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Godo (Bones)

- Esteri Shumba and 4 Karanga women, Hugh Tracey

Grahamstown: a socio-ecological study of a small South African Town

- Watts, Hilstan Lett

  • Authors: Watts, Hilstan Lett
  • Date: 1958
  • Subjects: Grahamstown (South Africa) -- Buildings , Grahamstown (South Africa) -- History , Grahamstown (South Africa) -- Social conditions , Grahamstown (South Africa) -- Economic conditions
  • Language: English
  • Type: Thesis , Doctoral , PhD
  • Identifier: vital:3386 , http://hdl.handle.net/10962/d1013424
  • Description: Little is known at present about the development, structure, and functions of small towns in the Union of South Africa, and there is a need to fill this gap in our knowledge. A study has been made of Grahamstown, a small South African town. This study is monographic and intensive in character, and heuristic in aim. Ad hoc hypotheses have been formulated on the basis of the findings of the study, and these must be tested by subsequent studies of other small towns. Grahamstown, the subject of the study, was chosen largely for reasons of convenience, and also because of its interesting development. It is suggested that in many ways the town is possibly a typical small town, but at this stage we cannot know if this is so. Only the white population of the town was investigated, as it was necessary to limit research to manageable proportions, and in addition several studies have already been made of the non-white populations of the town. The analysis has been described as socio-ecological, as basically the methodological approach used is an attempt to wed the methods of the urban demographer and the social ecologist. Time and space are used as the two co-ordinates for the analysis, so that both a social historical and an ecological-demographic analysis of the town have been made. The historical analysis of the development and functions of Grahamstown relies heavily on material collected from the early newspapers of the town. Grahamstown, once the most important town in the Eastern Cape Province, known as the ''Emporium" and ''Metropolis" of the Eastern Cape, and the most progressive town in the Colony, is to-day a small static town with, on the whole, relatively restricted influence. This fundamental change in the historical development of the town, hitherto unexplained, is the result of the changes in the socioecological make-up of the region around the town. Founded in 1812 as a strategic outpost on the frontier of the Colony, Grahamstown dominated a wide region; as the gateway to and the supply centre for, the frontier, the town flourished and reigned supreme. From the mid 19th Century onwards the region began to change to a developed one, with the frontier more and more inland. Grahamstown, no longer a strategic outpost in a frontier region, lost its dominant ecological position to Port Elizabeth, the natural supply base for, and gateway to, the new settled region. As one town among many in the new settled region, Grahamstown gradually lost many of its former functions, and began to stagnate. The town is to-day mainly known for its important educational function. This function, a relic from the days of the town's zenith, has saved the town from complete stagnation. The town is what it is to-day largely because of the socio-ecological regional influences which have operated on it since its foundation. To-day Grahamstown is located within the Port Elizabeth metropolitan district. The town is the centre of a wide variety of regional services of an ad hoc type, and the modal region served seems to be that settled by the 1820 Settlers - basically the town is mainly a supply centre for its surrounding rural areas. The demographic structure of the town reveals a static population. Growth of the white population has been practically static since about 1880, and the age structure is that of a stationary population. Particularly noticeable is the under-representation of the young working group in the population, and it is suggested that due to the lack of economic opportunities in the town, the young workers of the town, especially the unmarried males, migrate to larger urban areas to seek employment, and advancement. The sex-ratio of the population shows an excess of females, and this may be due to migration out of an excess of young males, and possibly migration in of older spinsters. Retired persons definitely migrate to the town to settle. The town, a predominantly English speaking one, has practically no industries, and so the population contains a majority of workers engaged in professional, administrative, and commercial activities. This stresses the service and supply functions of the town. The ecological analysis delineated various natural areas and zones in the town. The pattern approximates to patterns revealed by studies of American towns. Although the areas involved were relatively small, ecological differentiation was marked. The spatial distribution of demographic and other social phenomena was studied in detail. The results of the study have allowed several ad hoc hypotheses concerning the development, functions, and structures of small towns in South Africa to be formulated. These may be tested by subsequent studies, and so ultimately knowledge and theories about our small towns may be built up.
  • Full Text:
  • Date Issued: 1958

Gulu wangu (My dog)

