|
16 May 06 - 06:38 PM (#1742139) Subject: African Music Threads & Posts From: Azizi The purpose of this thread is to provide a listing of archived and current Mudcat threads about traditional & contemporary African music and a samplying of posts within those threads. This thread also includes examples of posts on African music that are from those threads as well as from Mudcat threads that aren't specifically about the subject of African music. Note: The term "African music" includes music from Africans who are non-Black and "non-Coloured" to use the South African terminology. I've been encouraging people interested in African culture to visit Mudcat. However, several people have told me that when they came here they couldn't find the discussions on African music. I am hoping that this listing will make it easier for Mudcat members & guests to identify threads and comments on African music. Now if folks are searching on Mudcat for discussions on this topic, they can enter the key words 'African Music' in the Search box and this thread will come up. Then they can click on the hyperlink for a specific thread that is listed. Also, when they click on this thread, they can read a sampling of comments from those threads to get a sense of the various discussions. There may be a better way to compile these thread listings. For instance, perhaps a listing of related threads under the thread title is sufficient. However, how would a list located there be kept current? Your input is very much welcomed. I hope that Mudcat members and guests will continue to post new comments on specific archived & current threads on African music. I also hope that Mudcat members and guests will continue to start new threads about African music. Needless to say, in whatever form this thread [permathread?] actually becomes, I welcome the assistance of other Mudcat members & from guests in adding to and updating it. Thank you. |
|
16 May 06 - 06:40 PM (#1742140) Subject: RE: African Music Threads & Posts From: Azizi Disclaimer: My reposting comments about African music from Mudcat threads does not mean that I agree with those comments, unless I wrote them. Also, I have no intention of reposting comments written by any Mudcat member anywhere else without that member's prior permission. Furthermore, it is definitely not my intention that this thread take the place of specific Mudcat threads on African music. |
|
16 May 06 - 06:45 PM (#1742143) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=91489&messages=4 Subject: RE: Lyr Req: Fela Kuti's Open & Close From: Azizi - PM Date: 14 May 06 - 11:59 PM Roberto, unfortunately I don't have those lyrics you are seeking. You may be aware of this website: Fela Kuti's Lyrics That site has the lyrics [and explanations for several of] these Fela Kuti's Afrobeat songs: 1. BEASTS OF NO NATION 2. COFFIN FOR HEAD OF STATE 3. COLOMENTALITY 4. FEAR NOT FOR MAN 5. J'EHIN J'EHIN 6. INTERNATIONAL THIEF THIEF 7. KALAKUTA SHOW 8. LADY 9. MR. FOLLOW FOLLOW 10. MR. GRAMMARTICALOGYLISATIONALISM IS THE BOSS 11. ORIGINAL SUFFERHEAD 12. NO AGREEMENT 13. POWER SHOW 14. QUESTION JAM ANSWER 15. SORROW, TEARS, AND BLOOD 16. TEACHER DON'T TEACH ME NONSENSE 17. TROUBLE SLEEP, YANGA WAKE AM 18. WATER NO GET ENEMY 19. ZOMBIE Here's an example of one of Fela's songs that I really like: LADY If you call woman African woman no go 'gree She go say I be Lady o If you call woman African woman no go 'gree She go say I be Lady o She go say: *(CHORUS) SHE GO SAY I BE LADY O – [AFTER EACH LINE] She go say I no be woman She go say market woman na woman She go say I be Lady I want tell you about Lady: (3x) She go say him equal to man She go say him get power like man She go say anything man do Him self fit do I never tell you finish… (3x) I never tell you… She go want take cigar before anybody She go want make you open door for am She go want make man wash plate for her for kitchen She want salute man she go sit down for chair (2x) She want sit down for table before anybody (2x) She want piece of meat before anybody (2x) Call am for dance, she go dance Lady dance (2x) African woman go dance she go dance the fire dance (2x) She know him manna Masster She go cook for am She go do anything he say But Lady no be so (4x) Lady na Masster (3x) Call am for dance, she go dance Lady dance (2x) African woman go dance she go dance the fire dance (2x) She know him manna Masster She go cook for am She go do anything he say But Lady no be so (4x) Lady na Masster (4x) If you call am woman African woman no go 'gree She go say I be Lady She go say: *(CHORUS- AFTER EACH LINE) SHE GO SAY I BE LADY O O She go say I be Lady She go say I no be woman She go say market woman na woman She go say I be Lady *(repeat indefinitely) -snip- I hope someone here can help you find the lyrics you are seeking. If not, please remember to post those lyrics here whenever you find them. Best wishes, Azizi [request for the lyrics to Fela Kuti's Afrobeat song "Open & Close"] |
|
16 May 06 - 06:51 PM (#1742147) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=51518&messages=22 Subject: RE: Mbira banned? Malcolm Douglas, please From: Azizi - PM Date: 15 May 06 - 09:51 PM I found this thread while "mudcatting" for archived threads that mention African music. See this information about the mbira: "The mbira (also known as sanza or thumb piano) is a unique kind of tuned percussion instrument. You produce sound by using your thumbs and fingers to pluck very thin strips or tongues of metal, wood or cane. These strips are attached to a gourd resonator or wooden box, often with sound holes. Sometimes, jingles or beads are added to the keys to create a rich, buzzing tone. You can change the pitch of each key by fixing wax to its free end, or by increasing or decreasing its length. Among east African peoples, the delicate sound of the mbira is said to create a link between human and spiritual worlds, enabling the trance possession of people by spiritual beings. Depending on the context, these instruments may be played singly or in pairs. Among the Shona nations, ensembles of up to twenty mbira players performed at ceremonial events. Mbiras travelled with African people to South, Central, and North America and to the Caribbean, particularly during the slave trade. In Brazil, these instruments are called a marimbao. In the Americas, mbiras are a vibrant expression of the rich heritage of the African peoples of these communities." Information about various folk instruments -snip- I'm wondering if attempts to ban the mbira {thumb piano} among the Shona people of Zimbabwe, South Africa might have been like banning drum playing by enslaved African Americans in the US South. In traditional African societies drums were considered sacred {and may still be considered that way among some modern day Africans}. Traditionally {and still today} mbiras are considered sacred in Zimbabwe