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Nakakanilwa kwimba mbele (When I sing)

Tulamugishe mwamasala

Mwanamigika baba Mabale (Baba Mabale you have been deceived)

  • Authors: Mwikuru Kija 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 Maswa f-tz
  • Language: Nyamwezi , Sukuma
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173808 , vital:42412 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR152-13
  • Description: The chief had told him he should go to the next village where a competition "eating lumps of porridge" was going on. But when he arrived he found there was no such competition. "Eating lumps of porridge" was used for a music competition where singers and instrumentalists compete against each other in friendly rivalry. The style of singing displayed in this item is very similar to that used by young Zulu men in South Africa in the industrial centres, where it is called the 'Mbude' style or 'Bombing'. Volume rather than quality is the criterion of their singing. Wigasha dance song for men and women.
  • Full Text: false
  • Date Issued: 1950

Jilumba Bukaga Mkukimdaga (Jilumba, come out here)

Siwe woronka

  • Authors: Serina Mako with Hangaza women , Hugh Tracey
  • Date: 1950
  • Subjects: Zinza (African people) , Rundi (African people) , Nyamwezi (African people) , Folk songs, Rundi , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Shanga f-tz
  • Language: Rundi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172832 , vital:42287 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR147-16
  • Description: It is significant that an Ndau man from the South East of Southern Rhodesian on hearing these songs claimed that the style of singing and the sound of the words were very like his own. It is believed that the five related tribes of Southern Rhodesia, now called Shona a common Hima strain from the north, and may well indicate a link with the legend of the Hima Bachwezi, who, the Rundi and Tutsi maintain, came down with them from the north but did not stay and went on south. The features of the singers showed a strong Hamite strain although clearly semi-Bantu. The fourth song has unusally clever little melody. These people come from the border of Rundi-Urundi (Rwanda) in Ngala district. Topical song, with clapping
  • Full Text: false
  • Date Issued: 1950

Uwi, mamsaga makumbulage wagela mnyabo

  • Authors: Idi Selemani with Nyamwezi men and women , Hugh Tracey
  • Date: 1950
  • Subjects: Zinza (African people) , Rundi (African people) , Nyamwezi (African people) , Folk songs, Rundi , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173044 , vital:42316 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR148-14
  • Description: "You are talking a lot these days my friend, I am sure you will be sad when Nyahinga dies." Nyahinga, they said, is known to be very good singer in Nyamwezi country. Idi Selemani, the leader 'lines' the verses to be sung by the chorus of his friends. The soloist, Idi is a well known and much beloved comedian in his own society of Nyamwezi people living in Dar-es-Salaam and is a joy to watch. His antics and feigned anger are masterly acting. The singer starts the third song with the familiar cry of the 2nd King's African Rifles, "Seken-Seken, K.A.R. Namba wantu. Humorous song with clapping, with clapping and 1 Goblet drum (-14.52101-).
  • Full Text: false
  • Date Issued: 1950

Nene nauja senga senga ntimu (I am now thin because of hard work)

Kamwezi sensa muyaya

  • Authors: Idi Selemani with Nyamwezi men and women , Hugh Tracey
  • Date: 1950
  • Subjects: Zinza (African people) , Rundi (African people) , Nyamwezi (African people) , Folk songs, Rundi , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173056 , vital:42317 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR148-15
  • Description: "Do not play with my love. I will wait for her till she grows up and is ready to marry me." Mwanza is about the furthest limit of his geopraphical knowledge and he would therefore follow her to 'the ends of the earth'. It is the lake port at the south of the Lake Victoria about four hundred miles from Dar-es-Salaam where this item was composed and sung. The soloist, Idi, is a never ending source of enjoyment to his friends with a perfect set of mine gestures with which to illustrate the words he sings. Selemani's speech is a liberal mixture of Nyamwezi and Swahili. He leads these lively songs sung by a very lively company of Nyamwezi singers who bring out many surprises during their amusing performances. Humorous song with goblet drum, pegged and footed.
  • Full Text: false
  • Date Issued: 1950

Ilikazi lyayango bulo

  • Authors: Wibingile Kabaza , Hugh Tracey
  • Date: 1950
  • Subjects: Zinza (African people) , Rundi (African people) , Nyamwezi (African people) , Folk songs, Rundi , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Nyalubungo f-tz
  • Language: Zinza
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172704 , vital:42272 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR147-05
  • Description: "The woman refuses food, but the child wants to eat some maize." The microphone started beneath the instrument and was moved above when he started singing in order to show the difference of tone between the upper and lower surfaces of the resonator. It is interesting to note that unlike the Likembe Mbira further south, the resonator of this instrument is broader at the top than at the bottom, i.e. the bridge end is the broader. The scale was:- 332, 308, 280, 252, 228, 204, 184, 166 vs. Self delecatative tune, with Marimbe Likembe, box resonated, 18 notes.
  • Full Text: false
  • Date Issued: 1950

Usambo wakasenga

  • Authors: Masudi Bini Amam with Nyamwezi men and women , Hugh Tracey
  • Date: 1950
  • Subjects: Zinza (African people) , Rundi (African people) , Nyamwezi (African people) , Folk songs, Rundi , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Tabora f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173018 , vital:42312 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR148-11
  • Description: A song congratulating the Chief Fundikira on his method of stopping thieving in the country. He made wide areas collectively responsible for finding the thief. Thieving had become so bad, both from houses and from standing crops, that it called for drastic treatment. It appears that in the end all persons who had in the past been convicted of theiving were collected together and warned by the chief that every time there was a burglary they would all have to come to his headquaters and account for themselves. The sonstant journeys to the chief which this entailed had its effect and the known thieves volunteered to end the crime wave. This they did effectively and thus Chief Fundikira proved the virtue of the saying "Set a thief to catch a thief." Topical song, with 3 conical drums, 2 played with sticks and 1 with hands.
  • Full Text: false
  • Date Issued: 1950

