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Mayeyelele mina kazula (I am lonely - I am an orphan)

  • Authors: Josefa Malindisa , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Bremersdorp f-sq
  • Language: Swati
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/152786 , vital:39342 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR072-07
  • Description: "The Zionists laughed at me because my mother died." There are many such laments as this composed by African men and women who help to resolve their personal tragedies by singing about them in public. Personal lament with concertina.
  • Full Text: false
  • Date Issued: 1958

Medina ne Alawo (The Chewa and the Yao)

  • Authors: J. W. Gwemgwe with Chewa lads , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Songs, Nyanja , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Dedza f-mw
  • Language: Nyanja/Chewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/160260 , vital:40428 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR097-11
  • Description: There were two men who were friends, one was a Yao and the other was a Chewa. The Chewa invited the Yao to his house and he found them at lunch where they had pork to eat. "We do not eat pork" the Yao said "so when you invite me you should not offer me pork". Now the Yao invited the Chewa, and to his surprise the Chewa found the Yao eating pork and dancing. The Yao told the Chewa to listen to the kind of music the Yao themselves sang in order to divert his friend's attention from the mean. But the Chewa said to the Yao, "You cannot deceive us any longer. We now know you do take this kind of meat, so do not refuse my pork in the future." The Yao came under the direct influence of the Arab traders and most of them are Mohammedans, hence the taboo on eating pork. Nthano story with clapping.
  • Full Text: false
  • Date Issued: 1958

Melo (Name of a man)

  • Authors: Young girls and 4 drummers , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Arts, Malawi , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Chipwembwe, Fort Herald f-rh
  • Language: Nyanja/Mang'anja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/155811 , vital:39919 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR088-01
  • Description: The drums are carved out of Mutondo wood (one of Sokosa wood) cut locally on the plain. The maker Bauleni made No. 5 as long ago as 1930. The others are more recent. The membranes are of ox hide. The dance is well performed by the young girls who stand in a row or semicircle near the drums and each comes out in turn to do a solo dance, a clever rhythmic routine ending with a sharp pelvic jerk. As one girl finishes another immediately takes her place. The drums are all played with curved wooden beaters except the 2 bass drums numbers 8 and 9 which are played with hands. Some of the girls held clappers and one a tin rattle. Likhuba dance with 9 drums.
  • Full Text: false
  • Date Issued: 1958

Meri, Meri (Mary Mary)

Mikongo ilile (Lions roar)

  • Authors: Losani Malewa , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Lomwe (African people) , Chewa (African people) , Folk music , Africa Malawi Mkanda f-mw
  • Language: Lomwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/160679 , vital:40497 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR098-13
  • Description: His songs are performed on any special occasion or at a party. "Lions are roaring at Zomba. I am afraid for those children who go along the road. Build strong fences. (Kraal or skerm as a protection against lions)." The voice and the lute follow each other closely. Party song with Thangara bowed lute.
  • Full Text: false
  • Date Issued: 1958

Milisi

  • Authors: Dance with nine tuned drums , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Mpatsa f-mw
  • Language: Nyanja/Mang'anja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/157924 , vital:40114 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR093-04
  • Description: The drums are weighted with castor oil bean paste. It is removed from the drum head immediately after playing, or, they say, it would rot the membrane. The tuning of the drums has to be done afresh each time. "Misili killed a buck, so the people were pleased to have the meat." Likhuba dance with eight tuned drums.
  • Full Text: false
  • Date Issued: 1958

Misonzi (Tears)

  • Authors: Five Chewa women , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Songs, Nyanja , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Visanza f-mw
  • Language: Nyanja/Chewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/156986 , vital:40075 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR092-18
  • Description: It appears quite usual for the women to take a lament as a theme for their dance songs. The sorrow of a woman who has no one to sing with her is a case in point. "There is no friend of mine whom I can sing with. I can sing like a guitar. I have tucked my jacket into my skirt. I cry, having no friend of mine to sing wth." Chintala women dance song.
  • Full Text: false
  • Date Issued: 1958