and some other African nations. It is common {among some African Americans and others I suppose} to assert that the reason why drums were prohibited in the US slave states at some point [historians can insert when] was that the drums signaled slave revolts. Maybe this was true, and maybe it was a fear turned into a "rural legend". But even if that reason for banning drums was true, it seems to me that it is too simplistic an explanation of what drums meant to enslaved African Americans. Could it [also] be that drum playing was prohibited because it served a psychological, spiritual, physical healing, motivating, power giving unifying purposes among enslaved African Americans? See this quote about Stella Chiweshe: "Zimbabwe's foremost Mbira player, Stella Rimbisai Chiweshe - " The Queen of Mbira" - blends haunting mbira lines with percussion and call & response singing behind her evocative vocals. She sings and plays songs of liberation, spiritual experience and social commentary. The effect is the mbira dzaVadzimu, the classic Zimbabwean thumb-piano, which is a medium for playing songs handed down from generation to generation for centuries and for maintaining contact with the spirits of the Shona people. The Mbira consists of 22 to 28 metal keys mounted on a hardwood soundboard and is usally placed inside a large gourd resonator (deze). The keys are played with the two thumbs plucking down and the right forefinger plucking up." http://www.cdroots.com/hm-chiwese02.html -snip- I would like to emphasize this sentence from that quote: "She sings and plays songs of liberation, spiritual experience and social commentary." Is that enough reason for banning that instrument? In a repressive culture. Yes. Is that the same thing that happened in the US slave South? Maybe. |
|
16 May 06 - 06:52 PM (#1742148) Subject: RE: African Music Threads & Posts From: Richard Bridge I am of course delighted that people research and preserve their own traditions. But what white (or should I say non-black?) people have contributed to African music and how? This is not I hope going to validate Bert Kampfert. |
|
16 May 06 - 06:55 PM (#1742152) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=24156#273809 Subject: RE: Tin whistle, concertina, South Africa From: GUEST,Roger the skiffler - PM Date: 08 Aug 00 - 06:08 AM There was a vogue for "Township" music in the decade I'm not allowed to mention, following the visit to UK by a black company doing the boxing musical King Kong. One that got into the UK charts was Tom Hark by Elias and his Zig Zag Jive flutes (no kidding). Following Paul Simon's more recent forays into S.Africa with Gracelands there is more awareness of townshop music (thumb pianos are still popular I think) but I can't suggest any bands, I'm more familiar with the jazz players from there (Louis Moholo, Hugh Masekela generation). Miriam Makeba might be a starting point though the Xhosa (?) "Click" music may be too specialised. Consider this a holding statement till a real expert chips in! (pointing out my many mistakes and misconceptions is a popular Mudcat sport but reduces my ignorance level somewhat!) RtS |
|
16 May 06 - 06:57 PM (#1742153) Subject: RE: African Music Threads & Posts From: Azizi Subject: RE: Tin whistle, concertina, South Africa From: Peter T. - PM Date: 08 Aug 00 - 05:41 PM Off a South African Web site (slim pickings out there), some of these names may help: Another musical trend which was to influence mbaqanga, was kwela or pennywhistle jive, which grew in popularity during the 1940's and 1950's. An Alexandria township youth Willard Cele inspired a legion of followers with his unique technique, and the 1951 movie The Magic Garden also publicized theinstrument. By 1954, when one of pennywhistle's main legends Spokes Mashiyane recorded a #1 hit, "Ace Blues", pennwywhistle was a youth rage. (Kwela, "climb up", takes its name from the term many of these youngsters heard shouted at them by police officers herding them into paddywagons). Spokes, and fellow pennywhistle hotshot Lemmy "Special" Moboso (who plays today alongside Thomas Phale with the Soul Brothers), would later turn to saxophone in place of pennywhistle, while retaining the light, jaunty melodic lines which were characeristic of kwela." yours, Peter T. |
|
16 May 06 - 07:01 PM (#1742156) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=17063 Subject: Lyr Add: AG PLEEZ DADDY (Jeremy Taylor) From: Wotcha - PM Date: 14 Jan 00 - 08:12 AM I need some help filling in the gaps on the following, but thought this song would be a fine contribution to the kids section of the database: AG PLEEZ DADDY -- Copyright to Jeremy Taylor (1) Ag Pleez Daddy/ Won't you take us to a drive-in/ All 6, 7 of us, 8, 9, 10/ We wanna see a flick about Tarzan and the ape men/ When the show is over/ You can bring us back again. Chorus: Popcorn, chewing gum/ Peanuts and bubblegum/ Ice cream, candy floss, and Eskimo Pie/ Knickerpulls [?} and liquorice/ Pepsi Cola, Ginger beer, and Calico Rye[?}/ (2) Ag Pleez Daddy/ Won't you take us to the funfair/ We wanna have a ride on the bumper cars/ We'll buy a stick of candy floss/ And eat it on the octopus/ And then we'll take a rocket ship that goes to Mars./ (3) Ag Pleez Daddy/ Won't you take us to the wrestling/ We want to see that oaf called Sky High Lee/ Whe he fights Willie Liefenburg/ There's gonna be a murder/ Poor Willie's gonna don a red bloody hanky/ (4) Ag Pleez Daddy/ Won't you take us off to Durban/ It's only 8 hours, in a Chevrolet/ There's fantasy and ...[...]../ There's tons of fish in the aquarium/ The ideal place for a holiday/ AG PLEEZ DADDY!!! *Ag is pronounced much like ach or och. Apparently, according to earlier thread this was a number one song on South Africa's music radio. It certainly is remembered by kids I knew from Malawi, Rhodesia, and RSA. Appreciate the help filling in the blank lines. Cheers, Brian |
|
16 May 06 - 07:02 PM (#1742158) Subject: RE: African Music Threads & Posts From: greg stephens There is currently discussion of African music(and musicians) in an un-named English city , on a thread about people playing music from alien cultures. But you cant really isolate the specifically African posts from the general flow of the conversation/ There is a thread somewhere about musicians from Zimbabwe in Sandbach (Cheshire, UK), but I dont know how to do blue clickies to Mudcat threads. I am myself working with a number of Zibabwean singers on various recording and educational prejects, but I'm not sure if I have anything to say on the subject particularly at the moment. The festival I have jy=ust played at in Cumbria was organised by an African, but I dont think it had anything to do with African music. |
|
