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Arap Kapero

Arap Kibaigong (The son of Kibaigong)

Arap chemonget

  • Authors: Kipkemo Arap Sitonik and Kepkoske Arap Chepkwony , Hugh Tracey
  • Date: 1950
  • Subjects: Kipsigis (African people) , Folk music--Kenya , Folk music , Field recordings , Africa, Sub-Saharan , Africa Kenya Kapkatet f-ke
  • Language: Kipsigis
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/176994 , vital:42779 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR164-13
  • Description: This lyre is strummed and fingered like the Bangwe zither of Nyasaland. The right hand strums the strings and the left mutes or opens the siz strings making it possible to play two or three chords on the open unmuted strings. The singer mentions by name his home village, places of common interest to his friends. The player flips the body of his lyre on the 2nd and 4th beats. In common with several African verse makers the singer sings in complets, repeating the second phrase and making it the first line of the next. Praise song with Chepkongo 6 string bowl lyre.
  • Full Text: false
  • Date Issued: 1950

Chepulon

Kulangula-ka

Sigilai

  • Authors: Kipsigis girls , Hugh Tracey
  • Date: 1950
  • Subjects: Kipsigis (African people) , Folk music--Kenya , Folk music , Field recordings , Africa, Sub-Saharan , Africa Kenya Kapkatet f-ke
  • Language: Kipsigis
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/177662 , vital:42844 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR165-13
  • Description: This song refers to the man Sigilai who first introduced the Chemonget, one of the Kipsigis lyres. They sing "who brought the Chemonget? Sigilai!" Children anywhere are usually poor subjects for recording and there are no exception. These two items are included to show how small Kipsigis girls perform Both songs show a possibility of school (foreign) influence. Topical song
  • Full Text: false
  • Date Issued: 1950

Sore cherono

  • Authors: Kipsigis girls , Hugh Tracey
  • Date: 1950
  • Subjects: Kipsigis (African people) , Folk music--Kenya , Folk music , Field recordings , Africa, Sub-Saharan , Africa Kenya Kapkatet f-ke
  • Language: Kipsigis
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/177683 , vital:42846 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR165-14
  • Description: This song "I go for Cherono" is about a woman who went to fetch a girl called Cherono and was met on the path. When asked what she was doing she replied "Sore cherono". This word Sore "I go for" sounds like the English word 'sorry' and now implies a double meaning, as the English word has slipped into the local language. The girls were doing a jerky little dance as they sang which is reflected in their singing. Children anywhere are usually poor subjects for recording and there are no exception. These two items are included to show how small Kipsigis girls perform Both songs show a possibility of school (foreign) influence. Topical song
  • Full Text: false
  • Date Issued: 1950

Katuiyo I

  • Authors: Kipterer Arap Kenik with Kipsigis me and girls , Hugh Tracey
  • Date: 1950
  • Subjects: Kipsigis (African people) , Folk music--Kenya , Folk music , Field recordings , Africa, Sub-Saharan , Africa Kenya Sotik f-ke
  • Language: Kipsigis
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/177772 , vital:42871 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR166-01
  • Description: A song sung on the same day and at the same place but with different leaders. The first version is unaccompanied by a Chepkongo lyre. Katuiyo was the name of the man who introduced this kind of dancing. His name also means a 'meeting place' and the lyric includes the names of various boys and girls who have met each other at the dance. This happy coincidence is made use of friends greeting each other at the dance. Dance song for men unaccompanied.
  • Full Text: false
  • Date Issued: 1950

Cheptim

Naiyioro

  • Authors: Kipterer Arap Kenik with Kipsigis men and girls , Hugh Tracey
  • Date: 1950
  • Subjects: Kipsigis (African people) , Folk music--Kenya , Folk music , Field recordings , Africa, Sub-Saharan , Africa Kenya Kapkatet f-ke
  • Language: Kipsigis
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/177790 , vital:42874 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR166-03
  • Description: The words of the song are largely meaningless, or of old poetic usage and do not lend themselves to translation but perform their useful fuction as vehicles of a dance tune. As it was raining hard at the time of recording we could not see the dance in action. The dance song was recorded under the thatched roof of a shed. Dance song for men and women with whistles.
  • Full Text: false
  • Date Issued: 1950

