Tikaone mwana (Let us see the child)
- Young Chewa girls, Hugh Tracey
- Authors: Young Chewa girls , 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/10962/160547 , vital:40473 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR098-02
- Description: This dance is usually accompanied by drums and is done at parties, weddings and other happy occasions. The drums were not available at the time of recording. "Let us go and see a child at Kachere. The child who likes to move about. You young maid, go to sleep nicely, if you don't I will beat you. White people are clever because they have made aeroplanes." Kasodo girls dance, with clapping.
- Full Text: false
- Date Issued: 1958
- Authors: Young Chewa girls , 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/10962/160547 , vital:40473 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR098-02
- Description: This dance is usually accompanied by drums and is done at parties, weddings and other happy occasions. The drums were not available at the time of recording. "Let us go and see a child at Kachere. The child who likes to move about. You young maid, go to sleep nicely, if you don't I will beat you. White people are clever because they have made aeroplanes." Kasodo girls dance, with clapping.
- Full Text: false
- Date Issued: 1958
Nkhondo ya Amyachusa (The battalion of Nyakyusa)
- Young Chewa girls, Hugh Tracey
- Authors: Young Chewa girls , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Songs, Nyanja , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Ncheu f-mw
- Language: Nyanja/Chewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/160115 , vital:40386 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR096-16
- Description: The song refers to the visit, in 1953, to the Southern province of a battalion of Northern Rhodesian soildiers (Wemba, wrongly called Nyakyusa by the local people, they now know) which was sent to Nyasaland to restore order after rioting had broken out. "To Njolomole came the battalion of the Nyakyusa I am sorry, members." Cintala dance for girls with bass drums.
- Full Text: false
- Date Issued: 1958
- Authors: Young Chewa girls , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Songs, Nyanja , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Ncheu f-mw
- Language: Nyanja/Chewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/160115 , vital:40386 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR096-16
- Description: The song refers to the visit, in 1953, to the Southern province of a battalion of Northern Rhodesian soildiers (Wemba, wrongly called Nyakyusa by the local people, they now know) which was sent to Nyasaland to restore order after rioting had broken out. "To Njolomole came the battalion of the Nyakyusa I am sorry, members." Cintala dance for girls with bass drums.
- Full Text: false
- Date Issued: 1958
Luwanika
- Young Chewa girls, Hugh Tracey
- Authors: Young Chewa girls , 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/10962/160537 , vital:40471 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR098-01
- Description: Girls invite other girls of different villages to come and dance with them at the time of harvesting when they sing and dance the kasodo together. Luwanika, the name of the Northern Rhodesian Lozi paramount Chief is invoked, as a famous name but for no other specific reason, except that locally in Dedza, Luwanika has a ficitious reputation for making magic medicines according to these simple and distant people...a kind of wizard of oz - 'whiz of a wizzard!' "Luwanika, to dance you must have strong legs." Kasodo girls dance, with clapping.
- Full Text: false
- Date Issued: 1958
- Authors: Young Chewa girls , 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/10962/160537 , vital:40471 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR098-01
- Description: Girls invite other girls of different villages to come and dance with them at the time of harvesting when they sing and dance the kasodo together. Luwanika, the name of the Northern Rhodesian Lozi paramount Chief is invoked, as a famous name but for no other specific reason, except that locally in Dedza, Luwanika has a ficitious reputation for making magic medicines according to these simple and distant people...a kind of wizard of oz - 'whiz of a wizzard!' "Luwanika, to dance you must have strong legs." Kasodo girls dance, with clapping.
- Full Text: false
- Date Issued: 1958
Yelina
- Young Chewa girls, Hugh Tracey
- Authors: Young Chewa girls , 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/10962/160643 , vital:40488 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR098-09
- Description: "Yelina, what are those charms around your waist? You have risked the life of your babee and may loose him." A young woman has been seen weaving a string of wooden beads as a charm around her waist. So the other women sing, "what has she been doing to need such a charm? The local belief is that if either the husband or wife commits adultery while the child is being born or during the time the woman is pregnant, there will be a risk of the child being still born. The charm worn in this case was taken as a sign that the mother-to-be had misbehaved herself and was trying to guard against the consequences by wearing a string of wooden beads around her waist." Dance for M'Jili with clapping.