16 May 06 - 07:07 PM (#1742163) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=35217#1343740 Subject: RE: African mudcatters? Am I alone? From: McGrath of Harlow - PM Date: 30 Nov 04 - 07:07 PM One aspect of African music that tends to get neglected is Afrikaans music - I gather there's quite a lively tradition. Here's a page about it Anglo Concertinas in South Africa , and a link in it to an interesting site with lots of pictures, and details of records, though no sound files that I could find - Traditional Boer Music [link not operable; 5/26/06] |
|
16 May 06 - 07:13 PM (#1742165) Subject: RE: African Music Threads & Posts From: greg stephens In "Ag pleez daddy" a couple of posts back, I'm afraid the word transcribed as "knickerpulls" a should probably read "niggerballs" ( a kind of sweet, by the way). |
|
16 May 06 - 07:19 PM (#1742167) Subject: RE: African Music Threads & Posts From: Azizi Hello, Greg. You said "...you cant really isolate the specifically African posts from the general flow of the conversation" Yes, I know. But I'm trying to capture the flavor of the threads, and not the entire conversation. You also said "I dont know how to do blue clickies to Mudcat threads". Unfortunately, my blue clickies always turn out brownish red. I'm not sure why that is, but hopefully they still work. **** Many of the comments that I'm reposting were written by me because I've often posted here on the subject of African culture, and because I'm mindful of the fact that I'm reposting comments from others on this thread without their prior permission. I'd like to take this opportunity to give a big shout out and thank you to all those Mudcat members besides myself whose posts are featured in this thread. If you do not want your posts featured on this thread, you can alert Joe Offer and he or other moderators can delete them. |
|
16 May 06 - 07:20 PM (#1742169) Subject: RE: African Music Threads & Posts From: Richard Bridge The other line misrendered that I know is "we'll fish in the aquarium". But as (white) South Africa and Rhodesia were cuckoo cultures, can their performers, whether for or against the white regimes, be considered "african", any more than Norman French was the English language? |
|
16 May 06 - 07:21 PM (#1742170) Subject: RE: African Music Threads & Posts From: Azizi Opps! I also want to give a big shout out and thank you to any Guests non-members whose posts are featured in this thread. If you do not want your posts featured on this thread, you also can alert Joe Offer by posting on this thread and he or other moderators can delete them. |
|
16 May 06 - 07:27 PM (#1742172) Subject: RE: African Music Threads & Posts From: greg stephens There is quite a bit on Mudcat on the subject of two African songs that have impacted most on the American and British folk scene: Mbube(aka Wimoweh) and Shosholosa. Unfortunately I think the various possible spellings of Shosholosa(I've no idea what is standard) makes it a bit difficult to look up. But I've certainly talked about it, as have many others. |
|
16 May 06 - 07:39 PM (#1742177) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=58860#1341937 Subject: RE: Origins: Fan Ban Ny Ay (Kenyan?) From: GUEST,Philippa - PM Date: 01 May 03 - 06:05 AM The words we sing are Fan Ban ny ay, fan ban ny-ay ny ba ba Fan ban ny ay, fan ban ny-ay ny ba ba Teena tenda, teena tenda ny ba ba (x2) Moonay roo do, moonay roo do ny ba ba (x2) Maca na ca, maca naca ny ba ba Fan ban, etc I don't know what they mean and I imagine we don't pronounce everything as we should. I don't have sheet music. **** Subject: RE: Origins: Fan Ban Ny Ay (Kenyan?) From: GUEST,Philippa - PM Date: 29 Nov 04 - 09:22 AM I was looking for a thread on African music just so I could advise readers that there are several articles/reviews on the topic at http://www.bellaonline.com/subjects/5714.asp I read review of a recording by a group from Kenya called Abana; the reviewer wasn't too keen on their mixing of African and Celtic music. but anyway, this gives me an excuse to revive this long unanswered query about Fan Ban Ny Aye |
|
16 May 06 - 07:40 PM (#1742180) Subject: RE: African Music Threads & Posts From: Azizi I'll add to this thread some other time. |
|
16 May 06 - 08:36 PM (#1742208) Subject: RE: African Music Threads & Posts From: McGrath of Harlow Norman French had an enormous impact on English culture, no doubt including English music and song. After all, there aren't too many people around who speak Anglo-Saxon. Just one example of influences from Europe on African Music - choral singing in South Africa has drawn a great deal from the hymnology of English missionaries. And without imported gumboots there wouldn't be gumboot dancing. |
|
17 May 06 - 07:18 PM (#1742682) Subject: RE: African Music Threads & Posts From: Azizi I just found a great online resource on African music and -though it has nothing to do with previous Mudcat threads or posts on the subject, I'm going to post it here: The African Music Encyclopedia I particularly like the glossary page on that site, and find it interesting that the glossary includes descriptions of various styles of Caribbean music as well as North, South, East and West African music genres. |
|
17 May 06 - 07:28 PM (#1742691) Subject: RE: African Music Threads & Posts From: Azizi RE: Origins: Fan Ban Ny Ay (Kenyan?), I asked a friend of mine who is from Kenya if he recognized this song and if so would he identify which language it's from. Unfortunately, my friend-who is from the Luo ethnic group-said he didn't recognize thise words. However, he said they probably weren't from the Luo or Swahili languages. I was hoping that he would solve the mystery about this song. But perhaps eventually someone else may be able to do so. |
|
17 May 06 - 07:33 PM (#1742698) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=23813 [note: There are related threads about "The lion sleeps tonight" listed under this thread title] Subject: RE: Lyr Req: lion sleeps tonight From: Azizi - PM Date: 03 Dec 04 - 04:49 PM I found the reference to "imbube" in the African Stars book that I mentioned earlier. That book mentions that "imubube" is the "first genuine isicathamiya style" and "its pioneer {is} Solomon Linda {page 165). "Isicathamiya" is an urban music that dates from 1891. The music was performed by & associated with Black African migrant laborers. However, isicathamiya's four part choral songs are very much indebted to Zulu wedding songs and their accompanying choreography. In the United States, Ladysmith Black Mambazo is perhaps the most well known isicathamiya group. The name of that group translates as "The Black axe from Ladysmith". If you are at all interested in African music, try to find "African Stars". It's a good read!! Also, for a very good children's CD on African music, I would recommend Ladysmith Black Mambazo's Gift of the Tortoise: A Musical Journey through South Africa.[Music for Little People, ISBN 1-56628-035-4]. "Mbube" is one of the songs included in that CD. Printed lyrics are also included. For all the other tunes, the Zulu words are given followed by their English translations. However, in the case of Mbube, the only Zulu words given are the refrain "Mbube mamayo". This may be because the version we are most familiar with strays so far away from Linda's original words which may not be considered politically correct now what with the lion being killed now thanks to the Lion King play and movie and probably even before. But I would have loved to have read the Zulu translation of even this nicey nice revised version. Oh well. And just because, I want to say "Right on!" to Richard Wright who posted up thread in 2003. I wish you were still posting here, Richard whoever you are and where ever you may be. We need more "voices" like yours here. |
