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Chitengi

Atu

Siyemboka

  • Authors: Balisa Ita Milopa , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Mbunda (African people)--Zambia , Luvale (African people) , Luchazi (African people) , Chokwe (African people) , Folk songs, Chokwe , Field recordings , Africa, Sub-Saharan , Africa Zambia Mongu f-za
  • Language: Mbunda , Subiya , Luvale , Luchazi , Chokwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/184078 , vital:44167 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR184-05
  • Description: This is a dance peformed at feasts of rejoicing such as the majority of a man on taking over from his dead father, or at the maturity of a girl. The recording was made at the Museum at Livingstone where the performers were engaged as full time musicians to play for the museum visitors. (See also TR67-10). The 'slit drum' was cracked and did not emit the usual clear tone of these gongs. The order of appearance od each instrument is as follows:- The tall conical drum starts: then at 10 seconds the slit drum or gong; at 23 seconds the xylophone; at 37 seconds the friction drum. At the end of the recording at 2m. 37 seconds, the friction drum plays alone. Siyemboka dance with Kajakiri conical drum, Singubu rectangular skit drum, Namalwa friction drum and Silimba xylophone
  • Full Text: false
  • Date Issued: 1957

Mariana, Mariana

Masaji

Zhikita (The girdle)

O Mama Lina, kuvimba mwaro (Mama Lina, let's sing)

Mapewu wose wanalumuka mahando

Sole, maninga ndaba

Kamusombo wayaya (The tree)

  • Authors: Group of 6 Luvale men , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Luvale (African people) , Folk music , Folk dance music--Angola , Africa Angola Dilolo f-ao
  • Language: Luvale/Chokwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/137286 , vital:37506 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR036-14
  • Description: "There was a certain a certain woman sitting under a tree who said that ever if her husband chased her away she could still take shelter beneath the tree." It looks as if the woman had the better of the affair in the end. The style of singing, so typically Luvale, appears to be most casual and impromptu were it not for the clear understanding between the performers. Kukina and Wangoma dance song
  • Full Text: false
  • Date Issued: 1957

E mama pilumuna mbundayobe (Turn round, Mama, or face me so that we can dance together

  • Authors: Group of 6 Luvale men , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Luvale (African people) , Folk music , Folk dance music--Angola , Africa Angola Dilolo f-ao
  • Language: Luvale/Chokwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/137274 , vital:37505 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR036-13
  • Description: The leader of this group of singers had a remarkable face, deeply chiselled features which gave him a stricking masklike appearence - in fact, a face which made it possible to appreciate the veracity of the art of mask-carving in their home region, surrounding the head waters of both the Zambezi and the Kasai rivers. Kukina and Wangoma dance song.
  • Full Text: false
  • Date Issued: 1957

Twaliwananga na Joni Meka (We met with Joni Meka)

  • Authors: Group of 7 Luvale women and 12 men , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Luvale (African people) , Folk music , Folk music--Zimbabwe , Africa Zimbabwe Chavuma f-rh
  • Language: Luvale/Chokwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/137265 , vital:37504 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR036-12
  • Description: "Joni Meka promised to marry Mary-and married her." The bottle rhythm so common in south central Africa opens this song set off against a cross rhythm on the piece of metal. The organum singing of the chorus, in antiphony with the leader is unmistakeably Luvale in structure and tone. It is not a kind of music which tribes other than Luvale either appreciate or imitates. Gachacha dance song with struck bottle, 2 pieces of metal and 1 small bell. (bicycle).
  • Full Text: false
  • Date Issued: 1957

Samukonga lunga lyambala lya Meli (Samukonga is the husband of Mary)

  • Authors: Group of 7 Luvale women and 12 men , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Luvale (African people) , Folk music , Folk music--Zimbabwe , Africa Zimbabwe Chavuma f-rh
  • Language: Luvale/Chokwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/137239 , vital:37503 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR036-11
  • Description: This song with long opening recitative by the leader and the repeated use of the word "Mama", make it an unmistakable example of Luvale singing. The percussive accompaniment is interesting for its complexity and the fact that it seems to bear small direct relationship to the melody produced by the voices but appears to act as a rhythmic and complex background for the singers. Gachacha dance song with struck bottle, 2 pieces of metal and 1 small bell. (bicycle).
  • Full Text: false
  • Date Issued: 1957