- Full Text: false
- Date Issued: 1958
- Authors: Young Chewa girls , 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/10962/160643 , vital:40488 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR098-09
- Description: "Yelina, what are those charms around your waist? You have risked the life of your babee and may loose him." A young woman has been seen weaving a string of wooden beads as a charm around her waist. So the other women sing, "what has she been doing to need such a charm? The local belief is that if either the husband or wife commits adultery while the child is being born or during the time the woman is pregnant, there will be a risk of the child being still born. The charm worn in this case was taken as a sign that the mother-to-be had misbehaved herself and was trying to guard against the consequences by wearing a string of wooden beads around her waist." Dance for M'Jili with clapping.
- Full Text: false
- Date Issued: 1958
Nyamata iwe (You boy)
- Young Chewa girls, Hugh Tracey
- Authors: Young Chewa girls , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Songs, Nyanja , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Ncheu f-mw
- Language: Nyanja/Chewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/160107 , vital:40384 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR096-15
- Description: The word 'Jaivi' has been picked up by the youngsters of this country as a new word for 'dancing' although the dance itself is not remotely connected in this case with Jive dancing. "You boy standing there, don't answer me now because I am busy dancing 'Jaivi'." Cintala dance for girls with bass drums.
- Full Text: false
- Date Issued: 1958
- Authors: Young Chewa girls , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Songs, Nyanja , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Ncheu f-mw
- Language: Nyanja/Chewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/160107 , vital:40384 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR096-15
- Description: The word 'Jaivi' has been picked up by the youngsters of this country as a new word for 'dancing' although the dance itself is not remotely connected in this case with Jive dancing. "You boy standing there, don't answer me now because I am busy dancing 'Jaivi'." Cintala dance for girls with bass drums.
- Full Text: false
- Date Issued: 1958
Nguwo yanga (My cloth)
- Young Chewa boys and girls, Hugh Tracey
- Authors: Young Chewa boys and girls , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Vidzumo, Kasungu District, Central Nyasaland f-mw
- Language: Nyanja, Chewa, Chichewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/153356 , vital:39441 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR076-06
- Description: Song among those sung by young girls and boys at night in their respective huts before going to sleep. It appears that there are many such songs of traditional usage. As they fall off to sleep the singing gets more fitful and finally fades away. "My own cloth - My poor cloth. You laugh at the holes in my cloth." Taken from the days when people only wore cloth, before Europeans came. Children's song.
- Full Text: false
- Date Issued: 1958
- Authors: Young Chewa boys and girls , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Vidzumo, Kasungu District, Central Nyasaland f-mw
- Language: Nyanja, Chewa, Chichewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/153356 , vital:39441 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR076-06
- Description: Song among those sung by young girls and boys at night in their respective huts before going to sleep. It appears that there are many such songs of traditional usage. As they fall off to sleep the singing gets more fitful and finally fades away. "My own cloth - My poor cloth. You laugh at the holes in my cloth." Taken from the days when people only wore cloth, before Europeans came. Children's song.
- Full Text: false
- Date Issued: 1958
Ede! Ede!
- Young Chewa boys and girls, Hugh Tracey
- Authors: Young Chewa boys and girls , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Vidzumo, Kasungu District, Central Nyasaland f-mw
- Language: Nyanja, Chewa, Chichewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/153347 , vital:39439 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR076-05
- Description: Song among those sung by young girls and boys at night in their respective huts before going to sleep. It appears that there are many such songs of traditional usage. As they fall off to sleep the singing gets more fitful and finally fades away. "You quarrel with me. If there is another love I will go away." Children's song.
