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Shereketa msango

- Zhou, Manyoni and Shawa, Simoni Mashoko, Tracey, Hugh

  • Authors: Zhou, Manyoni and Shawa, Simoni Mashoko , Tracey, Hugh
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Zimbabwe , Shona (African people) , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Chilimanzi f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/181502 , vital:43740 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR175-08
  • Description: The ritual connected with this Mazungu Shawi calls for a Red hat, and white, red and black cloth. You drink blood and white meal and wear Ndoro beads. In the hand you must hold a Gano, a cross. This 'Soul' appears to be associated with the earliest white men and the Catholic rutual of the sixteenth and seventeenth centuries when it was first introduced to their part of South eastern Africa. Mazungu was the name first given to the early Portuguese and later to all white men. "When you walk on the path, carry your child on the side, do not leave him on your back, there may be something behind you." Song for the Mazungu with 2 Njari Mbira, one with 33 notes and one with 31.
  • Full Text: false
  • Date Issued: 1950

Wabi = The thieves

- Zhou, Manyoni and Shawa, Simoni Mashoko, Tracey, Hugh

Mandowa

- Zhanke Masingi, Hugh Tracey

Ngoma ya kare II

- Zhanke Masingi, Hugh Tracey

  • Authors: Zhanke Masingi , Hugh Tracey
  • Date: 1954
  • Subjects: Folk music--Africa , Folk music--Zimbabwe , Folk songs, Ndau , Ndau (African people) , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Makulane f-rh
  • Language: Ndau
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/181816 , vital:43771 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR176-14
  • Description: The Mbira is not played from the dance itself, these two tunes being taken from the melodies used by the dancers. The tumbling dance of these Ndau people is very popular at the mines of Johannesburg. The tuning of the Mbira was:- 368, 328, 288, 252, 216, 202, 184 v.s. Dance tune for Mandowa tumbling dance with Mbira dza WaNdau
  • Full Text: false
  • Date Issued: 1954

Ngoma ya kare I

- Zhanke Masingi, Hugh Tracey

  • Authors: Zhanke Masingi , Hugh Tracey
  • Date: 1954
  • Subjects: Folk music--Africa , Folk music--Zimbabwe , Folk songs, Ndau , Ndau (African people) , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Makulane f-rh
  • Language: Ndau
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/181807 , vital:43770 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR176-13
  • Description: The Mbira is not played from the dance itself, these two tunes being taken from the melodies used by the dancers. The tumbling dance of these Ndau people is very popular at the mines of Johannesburg. The tuning of the Mbira was:- 368, 328, 288, 252, 216, 202, 184 v.s. Dance tune for Mandowa tumbling dance with Mbira dza WaNdau
  • Full Text: false
  • Date Issued: 1954

Andisaguta = I am not full

- Zazi, Tracey, Hugh

Were

- Zaka Shawa, Hugh Tracey

  • Authors: Zaka Shawa , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Zaka f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180372 , vital:43357 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-05
  • Description: The Songano Souls (Mashawi) are the guardians of the parental instinct in both men and women. They are said to be the most important of all the souls. They represent the affection for children on the part of both parents. The traditional instrument with which to honour the Masongano souls in this part of panpipes of which there are very few left. The player, a very old man holds the panpipes in one hand and a gourd rattle in the other. This brief recording of less than half a minute's duration may be one of the best echoes of a faith which believed in the virtue of the sound of the panpipes as a devotional exercise. Tune for the Songano Mashawi with Mikwati Wenyere (Pan pipes) and Hosho (rattke).
  • Full Text: false
  • Date Issued: 1949

Ririka-ririka rerera-ririka (When I die what shall I leave behind)

- Young Tonga women, Hugh Tracey

Ai-ye! Nzara yakabora (Ai-ye! Famine has come)

- Young Tonga men and girls, Hugh Tracey

Tsuro Wa siye mwana (The rabbit has left its child)

- Young Tonga men and girls, Hugh Tracey

Kore kore

- Younf Tonga men and women, Hugh Tracey

  • Authors: Younf Tonga men and women , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Sena (African people) , Tonga (Zambezi people) , Folk music , Africa Zimbabwe Mtoko, Southern Rhodesia f-rh
  • Language: Tonga/Sena
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179190 , vital:39860 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR085-04
  • Description: The four drums used were 1) Mutumba, an open conical drum 37" tall, 11" membrane; 2) Jenje, an open cylindrical drum 14" tall on three legs with 10" head; 3) Miningo karipi-karipi, another conical open drum 25' tall with 9 and 4 quarter head; and a small closed drum, Usindi, 11" tall with 7 and a half head, on a three legged pedestal. The player of the two drums, Mutumba and Jenje, used his right heel to raise and lower the pitch of the Jenje as it lay on the ground beside the longer Mutumba, playing only with his hands. The other two players used sticks. The reeds were imported from the Salisbury district as no such reed grows in this district, they say, except in the Mazoe river nine miles away which was not so good as these. Four sets of end blown flutes (--11,325--). (1) 3 tied together. Katero, pitch 784, 744 and 680 vs (4 and a half" - 5") (2) 3 tied together. Shauriro, 680, 600, 552 vs (5 and a quarter , 6 and a quarter) (3) 2 tied together. Dendera, 504 and 448 vs (7", 7 and a half") (4) 2 tied together. Madobi, 416, 384 vs. (8 and a half, 8 and 3 quarters). Gororambe dance with end blown pipes, drums and rattles.
  • Full Text: false
  • Date Issued: 1958