Mkazi wa mulomo (The talkative woman)

Mkhwangwa yatena (The axe has cut him)

  • Authors: Adija Nyankhomo and G. Coffee , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Kotakota District, Lake Nyasa, Nyasaland f-mw
  • Language: Nyanja, Chewa, Chichewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/153933 , vital:39538 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR078-13
  • Description: A husband and wife went to hoe in their garden and the man had his axe with him. When they were there he started to play a game with her, forgetting he had his axe over his shoulder which fell off and cut him. So the woman when she got home quickly began to say that her husband had been cut by his axe in order to avoid people thinking that they had been playing in the garden. So she sang this song:- A! e! a! e!e! Nkhwangwa yatera Nkhwangwangwa letena mwendo." "A-eee. The axe has cut my husband, my husband, the axe has cut him in the leg." Story song.
  • Full Text: false
  • Date Issued: 1958

Mkwaze (Can I give cattle)

Mlembe special (Havelock compound special)

  • Authors: The Star Brothers , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Havelock mine f-sq
  • Language: Swati
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/152751 , vital:39338 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR072-03
  • Description: This "gnome-like"" music, so easily played and accompanied has swept into popularity since 1956. It has an immediate effect upon young Africans, especially those under twenty and perhaps even more so upon the under ten year olds. Mlembe is a native Swati name for this Havelock asbestos mine. Every tune on the whistle-flutes or penny whistles enjoys the mane of "special: a trick learnt from gramophone record titles. They all imitate other tunes in an urban/folk manner until there is no telling which tune came first, which is the original, and which is the imitation. Town dance with 2 guitars (-10.58-), 2 penny whistle-flutes.
  • Full Text: false
  • Date Issued: 1958

Mmali nkono boy (I want a son)

  • Authors: Chewa women , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Chadza, Lilongwe District, Nyasaland f-mw
  • Language: Nyanja, Chewa, Chichewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/153500 , vital:39459 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR076-21
  • Description: 'I want to have a son. He (the husband) is still at the other house, he has not yet come. What shall I do?" Note that uneven beat of the pestles to match the rhythm, one beat being slightly faster and out of the usual strict tempo. The singer indicates that she wants a baby but that the husband is impotent and unable to giver her one. What is more he is not slepping in her hut but in the other wife's hut. So what can she do to get her child?. Pounding song with pestle and mortar.
  • Full Text: false
  • Date Issued: 1958

Mnyamata (Young man why dont you marry?)

Mose dzakono panga-pa (Mose come back)

  • Authors: M. S. Ngomwa and five Mang'anja boys , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Port Herald f-mw
  • Language: Nyanja/Mang'anja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/158123 , vital:40150 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR093-09
  • Description: A song commonly used by the canoe on the lower Shire river, a large tributary of the Zambezi. It would seem to reflect the common anxiety of fisher folk everywhere, the fear that the boat and its crew may never come back. "Mose, you come back, come back, you return and my spirit will be at rest. If you go again, then you can go because I have seen your face. The sun is already high and you paddle slowly like a duck." Canoe song.
  • Full Text: false
  • Date Issued: 1958

Mpaka (The Cat)

  • Authors: Eddington Kwanjana and boys , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Mzengera, Lilongwe, Central Nyasaland f-mw
  • Language: Nyanja, Chewa, Chichewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/153962 , vital:39548 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR079-01
  • Description: The response after each phrase of the story is "Tirirose". S. "Mai tsegulire, mai tsegulire, CH. Kayendayenda eyaye kayenda. S. Ndatsala ndeka, ndiribe mai, CH Kayendayenda eyaye kayenda." A cat whose mother was named Damati lived in a forest where there were hyenas who wanted to eat the cats, and the cats did their best to protect themselves. The hyena (fai) started a dance and planned to eat whoever came to see ot. The cat had rattles on his legs and his mother taught him a song to sing whenever he got into trouble. The cat went to the hyena's dance and escaped into the mortar when the hyena wanted to eat him. Cat got at hyena's eyes, scratched them out and escaped. Story and song (Nthanu).
  • Full Text: false
  • Date Issued: 1958

