Browse Titles - 229 results
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Abakaikula kitulayeza twena tucome Mlekule (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR147 (1950) , 2 page(s)
When we harvest our crops we shall all enjoy dancing the Mlekule.' Mlekule is a dance done for the chief at his village.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR147 (1950) , 2 page(s)
Description
When we harvest our crops we shall all enjoy dancing the Mlekule.' Mlekule is a dance done for the chief at his village.
Date Written / Recorded
1950
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Song, Mbira, Mbira, likembe muchapata
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Africa with Ade Adepitan, Episode 3
directed by Karolina Mottram; presented by Ade Adepitan, 1973-; produced by Karolina Mottram, British Broadcasting Corporation, in Africa with Ade Adepitan (London, England: BBC Worldwide, 2019), 59 mins
Ade begins this leg of his journey in Tanzania, in Selous Game Reserve. He is on the lookout for elephants but numbers in this park have fallen by 90% over the last few decades.
Sample
directed by Karolina Mottram; presented by Ade Adepitan, 1973-; produced by Karolina Mottram, British Broadcasting Corporation, in Africa with Ade Adepitan (London, England: BBC Worldwide, 2019), 59 mins
Description
Ade begins this leg of his journey in Tanzania, in Selous Game Reserve. He is on the lookout for elephants but numbers in this park have fallen by 90% over the last few decades.
Field of Study
Anthropology
Content Type
Documentary
Contributor
Karolina Mottram, British Broadcasting Corporation
Author / Creator
Karolina Mottram, Ade Adepitan, 1973-
Date Published / Released
2019
Publisher
BBC Worldwide
Series
Africa with Ade Adepitan
Topic / Theme
Africans
Copyright Message
Copyright © 2019 BBC Worldwide
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Akamkungulu kagaya (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 (1950) , 2 page(s)
Why are you angry with me, You are not my father, You are not my brother, Leave me alone.' The drums only appear towards the end of the item.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 (1950) , 2 page(s)
Description
Why are you angry with me, You are not my father, You are not my brother, Leave me alone.' The drums only appear towards the end of the item.
Date Written / Recorded
1950
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Narrative Songs, Drum, Bell
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Allah, Allah (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR171 (1950) , 2 page(s)
Two chants in praise of Allah. It is commonly believed by Mohammedans that by constantly repeating the name of a dead sheik you could see him in a vision. The capacity for "seeing" eidetic images is found all over the world. This kind of "grunting" is found in many African tribes who have experienced the influence...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR171 (1950) , 2 page(s)
Description
Two chants in praise of Allah. It is commonly believed by Mohammedans that by constantly repeating the name of a dead sheik you could see him in a vision. The capacity for "seeing" eidetic images is found all over the world. This kind of "grunting" is found in many African tribes who have experienced the influence of Mohammedanism. It is also used among the Xhosa of the Transkei although they are said to have left East Africa about 400 years ago...
Two chants in praise of Allah. It is commonly believed by Mohammedans that by constantly repeating the name of a dead sheik you could see him in a vision. The capacity for "seeing" eidetic images is found all over the world. This kind of "grunting" is found in many African tribes who have experienced the influence of Mohammedanism. It is also used among the Xhosa of the Transkei although they are said to have left East Africa about 400 years ago and have no trace of that religion today.
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Date Written / Recorded
1950
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Spoken Word, Voice
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Atalwa endito (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR153 (1950) , 1 page(s)
"If I am late, my love, do not be worried. When I have raided the cattle I will bring them back with all speed. I will not even wait to drink as I cross the river." The great manly sport of Masai has always been cattle raidingShortly before this recording was made several men of this Arusha district raided over...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR153 (1950) , 1 page(s)
Description
"If I am late, my love, do not be worried. When I have raided the cattle I will bring them back with all speed. I will not even wait to drink as I cross the river." The great manly sport of Masai has always been cattle raidingShortly before this recording was made several men of this Arusha district raided over 1000 heard of Sukuma cattle from the west. "If I am late, my love, do not be worried. When I have raided the cattle I will bring them b...
"If I am late, my love, do not be worried. When I have raided the cattle I will bring them back with all speed. I will not even wait to drink as I cross the river." The great manly sport of Masai has always been cattle raidingShortly before this recording was made several men of this Arusha district raided over 1000 heard of Sukuma cattle from the west. "If I am late, my love, do not be worried. When I have raided the cattle I will bring them back with all speed. I will not even wait to drink as I cross the river." The great manly sport of Masai has always been cattle raiding—Shortly before this recording was made several men of this Arusha district raided over 1000 heard of Sukuma cattle from the west.
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Date Written / Recorded
1950
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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A-TOWN: Moving Towards Visibility
directed by Laura Molsbergen, fl. 2020 (Leiden, South Holland: Institute of Cultural Anthropology and Development Sociology, Universiteit Leiden, 2020), 32 mins
The film provides a glimpse of the lives of three dancers, who are part of the wider ViaVia dance community in Arusha. They all have their own dreams to pursue, their own money to make to survive on a daily basis. As a unity, they share their passion for dance and the willingness to take their dance practices to a...
