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Sheweni wa pumba

- Esperaca Zaguen, Chopi women, Tracey, Hugh

Shibudu. 7th Movement

- Ngodo of Regulo Banguza, Jao Nemba Mboteya (Leader), Tracey, Hugh

Shibudu. 9th Movement

- Ngodo of Regulo Mavila, Shambini, Tracey, Hugh

Tabarireve woende

- Tabarirevu Muyambo, Tracey, Hugh

Tata wawu osi wana

- Emmelina Zavala, Chopi women, Tracey, Hugh

The Ngodo of Regulo Mavila

- Shambini, Tracey, Hugh

Tune I on Chibvelani Friction Bow

- Unknown, Tracey, Hugh

Tune II on Chibvelani Friction Bow

- Unknown, Tracey, Hugh

Wangu mwama wome

- Timoses, Comecado des Amigos, Tracey, Hugh

Wi-wi-wi-wi mirongo

- Miliya Bukulane, Rude Wache, Amelia Faduko, Tracey, Hugh

Woyahahai zhembulane

- Maria Taime, Chopi women, Tracey, Hugh

Zore I

- Five GiTonga men and 13 women, Tracey, Hugh

  • Authors: Five GiTonga men and 13 women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Regulo Nhabanda f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189563 , vital:44858 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-01
  • Description: 2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground (beaters) pegged open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisusu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken. The women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instrument is:- First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach. If not exceed, the threshold of pain in the ears. Dance with 5 drums (1 struck by hand, 4 with beaters), rattles, wooden clappers, and corrugated iron strip
  • Full Text: false
  • Date Issued: 1963

Zore II

- Five GiTonga men and 13 women, Tracey, Hugh

  • Authors: Five GiTonga men and 13 women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Regulo Nhabanda f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189568 , vital:44859 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-02
  • Description: 2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground (beaters) pegged open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisusu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken. The women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instrument is:- First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach. If not exceed, the threshold of pain in the ears. Dance with 5 drums (1 struck by hand, 4 with beaters), rattles, wooden clappers, and corrugated iron strip.
  • Full Text: false
  • Date Issued: 1963

Zore III

- Five GiTonga men and 13 women, Tracey, Hugh

  • Authors: Five GiTonga men and 13 women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Regulo Nhabanda f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189589 , vital:44861 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-03
  • Description: 2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground (beaters) pegged open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisusu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken. The women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instrument is:- First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach. If not exceed, the threshold of pain in the ears. Dance with 5 drums (1 struck by hand, 4 with beaters), rattles, wooden clappers, and corrugated iron strip.
  • Full Text: false
  • Date Issued: 1963

Hamanzi kweni (Early in the morning)

- Saisi Shishonke, Hugh Tracey

  • Authors: Saisi Shishonke , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Music--Mozambique , Africa Mozambique Mabote f-mz
  • Language: Tswa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/136206 , vital:37349 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR029-03
  • Description: The player stopped the lower segment of the string with the backs of both his first and 2nd fingers. Self-delectative song with CHITENDE musical bow, braced and resonated.
  • Full Text: false
  • Date Issued: 1957

Hambukane kota mova (Clear the road, a car is coming)

- Penisera Matabeya and Majuta Sitole, Hugh Tracey

  • Authors: Penisera Matabeya and Majuta Sitole , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Music--Mozambique , Africa Mozambique Espungabera f-mz
  • Language: Ndau
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/136270 , vital:37356 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR029-10
  • Description: The flute blower kept his right ear covered with his hand whilst he played. He also sang voiced notes while he blew the flute and also interpolated them between flute notes. He held the flute in his left hand only. His friend sang the refrain. Self-delectative song with Mulanji transverse flute, closed at both ends, with 2 holes at far end of mouth hole.
  • Full Text: false
  • Date Issued: 1957

Himai Kamamane (Grand-mother of Kamamane)

- Rafael Ubisi, Hugh Tracey

  • Authors: Rafael Ubisi , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Music--Mozambique , Africa Mozambique Vilanculos f-mz
  • Language: Tswa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/136188 , vital:37347 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR029-01
  • Description: With imitations of fowls, dogs and cats. Humorous song with Mbira dza waNdau with bell and 3 manuals.
  • Full Text: false
  • Date Issued: 1957

Ihlomulo walekaya mangawa yanima (The pleasure of the people is my distress)

- Saisi Shishonke, Hugh Tracey

  • Authors: Saisi Shishonke , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Music--Mozambique , Africa Mozambique Mabote f-mz
  • Language: Tswa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/136215 , vital:37350 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR029-04
  • Description: The player stopped the lower segment of the string with the backs of both his first and 2nd fingers. Self-delectative song with CHITENDE musical bow, braced and resonated.
  • Full Text: false
  • Date Issued: 1957

Ilanga langishiya

- A.T. Mwamosi (Composer), Hugh Tracey

Lisimo

- Sechene Kowani, Hugh Tracey

  • Authors: Sechene Kowani , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Music--Mozambique , Africa Mozambique Mabote f-mz
  • Language: Tswa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/136225 , vital:37351 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR029-05
  • Description: The stick with which the serrations on the bow were rubbed, had a small rattle attached to it. The performer made the squeaking sounds by blowing inwards over the palm ribbon, in the same way as children do with a blade of grass. -He stopped the ribbon with first and third finger of the left hand. Self-delectative song with fiction bow (Chisambi).
  • Full Text: false
  • Date Issued: 1957
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