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Bana ba tau we-e! (Children of the lion!)

- Group of about 70 men, Hugh Tracey

  • Authors: Group of about 70 men , Hugh Tracey
  • Date: 1959
  • Subjects: Folk songs, Tswana , Tswana (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa South Africa Mochudi f-sa
  • Language: Tswana/Kgatla
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/166218 , vital:41339 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0117-02
  • Description: "Children of the lion. He - he! we! Having been called, we have come." This song was recorded on the occasion when the Chief was being presented with the skin of a lion which had recently been killed, out at one of the cattle posts. According to custom, the skin had to be given to the Chief, Murusi Pilane. A large crowd of men marched up through the village to the Chief's council place, the Kgotla, singing this song as they came. The man who had killed the lion wore the skin over his head and shoulders, while four other men were similarly covered with the skins of leopards. A friend had the hollow fanged skull of the lion strapped on top of his head. As they sang, several men stabbed the air with their assegais as if they were reenacting the scene. Hunting song.
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Chigona mbara (The drunkard)

- Simenti Phiri, Hugh Tracey

Inganile Intombi Yami Nokuzula (My girl Nokuzula has left me)

- Yelanjani Matula, Hugh Tracey

  • Authors: Yelanjani Matula , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Havelock Mine f-sq
  • Language: Swati
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/152666 , vital:39329 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR071-07
  • Description: A phrase in this song refers to the custom of reserving a portion of an animal, the heart or chops for the younger people. So comparing this to the loss of the girl, he says, waiting in anticipation of his share of the chops, he is disappointed. Topical song with concertina.
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Khanyisa Gura (Mother)

- Robert Golozera and three elderly women, Hugh Tracey

  • Authors: Robert Golozera and three elderly women , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Arts, Malawi , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Njolomole, Ncheu f-rh
  • Language: Nyanja/Chewa/Chichewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/155602 , vital:39898 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR086-11
  • Description: A song sung on engagement, when the woman is first brought to the man's home. Robert Golozera is the uncle of the present chief Njolomole. The man who is supposed to be singing this song, complains that a certain man came 'behind his back' and slept with his wife while he himself was in the village. In some devious way the theme of the song appears to be intended to be taken as a warning to wantons. Marriage song.
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Mtempile

- Nyanja Policemen, Hugh Tracey

  • Authors: Nyanja Policemen , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Arts, Malawi , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Zomba f-rh
  • Language: Nyanja/Chewa/Chichewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179114 , vital:39884 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR086-01
  • Description: "The Nyanja, Ngoni, Lomwe, Chewa came and built a temple." It would appear that the singers belong to one of the many separatist African churches. "Mtempile Anyanja, Angoni, Alomwe, Acawa ndza namanga." The four tribes mentioned are all to be found in Nyasaland. African christians are fond of using the word 'temple' in various pronunciations. Wedding song.
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Mulandeza mulanganga (A bag my brother)

- Six elderly women, Hugh Tracey

  • Authors: Six elderly women , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Arts, Malawi , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Tengani, Port Herald f-rh
  • Language: Nyanja/Mang'anja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/155748 , vital:39912 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR087-09
  • Description: This is an old dance, now only performed by the old people. Two of the performers grasped the long gourd rattles with alternate hands while others beat it with the palm of one hand. The gourds have maize seeds inside as the rattling medium. As they wear away they are replaced with new dry seeds. Chitsukulumwe dance with gourd rattles and clapping.
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Owaha o Lomwe (When you come from Lomwe)

- Sitoni Maulidi and Dailoni Likluva, Hugh Tracey

Ba Serenje balokulila bawishibo (Serenje is weeping over his father)

- Adamsoni Kabamba, Hugh Tracey

  • Authors: Adamsoni Kabamba , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Folk songs, Ambo (Zambia) , Instrumental music , Mbira music , Africa Zambia Serenje f-za
  • Language: Lala
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/134640 , vital:37186 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0021-04
  • Description: "When Serenje's father died, he mourned for a long time. "Toranchi" has taught me how to shoot on the rifle range, so, now I have learnt to shoot, I may be going to the war, and do not know if I will ever come back." This is a piece of fantasy, for in fact, Mr. Torrence has not taught him to shoot, but it is an oblique form of flattery and praise. He is fond of Mr. Torrence who is assistant African personnel manager, and that is why he sings about him in this way. The fact that Mr. Torrence was an officer in the King's African Rifles during the war may have contributed to the singer's hero worship of him. Self-delectative song with Kankowele fan-shaped mbira with external resonator.
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Chikulamayembe Gondwe

- Alick Mpusi Mutali and Tumbuka/Henga men, Hugh Tracey

Chinjilile mwalyanjo (You had better be careful)

- Group of Lozi men, Hugh Tracey

  • Authors: Group of Lozi men , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Lozi (African people) , Music--Zambia , Field recordings , Africa, Sub-Saharan , Africa Zambia Mangu f-za
  • Language: Lozi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/139770 , vital:37780 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR051-06
  • Description: When the girl's initiation is at an end, she is led in the evening to a nearby stream to wash, and whilst she is washing, this song is sung. The initiation period amongst the Lozi lasts for 6 months during which time the girl is taught all domestic skills she will need in later life. Girl's initiation song with guitar, and bottle struck by a nail.
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Hamanzi kweni (Early in the morning)