- Full Text: false
- Date Issued: 1958
- Authors: Young Chewa boys and girls , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Vidzumo, Kasungu District, Central Nyasaland f-mw
- Language: Nyanja, Chewa, Chichewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/153347 , vital:39439 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR076-05
- Description: Song among those sung by young girls and boys at night in their respective huts before going to sleep. It appears that there are many such songs of traditional usage. As they fall off to sleep the singing gets more fitful and finally fades away. "You quarrel with me. If there is another love I will go away." Children's song.
- Full Text: false
- Date Issued: 1958
Akanji gele maleza (Go and get a razor)
- Young Chewa boys (Under 20 years), Hugh Tracey
- Authors: Young Chewa boys (Under 20 years) , 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/10962/156923 , vital:40068 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR092-13
- Description: When a man dies they shave his head, hence the call for a razor when the moment of death seems near. "Go bring a razor. My father is dying and he he is crying too much today." The Nudewa drum was cylindrical with a rectangular hole cue in the side, with three feet. The Kachisi drum was conical, open ended. Ilala dance with two drums (Mudewa and Kachisi).
- Full Text: false
- Date Issued: 1958
- Authors: Young Chewa boys (Under 20 years) , 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/10962/156923 , vital:40068 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR092-13
- Description: When a man dies they shave his head, hence the call for a razor when the moment of death seems near. "Go bring a razor. My father is dying and he he is crying too much today." The Nudewa drum was cylindrical with a rectangular hole cue in the side, with three feet. The Kachisi drum was conical, open ended. Ilala dance with two drums (Mudewa and Kachisi).
- Full Text: false
- Date Issued: 1958
Awelemuwo ee dandaula (Awelemuwo worries to much)
- Young Chewa boys (Under 20 years), Hugh Tracey
- Authors: Young Chewa boys (Under 20 years) , 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/10962/156914 , vital:40066 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR092-12
- Description: The Ilala dance started, they say in 1957 in the Fort Johnstone district. It is performed by youth standing in rows or circles and shaking their shoulders forwards and backwards and thrusting out their chins in time with syncopation of the Mudewa drums. This action requires great suppleness of the neck and upper spine to perform effectively. The movement is distinctive to Ilala and is neither like the rippling of the Xhosa or the shaking of the Chopi dancers. Ilala dance with two drums (Mudewa and Kachisi).
- Full Text: false
- Date Issued: 1958
- Authors: Young Chewa boys (Under 20 years) , 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/10962/156914 , vital:40066 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR092-12
- Description: The Ilala dance started, they say in 1957 in the Fort Johnstone district. It is performed by youth standing in rows or circles and shaking their shoulders forwards and backwards and thrusting out their chins in time with syncopation of the Mudewa drums. This action requires great suppleness of the neck and upper spine to perform effectively. The movement is distinctive to Ilala and is neither like the rippling of the Xhosa or the shaking of the Chopi dancers. Ilala dance with two drums (Mudewa and Kachisi).
- Full Text: false
- Date Issued: 1958
Kwende kwende ku mpilipili (Go, go to Mpilipili)
- Young Chewa boys (Under 20 years), Hugh Tracey
- Authors: Young Chewa boys (Under 20 years) , 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/10962/156894 , vital:40063 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR092-11
- Description: A strange dance in which the dancers move their necks forward and backward like a chicken walking. The sung music is not easily followed at first until the drums between them simplify the ensemble with their clear crossed rhythms, the one (Kachisi) maintaining the ground rhythm. "Go, go to Mpili where there is an affair starting up between Duri and Diki." Ilala dance with two drums (Mudewa and Kachisi).
- Full Text: false
- Date Issued: 1958
- Authors: Young Chewa boys (Under 20 years) , 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/10962/156894 , vital:40063 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR092-11
- Description: A strange dance in which the dancers move their necks forward and backward like a chicken walking. The sung music is not easily followed at first until the drums between them simplify the ensemble with their clear crossed rhythms, the one (Kachisi) maintaining the ground rhythm. "Go, go to Mpili where there is an affair starting up between Duri and Diki." Ilala dance with two drums (Mudewa and Kachisi).
