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Yawiyanga, ya kulumbata nyama

- Three Chokwe men, Hugh Tracey

Zhikita (The girdle)

- Group of 12 Chokwe men and 8 women, Hugh Tracey

Kwa Kazembe okutomboka kana twana (In our country when we are drunk we start dancing)

- Three young Luunda men, Hugh Tracey

Yaku Kasama munenu wamukake Nshimbi (At Kasama they put the handcuffs on me)

- Stephen Tsotsi Kasumali and 3 friends, Hugh Tracey

  • Authors: Stephen Tsotsi Kasumali and 3 friends , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Ruund (African people) , Ushi (African people) , Congo (Democratic Republic) , Field recordings , Africa, Sub-Saharan
  • Language: Ruund
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/139945 , vital:37816
  • Description: "I was handcuffed at Kasama by the police, sat down and was taken to the Boma, saying; "I did nothing wrong." But it appears that when he was charged, he said he was guilty and blamed his uncle's wife. She came to give evidence on his behalf but she did not get him off. So he said: "You are the one who must get me off." Bust she did not do so." "You are my relative, you must send me home." In this outburst one can see the childlike faith in the blood relationships eben to the point of working miracles.
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Mukashi wamunobe (Do not play about with your friend's wife)

- William Mapulanga and Friends, Hugh Tracey

  • Authors: William Mapulanga and Friends , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Ruund (African people) , Ushi (African people) , Congo (Democratic Republic) , Field recordings , Africa, Sub-Saharan
  • Language: Ruund
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/139915 , vital:37812
  • Description: The cross rhythm of this song is typical, while the melodic formula of the lyric is one which has come up to N. Rhodesia from the south where it originated eight years ago in a song called "Vura matambo." from the Muzezuru tribe in S. Rhodesia. This demonstrates the persistence of the oral folk evolution of songs, now accelerated and more widely distributed by means of phonograhic recording. In the ordinary course of events, this tune would never have moved so far from its original home some 600 and 700 miles away. Morality song with guitar and bottle.
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Mwaiseni mwe balendo (Welcome visitors)

- Stephen Tsotsi Kasumali and 3 friends, Hugh Tracey

Akwa musadi moyo wenu he he he (Welcome to our village, stranger

- Large group of Chokwe men and women, Hugh Tracey

  • Authors: Large group of Chokwe men and women , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Chokwe (African people) , Folk music , Angola , Congo (Democratic Republic)
  • Language: Chokwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/137038 , vital:37481
  • Description: The drums set the basic rhythm and the song is led by a woman who occassionally breaks off her song to call to her chorus who reply a set phrase and then continue with the song. It is intereting to note that the sticks, which are tapped together, produce the same basic rhythm as that produced on sticks or bottles from Southern Congo right across the continent to the east coast. It can be counted as follows:- ONE, TWO, THREE, one-two: (rest) ONE, TWO, One-two (rest). The Luvale come from the high ground near the source of the Zambeze.
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Aminoiye

- Mushipi Mukuma, Hugh Tracey

  • Authors: Mushipi Mukuma , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Luvale (African people) , Folk music , Angola , Congo (Democratic Republic)
  • Language: Luvale/Chokwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/137186 , vital:37496
  • Description: Simple song in typical Luvale style of a kind which must have been sung for centuries throughhout Africa. The mbira or Likembe accompaniment of the second is interesting for its cross rhythm. The scale of the instrument is hexatonic in the lower part of the scale but may well be heptatonic if one extra note in the upper octave is taken in to account. Scale of instrument as follows:- 672, 592, 544, 488, 416, 376, 336, 312, 268, 244. Self-delectative song with Muchapata Likembe Mbira box and mirliton
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Mwayishe mbungeya mwema

- Mushipi Mukuma, Hugh Tracey

  • Authors: Mushipi Mukuma , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Luvale (African people) , Chokwe (African people) , Folk music , Angola , Congo (Democratic Republic)
  • Language: Luvale/Chokwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/137170 , vital:37495
  • Description: Simple song in typical Luvale style of a kind which must have been sung for centuries throughhout Africa. The mbira or Likembe accompaniment of the second is interesting for its cross rhythm. The scale of the instrument is hexatonic in the lower part of the scale but may well be heptatonic if one extra note in the upper octave is taken in to account. Scale of instrument as follows:- 672, 592, 544, 488, 416, 376, 336, 312, 268, 244. Self-delectative song with Muchapata Likembe Mbira box and mirliton
  • Full Text: false

Kontae iya konta (Kontae)

- Stephen Tsotsi Kasumali and 2 friends, Hugh Tracey

Nalinamayo nshale chula (When I had a mother, I did not starve)

- Stephen Tsotsi Kasumali and 2 friends, Hugh Tracey

BaNakatekwe

- Stephen Tsotsi Kasumali and 2 friends, Hugh Tracey

Nalina mayo (I had a mother)

- Stephen Tsotsi Kasumali and 2 friends, Hugh Tracey

  • Authors: Stephen Tsotsi Kasumali and 2 friends , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Ruund (African people) , Ushi (African people) , Congo (Democratic Republic) , Field recordings , Africa, Sub-Saharan
  • Language: Aushi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/140003 , vital:37823
  • Description: 'I had a mother and she died. She was killed by people who envied me. Women are no good. They leave their own husbands to go and flirt with the loafers in the street. When I have no cash on me everyone laughs at me. One day I went out into the bush hunting and I fired at some guinea fowls but I missed. So people laughed at me because I had nothing to eat at home." "This song comes from the Chief of the Aushi who sent me to come and sing it to you, and I am Steve Tsotsi singing. Topical song with guitar and bottle.
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Eco bale mukanina bamayo (This is why you are being divorced, mama)

- Isaac Matafwani and Sunkutu, Hugh Tracey

  • Authors: Isaac Matafwani and Sunkutu , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Ruund (African people) , Ushi (African people) , Congo (Democratic Republic) , Field recordings , Africa, Sub-Saharan
  • Language: Aushi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/140038 , vital:37826
  • Description: "This is why you are divorced, mama, it is because you go out and greet others familiarly, such as 'Good morning, Isaac.' Far away along the Ndola road is where I saw a Lamba man, who addressed me saying: "Isaac, you will not have any more children. This is your last child." The general burden of this song, like many others performed in industrial compounds, is both topical and critical of the morality of the present day mine worker in this environment. Topical song with guitar and bottle.
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Kazembe mayo (Alas for Kazembe)

- Steven Tsotsi Kasumali and 2 friends, Hugh Tracey

Ayaya wo- mami- yami- e

- Three Chokwe men, Hugh Tracey

  • Authors: Three Chokwe men , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Chokwe (African people) , Folk music , Angola , Congo (Democratic Republic)
  • Language: Luvale/Chokwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/137047 , vital:37482
  • Description: The drums are introduced one after the other, the third drum being heavily weighted and having a distinct buzzing tone, takes the main syncopation. The voices are introduced a full minute after the drums have set the rhythm. Chisira initiation dance with 3 goblet drums, open, pinned, weighted, hand beaten.
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Mwilu mwatuluka womama yami-e!

- Large group of Chokwe men and 8 women, Hugh Tracey

Maiyo ewandaile kufwalu chikwembe (My mother taught me the proper way to dress)

- Isaac Matafwani and Sunkutu, Hugh Tracey

Bachituta panchi (The defeated one)

- William Mapulanga and Friends, Hugh Tracey

Tata, tata (Father, father)

- Tom Simba and Moses Mwansa, Hugh Tracey

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