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Mliho mwitungade awacheye

- Wonkhama Sekenge with Sukuma men, Hugh Tracey

Mtemi mfalume wize mpya

- Masudi Bini Amani with Nyamwezi women, Hugh Tracey

  • Authors: Masudi Bini Amani with Nyamwezi women , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Itetemia f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173129 , vital:42333 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR149-02
  • Description: This song, they say, was used on the occasion of the installation on March 3rd 1948 of Chief N. S. Fundikira II. The drum names are:- Ndandale; Mahuge; Ndondo; Muziki. Itetemia, the village where Chief Fundikira has his head-quaters, is the famous site of David Livinstone's tembe, the long, low, flat roofed house where he lived for a year, where he said goodbye to Stanley and from which he set out on his last jourbey to die near Lake Bangweulu. Song at the installation of Chiefs, with 3 conical laced drums beaten by sticks and 1 conical pegged drum beaten by hand.
  • Full Text: false
  • Date Issued: 1950

Mtemi mfalume wize mpya

- Masudi Bini Amani with Nyamwezi women, Hugh Tracey

  • Authors: Masudi Bini Amani with Nyamwezi women , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Itetemia f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173120 , vital:42334 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR149-02
  • Description: This song, they say, was used on the occasion of the installation on March 3rd 1948 of Chief N. S. Fundikira II. The drum names are:- Ndandale; Mahuge; Ndondo; Muziki. Itetemia, the village where Chief Fundikira has his head-quaters, is the famous site of David Livinstone's tembe, the long, low, flat roofed house where he lived for a year, where he said goodbye to Stanley and from which he set out on his last jourbey to die near Lake Bangweulu. Song at the installation of Chiefs, with 3 conical laced drums beaten by sticks and 1 conical pegged drum beaten by hand.
  • Full Text: false
  • Date Issued: 1950

Mudala Mukamba, nakangishe

- Arusi Binti Kasimu with Sukuma women, Hugh Tracey

Mulebone naliyagamba lya ntemi salamba

- Masanja Nyema with Sukuma men, Hugh Tracey

Mwakumajangosha

- Kitula Bini Kinongu with Sukuma men, Hugh Tracey

  • Authors: Kitula Bini Kinongu with Sukuma men , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Sukuma (African people) , Folk songs, Sukuma , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Kesesa f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173336 , vital:42361 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR150-10
  • Description: "They have tried all day to mark his face, but failed. My child Kilumba is still too young." The cutting of cicatrices on the face is accompanied by songs such as these, and by festivities and dancing. There is a local breed of fowls which have no feathers on their necks and very red skin. The song refers to a certain diviner who used to smear his face and neck with red earth. The people of the village can be heard chatting and laughing during the song, and a bird can be heard in the background of the second song. Ucheyeki song for cutting cicatrices.
  • Full Text: false
  • Date Issued: 1950

Mwakumajangosha

- Kitula Bini Kinongu with Sukuma men, Hugh Tracey

  • Authors: Kitula Bini Kinongu with Sukuma men , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Sukuma (African people) , Folk songs, Sukuma , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Kesesa f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173351 , vital:42360 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR150-10
  • Description: "They have tried all day to mark his face, but failed. My child Kilumba is still too young." The cutting of cicatrices on the face is accompanied by songs such as these, and by festivities and dancing. There is a local breed of fowls which have no feathers on their necks and very red skin. The song refers to a certain diviner who used to smear his face and neck with red earth. The people of the village can be heard chatting and laughing during the song, and a bird can be heard in the background of the second song. Ucheyeki song for cutting cicatrices.
  • Full Text: false
  • Date Issued: 1950

Mwanamigika baba Mabale (Baba Mabale you have been deceived)

- Mwikuru Kija with Sukuma men, Hugh Tracey

  • Authors: Mwikuru Kija with Sukuma men , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Sukuma (African people) , Folk songs, Sukuma , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Maswa f-tz
  • Language: Nyamwezi , Sukuma
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173808 , vital:42412 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR152-13
  • Description: The chief had told him he should go to the next village where a competition "eating lumps of porridge" was going on. But when he arrived he found there was no such competition. "Eating lumps of porridge" was used for a music competition where singers and instrumentalists compete against each other in friendly rivalry. The style of singing displayed in this item is very similar to that used by young Zulu men in South Africa in the industrial centres, where it is called the 'Mbude' style or 'Bombing'. Volume rather than quality is the criterion of their singing. Wigasha dance song for men and women.
  • Full Text: false
  • Date Issued: 1950

Mwangalile leke ndali na wasoga

- Hashima Bin Kilamata with Nyamwezi men, Hugh Tracey

  • Authors: Hashima Bin Kilamata with Nyamwezi men , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwadui f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173246 , vital:42349 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR150-01
  • Description: "Everyone despises me because I make love to ugly women." The leader was dressed up in his dancing kit, with feather head dress, red ochre on the face and rag dress. The singers were workers on the Mwadui diamond mines, recruited locally. The song features a character whom they call Sajeni Meja (Sergeant Major) no doubt on account of the fact that several of them served for a while in the K.A.R., the Kings' African Rifles. During the singing they call out the familiar cry used by the soilders of the King's African Rifles. The moral problems of the disintegrated family and tribal life present themselves at every turn and especially in the towns or industrial areas where large bodies of men are attracted to work. Hiyari ya moyo dance song for men and women, with metal cylindrical drum, and conical pegged drum and bells.
  • Full Text: false
  • Date Issued: 1950