Mtempile

  • Authors: Nyanja Policemen , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Arts, Malawi , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Zomba f-rh
  • Language: Nyanja/Chewa/Chichewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179114 , vital:39884 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR086-01
  • Description: "The Nyanja, Ngoni, Lomwe, Chewa came and built a temple." It would appear that the singers belong to one of the many separatist African churches. "Mtempile Anyanja, Angoni, Alomwe, Acawa ndza namanga." The four tribes mentioned are all to be found in Nyasaland. African christians are fond of using the word 'temple' in various pronunciations. Wedding song.
  • Full Text: false
  • Date Issued: 1958

Muboriki wa manomano (Faulty translation)

Mufupi hainyari (The short man does not tire)

  • Authors: Chiga Shoko and Esteri Shumba , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Karanga (African people) , Folk songs, Shona , Folk music , Africa Zimbabwe Takawarasha, Chibi District, Southern Rhodesia f-rh
  • Language: Shona, Karanga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/154622 , vital:39755 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR082-15
  • Description: Many of the lines set against the typical yodelling of the women, are taken at random from other songs and have little or no continuity of theme. They do however serve the purpose of keeping the song going. "The short man does not tire. With whom shall I play. Ndendua, I shall die. Close the door, you, Ndendua. In the house e re re. With whom shall I stay. I will die, being just like a dog. Matupa maneke. Where we come from. Harari (Salisbury) is far away. To come out feeling guilty. Like buck from the meadow lands." etc. Song for the Gawo dance with 1 drum.
  • Full Text: false
  • Date Issued: 1958

Mukadzi unoerei-ko? (What is your surname)

  • Authors: Tichainda Mudyanadzo and Lunita Zimbwa , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Karanga (African people) , Folk songs, Shona , Folk music , Africa Zimbabwe Albert Mission, Gutu Reserve, Southern Rhodesia f-rh
  • Language: Shona, Karanga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/154667 , vital:39762 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR082-20
  • Description: Sorry, sorry, sorry. What is the woman's surname? My surname is this child. The legs are burnt with the porcupine. What kind of 'mungu' is that, another? I have lost, I have burnt my child. Call his aunt. His aunt where is she? She digs in the chief's garden. Lift the deep voice, we pass. We will come out at Chanembe. Chanembe where there are girls. Who stab each other with knives. The spears are buried under ground . Please give us those spears. We will stab the big tree trunk. The big tree trunk, where is it? It is at the pool of Buuro. What did you give to Buuro? We gave him that little drum there. How does it sound? 'Ti-ndi-ngu!' Hippo in the pool. Where is the owner of the pool? He has gone to pick fruit. We will eat it at our home. Etc., etc.
  • Full Text: false
  • Date Issued: 1958

Mukadzi wanga (My wife)

  • Authors: Young girls and 4 drummers , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Arts, Malawi , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Chipwembwe, Fort Herald f-rh
  • Language: Nyanja/Mang'anja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/155820 , vital:39920 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR088-02
  • Description: The drums are carved out of Mutondo wood (one of Sokosa wood) cut locally on the plain. The maker Bauleni made No. 5 as long ago as 1930. The others are more recent. The membranes are of ox hide. The dance is well performed by the young girls who stand in a row or semicircle near the drums and each comes out in turn to do a solo dance, a clever rhythmic routine ending with a sharp pelvic jerk. As one girl finishes another immediately takes her place. The drums are all played with curved wooden beaters except the 2 bass drums numbers 8 and 9 which are played with hands. Some of the girls held clappers and one a tin rattle. Likhuba dance with 9 drums.
  • Full Text: false
  • Date Issued: 1958
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