|
17 May 06 - 07:36 PM (#1742702) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=69011#1167315 Subject: Need an Accordion for Kenya From: GUEST,Sam Pirt - PM Date: 21 Apr 04 - 03:15 AM Hi All Catters This an important appeal for an accordion for me to take over to Kenya in Africa. I took and accordion over in December last year where I taught it to locals and left it there. I am going again this September and I need another to take over an leave. The accordion does not need to be new it can be an oldish one as long as it play a tune or two!! Music is such a good tool over there to lift spirts and give people pride in their culture. When I visit as well as teaching the accordion I am going to be learning the tribes traditional music, song, dance and customs. I am going over with the charity SENGWER AID SENGWER AID is a Registered Charity which aims to help the Sengwer Tribe of Kenya to help themselves. SENGWER AID was formed after my mum's chance meeting with the tribe in August 2002. She was impressed with their efforts to make the most of the very little that they had; every day they battle with great hardships. The Sengwer are bright and hardworking people but they were turned out of their lands by White Settlers in the 1930's. Since then they have suffered much oppression and have struggled to survive. No-one has every helped them before. Because my mum made such good friends with them she has continued to help them; in January 2004 she set up Sengwer Aid to make sure that every single penny that she raises goes direct to help families who are living in real poverty. The Sengwer are now becoming stronger and fighting to retain their precious culture and way of life. I visited the tribe in December 2002 / January 2003 and was given such a warm welcome. Please help us to help them! The accordion does not need to be new as long as I can get a tune out of it!!! Thakyou for your help and support, Sam |
|
17 May 06 - 07:44 PM (#1742711) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=79534#1440453 [Note: See the following two excerpts from that thread. As is the case with all of these sample posts, those people who are interested in the topic are encouraged to read the entire discussion-and join it by posting to that specific thread] Subject: Musical Roots From: Torctgyd - PM Date: 23 Mar 05 - 07:13 AM Following on from the thread about the possible influence on Gospel music of the Gaels from NW Scotland one of the posters remarked that he would have liked the program to investigate the musical culture of West Africa where the slaves came from. This made me think. How can musicoligists say that because the music of West Africa now is as it was 250 years ago? Might not the music of this region been 'contaminated' by missionaries from the very same area of Scotland (or the southern US for that matter) bringing their lining out to the native populations. Not just that but the 'contamination' from influences from all over the world via religous practices, radio and television and the introduction of new instruments. We cannot be certain, for example, how Mozart's works sounded, or how he meant them to sound even though we've got the written scores. How can musicolgists talk about what was, or wasn't done, around the camp fires hundreds of years ago in the African bush? Just look at how many versions of songs and tunes there are from the British Isles and most of them are no more than 150 - 200 years old. This illustrates how quickly changes come about in oral traditions even in, what was at the time, the most advanced and literate nation in the world (possibly!). Are similarites between two or more traditions just coincidence, related to each other or the result of convergent evolution? How can you prove it either way where populations have moved around, inter bred and traded goods, ideas and music for hundreds or thousands of years? T **** Subject: RE: Musical Roots From: Azizi - PM Date: 23 Mar 05 - 08:00 PM Torctgyd - Those are interesting questions you are raising. Here are some responses that I thought of: There are some early records of map makers, adventurers and other relatively lone travelers who did not remain in the area to teach or convert but did document some aspects of the culture in a "by the way" or more observant manner. Early field recordings and drawings/photographs of ethnic groups people can be compared with later recordings and drawings/photographs/videos. Also there have been more isolated West African ethnic groups whose music and religion and other indices of their culture has been studied and documented after more "popular" ethnic groups such as the Ashanti and the Yoruba. .. Furthermore one can ask people was things were like before. We use interviews with informants to find out information about other folk cultural offerings. Why not African music? The West African musican class {called by the French word 'griot' but also known by the name/title "Jali"} are trained for years to accurately remember generations after generations of their ancestors=both their names and the deeds that they are known for. Jalis are historians/singers/musicians..and the Jali tradition lives on in Senegal and other West African nations [not to mention their practice of creating 'insult' songs lives on in Calypso and Rap music] Furthermore, I believe that traditional African societies {like other traditional societies} had a different attitude towards and more respect & appreciation for the past than, say, most people in modern day USA do. I believe that certain customs and practices can be documented to have lived on in those societies because the some of the people [maybe fewer than before] want them to take pains for them to. Studying these traditions would also provide information about cultural continuity and change. One other thought-anthropologist can also study the societies created by Maroons {runaway slaves} in Jamaica, Brazil and more isolated African American peoples like the Gullah people of the Sea Isles of Georgia to get an idea of what music, religion, and other cultural practices were like in West Africa. Here is one example of