Mwanza

- Idi Selemani with Nyamwezi men and women, Hugh Tracey

  • Authors: Idi Selemani with Nyamwezi men and women , Hugh Tracey
  • Date: 1950
  • Subjects: Zinza (African people) , Rundi (African people) , Nyamwezi (African people) , Folk songs, Rundi , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173074 , vital:42319 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR148-17
  • Description: "Masunga is a such a lovely girl. I would follow her right up to Mwanza if she left me." Mwanza is about the furthest limit of his geopraphical knowledge and he would therefore follow her to 'the ends of the earth'. It is the lake port at the south of the Lake Victoria about four hundred miles from Dar-es-Salaam where this item was composed and sung. The soloist, Idi, is a never ending source of enjoyment to his friends with a perfect set of mine gestures with which to illustrate the words he sings. Selemani's speech is a liberal mixture of Nyamwezi and Swahili. He leads these lively songs sung by a very lively company of Nyamwezi singers who bring out many surprises during their amusing performances. Humorous song with goblet drum, pegged and footed.
  • Full Text: false
  • Date Issued: 1950

Nakakanilwa kwimba mbele (When I sing)

- Wachezaji wa Manyanga. Leader, Kasomangila Husen Ishike, Hugh Tracey

Nalelua lele-lele-la, deleva nalelua (Carry on driver)

- Wachezaji wa Manyanga. Leader, Kasomangila Husen Ishike, Hugh Tracey

  • Authors: Wachezaji wa Manyanga. Leader, Kasomangila Husen Ishike , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Baraza Ndono f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173228 , vital:42347 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR149-13
  • Description: "Drive on driver, I have nothing to give you." They sing to the driver of the lorry as he passes. There is a touch of romance associated with teh drivers of long distance lorries, rather like that of the sailors in the days of sail, or the engine drivers of the very early trains and mail coaches. Manyanga dance song for men, with 3 conical laced drums, 1 Goblet pegged drum (-14.51101-) and bells (-12.55-).
  • Full Text: false
  • Date Issued: 1950

Nalilimelwa wa ng’wa kayemba

- Welelo Sucha with Sukuma men and women, Hugh Tracey

  • Authors: Welelo Sucha 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 Shinyanga f-tz
  • Language: Nyamwezi , Sukuma
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173522 , vital:42380 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR151-11
  • Description: "I failed to fight the Masai." The Masai are the famous pastoralists who live on the far side of the Serengeti plains to the east. Last year, 1949, the Masai raided the Sukuma and took over one thousand head of cattle from them. 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. Puba dance song for men and women with clapping.
  • Full Text: false
  • Date Issued: 1950

Namayaya

- Peter Manyanga with Hangaza women, Hugh Tracey

  • Authors: Peter Manyanga with Hangaza women , Hugh Tracey
  • Date: 1950
  • Subjects: Zinza (African people) , Rundi (African people) , Nyamwezi (African people) , Folk songs, Rundi , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Shanga f-tz
  • Language: Rundi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172818 , vital:42286 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR147-15
  • Description: It is significant that an Ndau man from the South East of Southern Rhodesian on hearing these songs claimed that the style of singing and the sound of the words were very like his own. It is believed that the five related tribes of Southern Rhodesia, now called Shona a common Hima strain from the north, and may well indicate a link with the legend of the Hima Bachwezi, who, the Rundi and Tutsi maintain, came down with them from the north but did not stay and went on south. The features of the singers showed a strong Hamite strain although clearly semi-Bantu. The fourth song has unusally clever little melody. These people come from the border of Rundi-Urundi (Rwanda) in Ngala district. Topical song, with clapping
  • Full Text: false
  • Date Issued: 1950

Natung’wanha natukima

- Mbilo Bundi with Sukuma men, Hugh Tracey

Ndalile Nyantungu mpaka kalunguyu

- Zebikile Kahasa with Zinza men and women, Hugh Tracey

  • Authors: Zebikile Kahasa with Zinza men and women , Hugh Tracey
  • Date: 1950
  • Subjects: Zinza (African people) , Rundi (African people) , Nyamwezi (African people) , Folk songs, Rundi , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Lunazi f-tz
  • Language: Zinza
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172728 , vital:42274 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR147-07
  • Description: "I will go towards Nyantungu until I reach Kaluguyu." Four men and women were playing the one drum, each beating out his own rhythm on his quater of the membrane. Strangely enough this did not deaden the sound as one might have expected. Before the drum maker closes up his laced drum he places a small stone inside. This they call 'Moyo wengoma,' the drum's heart. It does not serve any musical purpose but is found in every drum in the region. Marunda dance song for men and women with 1 conical, laced drum.
  • Full Text: false
  • Date Issued: 1950

Ndikakowa wanyambo

- Tatu Binti Ali with Nyamwezi men and women, Hugh Tracey

  • Authors: Tatu Binti Ali with Nyamwezi 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 Dar-es-Salaam f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173291 , vital:42354 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR150-06
  • Description: "I will go and marry somewhere else, because all the girls think I am not faithful." The singers are all Nyamwezi who have come down to the East coast from the interior near Tabora and have now settled permanently at the coast in or around Dar-es-Salaam. These Nyamwezi singers of Dar-es-Salaam have an attractive way of singing their songs repeating each stanza after the soloist. This style may well have been copied from the Arabs or Swahili. Tatu Binti Ali is the young wife of Idi Selemani the organiser of the group. Hiyari ya moyo dance song for men and women..
  • Full Text: false
  • Date Issued: 1950

Nene nauja senga senga ntimu (I am now thin because of hard work)

- Juma Bin Kija with Sukuma men, Hugh Tracey

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
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