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Chibola mu lumbai

- Ester Bakankena, 12 Luba women, Hugh Tracey

Bawo nilele na? (Fathers, are you sleeping)

- Fingo and Mfengu women of Tuku Location, Hugh Tracey

Atshakongwe wamwe muno kuwala kwawo (The women of this country all wear the same kind of dress)

- Five Nyasa men, Hugh Tracey

  • Authors: Five Nyasa men , 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 Likoma f-mw
  • Language: Nyanja/Chewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/160804 , vital:40547 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR099-06
  • Description: The drum was played with a stick in the left hand tapping on the side of the drum alternately with the head. The right hand kept up the rythm in the usual way. During this lively performnace the bottle player shattered his bottle into fragments, continuing to beat the neck of the beat which remained in his hand until that too disintegrated under the blows of the six inch nail. At the end of the first item the player dashed off to a nearby hut and produced the next best substitute, a new hoe blade. This recording was made by Nyasa workers at a Citrus Estate near Nelspruit, Eastern Transvaal. Party dance with double headed drum, concertina and bottle.
  • Full Text: false
  • Date Issued: 1957

Tyingabenga (The Giant)

- Five Nyasa men, Hugh Tracey

  • Authors: Five Nyasa men , 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 Likoma f-mw
  • Language: Nyanja/Chewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/160799 , vital:40546 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR099-05
  • Description: The drum was played with a stick in the left hand tapping on the side of the drum alternately with the head. The right hand kept up the rythm in the usual way. During this lively performnace the bottle player shattered his bottle into fragments, continuing to beat the neck of the beat which remained in his hand until that too disintegrated under the blows of the six inch nail. At the end of the first item the player dashed off to a nearby hut and produced the next best substitute, a new hoe blade. This recording was made by Nyasa workers at a Citrus Estate near Nelspruit, Eastern Transvaal. Party dance with double headed drum, concertina and bottle.
  • Full Text: false
  • Date Issued: 1957

Wdoyika u-Ntusangili

- Five young Ngqika women and girls (Performers), Composer not specified, Hugh Tracey

Mhlahlo

- Five young Ngqika women and girls (Performers), Composer not specified, Hugh Tracey

Ulawika

- Four Tonga men, Hugh Tracey

  • Authors: Four Tonga men , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Tonga (Zambezi people) , Folk songs, Tonga (Zambezi) , Music--Zambia , Africa Zambia Gwembe f-za
  • Language: Tonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/138471 , vital:37640 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR043-12
  • Description: Towards the end the Mwani of Sinefwala leaned forward and said over the shoulders of the men: "These are the riddles of my country." It is clear from the recording that the rest of the villagers enjoyed it very much. Riddles.
  • Full Text: false
  • Date Issued: 1957

Bayathetha abantwana ndinendaba (Children are speaking because I have news)

- Gcaleka boys and girls, Hugh Tracey

  • Authors: Gcaleka boys and girls , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Folk music--South Africa , Field recordings , Xhosa (African people) , Folk music , Africa South Africa Idutywa f-sa
  • Language: Xhosa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/151224 , vital:39041 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR063-10
  • Description: The girl playing this mouth bow whistles out of the side of her mouth as well as resonating the notes in the usual manner. She used the open string and a stopped note, stopping it with her thumbnail and first finger. The use of this indigenious instrument and its style of music explains the ease with which Gcaleka people take to the small concertina. The harmonies produced in the mouth being on the true harmonic series makes the transition to the concertina a simple matter for simple tunes. Notes of the bow, 292 and 260. Mtshotsho dance for boys and girls with Ikinki mouth resonated musical bow.
  • Full Text: false
  • Date Issued: 1957

Mama ndaswelindawo ngendaba (Mother, I am short of accommodation on account of news)

