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Abarinda nibarwana (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR134 (1950)
The people who protect this country are away fighting.' This refers to old tribal fighting before the Europeans came and stopped it all, i.e. before 1890.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR134 (1950)
Description
The people who protect this country are away fighting.' This refers to old tribal fighting before the Europeans came and stopped it all, i.e. before 1890.
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, Song, Flute, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
Genre
Dance, Song
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Ada a Banda
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185; in Ada a Banda (Track) , 3 mins
"My father, Banda, has gone off to work in the towns, for a long long time, to buy himself clothes." how true a reflection this is upon thousands of Tonga men in this district who go off to mines and towns for their own reasons leaving the women and children to fend for themselves at home. Many send back money, bu...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185; in Ada a Banda (Track) , 3 mins
Description
"My father, Banda, has gone off to work in the towns, for a long long time, to buy himself clothes." how true a reflection this is upon thousands of Tonga men in this district who go off to mines and towns for their own reasons leaving the women and children to fend for themselves at home. Many send back money, but as many others find local foreign girls and forget their home and children.
Date Written / Recorded
1950
Field of Study
Anthropology
Content Type
Field recording (raw)
Genre
Dance, Song
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Adamu, we = Adam, you have left me
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR096; in Adamu, we (Track) , 2 mins
The theme of migrant labour, of the men working far away in S. Rhodesia, N. Rhodesia or in South Africa is a constant one among the women who have been left behind. "Adamu we, aye aye! Koto wo Wandisiya maule aye, wo aye aye! Ine ndi kulila, aye aye wo!" "Adam a-ye-a-ye. You have left me. I am crying -- I will tak...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR096; in Adamu, we (Track) , 2 mins
Description
The theme of migrant labour, of the men working far away in S. Rhodesia, N. Rhodesia or in South Africa is a constant one among the women who have been left behind. "Adamu we, aye aye! Koto wo Wandisiya maule aye, wo aye aye! Ine ndi kulila, aye aye wo!" "Adam a-ye-a-ye. You have left me. I am crying -- I will take a train and follow you."
Date Written / Recorded
1958
Field of Study
World Music
Content Type
Field recording (raw)
Genre
Dance
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Ahe likalakati = The usurpers
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR064; in Ahe likalakati (Track) , 2 mins
The four leading women sang this song on their knees, and the principal singer also mimed the torso, hip and arm movements of the dance whilst she sang.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR064; in Ahe likalakati (Track) , 2 mins
Description
The four leading women sang this song on their knees, and the principal singer also mimed the torso, hip and arm movements of the dance whilst she sang.
Date Written / Recorded
1957
Field of Study
World Music
Content Type
Field recording (raw)
Genre
Dance
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Ajuba
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR129; in Ajuba (Track) , 3 mins
An attractive dance by young soldiers whose tribe has the local reputation of being amongst the most hamdsome in the Congo. Their home district is at the most northerly part of the great bend in the Congo river where it is already several miles wide. (Copied from disc)
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR129; in Ajuba (Track) , 3 mins
Description
An attractive dance by young soldiers whose tribe has the local reputation of being amongst the most hamdsome in the Congo. Their home district is at the most northerly part of the great bend in the Congo river where it is already several miles wide. (Copied from disc)
Date Written / Recorded
1952
Field of Study
World Music
Content Type
Field recording (raw)
Genre
Dance
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Alaina n’kuphika nkhwani
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR097; in Alaina n’kuphika nkhwani (Track) , 2 mins
This kind of dance, they say, was first introduced into the district by Yao people, about 15 years ago, 1940, when it was originally sung in the Yao language, from the Fort Johnstone District. But the Chewa girls liked the dance and made up their own words for it. They reflect the young girls growing sense of resp...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR097; in Alaina n’kuphika nkhwani (Track) , 2 mins
Description
This kind of dance, they say, was first introduced into the district by Yao people, about 15 years ago, 1940, when it was originally sung in the Yao language, from the Fort Johnstone District. But the Chewa girls liked the dance and made up their own words for it. They reflect the young girls growing sense of responsibility toward her domestic duties. "Alaina nkuphika nkhwani nanga ine ndidyele ciani alaina Mai wanga nkuphika nkhwani nanga ine nd...