- Chikaku and friend, Hugh Tracey

  • Authors: Chikaku and friend , 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, Nyasaland f-mw
  • Language: Nyanja, Chewa, Chichewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/153942 , vital:39539 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR078-14
  • Description: There was once a man who went hunting and caught a buck. He gave the liver and innards to his mother-in-law to cook. She not only cooked them but ate them all herself and tried to hide the fact from her son-in-law who sang to his dog. "Galu wanga, galu wanga n'kamanga. Wanimana matumbo apatsa mkomweni wa lero kamangeni galu." "My dog, my dog, I am going to tie my dog to a tree so that he never goes again to hunt in the bush." "They have not given me the innards, they have given the meat to another. Son-in-law " Go and tie your dog to a tree." Story and song with clapping.
  • Full Text: false
  • Date Issued: 1958

Gulugufe (The butterfly)

- S. R. Chitalo and De Ndirande Pitch Crooners, Hugh Tracey

Gunde (Gunde and the crocodile)

- Kezia Chilumpha and girls, Hugh Tracey

  • Authors: Kezia Chilumpha 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 Dedza f-mw
  • Language: Nyanja/Chewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/160251 , vital:40426 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR097-10
  • Description: "Gunde, yes, who is the man brave enough to take the 'wife' of the crocodile. There was once a certain woman who killed her only child and buried her outside the hut. After a while only the skelton remained and the rain fell and washed away the earth, exposing a leg. A crocodile nearby dug up all the bones joined them together and made another child out of them. "Who has done this" the woman cried. Now the child grew up with the crocodile and became a beautiful girl. So the mother sang. "Who is brave enough to take my daughter from the crocodile." No one in the village was brave enough so the crocodile kept his girl from himself. The mother continually came to the lake to sing for her daughter. One day the daughter heard her mother and as the crocodile was away she came out and went with her to the village. But the crocodile came and begged for the girl as he himself had brought her up and given her life. The mother could not refuse him and so the daughter went back to the lake and married the crocodile. Nthano story song.
  • Full Text: false
  • Date Issued: 1958

Halenu mina haleno (Here I am)

- Grup of 5 Shangaan men, Hugh Tracey

Hama dza warumi (The husband's relatives)

- Esteri Shumba and a group of Karanga men and women, Hugh Tracey

Handina mwana (I have no child)

- Pineas Hungwe, Hugh Tracey

  • Authors: Pineas Hungwe , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Karanga (African people) , Folk songs, Shona , Folk music , Africa Zimbabwe Fort Victoria, Southern Rhodesia f-rh
  • Language: Shona, Karanga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/154355 , vital:39651 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR081-11
  • Description: I have no child. But if you want to see a jackal go along the river bank and you will find a jackal there. Jackal, what killed my child? Jackal, will you be my child? The singer is blind and as with so many blind musicians he lets his fancy roam into poetry. Who and what the jackal might represent can only be conjecture. The lack of a child is a continual source of lamentation among many Africans. Lament with Chizambi musical bow.
  • Full Text: false
  • Date Issued: 1958

Harpephyllum caffrum - Kaffir plum

- Skead, C J (Cuthbert John)

Huwa lero (Huwa-today)

- 7 small boys, Hugh Tracey

  • Authors: 7 small 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 Kachere, Dedza, Nyasaland f-mw
  • Language: Nyanja, Chewa, Chichewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/153551 , vital:39477 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR077-03
  • Description: Herd boys are one of Africa's sources of original songs. The life of thee youngsters is full of the intimate knowledge of creatures and their ways. The discomforts of nature and the constant search for food or sweet things. A herd boy's education is second to none at that tender age and the pleasures are never forgotten. They use a well known proverb concerning their food, referring to their work for other people's cattle. "The one who cooks does not eat the food." "Huwa, somebody's child is your child, so do not be jealous of him." Herd boy song.
  • Full Text: false
  • Date Issued: 1958

