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Awana wane wakuluganga

- Luchenje Nyanda with Sukuma men, Hugh Tracey

  • Authors: Luchenje Nyanda 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 Mwanza f-tz
  • Language: Nyamwezi , Sukuma
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173632 , vital:42391 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR152-03
  • 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. The song reflects the considerable ability of Sukuma people to compose and sing intricate songs.
  • Full Text: false
  • Date Issued: 1950

Dada Mwajuma nifichie siri yangu mpenzi

- Chipukizi Rumba, Hugh Tracey

  • Authors: Chipukizi Rumba , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179595 , vital:43122 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-05
  • Description: "Keep it secret, my love Mwajuma. What we did yesterday is known. Tell mother only, because she is kind. Do not tell father or I will be thrashed." This cheerful noise made by a band of youngsters is typical of he bands found in the small towns of Tanganyika who cannot afford the common run of European dance instruments and make do with whistles. kazoos and anything that comes handy. Swahili Rumbas with 2 Banjos, 1 Mandoline, 2 bass drums, 1 conical drum, laced, 2 kazoos, 2 whistles and a flute.
  • Full Text: false
  • Date Issued: 1950

Dezi kanambia

- Ramadhani Fataki (Udi), Saidi Salum Nana (Mandoline) and Tatu Binti Jama, Hugh Tracey

  • Authors: Ramadhani Fataki (Udi), Saidi Salum Nana (Mandoline) and Tatu Binti Jama , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179650 , vital:43125 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-08
  • Description: The Arab influence is still strong up country particularly along the old Arab trading routes. All the seven items on this side of the disc represent an evening's entertainment spent with a Mohamedan Swahili family in Tabora whose taste in music leans towrds the Arab side of the family than the African. Two close friends who frequently play together in the evenings recorded these items. The wife of one of them provides some of the solos. They are typical, no doubt, of a musical evening at home by Swahili players anywhere in East Africa. All the items were recorded in the small sitting room of their Swahili home. The men singers sat around a table in the light of a parafin lamp and their veiled wwomefolk sat on mats in the adjoining rooms, watching through the doorways. Topical Taarab song, with 1 Udi, 1 Mandoline and 1 Duff tambourine drum (-14.91-).
  • Full Text: false
  • Date Issued: 1950

Dezi kanambia

- Ramadhani Fataki (Udi), Saidi Salum Nana (Mandoline) and Tatu Binti Jama, Hugh Tracey

  • Authors: Ramadhani Fataki (Udi), Saidi Salum Nana (Mandoline) and Tatu Binti Jama , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179622 , vital:43126 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-08
  • Description: The Arab influence is still strong up country particularly along the old Arab trading routes. All the seven items on this side of the disc represent an evening's entertainment spent with a Mohamedan Swahili family in Tabora whose taste in music leans towrds the Arab side of the family than the African. Two close friends who frequently play together in the evenings recorded these items. The wife of one of them provides some of the solos. They are typical, no doubt, of a musical evening at home by Swahili players anywhere in East Africa. All the items were recorded in the small sitting room of their Swahili home. The men singers sat around a table in the light of a parafin lamp and their veiled wwomefolk sat on mats in the adjoining rooms, watching through the doorways. Topical Taarab song, with 1 Udi, 1 Mandoline and 1 Duff tambourine drum (-14.91-).
  • Full Text: false
  • Date Issued: 1950

Hadithi ya Manyanya (A Manyanya story)

- Manyanya Masuka with Sukuma men, Hugh Tracey

Hayo ni maradhi (Chaupela mpenzi)

- Chipukizi Rumba, Hugh Tracey

  • Authors: Chipukizi Rumba , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179613 , vital:43124 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-07
  • Description: A typical local band from the African quarter of any Tanganyika townships of the early 1950's. Nobody plays quite in tune but that does not worry the audiences or more especially the players themselves. They pick up their melodies from each other and from gramphone records and a dozen or more variations of the same song can be found throughout the country. Swahili Rumbas with 2 Banjos, 1 Mandoline, 2 bass drums, 1 conical drum, laced, 2 kazoos, 2 whistles and a flute.
  • Full Text: false
  • Date Issued: 1950

Hubaba tube mbele bana (Rock our babes to sleep)

- Ntainta Buchili with Sukuma men and women, Hugh Tracey

  • Authors: Ntainta Buchili 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/10962/173504 , vital:42378 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR151-09
  • Description: The player is a cripple who is well known in the district for his playing of the musical bow, which he frequently does for dances. The words sung by this cripple player are most indistinct, as he has no teeth. The tune is used in the Kazori dance performed in lines in front of the drums, girls in a double line and boys in another double line behind. The lines keep time with the music and leap and move to left and right together. Kazori dance song for men and women, with Ndono one string musical bow and tin rattle (-12,54-).
  • Full Text: false
  • Date Issued: 1950