Sochoi

Iyongilo kalamitap kokoek (The Kikuyu's pen)

  • Authors: Kiptui Arap Moroko with Nandi men , Hugh Tracey
  • Date: 1950
  • Subjects: Mijikenda (African people) , Nandi (African people) , Folk music--Kenya , Folk music , Field recordings , Africa, Sub-Saharan , Africa Kenya Kapsabet f-ke
  • Language: Nandi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/176752 , vital:42747 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR163-11
  • Description: "Kikuyu's pen." The Moran is the attractive Nandi dance where they link arms in a circle and step sideways to the music while others enter the ring and leap like a coiled spring straight into the air. It requires few words to keep the rhythm going. The words in this case, they said, had little meaning referring possibly to pen weilded by a certain Kikuyu clerk. They rise steadily in pitch during the song. Moran dance song for men.
  • Full Text: false
  • Date Issued: 1950

Zamapembe sesiyandinda

Iyelele

Mwakumajangosha

  • Authors: Kitula Bini Kinongu with Sukuma men , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Sukuma (African people) , Folk songs, Sukuma , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Kesesa f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173336 , vital:42361 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR150-10
  • Description: "They have tried all day to mark his face, but failed. My child Kilumba is still too young." The cutting of cicatrices on the face is accompanied by songs such as these, and by festivities and dancing. There is a local breed of fowls which have no feathers on their necks and very red skin. The song refers to a certain diviner who used to smear his face and neck with red earth. The people of the village can be heard chatting and laughing during the song, and a bird can be heard in the background of the second song. Ucheyeki song for cutting cicatrices.
  • Full Text: false
  • Date Issued: 1950

Mwakumajangosha

  • Authors: Kitula Bini Kinongu with Sukuma men , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Sukuma (African people) , Folk songs, Sukuma , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Kesesa f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173351 , vital:42360 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR150-10
  • Description: "They have tried all day to mark his face, but failed. My child Kilumba is still too young." The cutting of cicatrices on the face is accompanied by songs such as these, and by festivities and dancing. There is a local breed of fowls which have no feathers on their necks and very red skin. The song refers to a certain diviner who used to smear his face and neck with red earth. The people of the village can be heard chatting and laughing during the song, and a bird can be heard in the background of the second song. Ucheyeki song for cutting cicatrices.
  • Full Text: false
  • Date Issued: 1950

Visimu vyangu vyotola

Marombogo

  • Authors: Komile Kaiyage with 5 Haya men , Hugh Tracey
  • Date: 1950
  • Subjects: Haya (African people) , Nyoro (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Bukoba f-tz
  • Language: Nyoro , Haya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172547 , vital:42217 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR146-07
  • Description: Another reflection upon the local rebellion by the women against the domination and virtual enslavement by their menfolk. This feminist movement has had the most surprising results. The song was used, they say, in the past after fighting, and sung in the presense of the chief. Enkoito dance song for men, with 5 conical laced drums played with sticks.
  • Full Text: false
  • Date Issued: 1950

Chibudo movement

  • Authors: Komukomu (Composer) , Hugh Tracey
  • Date: 1956
  • Subjects: Music--Mozambique , Folk music , Folk songs, Chopi , Africa Mozambique Zavala f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/133307 , vital:36962 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR011-07
  • Description: Movement from the Ngodo xylophone orchestral dance of Regulo Banguza with 15 xylophones and I rattle
  • Full Text: false
  • Date Issued: 1956

Pa kufwa bata nali mwaice (When my father died, I was still small

  • Authors: Kona Mofya , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Folk songs, Ambo (Zambia) , Africa Zambia Serenje f-za
  • Language: Lala
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/134766 , vital:37202 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0021-14
  • Description: "When my father died I was still small." He mentions that his father died in 1949. Personal lament with Kankowele fan-shaped mbira, with external resonator.
  • Full Text: false
  • Date Issued: 1957
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