- Full Text: false
- Date Issued: 1958
A) Kazima (Wait for me) B) I-e-e Gumbwa Gumbwa (How alike things are) C) Mee Mbuzi Mee (My Shephard) D) Amanu (Temper, temper)
- Young boys and girls, Hugh Tracey
- Authors: Young boys and girls , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Vidzumo, Kasungu, Central Nyasaland f-mw
- Language: Nyanja, Chewa, Chichewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/153320 , vital:39435 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR076-02
- Description: Sung by boys and girls in their separate sleeping huts before falling asleep. Verses such as these are the heritage of most African tribes. a) "Kazima, wait for me, please wait for me. There is some meat on the roof. (I have something to tell you). There is something on the path. There is meat on the roof. b) "I-i-i! How alike things are!. The people here are clever. They visit secretly, so... The meat has gone away. With whom shall I walk? The story is told, so... To whom shall I walk?" c) "My shephard is dead, he striped and fell. Oh dear, oh dear. The goat cries 'me-e-e!" d) "Where has the mother gone? Where is she? She has gone to Malambo. What has she gone for? She has gone to buy millet. What will she do with it? She will make beer. (etc.) Verses are made up as they go along. 4 Children's verses.
- Full Text: false
- Date Issued: 1958
- Authors: Young boys and girls , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Vidzumo, Kasungu, Central Nyasaland f-mw
- Language: Nyanja, Chewa, Chichewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/153320 , vital:39435 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR076-02
- Description: Sung by boys and girls in their separate sleeping huts before falling asleep. Verses such as these are the heritage of most African tribes. a) "Kazima, wait for me, please wait for me. There is some meat on the roof. (I have something to tell you). There is something on the path. There is meat on the roof. b) "I-i-i! How alike things are!. The people here are clever. They visit secretly, so... The meat has gone away. With whom shall I walk? The story is told, so... To whom shall I walk?" c) "My shephard is dead, he striped and fell. Oh dear, oh dear. The goat cries 'me-e-e!" d) "Where has the mother gone? Where is she? She has gone to Malambo. What has she gone for? She has gone to buy millet. What will she do with it? She will make beer. (etc.) Verses are made up as they go along. 4 Children's verses.
- Full Text: false
- Date Issued: 1958
NaBanda naPhiri (Banda and Phiri)
- Young boys and girls, Hugh Tracey
- Authors: Young boys and girls , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Arts, Malawi , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Chikwawa f-rh
- Language: Nyanja/Mang'anja
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/156063 , vital:39947 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR089-07
- Description: 'Banda and Phiri, I started calling you long ago now you are left behind. A good example of Mang'anja clapping. The language spoken by these Chikunda emigrants into this region from the Zambezi valley near Tete is much mixed up with the local Mang'anja. Njole dance with clapping.
- Full Text: false
- Date Issued: 1958
- Authors: Young boys and girls , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Arts, Malawi , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Chikwawa f-rh
- Language: Nyanja/Mang'anja
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/156063 , vital:39947 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR089-07
- Description: 'Banda and Phiri, I started calling you long ago now you are left behind. A good example of Mang'anja clapping. The language spoken by these Chikunda emigrants into this region from the Zambezi valley near Tete is much mixed up with the local Mang'anja. Njole dance with clapping.
- Full Text: false
- Date Issued: 1958
Amandi phikila kholowa (He cooked me sweet potatoe leaves)
- Young boys and girls, Hugh Tracey
- Authors: Young boys and girls , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Songs, Nyanja , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Ncheu f-mw
- Language: Nyanja/Chewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/160098 , vital:40383 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR096-14
- Description: Sweet potatoe leaves are frequently used with monkey nuts as a dish in this region, it is said. There was once a man who went to visit a friend who had many fowls. Now expecting that his friend would kill a fowl and cook it for him, he was very disappointed as his friend only cooked sweet potatoe leaves. When he went back home he began to complain saying he would never forget the meanness of his friend in refusing him a fowl. Nthano story for clapping.