- Gcaleka boys and girls, Hugh Tracey

  • Authors: Gcaleka boys and girls , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Folk music--South Africa , Field recordings , Xhosa (African people) , Folk music , Africa South Africa Idutywa f-sa
  • Language: Xhosa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/151219 , vital:39040 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR063-09
  • Description: The girl playing this mouth bow whistles out of the side of her mouth as well as resonating the notes in the usual manner. She used the open string and a stopped note, stopping it with her thumbnail and first finger. The use of this indigenious instrument and its style of music explains the ease with which Gcaleka people take to the small concertina. The harmonies produced in the mouth being on the true harmonic series makes the transition to the concertina a simple matter for simple tunes. Notes of the bow, 292 and 260. Mtshotsho dance for boys and girls with Ikinki mouth resonated musical bow.
  • Full Text: false
  • Date Issued: 1957

Umama litshipa (Mother is an absconder)

- Gcaleka boys and girls, Hugh Tracey

Amaseyibokwe athengwa ngemali eninzi (For a certain type of socks you pay dearly)

- Gcaleka boys and girls, Hugh Tracey

Bathi abafana ndisandindazana ((Young men call me a beauty)

- Gcaleka women and girls, Hugh Tracey

Ndibolekeni ibayi ndembathe madoda (Please, lend me a blanket to cover myself)

- Gcaleka women and girls, Hugh Tracey

Salimwendo (The one legged man)

- Genye Chiwaula and Chewa lads, Hugh Tracey

  • 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

Ari Nkumbula na Katilungu balishamyondo (Nkumbula and Katilungu sound the calling drum)

- Group of 11 Aushi men, Hugh Tracey

Tapali ataleya Ka mumbo (Is there anyone going to my home)

- Group of 11 Aushi men., Hugh Tracey

  • Authors: Group of 11 Aushi men. , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Folk songs, Ambo (Zambia) , Kalela (Dance) , Africa Zambia Fort Roseberry f-za
  • Language: Aushi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/134376 , vital:37136 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0019-11
  • Description: This group came from the swamps near lake Bangwelu and belonged to the Lumbo section of the Aushi tribe. Kalela dance song with 3 bass drums, cylindrical, laced, 2 wooden beaters each, double-headed.
  • Full Text: false
  • Date Issued: 1957

Tapali ataleya Ka mumbo (Is there anyone going to my home)

- Group of 11 Aushi men., Hugh Tracey

  • Authors: Group of 11 Aushi men. , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Folk songs, Ambo (Zambia) , Kalela (Dance) , Africa Zambia Fort Roseberry f-za
  • Language: Aushi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/134385 , vital:37137 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0019-12
  • Description: "Is there anyone going to my house, for I would like to give him a message." The 3 drums were made from steel oil drums of different sizes from 4 gallons to 20 gallons. Their heavy reverberation made it almost impossible to record them effectively with the singers. Each drummer played his own rhythm which in 2 cases included blows on the side of the drum as well as on the membrane. Although double-headed, they were stood up on end for the performance, only one membrane being struck. Kalela dance song with 3 bass drums, cylindrical, laced, 2 wooden beaters each, double-headed.
  • Full Text: false
  • Date Issued: 1957

We mulanda e muchalo chelamba (There is sadness in the Lamba country)

- Group of 11 Aushi men., Hugh Tracey

  • Authors: Group of 11 Aushi men. , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Folk songs, Ambo (Zambia) , Kalela (Dance) , Africa Zambia Fort Roseberry f-za
  • Language: Aushi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/134394 , vital:37139 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0019-13
  • Description: The Lamba country is virtually the heavily wooded district along the course of the upper Kafue river, where all the Northern Rhodesian copper belt mines are situated. The 3 drums were made from steel oil drums of different sizes from 4 gallons to 20 gallons. Their heavy reverberation made it almost impossible to record them effectively with the singers. Each drummer played his own rhythm which in 2 cases included blows on the side of the drum as well as on the membrane. Although double-headed, they were stood up on end for the performance, only one membrane being struck. Kalela dance song with 3 bass drums, cylindrical, laced, 2 wooden beaters each, double-headed.
  • Full Text: false
  • Date Issued: 1957

Chipuri (The singing gourd)

- Group of 12 Bena Shimba women and Alexis Chovu, Hugh Tracey

O Mama Lina, kuvimba mwaro (Mama Lina, let's sing)

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

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