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Satani kwa pilu tata

Sanusi

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

Samanyenga Kupembera (A feather dances around)

  • Authors: Andirea Sitole and Petros Simango , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Music--Mozambique , Africa Mozambique Nova Luzitania f-mz
  • Language: Ndau
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/136279 , vital:37357 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR029-11
  • Description: 'Samandenga' or 'Samanyemba' frequently occurs in S.Rhodesian songs. In this case Samandenga is a fine dancer, but in many other songs, his name indicates that there has been some deceit or falsehood spread abroad and may be associated with a lament. Who the original Samandenga may have been is not known. The singer relates his experiences, not necessarily related to each other. He mentions the women pounding grain accompanied by his Mbira. "Petros Mukumba has gone because he was despised. They agreed with me, but I did not reply." And so on. Self-delectative song with Mbira dza waNdau with 3 manuals and bell.
  • Full Text: false
  • Date Issued: 1957

Salimwendo (The one legged man)

  • Authors: Genye Chiwaula and Chewa lads , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Malawi , Songs, Nyanja , Nyanja (African people) , Songs, Chewa , Chewa (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Malawi Fort Mlangeni f-mw
  • Language: Nyanja/Chewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/160826 , vital:40550 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR099-08
  • Description: There was once a man with one leg called Salimwendo. Now Salimwendo was a thief. He married a young girl and he told the girl "I have plenty of goats, fowls and sheep at home and you will not be short of relish if you marry me." One day he went out stealing a goat, and he was chased by the owner who called out his friends "catch him-Salimwendo, catch hm". Salimwendo ran away to his owm house and quickly sang to his wife inside. "Open the door for me, quickly, your share will be the liver". So she opened the door and he was safe inside. But he did not give her her share. The next day Salimwendo went out to steal a fowl. He was chased again, but he was not quick enough. The owner caught him outside his own door as his wife had refused to open the door. Salimwendo was taken by the man to the Chief who said he must give back both the goat and the fowl and on top of that his wife left him as she did not like to live with a greedy man who also told her lies about his goats, fowls and sheep. "There is Salimwendo, catch him. the one with one leg, catch him." "Girl open the door for me quickly, quickly. I will give you your share. the liver." Nthanu story.
  • Full Text: false
  • Date Issued: 1957

Salime ugamadoda

Sake tlo bone sekate (Sake, come and see the damage done on the lands)

Sabwabwa

  • Authors: Group of 5 Kete men , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Luba (African people) , Southern Lunda (African people) , Folk music , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Katanga f-cg
  • Language: Lunda
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/139402 , vital:37735 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR048-03
  • Description: The slit drum is called mutumba (the canoe) and the cylindrical drum is Nguma. This group is situated between the Lunda and the Luba. A notably fierce and savage people. They come from the extreme south of the Kasai-near the Angola border. This dance was (in the old days) danced with a slave in the midst. At the final "Ho" (characteristic of the dance) the slave's head was severed at a single blow. The 3 xylophones were propped up at sn angle of about 45 degrees by small forked sticks. The resonators were either gourds or lengths of bamboo with open mirliton. The bamboo resonators were palstered with mud, presumably to stop their cracking. Each note was attached to the frame with a simple cord, but prevented from slipping by a second string attached near the node and made fast onto the frame. The insulating material on the frame was a bundle of long grass in each case. The three xylophones were called:- Dujimba devase. " dwapakadie. " dwa mukuma. Maza dance for men and women with 1 slit drum (canoe), 1 weighted cylindrical drum (Nguma), open hand beaten and 3 xylophones.
  • Full Text: false
  • Date Issued: 1957

Ruyo (II)

Ruyo (I)

Puo ea Morena Neo Sibi

Puo ea Morena George T. Moshoeshoe

Puo ea Morena George T. Moshoeshoe

Puma endlini yam (Get out of my house)

Po yami haya weswe

Pindo yaka iwile (My whistle has dropped)

  • Authors: D. Mwanambuyu , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Lozi (African people) , Music--Zambia , Field recordings , Africa, Sub-Saharan , Africa Zambia Mangu f-za
  • Language: Lozi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/139814 , vital:37787 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR051-10
  • Description: "I have dropped my whistle. I must run back, for otherwise somebody will pick it up." The tuning as follows:- 472, 440, 396, 356, 320, 296, 260, 236, 220, 198, 178, 148, 118 v.p.s. Self-delactative song with Kangombio fan-shaped mbira with external resonator and mirliton.
  • Full Text: false
  • Date Issued: 1957

Pikoko

Pikifoti Chilwa (Name)

  • Authors: Pikifoti Chilwa and Tonga men , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi , Africa Malawi Chinteche f-mw
  • Language: Luvale/Chokwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/137345 , vital:37513 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR037-06
  • Description: It appears to be common practice among these Nyasaland Tonga to sing about themselves and their friends and especially and their friends and especially those who are sufficiently gifted musically to compose new melodies and new words for them. Topical song
  • Full Text: false
  • Date Issued: 1957

Pelile Makoti (My love for you, Makoti, is finished)

  • Authors: Citaumvano , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--South Africa , Folk songs, Xhosa , Africa South Africa Lusikisiki f-sa
  • Language: Xhosa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/136614 , vital:37397 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR032-11
  • Description: Makoti was his wife. From what he said, the singer was devoted to her and their song was not to be taken too literally. His capotasto was placed on the fifth fret of the guitar. Love song with guitar.
  • Full Text: false
  • Date Issued: 1957

Pano pano tabikana mutima (This village is full of jealousy)

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