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He mmalo kgaka (We want the guinea fowl)

- Keelediwe Modise and large group of men, Hugh Tracey

  • Authors: Keelediwe Modise and large group of men , Hugh Tracey
  • Date: 1959
  • Subjects: Folk songs, Tswana , Tswana (African people) , Ngwaketse (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Botswana Kanye f-bs
  • Language: Tswana/Ngwaketse
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/162578 , vital:40948 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0108-11
  • Description: "We want the guinea fowl. We men have surrounded the guinea fowl at a ruined kraal. We fathers have surrounded the guinea fowl." It seems that guinea fowl are the special prequisite of the grown men. The younger ones are not supposed to eat the guinea fowl. In this song the guinea fowl stand for the young men who were hunting them and were supposed to bring them to the older men. The word "Sotswaneng" means a ruined kraal where a special sort of short spreading thorny plant invades such places. Hunting song
  • Full Text: false
  • Date Issued: 1959

He mmalo kgaka (We want the guinea fowl)

- Keelediwe Modise and large group of men, Hugh Tracey

  • Authors: Keelediwe Modise and large group of men , Hugh Tracey
  • Date: 1959
  • Subjects: Folk songs, Tswana , Tswana (African people) , Ngwaketse (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Botswana Kanye f-bs
  • Language: Tswana/Ngwaketse
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/162569 , vital:40951 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0108-11
  • Description: "We want the guinea fowl. We men have surrounded the guinea fowl at a ruined kraal. We fathers have surrounded the guinea fowl." It seems that guinea fowl are the special prequisite of the grown men. The younger ones are not supposed to eat the guinea fowl. In this song the guinea fowl stand for the young men who were hunting them and were supposed to bring them to the older men. The word "Sotswaneng" means a ruined kraal where a special sort of short spreading thorny plant invades such places. Hunting song
  • Full Text: false
  • Date Issued: 1959

Maolo di phepa (Now we are clean)

- Keilediwe Modise and group of middle-aged and elderly men, Hugh Tracey

Tshwene phatana yayone (The baboon's forehead is frowning)

- Kenewang Dikgole and group of women, Hugh Tracey

Arap Tapartele oleiy o laleiy o

- Kepkoske Arap Chepkwony with Kipsigis men, Hugh Tracey

  • Authors: Kepkoske Arap Chepkwony with Kipsigis men , Hugh Tracey
  • Date: 1950
  • Subjects: Kipsigis (African people) , Folk music--Kenya , Folk music , Field recordings , Africa, Sub-Saharan , Africa Kenya Kericho f-ke
  • Language: Kipsigis
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/176963 , vital:42777 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR164-11
  • Description: The player flips the bridge of the lyre with a finger tip as he plays. The song is largely a repetition by the chorus of the words 'olei yo lalei yo' a kind of "Hey - nonny - nonny." The singer also brings into his song the names of many places he has visited and likes in common with his audience. Both Kipsigis and Nandi are noted for their patriotism, their love of country as such, which they frequently express in song. This is comparatively rare with Bantu people who do not as a rule praise the beauty of the countryside and are mostly insensitive to scenery. Praise song with Chepkong 6 string bowl lyre.
  • Full Text: false
  • Date Issued: 1950

Ho - Jambo Bwana

- Kepkoske Arap Chepkwony with Kipsigis men, Hugh Tracey

Malenge

- Kesi Kule and Konjo men, Hugh Tracey

  • Authors: Kesi Kule and Konjo men , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Gisu (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Toro f-ug
  • Language: Lhukonzo
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/169547 , vital:41762 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0131-16
  • Description: These Konjo people live in the foothills of the eastern flank of the Rwenzori Mountains. Their gardens and small huts may be seen from below right up into the cloud level precariously perched on the steep sides of the ever green slopes. The dancers girate in a circle, each man with a single pipe. The song refers to the February ripening of the maize crop. The flutes do not appear to be very accurately tuned, but the players were content with them as they were. Malenge flute dance song for men and women with Ilenga flute ensemble, three conical drums, laced, single and played with sticks.
  • Full Text: false
  • Date Issued: 1950

Gunde (Gunde and the crocodile)

- Kezia Chilumpha and girls, Hugh Tracey

  • Authors: Kezia Chilumpha and girls , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Songs, Nyanja , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Dedza f-mw
  • Language: Nyanja/Chewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/160251 , vital:40426 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR097-10
  • Description: "Gunde, yes, who is the man brave enough to take the 'wife' of the crocodile. There was once a certain woman who killed her only child and buried her outside the hut. After a while only the skelton remained and the rain fell and washed away the earth, exposing a leg. A crocodile nearby dug up all the bones joined them together and made another child out of them. "Who has done this" the woman cried. Now the child grew up with the crocodile and became a beautiful girl. So the mother sang. "Who is brave enough to take my daughter from the crocodile." No one in the village was brave enough so the crocodile kept his girl from himself. The mother continually came to the lake to sing for her daughter. One day the daughter heard her mother and as the crocodile was away she came out and went with her to the village. But the crocodile came and begged for the girl as he himself had brought her up and given her life. The mother could not refuse him and so the daughter went back to the lake and married the crocodile. Nthano story song.
  • Full Text: false
  • Date Issued: 1958