O-oye Mama Jojinia

Kambula

  • Authors: Group of Luvale men , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Folk songs, Chokwe , Chokwe (African people) , Luvale (African people) , Field recordings , Africa, Sub-Saharan , Africa Angola Kalwena f-ao
  • Language: Chokwe , Luvale
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/183430 , vital:43989 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR180-11
  • Description: Chikele Kele is the alternative name for the Katchatcha mbira. The seven reeds are tuned with paste or wax beneath their tips. The rhythm set by the struck metal is the common southern Congo rhythm. // 1, 2, 3, 1/2, 1, 2, 1/2 // The Katchatcha keeps up a strange chatter of little or no meaning in the background. Katchatcha dance, with Katchatcha mbira with bamboo reeds resonated on top of metal petrol drum and struck metal
  • Full Text: false
  • Date Issued: 1952

Banana bana Kayata

  • Authors: Group of Luvale men , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Mbunda (African people)--Zambia , Luvale (African people) , Luchazi (African people) , Chokwe (African people) , Folk songs, Chokwe , Field recordings , Africa, Sub-Saharan , Africa Zambia Kalawo f-za
  • Language: Mbunda , Subiya , Luvale , Luchazi , Chokwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/184162 , vital:44179 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR184-09
  • Description: The friction drum is a simple membrane drum with the lower end open. A stick is pierced through a hole in the centre of the membrane and hangs inside the body of the drum being suitably attached to the membrane by small cross pieces pierced through the stick itself. The player usually sits on the ground with the drum resting on his legs, the open end towards his body. Having moistered his hands (or sometimes a cloth) with water he sets the membrane in vibration by the friction of his hands pulling the stick downwards towards him. In this way a roaring sound is made and rhythms produced by alternating the stroke between the two hands. It is essential to keep the two hands wet, water having the same effect as resin on a violin bow. Drinking song with 1 Pwita friction drum and percussion
  • Full Text: false
  • Date Issued: 1957

Katchatcha

  • Authors: Group of Luvale men , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Folk songs, Chokwe , Chokwe (African people) , Luvale (African people) , Field recordings , Africa, Sub-Saharan , Africa Angola Kalwena f-ao
  • Language: Chokwe , Luvale
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/183453 , vital:43992 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR180-12
  • Description: Chikele Kele is the alternative name for the Katchatcha mbira. The seven reeds are tuned with paste or wax beneath their tips. The rhythm set by the struck metal is the common southern Congo rhythm. // 1, 2, 3, 1/2, 1, 2, 1/2 // The Katchatcha keeps up a strange chatter of little or no meaning in the background. Katchatcha dance, with Katchatcha mbira with bamboo reeds resonated on top of metal petrol drum and struck metal
  • Full Text: false
  • Date Issued: 1952

Sungule sungelelo, walings ngunya ngunya nawakweneweya

Tambuka nalikishi

  • Authors: Josiasi Yemba Mate , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Mbunda (African people)--Zambia , Luvale (African people) , Luchazi (African people) , Chokwe (African people) , Folk songs, Chokwe , Field recordings , Africa, Sub-Saharan , Africa Zambia Luanika f-za
  • Language: Mbunda , Subiya , Luvale , Luchazi , Chokwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/184027 , vital:44158 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR184-03
  • Description: This is a genuine African impression of the emotions surrounding a dance in masks rather than the music of the dance itself. A most interesting piece of music. Towards the end of the item, it would appear that he removes the mask to reveal his familiar self to his friends. It is not clear whether the performer Mate sings 'Tanga na likishi', 'Tamba', 'Tambwa', or 'Tambuka'. Barotseland is the furthest south of all the places where carved wooden masks are made. It is said to be a West African cultural intrusion. Further south only grass masks are sometimes used, but no carved ones. Topical song with Kathandi Mbira, fan with external resonator
  • Full Text: false
  • Date Issued: 1952

Sitima senda namoto

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