Showing items 461 - 480 of 523

Your selections:

Yekhwela sekhwele (Get on, let us get on the bus)

  • Authors: Tsembani Kunene , 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/10962/152851 , vital:39349 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR072-12
  • Description: This song is said to be sung by the Swaziz recurited for the mines on their way to join. The bow was stressed, the two segments being 35" and 39" long, the longer, more bass, note being held uppermost. Self delectative song with Makweyana bow, stressed and gourd resonated.
  • Full Text: false
  • Date Issued: 1958

Nyajabula Violet (Happy is violet)

Abale ndutani (Brother, what shall I do with my life. Can I cut it?)

Abuye Zandiombale (Uncle, come and help me to pay credit)

Unali mpepara kale wadodoma ndi mfuti

  • Authors: Tweleve elderly women and two drummers , 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/10962/155775 , vital:39915 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR087-11
  • Description: "A long time ago there was a man with a gunwho could not shoot and always missed." The failure of this hunter to bring home the meat by continually missing his quarry has been perpetuated in this song although the name of the hunter concerned has long since been forgotten. The two drums were barrel shaped, weighted, and with mirlitons (locallly called Mvema). Chitsukulumwe dance with 2 horizontal double ended barrel drums, rattles and clapping.
  • Full Text: false
  • Date Issued: 1958

Ndikati ubwera ulendo waimba wisulo kunjila

  • Authors: Tweleve elderly women and two drummers , 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/10962/155766 , vital:39914 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR087-11
  • Description: "I supposed you would come back from your journey singing as you came along the path. But you have gone for good." A woman is being justifyably caustic about her husband who is going away on a journey presumably leaving her to do all the work. Pairs of singers sing alternately, the second pair repeating what the first initiated. Chitsukulumwe dance with rattles and clapping.
  • Full Text: false
  • Date Issued: 1958

Opela utumiza (Though you give me cloth)

Ku Mchisi kuli mtengo (At Mchisi there is a tree)

  • Authors: Visanza girl's school choir , 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/10962/160007 , vital:40367 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR096-04
  • Description: The Nkaodi tree is used as a love charm, the roots being taken soaked in water and drunk, mostly by women in the hope that their husbands will love them more. It would appear that this tune, used as a dance theme in the 1930's reflected the European influence of the period, with the stress incorrectly applied to the ultimate syllables. "At Mchisi there is a tree as a medicine. It is Nkaodi. Two Nsita dance songs for women with clapping.
  • Full Text: false
  • Date Issued: 1958

Nijurireni

  • Authors: W. Theu , Tembuka boys , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Chewa , Chewa (African people) , Songs, Tumbuka , Tumbuka (African people) , Musical instruments , Field recordings , Africa, Sub-Saharan , Africa Malawi Rumpi f-mw
  • Language: Tumbuka , Chewa, Chichewa, Nyanja , Tonga (Nyasa)
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/184967 , vital:44294 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR187-18
  • Description: There was once a child who was sent to bring food to her father in his hut. She asked to come in and he first asked her what relish she had brought; she told him vegetables but she was sent back again to teh kitchen. Each time she came with vegetables she was sent away until the relish provided was meat. He did not want beans and vegetables, only meat-the greedy creature! "Open for me, Ha-he! Open, open ndera ndera As you say, open for me, what have you brought? I have brought porridge. What is the relish? The relish is beans. If the relish is beans, go and eat with your mother! The relish is vegetables. Go and eat with your mother. The relish is meat! Come inside, come inside." Story song
  • Full Text: false
  • Date Issued: 1958

Rungano

Jerusarima (Jerusalem)

  • Authors: Wambai , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Karanga (African people) , Folk songs, Shona , Folk music , Africa Zimbabwe Chibi District, Southern Rhodesia f-rh
  • Language: Shona, Karanga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/154540 , vital:39744 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR082-06
  • Description: The name of the this tune 'Jerusarima' is an adaptation of 'Jerusalem'. The title was given originally to a new style of dancing started by pupils in the schools in the early 1920's or even earlier. The dance is no longer popular but several of the Jerusarima melodies survive as adaptations on various instruments. Self delectative song with Chipendani bow.
  • Full Text: false
  • Date Issued: 1958

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

  • 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

Mwana angu ngale (My child Ngale)

Ambikanire une (Listen to me)

Nsafu (Part of the Khoran)

  • Authors: Wodwala Selemani , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Yao (African people) , Arts, Malawi , Folk music , Africa Malawi Salima, Nyasaland f-mw
  • Language: Yao
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/154748 , vital:39771 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR083-09
  • Description: The man introduced himself in his local language before reciting. When it was over he said he did not know the meaning of what he recited. He always recited it in the Mosque with the others. For the meaning we would have to as the great teacher. The sound of chatting in the market can be heard in the background. Recitation introduced in Yao.
  • Full Text: false
  • Date Issued: 1958

Onani ndenge yokwela masula (Look at the aeroplane)

Ai lelo kwa Masula kotokoto (Today at Masula, sickness)

A-a-ye nanga omwale (Aaye! what about Omwale)

  • Authors: Women , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Songs, Nyanja , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Lilongwe f-mw
  • Language: Nyanja/Chewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/158936 , vital:40242 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR094-12
  • Description: Dance tunes with the minimum of melodic inspiration to evoke the dance. The bass drum was beaten by two women, one on each side of the drum opposite each other. The song consists mostly of references to the names of local persons. Such as OMwale, Ojere, OPhiri etc., each with the tonorific prefix 'O'. The equivalent of the English "Mister". Dance tune with bass drum.
  • Full Text: false
  • Date Issued: 1958

Tototo ine chambila (No, no, not for me)

Ine ndikumbira (I am envious)

  • Authors: Women , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Songs, Nyanja , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Lilongwe f-mw
  • Language: Nyanja/Chewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/158927 , vital:40241 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR094-11
  • Description: Two dance tunes with the minimum of melodic inspiration to evoke the dance. The bass drum was beaten by two women, one on each side of the drum opposite each other. "I am envious of my friends wearing evening dress."Andiloko from the Afrikaans word Aandrok. Dance tune with bass drum.
  • Full Text: false
  • Date Issued: 1958
  • Disclaimer
  • Privacy
  • Copyright
  • Contact