Browse Titles - 259 results
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A Kawoko ndi ndhondo (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 (1950) , 1 page(s)
Three Mcoma dance songs for women and girls, with 2 goblet drums, one weighted and whistles (-11.515-). This dance song reflects a local tragedy. There was a certain White man, popularly called 'Kawoko', a game warden in this district, they say who had only one hand. There had been a recent campaign to shoot babo...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 (1950) , 1 page(s)
Description
Three Mcoma dance songs for women and girls, with 2 goblet drums, one weighted and whistles (-11.515-). This dance song reflects a local tragedy. There was a certain White man, popularly called 'Kawoko', a game warden in this district, they say who had only one hand. There had been a recent campaign to shoot baboons (in 1949) which were destroying the fields. During the shooting, they allege, he missed the baboons but shot some if the men who we...
Three Mcoma dance songs for women and girls, with 2 goblet drums, one weighted and whistles (-11.515-). This dance song reflects a local tragedy. There was a certain White man, popularly called 'Kawoko', a game warden in this district, they say who had only one hand. There had been a recent campaign to shoot baboons (in 1949) which were destroying the fields. During the shooting, they allege, he missed the baboons but shot some if the men who were driving the baboons out of the bush. The African beaters also had guns and were shooting and some say it was their eratic shooting which caused the casualties. Three men died that day and Kawoko was blamed as he was in charge of the group. He left the district shortly afterwards. A graceful circle dance performed by young girls, pairs of dancers coming out into the circle at a time.
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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
Song, Dance, Drum, Whistle
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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A Kawoko ndi ndhondo (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 3 mins
Three Mcoma dance songs for women and girls, with 2 goblet drums, one weighted and whistles (-11.515-). This dance song reflects a local tragedy. There was a certain White man, popularly called 'Kawoko', a game warden in this district, they say who had only one hand. There had been a recent campaign to shoot babo...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 3 mins
Description
Three Mcoma dance songs for women and girls, with 2 goblet drums, one weighted and whistles (-11.515-). This dance song reflects a local tragedy. There was a certain White man, popularly called 'Kawoko', a game warden in this district, they say who had only one hand. There had been a recent campaign to shoot baboons (in 1949) which were destroying the fields. During the shooting, they allege, he missed the baboons but shot some if the men who we...
Three Mcoma dance songs for women and girls, with 2 goblet drums, one weighted and whistles (-11.515-). This dance song reflects a local tragedy. There was a certain White man, popularly called 'Kawoko', a game warden in this district, they say who had only one hand. There had been a recent campaign to shoot baboons (in 1949) which were destroying the fields. During the shooting, they allege, he missed the baboons but shot some if the men who were driving the baboons out of the bush. The African beaters also had guns and were shooting and some say it was their eratic shooting which caused the casualties. Three men died that day and Kawoko was blamed as he was in charge of the group. He left the district shortly afterwards. A graceful circle dance performed by young girls, pairs of dancers coming out into the circle at a time.
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Date Written / Recorded
1950
Field of Study
Anthropology
Content Type
Field recording (raw)
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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Kayuni ngwata (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 (1950) , 1 page(s)
This is an exhibition dance done by one or more dancers for the entertainment of the crowd. The drummers are men, friends of the solo dancer and the women of the village sing his dance song for him. His dance consists of a series of rhythmic shakes particularly from his waist down. He wears African made iron bells...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 (1950) , 1 page(s)
Description
This is an exhibition dance done by one or more dancers for the entertainment of the crowd. The drummers are men, friends of the solo dancer and the women of the village sing his dance song for him. His dance consists of a series of rhythmic shakes particularly from his waist down. He wears African made iron bells below the knee and above the ankle.
