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Woyahahai zhembulane

- Maria Taime, Chopi women, Tracey, Hugh

Zore I

- Five GiTonga men and 13 women, Tracey, Hugh

  • Authors: Five GiTonga men and 13 women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Regulo Nhabanda f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189563 , vital:44858 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-01
  • Description: 2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground (beaters) pegged open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisusu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken. The women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instrument is:- First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach. If not exceed, the threshold of pain in the ears. Dance with 5 drums (1 struck by hand, 4 with beaters), rattles, wooden clappers, and corrugated iron strip
  • Full Text: false
  • Date Issued: 1963

Zore II

- Five GiTonga men and 13 women, Tracey, Hugh

  • Authors: Five GiTonga men and 13 women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Regulo Nhabanda f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189568 , vital:44859 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-02
  • Description: 2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground (beaters) pegged open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisusu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken. The women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instrument is:- First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach. If not exceed, the threshold of pain in the ears. Dance with 5 drums (1 struck by hand, 4 with beaters), rattles, wooden clappers, and corrugated iron strip.
  • Full Text: false
  • Date Issued: 1963

Zore III

- Five GiTonga men and 13 women, Tracey, Hugh

  • Authors: Five GiTonga men and 13 women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Regulo Nhabanda f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189589 , vital:44861 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-03
  • Description: 2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground (beaters) pegged open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisusu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken. The women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instrument is:- First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach. If not exceed, the threshold of pain in the ears. Dance with 5 drums (1 struck by hand, 4 with beaters), rattles, wooden clappers, and corrugated iron strip.
  • Full Text: false
  • Date Issued: 1963

Adiyo jaxa kxaja nkwe

- Ncha, Frank, Tracey, Hugh

Mahlalela

- Ncha, Frank, Three girls, Tracey, Hugh

  • Authors: Ncha, Frank , Three girls , Tracey, Hugh
  • Date: 1960
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Leydsdorp f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189386 , vital:44842 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR195-16
  • Description: Who are we going to dance with? Today we dance with women because Mahlelela is very fond of women, refusing to dance with the girls. When Mahlalela dances in his big "Scotch" hat his head wobbles from side to side, and people laugh "Chekula, chekula. elewee." In the 1920's the autoharp was the most popular of foreign manufactured unstruments, several hundred thousand having been sold to Africans in South Africa alone. It then suffered a sharp decline and today in 1963 very few can be found except among the Pedi where a few are still played. Topical song with Autoharp, 2 small drums, made of tins with rubber heads and 1 rattle
  • Full Text: false
  • Date Issued: 1960

Sebedubedu

- Ncha, Frank, Three girls, Tracey, Hugh

Shuru Mmamutsumi

- Ncha, Frank, Three girls, Tracey, Hugh

  • Authors: Ncha, Frank , Three girls , Tracey, Hugh
  • Date: 1960
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Leydsdorp f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189408 , vital:44844 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR195-18
  • Description: A man had two wives, one old and the other young. There was jealousy among them. "Today is your last day." Shuru the younger sings, "why do you greet him as your man?" Then Shuru and Makuwe killed the elder, cut her in two, removed her legs, head abd arms, locked the door and set fire to the house. They tried to burn the whole house with the old woman in it, but the people came and said "Fetch the police." They put Makuwe inside the house and told Shuru to sweep the yard. But she dropped the broom and ran far away. The police could not find her. She went to Mpulutsi station and put on Shangaan clothes so as not to be recognised. The police told Shuru's brother "We will kill unless you tell us where she is." So he took them to Mpulutsi and showed her to them. She claimed to have been alone in the crime and Makuwe was discharged, "Did anyone see Shuru burn the house or kill the girl?" "No." She is discharged. This is said to have taken place in Feburary 1963. Chorus: 'Aghe Mangwaku.' Yes Mangwaku (Shuru's married name). This song was composed by Ncha basing his words, he claims, upon what he alleges was a true incident that happened only four months before. Topical song with Autoharp, 2 small drums, made of tins with rubber heads and 1 rattle
  • Full Text: false
  • Date Issued: 1960