- Saisi Shishonke, Hugh Tracey

  • Authors: Saisi Shishonke , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Music--Mozambique , Africa Mozambique Mabote f-mz
  • Language: Tswa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/136206 , vital:37349 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR029-03
  • Description: The player stopped the lower segment of the string with the backs of both his first and 2nd fingers. Self-delectative song with CHITENDE musical bow, braced and resonated.
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Ndinga Ngonyoko (I am old as your mother and I know everything)

- Young Gcaleka men and girls, Hugh Tracey

Uxam ugezile usind'indlu ngodaka (The iguana is very silly)

- Iqela Labavumi bakwa Zwelitsha (Zwelitsha Choral Society), Hugh Tracey

Abakazi okuzandhda

- Waibi and Soga men, Hugh Tracey

  • Authors: Waibi and Soga men , Hugh Tracey
  • Date: 1952
  • Subjects: Music--Uganda , Soga (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Bugabula County f-ug
  • Language: Soga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/171292 , vital:42042 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR140-14
  • Description: "Women like playing very much. Oh! yes the women do like playing. Women should not be trusted. For if you give one a present, she gives it to her lover." This song was much appreciated by the audience which was sitting all around the players. Humorous song, with Budongo Likembe and Nsaasi tin rattle.
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Abasungu balisa-we tata

- Philemon Kalela, Group of Bemba men, Hugh Tracey

  • Authors: Philemon Kalela , Group of Bemba men , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Lozi (African people) , Bemba (African people) , Folk songs, Bemba , Field recordings , Africa, Sub-Saharan , Africa Zambia Fort Roseberry f-za
  • Language: Lozi , Bemba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/183808 , vital:44071 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR182-17
  • Description: "The White people have come, father, they are flying in the sky. They have made the smelter. They have made the shaft. They brought money. They have come here for good, they will never turn back from our country. They have settled in our (Lamba) country, these settlers of the Copper Belt." This refers to great industrial intrusion into this part of Africa where large deposits of copper are now being mined in what used to be a remote and densely wooded part of the country. Topical song
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Amagombe galindya

- Nasuti Social Club, Hugh Tracey

Ketu hunyinga

- Group of Luba men and women, Hugh Tracey

  • Authors: Group of Luba men and women , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Luba (African people) , Field recordings , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Kinkondje f-rh
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/181986 , vital:43787 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR177-08
  • Description: The four drummers were the chief singers together with their women. Malimba 2 xylophones, on frames without resonators.. 3 goblet drums, once called Itumba and the others Mutumbwe. The Itumba drum was a closed drum with a mirliton fixed into its side, 20" high and with 12 1/2" membrane. The Mutumbwe drums were both weighted with paste to lower their pitch, and had similar mirlitons. The large slit drum, Kunri, was insulated from the ground as it had no legs. In this respect the slit drums behave physically like a xylophone note and must be supported at the two nodes or they will not sound properly. Budye dance, with 2 xylophones, 3 conical drums and 1 slit drum
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Mere

- Nasuti Social Club, Hugh Tracey

  • Authors: Nasuti Social Club , Hugh Tracey
  • Date: 1952
  • Subjects: Music--Uganda , Soga (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Iganga f-ug
  • Language: Soga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/171207 , vital:42030 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR140-06
  • Description: "You should always trust in God and not be proud of yourself without thinking of him." The eight Budongo Likembe were in three pitches each an octave apart. (1) Th treble - Mbaire, (2) The baritone - Ndumi, (3) The bass - Nene. The common scale was as follows:- 656, 560, 496, 432, 368, 328 vs. Religious song, with 8 Budongo 11 note Likembe and a Nsaasi flat tin rattle (-12.54-).
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Urunahi

- Ntamakiriro, Hugh Tracey

  • Authors: Ntamakiriro , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Songs, Kinyarwanda--Rwanda , Rundi (African people) , Folk songs, Rundi , Africa Rwanda Kibimba f-rw
  • Language: Kinyarwanda
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/148971 , vital:38791 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR058-08
  • Description: The singer addresses himself to the chiefs of the country asking for alms. Player holds a small rattle in his right hand, the stick of which strikes the gourd in order to create additional percussion. This same type of bow is called UKUBU by the HA and UGUBU by the Zulu. Fundamental notes of bow:- 288 and 720 vs. Medicant's song with musical bow, vertical, braced and gourd resonated.
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Awakasi mbuwayi

- James Matigo with Jita men, Hugh Tracey

  • Authors: James Matigo with Jita men , Hugh Tracey
  • Date: 1950
  • Subjects: Kwaya (African people) , Jita (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Musoma f-tz
  • Language: Kwaya , Jita
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/175105 , vital:42540 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR157-18
  • Description: The dance is a shaking dance in which the top part of the body, and the throax is rhythmically revolved with the arms and shoulder blades revolving in concert with the chest. This type of dance action appears to be very commonly employed in the district near the Lake Victoria. The item was recorded at the Mwadui Williamson Diamond Mine where the men were employed. Marimba dance song for men and women, Marimba (Mbira) 12 notes.
  • Full Text: false
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