cultural continuity from Colin M. Turnballs's 1966 book Tradition and Change in African Tribal Life {Avon Pubishing} "The first boy born to a Bushman family is named for his father's father, and the first girl is neamed for her father's mother. The next children are named after their mother's parents, and then, ift he family grows still further, names are taken form the children's various uncles and aunts. This is quite a widespread custom, although the details are different from tribe to tribe. It is all part of a pattern that creates a special bond between old and young people..But it is more than juet a mark of affection, it is part of the whole tribal system. It is the belief that somehow the tribe that is living today is a reflection of the past, and will also extend into the future. Past, present, and future all fuse into one. That is why some important rituals are performed exactly, to the smallest detail, as they are believed to have been performed by the original ancestors. The coronation of the Kabaka, or king, of BaGanda is a fine example of this, he has actually to retrace the footsteps of his ancestor, the founder of the kingdom, and go through the various events that befell him". {pp. 44-45} end of quote.. {It should be noted that this is the page that the book opened to when I went to see what I could find on your question}... BTW, Torctgyd-"natives" and "African bush" are loaded terms which can be more than a bit off-putting..But that's the way society generally refers to African societies. I have seldom heard these terms being used to refer to persons born in rural areas of, say, England or Germany... Just something to think about.. Azizi |
|
17 May 06 - 07:51 PM (#1742714) Subject: RE: African Music Threads & Posts From: wysiwyg Azizi, Perhaps it would help people searching here for posts about African music if you could describe how you found these posts, so they could look them up, too. How will you handle avoiding splitting discussions between this thread, if people post here or further discuss the posts you have quoted instead of going back to the respective threads they came from, to comment there? That did come up a few times in the early days of the Spirituals permathread-- as you might recall, I went back to those originating threads and reposted people's comments there to keep those discussions together. Joe Offer's stated policy has been that no existing thread can be become a permathread-- that a permathread has to be made that way from the outset in cooperation with Joe for activating it and having the necessary editing tools activated. ~Susan |
|
17 May 06 - 07:55 PM (#1742719) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=79469&messages=96 Subject: RE: Gospel music is Gaelic? UK TV 21 Mar From: blind will - PM Date: 26 Mar 06 - 01:31 AM Hope nobody minds a late comer! This has been a very interesting thread and has inspired me to write my first post on mudcat cafe.I've already learned things I didn't know before from others hear and some of my thinking has been corrected in the process. The lined out genre that came from Britian (including Gaelic Psalm singing) was an important contribution to the early development of black religious music in the States.It also had impact on atleast some of what we call black gospel today (however watered down).But other European roots should not be overlooked.Nor should African factors not be considered. One thing that would be good to remember is that black church/black religious music has come in a diversity of musical styles.Black American sacred song didn't all begin with one specific style or hybrid, with everything else following it's foot steps.This is a lengthy sample of it's diversity: ________________ Black Lining Out ________________ This black religious style (often called surge singing) was probably the first African/European hybrid to be common in black churches.It has African vocal qualities and other African traits, but shares the undanceable irregular rhythmn of white/British styles of Lining out.So far I've only heard one example of this type of singing (among black Americans) and it had the same slow focus as the whites I've heard, just extra slow.It sounded like a bunch of black men trying to sing at a funeral, not shure of what musical direction they were going to take.(Not a racist comment, just my way of describing it).The lyrics they were singing were from the popular Amazing Grace hymn, but to a totally different tune (and almost no tune). __________ Ring Shout __________ In much contrast to the black lined out songs is the ring shout.This style is essentially an African type of music with little or no influence from European music, different sources suggesting that it's origin is in Africa.But it's emotional tendacys may often owe something to white religious fervor such as the "Irish Shouters" of 18th Century Ireland.It is characterised by a very repetitive sound, shouting, circle dancing, stomped out rhythmns (often sounding like a drum) and sometimes even yodelling or screaming.Put in the black spiritual category, it was not only found in black churches but also in the racially mixed revivals, Methodist meetings and camp services of the 18th and 19th centuries.While many whites questioned the ring shouts or thought they were pagan, other whites joined in and did it in their own white churches.In the 20th Century the ring shout was preserved in black Pentecostal/Holiness churches and echos of it's sound can be heard in the more dramatic and rocking types of black gospel today. _____________________________ The Revival/Camp Meeting Song _____________________________ This style is more associated with the "white folk hymn" tradition, being more upbeat or regular than the lined out genre.But it initially began as the result of black slaves and whites freely singing together in the early American revival/Methodist/camp scene--causing a sound that mixed British based folk melodies (often drawing on ballads) with African music elements.It is characterised by simple and repeated texts, often using clapping, minor keys and a "flatted 7th scale".One song from this tradition is the popular "Give Me That Old Time Religion" sung for years in both black and white churches.It had a indirect influence on all the music we commonly call black gospel. __________________________ Black Spiritual folk music __________________________ In it's original folk form, black spirituals came in atleast three styles: the very African ring shout (mentioned earlier), the partially formed blues or primitive blues style that often spoke of sorrow or death (sometimes sung in a ethereal unison blues chant) and the more upbeat/hopefull sounds of songs like Swing Low, Sweet Chariot.The common European musical elements that did crop up in the spritual folk song came from the white religious world that the slaves were exposed to.And most of that exposure came from two styles--the irregular lined out songs (including Gaelic Psalm tunes) and the more regular revival/camp meeting song.I have notised interesting similarities between Gaelic Psalm singing and the unison-blues chant I've heard from the black church. _____________________ Barbershop Spirituals _____________________ A trend that began in the 19th century was singing black spirituals in close barbershop quartet harmony style.Barbershop itself was an originally black American style, despite it's strong European feel (atleast compelling evidence supports such a claim).It goes back to atleast the early 184O's and was popular in "black minstrel shows" where whites made fun of blacks.My own research suggests that it took much of it's smooth European sound from a type of 4 part harmony music that came to the States from Austria.