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, Dance, Bell, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Kayuni ngwata (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 , 1 min
This is an exhibition dance done by one or more dancers for the entertainment of the crowd. The drummers are men, friends of the solo dancer and the women of the village sing his dance song for him. His dance consists of a series of rhythmic shakes particularly from his waist down. He wears African made iron bells...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 , 1 min
Description
This is an exhibition dance done by one or more dancers for the entertainment of the crowd. The drummers are men, friends of the solo dancer and the women of the village sing his dance song for him. His dance consists of a series of rhythmic shakes particularly from his waist down. He wears African made iron bells below the knee and above the ankle.
Field of Study
Anthropology
Content Type
Field recording (raw)
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.
Tracks
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Kekema-kekema (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR128 , 3 mins
The Kusu are Mohammedans having accepted the domination of the Arab traders on the Luapula River in the 19th century. The simple repetitive songs demonstrating the almost mechanical simplicity of a dance rhythm. They were recoreded by Kusu people about 450 miles north of the home district near the Lualaba River ab...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR128 , 3 mins
Description
The Kusu are Mohammedans having accepted the domination of the Arab traders on the Luapula River in the 19th century. The simple repetitive songs demonstrating the almost mechanical simplicity of a dance rhythm. They were recoreded by Kusu people about 450 miles north of the home district near the Lualaba River about 3 deg. S. of the equator. They were working at the elephant training centre at Andudu on the edge of the great Ituri Forest. Both i...
The Kusu are Mohammedans having accepted the domination of the Arab traders on the Luapula River in the 19th century. The simple repetitive songs demonstrating the almost mechanical simplicity of a dance rhythm. They were recoreded by Kusu people about 450 miles north of the home district near the Lualaba River about 3 deg. S. of the equator. They were working at the elephant training centre at Andudu on the edge of the great Ituri Forest. Both items copied from discs.
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Field of Study
Anthropology
Content Type
Field recording (raw)
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.
Tracks
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Ketu hunyinga (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR177 (1952) , 2 page(s)
The four drummers were the chief singers together with their women. Malimba: 2 xylophones, on frames without resonators. Three goblet drums, one called Itumba and the others Mutumbwe. The Itumba drum was a closed drum with a mirliton fixed into its side, 20 inches high with 12 1/2 inch membrane. The two Mutumbwe d...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR177 (1952) , 2 page(s)
Description
The four drummers were the chief singers together with their women. Malimba: 2 xylophones, on frames without resonators. Three goblet drums, one called Itumba and the others Mutumbwe. The Itumba drum was a closed drum with a mirliton fixed into its side, 20 inches high with 12 1/2 inch membrane. The two Mutumbwe drums we both weighted with paste to lower their pitch, and had similar mirlitons. The largest slit drum, Kunri, was insulated from the...
The four drummers were the chief singers together with their women. Malimba: 2 xylophones, on frames without resonators. Three goblet drums, one called Itumba and the others Mutumbwe. The Itumba drum was a closed drum with a mirliton fixed into its side, 20 inches high with 12 1/2 inch membrane. The two Mutumbwe drums we both weighted with paste to lower their pitch, and had similar mirlitons. The largest 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.
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Date Written / Recorded
1952
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Dance, African Drumming, Xylophone, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Kia Mwangala kia yanamatumbe (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR183 (1957) , 1 page(s)
Drums. Kayanda -- conical, open, pegged and weighted (--14.2--). Mitumbwe -- goblet, pinned, closed and weighted (--14.52--). Ditumba -- goblet, pinned, closed, mirliton (--14.51251--). The drums enter one after the other and end in the same way. The difference between the weighted and unweighted membrane of the d...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR183 (1957) , 1 page(s)
Description
Drums. Kayanda -- conical, open, pegged and weighted (--14.2--). Mitumbwe -- goblet, pinned, closed and weighted (--14.52--). Ditumba -- goblet, pinned, closed, mirliton (--14.51251--). The drums enter one after the other and end in the same way. The difference between the weighted and unweighted membrane of the drums can be clearly heard -- lower in tone and also emitting a slightly slurred or portamento tone Mentone, while the unweighted drum s...
