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Udandani makulata

Ayalero makulata

Okulitanga mwene

Aliyale (Aliyale, the worthless wife)

  • Authors: Gatoma with two Chewa lads , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Songs, Nyanja , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Kotakota f-mw
  • Language: Nyanja/Chewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/160134 , vital:40389 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR096-18
  • Description: The story concerns a husband who was complaining about his wife that she was running about with other men. He questions his son about the matter and blames his unfaithful wife for several misfortunes which befell,him, such as a pot of paint falling on him and his children dying. " She has shaved off her hair to make herself beautiful." The Nkacece was at one time a dance at which everybody came well-dressed for the party. He infers that although his wife 'dolled' herself up to look nice, she was still worthless. Sketch with song and clapping.
  • Full Text: false
  • Date Issued: 1958

Aliyale

Bayathetha abantwana ndinendaba (Children are speaking because I have news)

  • Authors: Gcaleka boys and girls , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Folk music--South Africa , Field recordings , Xhosa (African people) , Folk music , Africa South Africa Idutywa f-sa
  • Language: Xhosa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/151224 , vital:39041 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR063-10
  • Description: The girl playing this mouth bow whistles out of the side of her mouth as well as resonating the notes in the usual manner. She used the open string and a stopped note, stopping it with her thumbnail and first finger. The use of this indigenious instrument and its style of music explains the ease with which Gcaleka people take to the small concertina. The harmonies produced in the mouth being on the true harmonic series makes the transition to the concertina a simple matter for simple tunes. Notes of the bow, 292 and 260. Mtshotsho dance for boys and girls with Ikinki mouth resonated musical bow.
  • Full Text: false
  • Date Issued: 1957

Mama ndaswelindawo ngendaba (Mother, I am short of accommodation on account of news)

  • Authors: Gcaleka boys and girls , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Folk music--South Africa , Field recordings , Xhosa (African people) , Folk music , Africa South Africa Idutywa f-sa
  • Language: Xhosa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/151219 , vital:39040 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR063-09
  • Description: The girl playing this mouth bow whistles out of the side of her mouth as well as resonating the notes in the usual manner. She used the open string and a stopped note, stopping it with her thumbnail and first finger. The use of this indigenious instrument and its style of music explains the ease with which Gcaleka people take to the small concertina. The harmonies produced in the mouth being on the true harmonic series makes the transition to the concertina a simple matter for simple tunes. Notes of the bow, 292 and 260. Mtshotsho dance for boys and girls with Ikinki mouth resonated musical bow.
  • Full Text: false
  • Date Issued: 1957

Umama litshipa (Mother is an absconder)

Amaseyibokwe athengwa ngemali eninzi (For a certain type of socks you pay dearly)

Bathi abafana ndisandindazana ((Young men call me a beauty)

Ndibolekeni ibayi ndembathe madoda (Please, lend me a blanket to cover myself)

Lita, tende ngewelo (Lita, let us go to the hut)

  • Authors: George Zongoloti , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Arts, Malawi , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Mpatsa, Port Herald f-rh
  • Language: Nyanja/Mang'anja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/155712 , vital:39908 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR087-05
  • Description: This song refers to the custom of young people's sex play which normally results in marriage. Lita was a young girl who was refusing to sleep with her young lover. Now she had a baby and the baby died, so her lover complained about his lost child. He said, "give me back my child, Fasanai and Thompson, so much have I paid to marry you and have a child. If I do not get a child, I shall go to Rhodesia, to Lilongwe, to Lourenco Marques ot to Johannesburg or Cape Town to get a child. Fasanai and Thompson, you must bring my baby back because it is you who killed my child." Topical song with Nthikwi drum.
  • Full Text: false
  • Date Issued: 1958

Nana, ndili kupita (Sister, I am going)

  • Authors: George Zongoloti , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Arts, Malawi , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Mpatsa, Port Herald f-rh
  • Language: Nyanja/Mang'anja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/155703 , vital:39907 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR087-04
  • Description: "Sister, I am going, keeping crocodiles, fish and everything there as you do! Do not play with young boys or girls. The small boy will kill you and might keep those things I told you about, rice, maize and flour which belong to you. So mind you do not play with them!" The singer keeps some magical objects such as crocodiles and fish with which to make her own magic. The singer warns his sister not to show the children her magical objects or she will be punished for it. Topicla song with Nthikwi drum.
  • Full Text: false
  • Date Issued: 1958

Ndachinyuka, Pitoria (I will say no more, Pitoria)