(Mennonites of German origin also have a 4 part harmony music that bares strong similarities to barbershop).Mixed with elements of black spiritual song the smooth Austrian harmonies became barbershop, forming the foundation of all black American quartet harmony.By the early decades of the 20th Century, singing black spirituals in barbershop style became even more predominate, popularised by black university singers that were known as "jubilee quartets".Eventually the barbershop spirituals would spread from the universities to the black churches.By expanding this religious barbershop sound with new musical influences (eg. the gospel of Thomas Dorsey) the black gospel quartet sound began. ------------------------ The examples above already give an idea of the diverse roots of black gospel and black American religious music in general.Other styles such as a black tradition of sacred harp singing could also be cited.Eventually I will try to give a more direct look at black gospel as a whole, but first I'll wait for some possible feedback! |
|
17 May 06 - 08:05 PM (#1742729) Subject: RE: African Music Threads & Posts From: Azizi Susan, I found these threads by entering "African music" in the search box. Prior to starting this thread, I pmed Joe Offer, described my idea for this thread, and asked him if what I was doing was a thread or a permathread. If I understood him correctly, Joe's opinion was that this concept sounded like a thread and not a permathread. As for persons posting their comments about specific thread topics here instead of on those threads, I can only reiterate my pecious statements that this thread in no way should take the place of those specific archived or current threads. And members and guests who want to start new threads on generalities or specifics of the multi-faceted subject of African music should do so. |
|
17 May 06 - 08:07 PM (#1742733) Subject: RE: African Music Threads & Posts From: Azizi Correction: "pecious"="previous" and not "precious" Well, maybe my statements are precious to me if not to anyone else. :0} |
|
17 May 06 - 08:11 PM (#1742739) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=76372#1353977 Subject: RE: Black Britons & Folk Music? From: GUEST Date: 11 Dec 04 - 11:22 AM But contemporary adaptions of festivals like Notting Hill has no historic antecedents in Britain, so I don't think it is a legitimate example of black British influences on what most British folk music afficionados would refer to as "their peoples' music". I would also point out that the example given by Greg doesn't exactly wash either. There is no evidence of African fiddle traditions influencing British folk music, because the blacks in Britain at that time didn't have indigenous African fiddle traditions to draw from, and would have assimilated themselves into the white British fiddle music traditions and not the other way round. There is no evidence I am aware of that shows blacks in Britain having African music traditions and instruments being adopted in Britain the way they were in the US and other parts of the New World like West Indies of Trinidad, Tobago, and also certain parts of South America--NOT EUROPE!!! That would come MUCH later. That isn't to say there were no fiddle traditions in Africa at the time in question, because there were, but they were almost exclusively North African in origin, like imzad fiddle music. It is my understanding that there just weren't many North Africans living in Britain at that time (1700s), and the few of them there were, certainly didn't have the power or influence Greg is suggesting upon the English fiddle tradition, as their music tradition roots were from sub-Saharan Africa, and their presence in Britain being due to their participation in the British slave trade. The 'New African Music' that Europeans are now familiar with has it's roots in the hybridized African, European, and American pop music influences that resulted from the slave trade in the New World, not in the indigenous folk music of Africa travelling directly to Europe. The music and traditions of calypso, carnival, etc came by way of the New World, and are unique hybrids based upon which European culture enslaved them. In other words, the Spanish/African influence gave rise to the tango and rumba, the French/African influence gave rise to biguine, and the Portugese/African influence gave rise to the samba. It was the British who are mostly responsible for the colonization of the Caribbean, and so the combination of the British/African music traditions resulted in what is now known as calypso (from Trinidad). But Carnival's influence is directly related to the Christian festival, hence it's seeming "universality" among Europeans. The connecting factor is Shrovetide, of course, despite the very pagan nature of the festivals and their anti-religious fervor. Carnival is essentially a pagan rebellion against the Christian hegemonic grip upon the enslaved peoples of the New World, leading into religious orthodoxy and it's "sacrifices" forced upon them during the season of Lent. Azizi, if you are interested in the call and response thing, you may wish to track down an excellent series done for American public radio by black American historian Dr. Bernice Johnson Reagon (also of Sweet Honey in the Rock fame). It was called "WADE IN THE WATER: AFRICAN AMERICAN SACRED MUSIC TRADITIONS." She devotes almost an entire program on the influences of call and response between the African slaves and the Scottish descendants of the Hebrides, who also used call and response in their hymn singing, upon both communities' music traditions. It's a fascinating subject. |
|
17 May 06 - 08:16 PM (#1742746) Subject: RE: African Music Threads & Posts From: BuckMulligan No disrespect intended, but what, exactly, is the purpose of this thread? It is not, apparently, discussion, but simply a digging up and re-posting of other stuff which folks could, if they're interested, find on their own, no? Or is there going to be a discussion? (Or a quiz?) |
|