Wamwira mangarangara (If you drink too quickly you get yourself drunk)

- Younf Tonga men and women, Hugh Tracey

  • Authors: Younf Tonga men and women , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Sena (African people) , Tonga (Zambezi people) , Folk music , Africa Zimbabwe Mtoko, Southern Rhodesia f-rh
  • Language: Tonga/Sena
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179094 , vital:39859 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR085-03
  • Description: The four drums used were 1) Mutumba, an open conical drum 37" tall, 11" membrane; 2) Jenje, an open cylindrical drum 14" tall on three legs with 10" head; 3) Miningo karipi-karipi, another conical open drum 25' tall with 9 and 4 quarter head; and a small closed drum, Usindi, 11" tall with 7 and a half head, on a three legged pedestal. The player of the two drums, Mutumba and Jenje, used his right heel to raise and lower the pitch of the Jenje as it lay on the ground beside the longer Mutumba, playing only with his hands. The other two players used sticks. The reeds were imported from the Salisbury district as no such reed grows in this district, they say, except in the Mazoe river nine miles away which was not so good as these. Four sets of end blown flutes (--11,325--). (1) 3 tied together. Katero, pitch 784, 744 and 680 vs (4 and a half" - 5") (2) 3 tied together. Shauriro, 680, 600, 552 vs (5 and a quarter , 6 and a quarter) (3) 2 tied together. Dendera, 504 and 448 vs (7", 7 and a half") (4) 2 tied together. Madobi, 416, 384 vs. (8 and a half, 8 and 3 quarters). Gororambe dance with end blown pipes, drums and rattles.
  • Full Text: false
  • Date Issued: 1958

Chaminuka teera wamwe = Chaminuka follows others

- Wanyamande, Manyoni, Tracey, Hugh

  • Authors: Wanyamande, Manyoni , Tracey, Hugh
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Fort Victoria f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180241 , vital:43341 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR172-13
  • Description: Chaminuka is the name given to a whole line of religious prophets who for many generations led the spiritual life and thoughts of the Karanga people. One of the Chaminuka prophets is said to have smitten the waters of the Zambezi so that the river parted. The Karanga people came over dry foot. His soul, they say, first flew across the river in the form of a dove. Towards the end of the song, the singer breaks into the local patois, representing a conversation between him and a 'Mujoni'. a policeman on a horse. Humorous song with Njari (Mbira).
  • Full Text: false
  • Date Issued: 1949

Gombahari murume = Gombahari, the jealous husband

- Wanyamande, Manyoni, Hugh Tracey

Mbiriwiri ya Mondoro

- Wanyamande, Manyoni, Tracey, Hugh

  • Authors: Wanyamande, Manyoni , Tracey, Hugh
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Fort Victoria f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180222 , vital:43334 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR172-11
  • Description: The name of this tune 'Mbiriwiri' has been associated with the playing of Mbira type instruments from time immemorial. In this case it is also connected with the spirit concept of the Mondoro or Lion spirit. The singer uses several quotations from older songs such as "Regai ndi baiwa ne banga chena, kufa kwandida." This is to be the prophet Chaminuka's last words when he was surrounded by Ndebele soilders who had come to kill him. They could not harm him and he died by being pierced in the armpit with a sharp knife held by a small boy. "Let me be stabbed by a bright knife, the death of my desiring." Song for Mashawi souls with Njari (Mbira).
  • Full Text: false
  • Date Issued: 1949

Rungano

- Wambai, Hugh Tracey

Jerusarima (Jerusalem)

- Wambai, Hugh Tracey

  • Authors: Wambai , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Karanga (African people) , Folk songs, Shona , Folk music , Africa Zimbabwe Chibi District, Southern Rhodesia f-rh
  • Language: Shona, Karanga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/154540 , vital:39744 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR082-06
  • Description: The name of the this tune 'Jerusarima' is an adaptation of 'Jerusalem'. The title was given originally to a new style of dancing started by pupils in the schools in the early 1920's or even earlier. The dance is no longer popular but several of the Jerusarima melodies survive as adaptations on various instruments. Self delectative song with Chipendani bow.
  • Full Text: false
  • Date Issued: 1958

Jabulani

- unknown, Hugh Tracey

Tiende Serukwe

- unknown, Hugh Tracey

Amasewe

- unknown, Hugh Tracey

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