass II, Bouba (chorus) , El hadji Cissokho, Babouli Cissokho (kora) , Laye Kane, Urbain Lambert (guitar) , Jazzy M (scratch) , Sama Flavor (composed by) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof , French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129486 , vital:36298 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC28-08
- Description: Hip hop song sung in English, French and Wolof
- Full Text: false
- Date Issued: 1999
- Authors: Tonton Mac, Sugar Flavor, Caporal F (lead vocals) , Suzanne Khar Fofana Ass II, Bouba (chorus) , El hadji Cissokho, Babouli Cissokho (kora) , Laye Kane, Urbain Lambert (guitar) , Jazzy M (scratch) , Sama Flavor (composed by) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof , French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129486 , vital:36298 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC28-08
- Description: Hip hop song sung in English, French and Wolof
- Full Text: false
- Date Issued: 1999
Nell Fess
- Tonton Mac, Sugar Flavor, Caporal F (lead vocals), Suzanne Khar Fofana Ass II, Bouba (chorus), El hadji Cissokho, Babouli Cissokho (kora), Laye Kane, Urbain Lambert (guitar), Jazzy M (scratch), Sama Flavor (composed by), Studio 2000
- Authors: Tonton Mac, Sugar Flavor, Caporal F (lead vocals) , Suzanne Khar Fofana Ass II, Bouba (chorus) , El hadji Cissokho, Babouli Cissokho (kora) , Laye Kane, Urbain Lambert (guitar) , Jazzy M (scratch) , Sama Flavor (composed by) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof , French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129513 , vital:36301 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC28-11
- Description: Hip hop song sung in English, French and Wolof
- Full Text: false
- Date Issued: 1999
- Authors: Tonton Mac, Sugar Flavor, Caporal F (lead vocals) , Suzanne Khar Fofana Ass II, Bouba (chorus) , El hadji Cissokho, Babouli Cissokho (kora) , Laye Kane, Urbain Lambert (guitar) , Jazzy M (scratch) , Sama Flavor (composed by) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof , French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129513 , vital:36301 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC28-11
- Description: Hip hop song sung in English, French and Wolof
- Full Text: false
- Date Issued: 1999