17 May 06 - 08:49 PM (#1742767) Subject: RE: African Music Threads & Posts From: Azizi BuckMulligan and others, I started this thread to make it easier for folks to locate threads on the subject of African music. Locating those threads may be easy for folks who are familiar with Mudcat, and may know how to use the search box on the front page of the listing of current Mudcat threads. But, there are people out there who are not familiar with Mudcat. And there are folks who may not know how to use that seach engine. In 2002 qhen a Mudcat member visited my website and told me about this forum's threads on African American secular slave songs, I had to ask him to define what he meant by "threads". And when I first came to Mudcat, I didn't understand that you had to click on the title of the subject you were interested in to bring that discussion up on the screen so that you could read that discussion, and possibly join in that discussion. The concept of threads may be unfamiliar to other folk. I repeat that it is my hope that this thread helps folk locate discussions on African music. And by increasing their familiarity with threads and posts and hyperlinks [all completely unfamiliar words to me before I "got" what Mudcat was about], maybe these individuals who are specifically interested in the subject of African music, will stick around and and join in other discussions, and-hopefully, join Mudcat and regularly posts on whichever thread they wish to, and start new threads too. As to whether there will be a quiz on this subject, if you want such a quiz, you'll have to develop it yourself. And then you can start a new thread and post that quiz there and then respond or not respond to those who like the quiz, or dislike the quiz, or suggest additional questions, or demand that you delete a question, or can't figure out what the heck you are doing, or question your motives, or feel that the quiz is completely or partially relevant or irrelevant. Hey, it happens to the best of us-and the worst of us depending on whose assessment one accepts or does not accept. |
|
17 May 06 - 08:58 PM (#1742779) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=80028#1453251 Subject: Lyr Req: Bizarro: Juba Zulu/Ndbele Lyrics/Chords? From: chico - PM Date: 07 Apr 05 - 10:46 PM I bought a cd from JUBA, a company of a capella singers who perform Zulu and Ndbele songs like "Mambo Jesu". I can't find anything as far as the lyrics are concerned (I bought the mp3s not a physical cd). Does anyone have them? Heard of them? Is this bizarre? I want more truly african music other than siyahamba and kumbaya http://www.dandemutande.org/Catalog/?cat=Music&subcat=Voice&artist=Juba Siyaya eJerusalema? Zulu Seliyaduma? Helpy |
|
17 May 06 - 09:01 PM (#1742783) Subject: RE: African Music Threads & Posts From: wysiwyg It might also be helpful to direct potential new members to the FAQ thread (found in the drop-down box a-top the thread list as well as in the page's banner of links), where all search functions are clearly described. Most internet-savvy folks know what a FAQ or Help link are for. ~Susan |
|
17 May 06 - 09:02 PM (#1742787) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=55665#866823 [see the following two excerpted posts from that thread]: Subject: Lyr Req: South African Folk Music From: Blackcatter - PM Date: 13 Jan 03 - 11:15 PM Greetings all, I'm looking for songs in the English tradition idiom that are from South Africa. Any help? Thanks, Blackcatter **** Subject: RE: Lyr Req: South African Folk Music From: Amos - PM Date: 14 Jan 03 - 10:49 AM Blackcatter: The artists most known for SOuth African folksong collecting are Josef Mirais and his wife Miranda. Their songs include those derived from the English tradition, the Dutch tradition, and a touch of Zulu here and there. From memory, some of their favorite songs: We've Been Invited to Henrietta's Wedding Out in the Wide World, Kitty Oh, Brandy Leave Me Alone The Zulu Warrior Around the Corner, Behind the Bush I'll See My Little Darlin' When the Sun Goes Down Ian Vidiavitch (sp?) Tonight All the Folks Will Cut the Corn ...and I have forgotten more than those! Hope this helps, A |
|
17 May 06 - 09:08 PM (#1742792) Subject: RE: African Music Threads & Posts From: wysiwyg ..... but I DO think it is a helpful thread for raising consciousness about the fact that Mudcat, not to mention the musical tastes and multicultural experiences of its members aren't quite as limited as may have seemed the case. ~Susan |
|
17 May 06 - 09:31 PM (#1742807) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=6378#1358945 [see these two reposts from an oh so very tangentially related thread]: Subject: RE: Origins: Who wrote Polly Wolly Doodle From: Azizi - PM Date: 17 Dec 04 - 11:20 PM Thanks again, Masato, and Hello, Q. It's interesting how we three keep meeting up like this! I have appreciated receiving information, feedback, and links from you both and from other Mudcatters. Q, I have visited the Fiddle Tunes website and will certainly bookmark it. You wrote that " Even in the 20th c., collectors like Randolph, Cox, Belden and others mostly ignored [these rhymes} or did not collect them, except for a few like Old Dan Tucker and Buffalo Gals which, as far as we know, mostly derive from minstrel roots." end of quote.. Given this fact, it seems to me that a critical question that should then be considered is "What are minstrel roots?" One mistake I will admit to making is that I thought that only Whites were minstrel performers. Actually, as I'm sure you know, a number of African Americans "blackened up" [put cork on their skin to darken it in the "honored" minstrel tradition] and performed on the minstrel stage, sometimes in mixed Black-White revues, and also in all Black minstrel revues. One book on South African music, African Stars {Veit Erlmann:Chicago, University of Chicago Press, 1991} has a chapter on the tremendous influence on 20th century {Black} South African music of the Virginia Jubilee Singers, an African American minstrel group. That group, under the leadership of Orpheus McAdoo, performed in South Africa from 1890-1898. Erlmann suggests that since many of the songs were translated, the popularity of the songs may have been because of their tempo and the off stage presentation of the Black peformers who were considered success stories. One example of this "success" was that while they were in South Africa, the members of the Virginia Jubilee Singers were given the designation of "honorary Whites". . But all of that is another story... Back to the good ole U.S.of A... There are many resources on the Internet and elsewhere on United States minstrel music. I have taken the liberty to quote extensively from the website Angel Fire [Sorry. I don't know how to hyperlink} http://www.angelfire.com/sc/bluesthesis/minmed.html HOW THE BLUES AFFECTED RACE RELATIONS IN THE UNITED STATES