This kind of dance, they say, was first introduced into the district by Yao people, about 15 years ago, 1940, when it was originally sung in the Yao language, from the Fort Johnstone District. But the Chewa girls liked the dance and made up their own words for it. They reflect the young girls growing sense of responsibility toward her domestic duties. "Alaina nkuphika nkhwani nanga ine ndidyele ciani alaina Mai wanga nkuphika nkhwani nanga ine ndidyele ciani." "Alaina cooked vegetables, what shall I do for vegetables myself? My mother cooked vegetables, what shall I do for vegetables myself?"
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Date Written / Recorded
1958
Field of Study
Anthropology
Content Type
Field recording (raw)
Genre
Dance
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Alume yerani malo (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR162 (1950)
The singer calls to those behind to hurry and catch up with the dance team as they are going to a big dance competition. This item is a fascinating example of the authentic 2 against 3 African cross rhythm.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR162 (1950)
Description
The singer calls to those behind to hurry and catch up with the dance team as they are going to a big dance competition. This item is a fascinating example of the authentic 2 against 3 African cross rhythm.
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, Rattle, Kayamba, Clapping, hand
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
Genre
Song, Dance
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Amai, ami, ndikunene eleli
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR087; in Amai, Amai, ndikunene eleli (Track) , 2 mins
"Mother, mother I will say much to you You have taken my child. I myself am only small You have taken my child. No, you have taken my child, as I say."
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR087; in Amai, Amai, ndikunene eleli (Track) , 2 mins
Description
"Mother, mother I will say much to you You have taken my child. I myself am only small You have taken my child. No, you have taken my child, as I say."
Date Written / Recorded
1959
Field of Study
Anthropology
Content Type
Field recording (raw)
Genre
Dance
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Ambila baBemba na baLamba (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR178 (1952)
The Chisanzhi Mbira is the traditional type of the district: The basket rattle is a well-made woven article with a handle; the rattles had wooden handles and an open work basket head with beer bottle tops inside. The bottle is a common percussion instrument among the Lulua and the singing gourd is the favorite ins...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR178 (1952)
Description
The Chisanzhi Mbira is the traditional type of the district: The basket rattle is a well-made woven article with a handle; the rattles had wooden handles and an open work basket head with beer bottle tops inside. The bottle is a common percussion instrument among the Lulua and the singing gourd is the favorite instrument of women's choirs in southern Congo into which they sing, lip or hum notes related to the fundamental note of the gourd. "We a...
The Chisanzhi Mbira is the traditional type of the district: The basket rattle is a well-made woven article with a handle; the rattles had wooden handles and an open work basket head with beer bottle tops inside. The bottle is a common percussion instrument among the Lulua and the singing gourd is the favorite instrument of women's choirs in southern Congo into which they sing, lip or hum notes related to the fundamental note of the gourd. "We are very happy in our village, we have plenty of beer and gaiety and want to be left alone." The singing gourd can be heard only toward the end of the item. The Chisanzhi Mbira is the traditional type of the district: The basket rattle is a well-made woven article with a handle the rattles had wooden handles and an open work basket head with beer bottle tops inside. The bottle is a common percussion instrument among the Lulua and the singing gourd is the favorite instrument of women's choirs in southern Congo into which they sing, lip or hum notes related to the fundamental note of the gourd. "Go! Bemba and Lamba people of the Copper Belt." The musical formula for the songs which accompany the Maringa dance can be clearly distinguished in this recording. The dance itself was not witnessed at the time of recording.
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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, Bottle, Rattle, Clapping, hand, Rattle, basket, Mbira, chizanshi
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
Genre
Dance
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Angozo
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR096; in Angozo (Track) , 2 mins
Who Angozo might have been and what he had done could not be explained, but the song was, no doubt, founded on fact, and the singing of this song would ensure publicity. "Angoza, ine ee ee, umerewo ndimwano Ambani ee-ee-ee-ee! Simudziwa mbodola ansani ee-ee!" "Angozo (man's name) you are very indiscreet. You have...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR096; in Angozo (Track) , 2 mins
Description
Who Angozo might have been and what he had done could not be explained, but the song was, no doubt, founded on fact, and the singing of this song would ensure publicity. "Angoza, ine ee ee, umerewo ndimwano Ambani ee-ee-ee-ee! Simudziwa mbodola ansani ee-ee!" "Angozo (man's name) you are very indiscreet. You have not kept our affair private."
Date Written / Recorded
1958
Field of Study
World Music
Content Type
Field recording (raw)
Genre
Dance
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