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Custodo a mabile

- Timoses, Comecado des Amigos, Tracey, Hugh

He wena mani

- Muwane, Armando Saule, Tracey, Hugh

  • Authors: Muwane, Armando Saule , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Maxixe f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189697 , vital:44922 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-14
  • Description: Both instruments were played by the performer who also had two littlehome made marionettes dangling on the end of a string from the neck of his guitar which danced opposite each other with the shaking of the guitar, and made their miniature foot prints on the loose sand. He is addressing his remarks to the two little wooden figures and the music itself is of secondary importance. Topical song, with guitar and rattle.
  • Full Text: false
  • Date Issued: 1963

Hino Nacional

- Men and women of Nhamaxaxa, Tracey, Hugh

  • Authors: Men and women of Nhamaxaxa , 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/10962/189600 , vital:44911 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-04
  • Description: Introduced by the 'Hino Nacional', the Portuguese national anthem. Women came out in pairs and danced opposite each other, each doing a violent dance du ventre. As soon as they are tired, their places would be taken by two others. The singing horns here are usually manufactured by a local tin smith from galvanised flat iron usually taken from old kerosine tins. One of the horns used was the horn of an old acoustic gramophone. The use of singing horns made of metal is a speciality of the GiTonga. They are played with very noisy drums and struck iron, and the result is deafening rather than musical. Party dance for men and women, with 1 brass drum Bombo, 1 small steel drum made from a bucket, 1 Chingomane flat iron, 4 Puundu singing horns, 1 rattle.
  • Full Text: false
  • Date Issued: 1963

Makarita

- Men and women of Nhamaxaxa, Tracey, Hugh

  • Authors: Men and women of Nhamaxaxa , 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/10962/189605 , vital:44912 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-05
  • Description: Introduced by the 'Hino Nacional', the Portuguese national anthem. Women came out in pairs and danced opposite each other, each doing a violent dance du ventre. As soon as they are tired, their places would be taken by two others. The singing horns here are usually manufactured by a local tin smith from galvanised flat iron usually taken from old kerosine tins. One of the horns used was the horn of an old acoustic gramophone. The use of singing horns made of metal is a speciality of the GiTonga. They are played with very noisy drums and struck iron, and the result is deafening rather than musical. Party dance for men and women, with 1 brass drum Bombo, 1 small steel drum made from a bucket, 1 Chingomane flat iron, 4 Puundu singing horns, 1 rattle.
  • Full Text: false
  • Date Issued: 1963

Makarita nyaku hakanye

- Men and women of Nhamaxaxa, Tracey, Hugh

  • Authors: Men and women of Nhamaxaxa , 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/10962/189620 , vital:44913 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-06
  • Description: Introduced by the 'Hino Nacional', the Portuguese national anthem. Women came out in pairs and danced opposite each other, each doing a violent dance du ventre. As soon as they are tired, their places would be taken by two others. The singing horns here are usually manufactured by a local tin smith from galvanised flat iron usually taken from old kerosine tins. One of the horns used was the horn of an old acoustic gramophone. The use of singing horns made of metal is a speciality of the GiTonga. They are played with very noisy drums and struck iron, and the result is deafening rather than musical. Party dance for men and women, with 1 brass drum Bombo, 1 small steel drum made from a bucket, 1 Chingomane flat iron, 4 Puundu singing horns, 1 rattle.
  • Full Text: false
  • Date Issued: 1963

Marcha

- Timoses, Comecado des Amigos, Tracey, Hugh

  • Authors: Timoses, Comecado des Amigos , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Maxixe f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189661 , vital:44918 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-10
  • Description: Small dance groups such as this one are given to making impromptu patriotic speeches and to imitating the sound of the drums and trumphets of the local army band with their home made drums and singing horns. No one can say when singing horns were first introduced to this region. Speech in Portuguese and imitation military march, with 4 singing horns, 1 bass Gulu drum, 2 small drums fixed together and bell.
  • Full Text: false
  • Date Issued: 1963

Maria e madala

- Muwane, Armando Saule, Tracey, Hugh

  • Authors: Muwane, Armando Saule , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Maxixe f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189688 , vital:44921 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-13
  • Description: The perfomer was his own rattle player holding the rattle in his right hand. He is typical of the casual entertainer who use two or three chords repeated endlessly on their topical allusions which nowadays pass for serious song making. They frequently advertise themsleves, constantly mentioning their own names during the course of the song or as an introduction, as in this case. Topical song with guitar and rattle.
  • Full Text: false
  • Date Issued: 1963

Maruraba

- Groupo Jazzi, Tracey, Hugh

  • Authors: Groupo Jazzi , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Maxixe f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189651 , vital:44917 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-09
  • Description: The Gulu was played with a rubber headed beater (like the Chopi 'Tikongo') and the hand. The two Daiero were played with a pair of light sticks. The style of dancing which has persisted among the GiTonga of the Inhambane region for many decades appears to be solely the dance du ventre, performed either by men or women in which almost every possible action of the pelvic region below the waist is employed with tedious repetition. It is doubtful whether teh dance music of the GiTonga would have any attractions for other local tribes. Dance (Dance du Ventre), with 4 singing horns, Puundu, 1 Bombo Gulu bass drum abd 2 Daiero drums.
  • Full Text: false
  • Date Issued: 1963

Maruvata

- Groupo Jazzi, Tracey, Hugh

  • Authors: Groupo Jazzi , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Maxixe f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189640 , vital:44916 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-08
  • Description: The name 'Bombo' is taken from the Portuguese for 'Bass Drum'. The Daiero drums were home made and joined together after the fashion of jazz 'Bongo' drums which they are intended to represent. The music played and sung by the drums and horns is supposed to be an imitation of jazz but would hardly be recognised as such by an outsider. The local GiTonga modality can be clearly heard in the pitch of their voices. Dance (Dance du Ventre), with 4 singing horns, Puundu, 1 Bombo Gulu bass drum abd 2 Daiero drums.
  • Full Text: false
  • Date Issued: 1963

Numero uno we Regulo Rumbane

- Jazzi Rumba (Group), Tamusi, Arone, and Gwambe (leaders), Tracey, Hugh

Wangu mwama wome

- Timoses, Comecado des Amigos, 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

Kwaya I

- Tonga/ Hlanguni (Performers), F. Mabosso (Composer), Hugh Tracey

Kwaya II

- Tonga/ Hlanguni (Performers), F. Mabosso (Composer), Hugh Tracey

Kwaya III

- Tonga/ Hlanguni (Performers), F. Mabosso (Composer), Hugh Tracey

Masesa I

- Tonga/ Hlanguni (Performers), F. Mabosso (Composer), Hugh Tracey

Masesa II

- Tonga/ Hlanguni (Performers), F. Mabosso (Composer), Hugh Tracey

Ndlama

- Boys and Girls from Chief Chigugwana (Performer), Composer not specified, Hugh Tracey

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