Ila, kafa, nduga zangu (Whenever I die, my friend)

- Ramadhani Fataki (Udi), Saidi Salum Nana (Mandoline) and Tatu Binti Jama, Hugh Tracey

  • Authors: Ramadhani Fataki (Udi), Saidi Salum Nana (Mandoline) and Tatu Binti Jama , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179638 , vital:43129 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-09
  • Description: The Arab influence is still strong up country particularly along the old Arab trading routes. All the seven items on this side of the disc represent an evening's entertainment spent with a Mohamedan Swahili family in Tabora whose taste in music leans towrds the Arab side of the family than the African. Two close friends who frequently play together in the evenings recorded these items. The wife of one of them provides some of the solos. They are typical, no doubt, of a musical evening at home by Swahili players anywhere in East Africa. All the items were recorded in the small sitting room of their Swahili home. The men singers sat around a table in the light of a parafin lamp and their veiled wwomefolk sat on mats in the adjoining rooms, watching through the doorways. "Whenever I die, my friend, either in town or country, among hites or blacks, play and dance Rungu for me at my funeral." Topical Taarab song, with 1 Udi, 1 Mandoline and 1 Duff tambourine drum (-14.91-).
  • Full Text: false
  • Date Issued: 1950

Kwinga Lwanungu (Lwanungu left)

- Kono Ikhongorwa with Sukuma men, Hugh Tracey

Lemagino lukhanya (Refuse to obey)

- Kono Ikhongorwa 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

Ngosha wewe nasengilehe

- Luchenje Nyanda with Sukuma men, Hugh Tracey

Ng’wadila ng’wiza wani baba rumi

- Luchenje Nyanda with Sukuma men, Hugh Tracey

  • Authors: Luchenje Nyanda 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 Mwanza f-tz
  • Language: Nyamwezi , Sukuma
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173614 , vital:42389 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR152-01
  • Description: "How do you do chief, we greet you by playing bells. Before we go do our dance we need charms to help us." A song sung before dancing. Dancing among the Sukuma is often a matter of competition between teams, the size of the audience attracted to watch each team indicating their relative popularity. Charms are frequently used to give them luck and skill, they say, in dancing. The melody of this song is memorable and beautifully balanced, it reminds one of the old English song. "One man went to mow, went to mow a meadow." Wigasha dance song for men.
  • Full Text: false
  • Date Issued: 1950

Nigwa kolilila kaoma (I hear the beating of drums behind the hill)

- Ntainta Buchili with Sukuma men and women, Hugh Tracey

  • Authors: Ntainta Buchili 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/10962/173495 , vital:42377 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR151-08
  • Description: The player is a cripple who is well known in the district for his playing of the musical bow, which he frequently does for dances. The words sung by this cripple player are most indistinct, as he has no teeth. The tune is used in the Kazori dance performed in lines in front of the drums, girls in a double line and boys in another double line behind. The lines keep time with the music and leap and move to left and right together. Kazori dance song for men and women, with Ndono one string musical bow and tin rattle (-12,54-).
  • Full Text: false
  • Date Issued: 1950

Nimepata mpenzi, mtoto mdogo, mzuri simwachi = I have found my love, a beautiful girl

- Chipukizi Rumba, Hugh Tracey

  • Authors: Chipukizi Rumba , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179604 , vital:43123 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-06
  • Description: This tune, an adaptation of a South American type of rumba, is perhaps the most popular of all town dance songs at the present time (1950) being sung in all the tons of Tanganyika and on the island of Zanzibar. The young men playing this version of the song did not know the words and sanf 'ia-la-la' instead. Swahili Rumbas with 2 Banjos, 1 Mandoline, 2 bass drums, 1 conical drum, laced, 2 kazoos, 2 whistles and a flute.
  • Full Text: false
  • Date Issued: 1950

Shing’angali nadosano

- Kulola Kulaja with Sukuma men, Hugh Tracey

  • Authors: Kulola Kulaja 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 Mwanza f-tz
  • Language: Nyamwezi , Sukuma
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173558 , vital:42384 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR151-15
  • Description: Sukuma people are broadly divided into, two, competitive socities, like the supporters of 'Light Blues' and 'Dark Blues' on boatrace day. Members of the same family may belong to either society. Before dancing in competition with each other there are frequent arguments as to who shall start first. This song is said to be very popular in the district. Wigasha song
  • Full Text: false
  • Date Issued: 1950

Wuyawuya nalila mininga

- Likhengele Makhono with Sukuma men and women, Hugh Tracey

  • Authors: Likhengele Makhono 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/10962/173671 , vital:42397 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR152-05
  • 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 Thinking abouth the death of my love who looked after me well. Wigasha dance song for men.
  • Full Text: false
  • Date Issued: 1950
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