Malepa (The problem)

- Kgosietsile Mokgasi, Hugh Tracey

  • Authors: Kgosietsile Mokgasi , Hugh Tracey
  • Date: 1959
  • Subjects: Folk songs, Tswana , Tswana (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa South Africa Disaneng f-sa
  • Language: Tswana/Tlharo
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/164249 , vital:41099 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0110-11
  • Description: A small steel washer was hidden in the sand. An old man had to find it. When he was 'cold' the muscian played loudly, 'hot', the playing died down. This is not unlike several other guessing games in other tribes, such as 'Siavuma' with the Zulu. In some cases the music is played or sung louder as the seeker gets nearer the hidden object, in others, the music fades away to a mere whisper. A musical guessing game 'Sebatlo' with a one stringed bowed Zither 'Segankure'. (Open string 146 vs.)
  • Full Text: false
  • Date Issued: 1959

Pina eaa badisa (A herdboy's song)

- Kgosietsile Mokgosi and Seyedi Merafe, Hugh Tracey

Somagwaza (Father of the stabbing)

- Khotso and Group of Mpondo men and women, Hugh Tracey

  • Authors: Khotso and Group of Mpondo men and women , Hugh Tracey
  • Date: 1957
  • Subjects: Praise , Africa South Africa Lusikisiki f-sa
  • Language: Xhosa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/136443 , vital:37377 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR031-04
  • Description: This song is sung in thanks to the Chief when he has killed a beast for them. Praise song with clapping and 5 drums.
  • Full Text: false
  • Date Issued: 1957

Nokala (The crab)

- Khotso and Mpondo men and women, Hugh Tracey

  • Authors: Khotso and Mpondo men and women , 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/10962/136515 , vital:37386 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR031-09
  • Description: The women in this group all wore green cotton dresses and green head cloths. They had strands of beads round their necks worked in stripes of green, yellow, white and blue. Khotso said he had taken this colour scheme from the Vierkleur. The men, in addition to this, wore a lavish number of strings of "lucky beans" or seeds, of a pearl-grey colour. These are exclusively worn by the Izangoma. Divination song with clapping and 5 drums.
  • Full Text: false
  • Date Issued: 1957

Yeapinalekosi (Where does this Chief belong)

- Khotso and Mpondo men and women, Hugh Tracey

  • Authors: Khotso and Mpondo men and women , 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/10962/136506 , vital:37385 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR031-08
  • Description: "Yeapinalekosi? Yeye Lizilamapono." "Where does this Chief belong? He is of the country of the Mpondos." Khotso was in charge of this group of men and women and he is regarded as the most important of the local Izangoma, or herbalists in the Transkei. He bought them all down from Kokstad for the purpose. Divination song with clapping and 5 drums.
  • Full Text: false
  • Date Issued: 1957

Timuke nanu oiya

- Khwele Kwenda, Hugh Tracey

  • Authors: Khwele Kwenda , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Songs, Tumbuka , Tumbuka (African people) , Songs, Chewa , Chewa (African people) , Field recordings , Africa, Sub-Saharan , Africa Malawi Lilongwe f-mw
  • Language: Tumbuka , Chewa, Chichewa, Nyanja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/186523 , vital:44508 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR191-11
  • Description: The Sansi was fixed onto the Chigubu resonator by three point suspensions, 2 at the straining bar and 1 at the foot, all secured by bark string. The Njela (s. and pl.) reeds were made from the spokes of an umbrella and the player said that in times past the reeds used to be made of bamboo. "Although I am so quiet, Mother, I still have many troubles because of my poverty." Simple song by a man who earns part of his living by playing and singing as one of his feet is affected by leprosy and he can do no other work. Self delectative song, with Sansi mbira
  • Full Text: false
  • Date Issued: 1950

Tiye kwanu mtengwa

- Khwele Kwenda, Hugh Tracey

  • Authors: Khwele Kwenda , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Songs, Tumbuka , Tumbuka (African people) , Songs, Chewa , Chewa (African people) , Field recordings , Africa, Sub-Saharan , Africa Malawi Lilongwe f-mw
  • Language: Tumbuka , Chewa, Chichewa, Nyanja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/186518 , vital:44507 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR191-10
  • Description: The Sansi was fixed onto the Chigubu resonator by three point suspensions, 2 at the straining bar and 1 at the foot, all secured by bark string. The Njela (s. and pl.) reeds were made from the spokes of an umbrella and the player said that in times past the reeds used to be made of bamboo. "My wife go to your home and tell them there all your troubles (don't bother me with them.)" Simple song by a man who earns part of his living by playing and singing as one of his feet is affected by leprosy and he can do no other work. Self delectative song, with Sansi mbira
  • Full Text: false
  • Date Issued: 1950