- Full Text: false
- Date Issued: 1958
- Authors: Young boys and girls , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Songs, Nyanja , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Ncheu f-mw
- Language: Nyanja/Chewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/160098 , vital:40383 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR096-14
- Description: Sweet potatoe leaves are frequently used with monkey nuts as a dish in this region, it is said. There was once a man who went to visit a friend who had many fowls. Now expecting that his friend would kill a fowl and cook it for him, he was very disappointed as his friend only cooked sweet potatoe leaves. When he went back home he began to complain saying he would never forget the meanness of his friend in refusing him a fowl. Nthano story for clapping.
- Full Text: false
- Date Issued: 1958
Yizane Mbiza (Bring the pot)
- Authors: Young boys , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk music--South Africa , Field recordings , Xhosa (African people) , Africa South Africa Peddie f-sa
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/150660 , vital:38994 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR060-12
- Description: This Mbayizelo or Impezu dance is not performed for any special occasion but just for fun. One young boy plays the repeated melody or the mouth organ, while the others do a kind of prancing dance while making a rhythmic roaring noise in their throats. Mbayizelo dance song, with mouth organ (harmonica).
- Full Text: false
- Date Issued: 1957
- Authors: Young boys , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk music--South Africa , Field recordings , Xhosa (African people) , Africa South Africa Peddie f-sa
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/150660 , vital:38994 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR060-12
- Description: This Mbayizelo or Impezu dance is not performed for any special occasion but just for fun. One young boy plays the repeated melody or the mouth organ, while the others do a kind of prancing dance while making a rhythmic roaring noise in their throats. Mbayizelo dance song, with mouth organ (harmonica).
- Full Text: false
- Date Issued: 1957
Badazi Bomthandazo (Christian women)
- Authors: Young boys , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk music--South Africa , Field recordings , Xhosa (African people) , Africa South Africa Peddie f-sa
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/150668 , vital:38995 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR060-13
- Description: This Mbayizelo or Impezu dance is not performed for any special occasion but just for fun. One young boy plays the repeated melody or the mouth organ, while the others do a kind of prancing dance while making a rhythmic roaring noise in their throats. Mbayizelo dance song, with mouth organ (harmonica).
- Full Text: false
- Date Issued: 1957
- Authors: Young boys , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk music--South Africa , Field recordings , Xhosa (African people) , Africa South Africa Peddie f-sa
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/150668 , vital:38995 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR060-13
- Description: This Mbayizelo or Impezu dance is not performed for any special occasion but just for fun. One young boy plays the repeated melody or the mouth organ, while the others do a kind of prancing dance while making a rhythmic roaring noise in their throats. Mbayizelo dance song, with mouth organ (harmonica).
- Full Text: false
- Date Issued: 1957
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
- 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
- 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
Zali mbogo zali nkanga
- Yosamu Kanagwa and Toro men, Hugh Tracey
- Authors: Yosamu Kanagwa and Toro men , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kamukuzi f-ug
- Language: Nyoro , Nyankole
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/170272 , vital:41876 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0135-07
- Description: This praise, which both begins and ends with song, are frequently recited by men at parties. The subject of their adulation may be their host, their cattle or any subject gratifying their senses. Adulation of elders is part of the sycophantic social system common to many tribes and especially cattle owners. The practise of interspersing spoken praises between song is also found among the Sotho of Basutoland. The word Engabo means literally a brave man and these praises were originally intended to praise fighting men. Nowadays woth no fighting to be done the praises have been extended to any gratification and particularly of the 'Pombe' banana beer. Engabo praise, with conical drum. laced, single, played with hands and clapping.