Drums. Kayanda -- conical, open, pegged and weighted (--14.2--). Mitumbwe -- goblet, pinned, closed and weighted (--14.52--). Ditumba -- goblet, pinned, closed, mirliton (--14.51251--). The drums enter one after the other and end in the same way. The difference between the weighted and unweighted membrane of the drums can be clearly heard -- lower in tone and also emitting a slightly slurred or portamento tone Mentone, while the unweighted drum sounds a clear hollow note.
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Date Written / Recorded
1957
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Song, Dance, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Kilumbu I _ Kilumbu II (Joined) (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR128 (1952) , 1 page(s)
The 'Diviner' was a young man dressed in a full cotton skirt, leaving the torso bare, and wide ropes of beads crossed diagonally across the chest. He wore a red silk head-kerchief and was accompanied by a small boy dressed in similar fashion. Although the singers said, at the time, that the name of the song was "K...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR128 (1952) , 1 page(s)
Description
The 'Diviner' was a young man dressed in a full cotton skirt, leaving the torso bare, and wide ropes of beads crossed diagonally across the chest. He wore a red silk head-kerchief and was accompanied by a small boy dressed in similar fashion. Although the singers said, at the time, that the name of the song was "Kilumbu" it would appear from the recording that it is more correctly "Kayombo." Recorded at the Camp de Nepoko, Elephant Training Centr...
The 'Diviner' was a young man dressed in a full cotton skirt, leaving the torso bare, and wide ropes of beads crossed diagonally across the chest. He wore a red silk head-kerchief and was accompanied by a small boy dressed in similar fashion. Although the singers said, at the time, that the name of the song was "Kilumbu" it would appear from the recording that it is more correctly "Kayombo." Recorded at the Camp de Nepoko, Elephant Training Centre, Ituri Forest, Andudu.
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Date Written / Recorded
1952
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Song, Dance, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Koloni wanguya ku Masoku (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR187 , 3 mins
"There were two young men Koloni and Sandifolo who went to look for work." This player uses a short length or sliver of bamboo as a bow, which was so efficient that he needed only to wet it with spittle once during the playing. The name Sandifolo would appear to be a local corruption of the English name Stanford o...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR187 , 3 mins
Description
"There were two young men Koloni and Sandifolo who went to look for work." This player uses a short length or sliver of bamboo as a bow, which was so efficient that he needed only to wet it with spittle once during the playing. The name Sandifolo would appear to be a local corruption of the English name Stanford or something similar.
Field of Study
Anthropology
Content Type
Field recording (raw)
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.
×
See details
Koras (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR159 , 2 mins
The 'struck iron' was an old starter ring from the fly wheel of a car. It is necessary to have a circular or 'S' shaped piece of metal for convenient playing of the double beat. The performer called it 'Kengere' or 'Beru' bell. The sweepers in Nairobi, they say, always come from Embu. Kibunga waita, the iron playe...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR159 , 2 mins
Description
The 'struck iron' was an old starter ring from the fly wheel of a car. It is necessary to have a circular or 'S' shaped piece of metal for convenient playing of the double beat. The performer called it 'Kengere' or 'Beru' bell. The sweepers in Nairobi, they say, always come from Embu. Kibunga waita, the iron player, was no exception. Elsewhere in Africa certain tribes tend to adopt one occupation exclusively. After hearing a few Kikuyu songs to t...
The 'struck iron' was an old starter ring from the fly wheel of a car. It is necessary to have a circular or 'S' shaped piece of metal for convenient playing of the double beat. The performer called it 'Kengere' or 'Beru' bell. The sweepers in Nairobi, they say, always come from Embu. Kibunga waita, the iron player, was no exception. Elsewhere in Africa certain tribes tend to adopt one occupation exclusively. After hearing a few Kikuyu songs to the accompaniment of the iron and accordion, the listener who is not case hardened to the noise may experience a singing in the ears for several hours afterwards. Listening to this kind of Kikuyu song is more a feat of endurance than an aesthetic pleasure.
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Field of Study
Anthropology
Content Type
Field recording (raw)
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.
Tracks
×