  • Authors: George Zongoloti and chorus of small girls , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Arts, Malawi , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Mpatsa, Port Herald f-rh
  • Language: Nyanja/Mang'anja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/155721 , vital:39909 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR087-06
  • Description: The two people mentioned in the song are imaginary and not actual people. "I will not say any more, Pitoria (sometimes pronounced Vitoria by the singers). For you have no teeth left. "Yes" she said, "but you Bitoni, when you come near you sound like Thomas, you make a noise like a motor car engine. When you laugh you make a noise like a maize mill." Pitoria was an old woman who was married to Bitoni. He told her she was now to old. Topical song with Nthikuri barrel drum.
  • Full Text: false
  • Date Issued: 1958

Zanse na Tengani afuna mapass (Everything at Tengani needs a pass)

  • Authors: George Zongoloti and small girls , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Arts, Malawi , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Mpatsa, Port Herald f-rh
  • Language: Nyanja/Mang'anja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/${Handle} , vital:39905 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR087-02
  • Description: The song is sung partly in Sena and partly in Mangyanja. The drummer sitting on the ground with his drum on his thighs moves the drum on and off his chest by raising and lowering the tips of his feet with heels on the ground. This has the necessary tonal effect when moving the drum half an inch or so only. The singer, George Zongoloti is singing about his troubles. If he wants to go to Southern Rhodesia he has to come Chief Tingami for a pass. If he wants to fish, another pass. Even to make a canoe, he needs a pass. Now he is going back to Portuguese territory over the border because there you can do what you like without a single pass, just what you like! Topical song with Nthikwi drum.
  • Full Text: false
  • Date Issued: 1958

Kolota ali kudwala (Kolota was sick)

  • Authors: George Zongoloti and small girls , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Arts, Malawi , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Mpatsa, Port Herald f-rh
  • Language: Nyanja/Mang'anja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/155694 , vital:39906 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR087-03
  • Description: The voice of the singer is strongly affected by the vibrations of the drum and its mirliton. He sings partly in Sena, partly Mang'anja. The singer, George Zongoloti is singing about his troubles. If he wants to go to Southern Rhodesia he has to come Chief Tingami for a pass. If he wants to fish, another pass. Even to make a canoe, he needs a pass. Now he is going back to Portuguese territory over the border because there you can do what you like without a single pass, just what you like! Topical song with Nthikwi drum.
  • Full Text: false
  • Date Issued: 1958

Wakazali Inhaminga (She has married at Inhaminga)

  • Authors: George Zongoloti and small girls , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Arts, Malawi , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Mpatsu, Port Herald District f-rh
  • Language: Nyanja/Mang'anja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/156027 , vital:39943 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR089-03
  • Description: Inhaminga is the village in Mozambique beyond the Zambezi river from this district about 100 miles away to the south and about half way to the port of Beira. The drum held horizontally between the knees, membrane facing outwards-mirliton upwards, the player sitting on the ground. By raising and lowering his legs slightly the drummer presses the open end of the drum on and off his chest. The lower notes are produced while the oriffice of the drum is off his chest. The drum which had a 7 inch membrane was 12 inches tall. The water-lizard skin was weighted with paste on the inner surface and was attached with wooden pins. Nthikwi dance with cylindrical, weighted drums and mirliton.
  • Full Text: false
  • Date Issued: 1958

Nzenzere, linde, linde (Wait, grasshopper, I want to take my bow)

Adaweta ng'ombe, kapolo uja (That slave herded the cattle)

  • Authors: Gezani Mwale , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Bimphi, Dowa, Central Nyasaland f-mw
  • Language: Nyanja, Chewa, Chichewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/153999 , vital:39552 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR079-05
  • Description: "He herded the cattle, that slave. He herded the cattle, father. The cattle, the cattle, the cattle, mother. He herded the cattle, that slave. They are in the kraal." Slavery was common place in this region until the end of the 19th century because the YAO, on behalf of the Arabs and themselves would capture the local CHEWA and make them slaves for sale or service. Self delectative song with Sansi (Mbira)
  • Full Text: false
  • Date Issued: 1958

Tiye tuluka mwanawe (Come, come out, child)

  • Authors: Gezani Mwale , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Bimphi, Dowa, Central Nyasaland f-mw
  • Language: Nyanja, Chewa, Chichewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/154037 , vital:39556 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR079-09
  • Description: "Come, come out you child. Come, come outside, that the people may see you. Don't you hear now? Why don't you come? If you were a bird you could have flown away. The year when my father died I did not wail. What must I do? What is it child? The fish eagle wailed, a bird of the heavens. He died at Cilanga. Come out child, there are people oustide." It is suggested that this song refers to a girl being shy after her initiation or 'coming out' into public life as a young woman. Self delectative song with Sansi (Mbira).
  • Full Text: false
  • Date Issued: 1958
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