Tangu kwata m'cembele

- Khwele Kwenda, Hugh Tracey

  • Authors: Khwele Kwenda , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Songs, Tumbuka , Tumbuka (African people) , Songs, Chewa , Chewa (African people) , Field recordings , Africa, Sub-Saharan , Africa Malawi Lilongwe f-mw
  • Language: Tumbuka , Chewa, Chichewa, Nyanja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/186498 , vital:44505 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR191-09
  • Description: The Sansi was fixed onto the Chigubu resonator by three point suspensions, 2 at the straining bar and 1 at the foot, all secured by bark string. The Njela (s. and pl.) reeds were made from the spokes of an umbrella and the player said that in times past the reeds used to be made of bamboo. "I married three girls, later I found that all three were unfaithful to me so I decided to marry one fully grown woman instead." Tuning:- 704, 584, 520, 448, 384, (352 missing), 332, 292, 260, 224, 176. This pentatonic sansi mbira is mounted in the mouth of a gourd resonator with a number of pieces of tin as buzzers, Mangwere, attached to two thirds of the periphery of the gourd. Self delectative song, with Sansi mbira
  • Full Text: false
  • Date Issued: 1950

Ntajemerwa

- Kihuka and Ntajemerwa (Royal drummers), Hugh Tracey

  • Authors: Kihuka and Ntajemerwa (Royal drummers) , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Nyoro (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Hoima f-ug
  • Language: Nyoro
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/169760 , vital:41820 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0133-01
  • Description: This set of drums is played when there is a special ceremonial gathering such as the opening of the Bunyoro Council, or on the first day of the new moon. It may also be played at other times. The royal Hima houses of Uganda are all drum minded, with special drums exclusively associated with royalty and royal occasions. Drum rhythm, with four conical drums, laced, closed, played with sticks, and two long stemmed Goblet drums, open, pinned, footed.
  • Full Text: false
  • Date Issued: 1950

Nene nawile kibukulu

- Kilogeja Mwana Nkoko with Sukuma men and women, Hugh Tracey

  • Authors: Kilogeja Mwana Nkoko 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/10962/173656 , vital:42396 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR152-04
  • Description: Secret socities, charms and occult ideas are an everyday part of the lives of the Sukuma people. Charms and counter charms to a people who know no physical chain of cause and effect and only a vague one, are still considered valuable. The Wigasha dance is performed sitting down with most of the action confined to stretching up the arms and twisting the torso. The team of dancers performs routine actions in unision with arms and body. "I am like a great dump of rubbish (a junk heap). Whenerver there is any sort of a meeting I am called upon to give advice. Wigasha dance song for men.
  • Full Text: false
  • Date Issued: 1950

Nene nawile kibukulu

- Kilogeja Mwana Nkoko with Sukuma men and women, Hugh Tracey

  • Authors: Kilogeja Mwana Nkoko 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/10962/173646 , vital:42393 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR152-04
  • Description: Secret socities, charms and occult ideas are an everyday part of the lives of the Sukuma people. Charms and counter charms to a people who know no physical chain of cause and effect and only a vague one, are still considered valuable. The Wigasha dance is performed sitting down with most of the action confined to stretching up the arms and twisting the torso. The team of dancers performs routine actions in unision with arms and body. "I am like a great dump of rubbish (a junk heap). Whenerver there is any sort of a meeting I am called upon to give advice. Wigasha dance song for men.
  • Full Text: false
  • Date Issued: 1950

Chebusit

- Kinutit Arap Ngasura, Hugh Tracey

  • Authors: Kinutit Arap Ngasura , Hugh Tracey
  • Date: 1950
  • Subjects: Kipsigis (African people) , Folk music--Kenya , Folk music , Field recordings , Africa, Sub-Saharan , Africa Kenya Kapkatet f-ke
  • Language: Kipsigis
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/${Handle} , vital:42780 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR164-14
  • Description: The solo singer singing in falsetto praises his country and many of its desirable places. He mentions among others the administrative centre at Kericho, some 25 miles away, which he says is ;full of words' referring to the information service supplied to the country by the office of the district commissioner. This wishbone shaped frame lyre is held onto the top of an empty 4 gallon parafin tin. At the end of his song the lyre slipped off its resonator. Praise song with Kibugandet 5 string wish bone lyre (-10.6405 x 5-) resonated on a parafing tin.
  • Full Text: false
  • Date Issued: 1950
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