Sample
directed by Laura Molsbergen, fl. 2020 (Leiden, South Holland: Institute of Cultural Anthropology and Development Sociology, Universiteit Leiden, 2020), 32 mins
Description
The film provides a glimpse of the lives of three dancers, who are part of the wider ViaVia dance community in Arusha. They all have their own dreams to pursue, their own money to make to survive on a daily basis. As a unity, they share their passion for dance and the willingness to take their dance practices to a higher level. But the Tanzanian government and its people do not value dance for the development of the country. A-TOWN: Moving toward...
The film provides a glimpse of the lives of three dancers, who are part of the wider ViaVia dance community in Arusha. They all have their own dreams to pursue, their own money to make to survive on a daily basis. As a unity, they share their passion for dance and the willingness to take their dance practices to a higher level. But the Tanzanian government and its people do not value dance for the development of the country. A-TOWN: Moving towards visibility shows how the dancers try to use their talent to escape the shadow and instead search for the spotlight to be seen by their fellow Tanzanians – but are they able to do so without the help from outsiders?
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Field of Study
Anthropology
Content Type
Ethnography
Contributor
Laura Molsbergen, fl. 2020
Author / Creator
Laura Molsbergen, fl. 2020
Date Published / Released
2020
Publisher
Institute of Cultural Anthropology and Development Sociology, Universiteit Leiden
Topic / Theme
Performing arts life, Fine arts, Dance and dancing, Tanzanians
Copyright Message
Copyright © 2020 Institute of Cultural Anthropology and Development Sociology, Universiteit Leiden
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Awana wane wakuluganga (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR152 (1950) , 1 page(s)
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.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR152 (1950) , 1 page(s)
Description
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.
Date Written / Recorded
1950
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Awu mungoya wetu amusolile konongo Part I (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 (1950) , 1 page(s)
"The English and the Germans came and still come into our country. What do they want? We do not know them well. This song of ours comes from the Nyamwezi." A lovely chant sung before dancing, by a most decorative people They sing also about their soldiers who fought in the 1939-45 war, and how they went to the Mid...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 (1950) , 1 page(s)
Description
"The English and the Germans came and still come into our country. What do they want? We do not know them well. This song of ours comes from the Nyamwezi." A lovely chant sung before dancing, by a most decorative people They sing also about their soldiers who fought in the 1939-45 war, and how they went to the Middle East and Ceylon. The song is one of the typical sung legends or epics of the Gogo who are renowned for their compositions of this n...
"The English and the Germans came and still come into our country. What do they want? We do not know them well. This song of ours comes from the Nyamwezi." A lovely chant sung before dancing, by a most decorative people They sing also about their soldiers who fought in the 1939-45 war, and how they went to the Middle East and Ceylon. The song is one of the typical sung legends or epics of the Gogo who are renowned for their compositions of this nature. In the first part the young composer and his friend sing an introduction and at 1 m 30s after the start they introduce the chorus of men and women who are standing in line of dance three or four deep. The soloists line each phrase calling "Kanyi" when they want a phrase or stanza repeated.
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Date Written / Recorded
1950
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Praise Song, Vocals, group
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Awu mungoya wetu amusolile konongo Part II (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 (1950) , 2 page(s)
In this recording the whole group sing the song again, this time not as a dance but as a song with most of the stanzas included. It is clear that the length of the song depends largely on the leaders and the stanzas they line. There are few prople in Africa within our experience who can compare with these Gogo mus...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 (1950) , 2 page(s)
Description
In this recording the whole group sing the song again, this time not as a dance but as a song with most of the stanzas included. It is clear that the length of the song depends largely on the leaders and the stanzas they line. There are few prople in Africa within our experience who can compare with these Gogo musicians in their special field.
Date Written / Recorded
1950
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Dance, Flute, Bell
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Awu mungoya wetu amusolile konongo Part III (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 (1950) , 2 page(s)
The dance which follows the chanting of Awu Mungoya, Part I. Each man had a pod shapped metal bell or two tied below one knee which emphasised the stamping of that foot. Unlike the Zulu, the Gogo appear to stamp only one foot, and not alternate feet in this dance. The flute obligato lends an attractive rustic touc...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 (1950) , 2 page(s)
Description
The dance which follows the chanting of Awu Mungoya, Part I. Each man had a pod shapped metal bell or two tied below one knee which emphasised the stamping of that foot. Unlike the Zulu, the Gogo appear to stamp only one foot, and not alternate feet in this dance. The flute obligato lends an attractive rustic touch to the whole. This recording is part of the dance which normally follows the opening song, the sound of the leg bells and the Mulanzi...
The dance which follows the chanting of Awu Mungoya, Part I. Each man had a pod shapped metal bell or two tied below one knee which emphasised the stamping of that foot. Unlike the Zulu, the Gogo appear to stamp only one foot, and not alternate feet in this dance. The flute obligato lends an attractive rustic touch to the whole. This recording is part of the dance which normally follows the opening song, the sound of the leg bells and the Mulanzi flute being herd. The full dance lasts for a considerable time and only a part was recorded.
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Date Written / Recorded
1950
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Praise Song, Flute, Bell
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