- Full Text: false
- Date Issued: 1950
- Authors: Yosamu Kanagwa and Toro men , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kamukuzi f-ug
- Language: Nyoro , Nyankole
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/170272 , vital:41876 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0135-07
- Description: This praise, which both begins and ends with song, are frequently recited by men at parties. The subject of their adulation may be their host, their cattle or any subject gratifying their senses. Adulation of elders is part of the sycophantic social system common to many tribes and especially cattle owners. The practise of interspersing spoken praises between song is also found among the Sotho of Basutoland. The word Engabo means literally a brave man and these praises were originally intended to praise fighting men. Nowadays woth no fighting to be done the praises have been extended to any gratification and particularly of the 'Pombe' banana beer. Engabo praise, with conical drum. laced, single, played with hands and clapping.
- Full Text: false
- Date Issued: 1950
Obalemege
- Yosamu Kanagwa and Toro men, Hugh Tracey
- Authors: Yosamu Kanagwa and Toro men , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kamukuzi f-ug
- Language: Nyoro , Nyankole
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/170263 , vital:41875 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0135-06
- Description: This praise, which both begins and ends with song, are frequently recited by men at parties. The subject of their adulation may be their host, their cattle or any subject gratifying their senses. Adulation of elders is part of the sycophantic social system common to many tribes and especially cattle owners. The practise of interspersing spoken praises between song is also found among the Sotho of Basutoland. The word Engabo means literally a brave man and these praises were originally intended to praise fighting men. Nowadays woth no fighting to be done the praises have been extended to any gratification and particularly of the 'Pombe' banana beer. Engabo praise, with conical drum. laced, single, played with hands and clapping.
- Full Text: false
- Date Issued: 1950
- Authors: Yosamu Kanagwa and Toro men , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kamukuzi f-ug
- Language: Nyoro , Nyankole
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/170263 , vital:41875 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0135-06
- Description: This praise, which both begins and ends with song, are frequently recited by men at parties. The subject of their adulation may be their host, their cattle or any subject gratifying their senses. Adulation of elders is part of the sycophantic social system common to many tribes and especially cattle owners. The practise of interspersing spoken praises between song is also found among the Sotho of Basutoland. The word Engabo means literally a brave man and these praises were originally intended to praise fighting men. Nowadays woth no fighting to be done the praises have been extended to any gratification and particularly of the 'Pombe' banana beer. Engabo praise, with conical drum. laced, single, played with hands and clapping.
- Full Text: false
- Date Issued: 1950
Rukidi
- Yohana Nyakayonga, and Ntimbo Royal drummers, Hugh Tracey
- Authors: Yohana Nyakayonga, and Ntimbo Royal drummers , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nyoro (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kikali f-ug
- Language: Nyoro
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/169693 , vital:41789 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0132-10
- Description: The greater African chiefs would, in the old days, always have their court musicians to perform special functions, one of which was to play early in the morning to waken the chief's household. This duty was performed in the past by the Ntimbo drummers of the Mukama of Bunyoro. "Our Mukama who speaks with the clouds the most learned and wise Mukama, who has been to England." Ntimbo praise song with four Ntimbo Goblet drums, pinned, open, ling stem and small foot. For holding under the arm (not for standing).
- Full Text: false
- Date Issued: 1950
- Authors: Yohana Nyakayonga, and Ntimbo Royal drummers , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nyoro (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kikali f-ug
- Language: Nyoro
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/169693 , vital:41789 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0132-10
- Description: The greater African chiefs would, in the old days, always have their court musicians to perform special functions, one of which was to play early in the morning to waken the chief's household. This duty was performed in the past by the Ntimbo drummers of the Mukama of Bunyoro. "Our Mukama who speaks with the clouds the most learned and wise Mukama, who has been to England." Ntimbo praise song with four Ntimbo Goblet drums, pinned, open, ling stem and small foot. For holding under the arm (not for standing).
- Full Text: false
- Date Issued: 1950