A lona le utse le ithuta dithuto tseo tsa lona

- Mapidio Elisabeth Mothulwe and Kgatla women, Tracey, Hugh

  • Authors: Mapidio Elisabeth Mothulwe and Kgatla women , Tracey, Hugh
  • Date: 1959
  • Subjects: Folk songs, Tswana , Tswana (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa South Africa Saulspoort f-sa
  • Language: Tswana , Kgatla
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/165960 , vital:41301 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0116-05
  • Description: Chief: "Are you going on with those lessons of yours, Kgabo (monkey)? show them to me." Children: "Here they are, here they are." Chief: "Show them to me." Children: "Here they are, here they are." This is believed to be a very old song taught in the early days of the church when the Chief would come round asking the children if they were learning their lessons properly. The Dutch Reformed Church was first established in this village in 1864. Morality song.
  • Full Text: false
  • Date Issued: 1959

A re eng

- Serakalala Abotsen and large group of middle-aged and elderly men, Tracey, Hugh

Andiyera ndabuda nchito

- Kaiya Maritenzi and Ngoni men and women, Hugh Tracey

Anya vindelu tayani uyanga (Be careful, you who wear beards)

- Jefaserase Lungu and 4 Ngoni men, Hugh Tracey

Awe simene

- Robert Golozera and 3 elderly women with the chief, Tracey, Hugh

Ayalero makulata

- Fainos Gasa, Hugh Tracey

Ba mo loile

- Mamojela Letsipa, Mahanyane Rakaki, James Mofokeng and 5 women, Hugh Tracey

  • Authors: Mamojela Letsipa, Mahanyane Rakaki, James Mofokeng and 5 women , Hugh Tracey
  • Date: 1959
  • Subjects: Folk songs, Sotho , Sotho (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Lesotho Berea f-lo
  • Language: Sotho
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/161056 , vital:40586 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0101-07
  • Description: Much of the divining ceremonial seems to follow the Xhosa pattern from which it appears to be borrowed. One girl beats a small frame drum made of metal. Some of the phrases used in the divining procedure are Xhosa such as "Siyavuma". "They have bewitched him. The child of the gods. Mahayane has been bewitched. Ntate Sekhobe has been bewitched. Ntate Ntsopa has been bewitched." This song was followed by a Lithoko in praise of the singer. After the Lithoko the same song was repeated, followed by another Lithoko in which further reference was made to the singer, who she was and how she had been cured by another Lethuela (diviner) when she was ill. Mathuela, diviner's dance song, with small drum (-14.03-), frame drum (-14.92-) and clapping (-12.03-).
  • Full Text: false
  • Date Issued: 1959

Ba tsetse ka likepe

- Jane Mosese and large group of men, Hugh Tracey

Bana ba tau we-e! (Children of the lion!)

- Group of about 70 men, Hugh Tracey

  • Authors: Group of about 70 men , Hugh Tracey
  • Date: 1959
  • Subjects: Folk songs, Tswana , Tswana (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa South Africa Mochudi f-sa
  • Language: Tswana/Kgatla
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/166218 , vital:41339 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0117-02
  • Description: "Children of the lion. He - he! we! Having been called, we have come." This song was recorded on the occasion when the Chief was being presented with the skin of a lion which had recently been killed, out at one of the cattle posts. According to custom, the skin had to be given to the Chief, Murusi Pilane. A large crowd of men marched up through the village to the Chief's council place, the Kgotla, singing this song as they came. The man who had killed the lion wore the skin over his head and shoulders, while four other men were similarly covered with the skins of leopards. A friend had the hollow fanged skull of the lion strapped on top of his head. As they sang, several men stabbed the air with their assegais as if they were reenacting the scene. Hunting song.
  • Full Text: false
  • Date Issued: 1959

Baroka rifeng-rifeng (Rainmaker-give us, give us)

- About 40 women, Hugh Tracey

  • Authors: About 40 women , Hugh Tracey
  • Date: 1959
  • Subjects: Folk songs, Tswana , Tswana (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa South Africa Ramoutsa f-sa
  • Language: Tswana/Lete
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/165489 , vital:41249 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0112-10
  • Description: "Rainmaker, give us, give us. We come from the river of water." This rain song is sung from October to December and in times of drought, but also sung on festive or ceremonial occassions. Sung by both men and women. This song has a particularly long melolic line. Rain song.
  • Full Text: false
  • Date Issued: 1959

Bidera

- Mudzanani, Baranganani, Tracey, Hugh

Bidera

- Mudzanani, Baranganani, Tracey, Hugh

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