Nalilimelwa wa ng’wa kayemba

  • Authors: Welelo Sucha with Sukuma men and women , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Sukuma (African people) , Folk songs, Sukuma , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Shinyanga f-tz
  • Language: Nyamwezi , Sukuma
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173522 , vital:42380 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR151-11
  • Description: "I failed to fight the Masai." The Masai are the famous pastoralists who live on the far side of the Serengeti plains to the east. Last year, 1949, the Masai raided the Sukuma and took over one thousand head of cattle from them. The Puba dance is done in teams. The girls in two lines and the boys in two lines behind them. They move to and fro in file and leap into the air in time with the rhythm of the dance music. Puba dance song for men and women with clapping.
  • Full Text: false
  • Date Issued: 1950

Nalelua lele-lele-la, deleva nalelua (Carry on driver)

  • Authors: Wachezaji wa Manyanga. Leader, Kasomangila Husen Ishike , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Baraza Ndono f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173228 , vital:42347 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR149-13
  • Description: "Drive on driver, I have nothing to give you." They sing to the driver of the lorry as he passes. There is a touch of romance associated with teh drivers of long distance lorries, rather like that of the sailors in the days of sail, or the engine drivers of the very early trains and mail coaches. Manyanga dance song for men, with 3 conical laced drums, 1 Goblet pegged drum (-14.51101-) and bells (-12.55-).
  • Full Text: false
  • Date Issued: 1950

Ndalile Nyantungu mpaka kalunguyu

  • Authors: Zebikile Kahasa with Zinza men and women , Hugh Tracey
  • Date: 1950
  • Subjects: Zinza (African people) , Rundi (African people) , Nyamwezi (African people) , Folk songs, Rundi , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Lunazi f-tz
  • Language: Zinza
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172728 , vital:42274 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR147-07
  • Description: "I will go towards Nyantungu until I reach Kaluguyu." Four men and women were playing the one drum, each beating out his own rhythm on his quater of the membrane. Strangely enough this did not deaden the sound as one might have expected. Before the drum maker closes up his laced drum he places a small stone inside. This they call 'Moyo wengoma,' the drum's heart. It does not serve any musical purpose but is found in every drum in the region. Marunda dance song for men and women with 1 conical, laced drum.
  • Full Text: false
  • Date Issued: 1950

Waya, waya

Yabulele Hiyari ngoma (This Hiyari dance is very foolish)

Mwanza

  • Authors: Idi Selemani with Nyamwezi men and women , Hugh Tracey
  • Date: 1950
  • Subjects: Zinza (African people) , Rundi (African people) , Nyamwezi (African people) , Folk songs, Rundi , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173074 , vital:42319 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR148-17
  • Description: "Masunga is a such a lovely girl. I would follow her right up to Mwanza if she left me." Mwanza is about the furthest limit of his geopraphical knowledge and he would therefore follow her to 'the ends of the earth'. It is the lake port at the south of the Lake Victoria about four hundred miles from Dar-es-Salaam where this item was composed and sung. The soloist, Idi, is a never ending source of enjoyment to his friends with a perfect set of mine gestures with which to illustrate the words he sings. Selemani's speech is a liberal mixture of Nyamwezi and Swahili. He leads these lively songs sung by a very lively company of Nyamwezi singers who bring out many surprises during their amusing performances. Humorous song with goblet drum, pegged and footed.
  • Full Text: false
  • Date Issued: 1950

Kuchonga Wigasha (The sitting dance)

Yaje bampole

Nigwa kolilila kaoma (I hear the beating of drums behind the hill)

  • Authors: Ntainta Buchili with Sukuma men and women , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Sukuma (African people) , Folk songs, Sukuma , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
  • Language: Nyamwezi , Sukuma
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173495 , vital:42377 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR151-08
  • Description: The player is a cripple who is well known in the district for his playing of the musical bow, which he frequently does for dances. The words sung by this cripple player are most indistinct, as he has no teeth. The tune is used in the Kazori dance performed in lines in front of the drums, girls in a double line and boys in another double line behind. The lines keep time with the music and leap and move to left and right together. Kazori dance song for men and women, with Ndono one string musical bow and tin rattle (-12,54-).
  • Full Text: false
  • Date Issued: 1950

Sinyenye mama

  • Authors: Mukhunganilwa with Nyamwezi women , Hugh Tracey
  • Date: 1950
  • Subjects: Zinza (African people) , Rundi (African people) , Nyamwezi (African people) , Folk songs, Rundi , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Tabora f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172970 , vital:42303 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR148-07
  • Description: "When it became clear that my friend had no drums, I went to her to tell her that we had drums." In this area most of the domestic work in European houses is done by men, familiarly called 'boy'. The woman mentioned in the song became a domestic servant, but, the song says, she repented her decision and preferred to get married and have a home of her own. The connection between this song and the divination of the old woman who sanf it is not clear. Migabo is said to be the name of a group of older people, mostly women, who believe in the power of divination to assist their friends and relatives. Migabo divination songs, with 3 conical laced drums, and 4 gourd rattles (-12.54-).
  • Full Text: false
  • Date Issued: 1950
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