I have done a film in the moon

- Nelson Siboza and the Montanas Brothers, Hugh Tracey

  • Authors: Nelson Siboza and the Montanas Brothers , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk songs, English , Folk music , Africa South Africa Mataffin, Nelspruit, Northern Transvaal f-sa
  • Language: English
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/153259 , vital:39425 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR075-11
  • Description: The English in which this song is couched is soemwhat original and unorthodox and so is the nostalgic and ambitious sentiment expressed with its reference to the make-believe world of the cinema-the most important single art from influence in the young lives of the performers. The citrus estate for whom they work and where they were born and brought up provides regular free cinema shows for their emplyoees. Party song with guitar.
  • Full Text: false
  • Date Issued: 1958

Ichinenjane lapa mkomponi (How do you get on in the compound)

- Elias Silaule and group of 7 Shangaan men, Hugh Tracey

  • Authors: Elias Silaule and group of 7 Shangaan men , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk songs, Tsonga , Ronga language , Tsonga (African people) , Folk music , Africa Mozambique Manica f-mz
  • Language: Ronga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/153091 , vital:39392 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR074-03
  • Description: The song is about working on the mine. A certain man with a bald head figures largely and one of the episodes in the song is about how the singers saw this bald head shinning like glass. So one of them hit it to seeif it would break, but it bled instead. This skilled form of unison singing must demand considerable rehearsal to get it perfect. It is usually gay, rhythmic and cleverly syncopated eben breaking into speech for dramatic effect as in this example. Kwaya topical song.
  • Full Text: false
  • Date Issued: 1958

Ife totumika (We have been invited)

- Four Tumbuka women, Hugh Tracey

Ilele dona rabavu

- Elias Silaule and group of 7 Shangaan men, Hugh Tracey

Imale yami idliwa yingwababane (My money has been eaten up by courtesans)

- Five young girls and group of women, Hugh Tracey

Imbube Ingonyama (You are the lion)

- Five girls from the Queen mother's village, Hugh Tracey

  • Authors: Five girls from the Queen mother's village , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Ewatini Lobamba, Mbabane f-sq
  • Language: Swati
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/152240 , vital:39237 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR068-08
  • Description: The song goes on:- "You are growing up to eat man and kill people." The song is sung by the brides' party when the king's daughter is going to be married. The song is addressed to the bridegroom. Lamkhwanse Tsemba was the leader. The prefix "la" indicates she is married. Four of these girls were married and wore their hair in the "Swati dome", the other had her hair painted and combed to form a circular cap. Wedding song.
  • Full Text: false
  • Date Issued: 1958

Imiziyabola kaNgwane (Kraals are being destroyed)

- Large group of Swazi men, Hugh Tracey

  • Authors: Large group of Swazi men , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Ewatini Entonjeni, Pigg's Peak f-sq
  • Language: Swati
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/152455 , vital:39280 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR069-07
  • Description: "Imiziyabola kangwane ngendzaba yempi Uyexa jaha wasalele kuyichitisi miti nasise nyakathwo." "Kraals are being destroyed in the country of the Ngwane (Swaziland), because of the war. You understand, you young men, you who stayed behind to destroy our villages while we were up north." (This seems to refer to a faction fight when the houses of the soilders up north were burnt while they were away). Umgubo group song.
  • Full Text: false
  • Date Issued: 1958

Incaba KaNcofula (We capyured the fortress of Ncofula)

- Group of young Swazi men and girls, Hugh Tracey

Incaba no Ncofula (Come out of your cave Ncofula)

- Large group of Swazi men, Hugh Tracey

Indlaliso (Games)

- Swazi men of the "Lindimbi" age group., Hugh Tracey

  • Authors: Swazi men of the "Lindimbi" age group. , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Entonjeni, Pigg's Peak f-sq
  • Language: Swati
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/152509 , vital:39303 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR070-01
  • Description: The singers belonged to the Lindimbi group or regiment. The chant is one of these performed in their barracks when dancing is over. It seems each regiment has many such chants. They accompany the military exercises or drill by which the young men used to keep themselves in fighting trim. The chant with its frequent changes of rhythms which mark the change to a different movement. This performance was very well done. The men were all between the ages of 18 and 30, and belonged to the age group Lindimbi. They perform a number of movements, leaping forward and backward, tuning into file, marching around in a circle and many other actions. It is a most attractive dance drill. ENTONJENI is the old royal kraal. The hill nearby is still used as a burial ground for some members of the royal lineage. Tiga chant to accompany military games or drill.
  • Full Text: false
  • Date Issued: 1958
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