Minstrels & Medicine Shows "Minstrel and medicine shows gave whites an opportunity to be introduced to and explore the culture of blacks with the excuse of show business to fall back on. This section describes how these shows began improving the relationship between blacks and whites by stretching it beyond the master and slave relationship even before the Civil War. Minstrel shows were musical events often featuring white performers who painted their faces and dressed up like blacks. Beginning in the 1830s, minstrel shows were popular all over the United States and their influence on race relations remains ill-defined. On the one hand, they gave many Americans their first sampling of black music1. Whites in blackface traveled the country playing music that they had heard performed by blacks living on plantations in the South2. On the other hand, they operated to feed the white stereotype of blacks. However, if it is true that imitation is the utmost form of flattery, then these shows were evidence of white's attraction and fondness for black culture.... Medicine shows were extremely popular in America around the turn-of-the-century. Many white country blues performers started out as traveling songsters. Among these are Roy Acuff, Dock Boggs, Fiddling John Carson, Frank Hutchinson, and Uncle Dave Macon. These shows influenced race relations because they featured and entertained blacks and whites. One of the most famous medicine show songsters was Jimmie Rodgers, also known as the father of hillbilly or country and western music. Rodgers's career began in medicine shows where he occasionally put on blackface and frequently played with Frank Stokes, a black songster of Memphis from whom he is thought to have acquired much of his song collection. He demonstrated his indebtedness to black music in songs such as his "Blue Yodels." While borrowing techniques and learning from blues artists, Rodgers was also influential to bands such as the Mississippi Sheiks. In 1930, the Sheiks did "Yodeling, Fiddling Blues" which could be a tribute to Rodgers6 Like the minstrel shows, the medicine shows often involved blackface performances and were also a place where whites and blacks could share something - music and entertainment. Their popularity in America began around the turn-of-the-century and continued after the Civil War (1860-1865) and through the Reconstruction period (1865-1877). These shows were the birthplace of both country and blues. The emancipation of slaves gave the black musicians, typically referred to as songsters, the power to travel around and actually make a living playing music. Their song collection included tunes both black and white in origin. They played country dance pieces, minstrel songs, spirituals, and ballads7. William Ivey of the Country Music Foundation confirms the existence of a common repertoire between the early country musicians and the early blues musicians forcing a type of business relationship even at the peak of segregation8. The noted blues historian, Robert Palmer, says "the music of the songsters and musicians shared a number of traits with white country music, with musicians of each race borrowing freely from the other. But even though many white and black songs were similar, black performing style, with its grainy vocal textures and emphasis on rhythmic momentum, remained distinctive9." It was this distinction that made black entertainers indispensable and continued to cultivate white appreciation for black music. end of quote. The footnote sources are found on the website as are other articles, and a listing of the books that were used as resources... Some may consider this a serious case of thread creep. To you I apologize, but I feel strongly about this subject and also beleive that this information might be of interest to others reading this thread. **** Subject: RE: Origins: Who wrote Polly Wolly Doodle From: Azizi - PM Date: 17 Dec 04 - 11:57 PM Um, well I have to admit another mistake or two. The Virginia Jubilee Ministrels were in South Africa from 1890-1898 so I meant to say that they had a tremendous influence on 19th century South African music, not the 20th century. And I spelled "believe" wrong in that post, and maybe other words too. I wanted to make those corrections before people started virtually tromping on me for carelessness. [Thanks GUEST,Lighter for giving the correct meaning of "tromp". I know you said the use of that word wasn't recommended, but some people think that anything goes on the Internet...Of,course I'm not one of them...] **** ;0) |
|
17 May 06 - 09:58 PM (#1742821) Subject: RE: African Music Threads & Posts From: Peace IMO, it is impossible to hear/participate in/play music from other cultures, peoples, places and NOT be influenced by that experience. Musicians know no colour--the only things that really matter are the willingness to learn and the willingness to teach. When I have questions about African music or culture, Azizi's the lady I ask. She's forgot more than I'm ever gonna know. And I thank her for sharing her knowledge so willingly. For your thread: (Google) TONAL HARMONY AS A COLONIZING FORCE ON THE MUSIC OF SOUTH AFRICA |
|
17 May 06 - 10:00 PM (#1742824) Subject: RE: African Music Threads & Posts From: BuckMulligan MY tongue was in my cheek about the quiz, sorry if that wasn't clear. Thanks for clarifying. |
|
17 May 06 - 10:01 PM (#1742825) Subject: RE: African Music Threads & Posts From: Peace Worth looking at, IMO. |
|
17 May 06 - 10:02 PM (#1742826) Subject: RE: African Music Threads & Posts From: Azizi BuckMulligan, Re the quiz, I thought that you were serious. Sometimes I am too... And btw, you're welcome. |
|
17 May 06 - 10:09 PM (#1742828) Subject: RE: African Music Threads & Posts From: Azizi That's a great resource, Peace! Thanks for posting it. Maybe this thread can also serve as a place to post online resources on African music that might not fit in specific Mudcat threads on this topic. This is already occurring with that link you provided and the one on the African Music Encyclopedia that I shared upthread. I'm open to that. |
|
17 May 06 - 10:15 PM (#1742831) Subject: RE: African Music Threads & Posts From: Azizi Peace, somehow I just saw your 17 May 06 - 09:58 PM post.. Thanks, I appreciate your comment. I know that we all here are learning from each other. And sometimes we're having fun while we do so. Best wishes, Azizi |
|
17 May 06 - 10:29 PM (#1742836) Subject: RE: African Music Threads & Posts From: Azizi Though some may not think that the following comment relates to the subject of this thread, I wholeheartedly believe that it does. thread.cfm?threadid=72978#6560 Subject: RE: This Forum & American Folk Music From: GUEST,Frank Hamilton - PM Date: 05 Sep 04 - 05:28 PM I've been studying folk music for over fifty years and I've come to the conclusion that I really don't quite know what it is. So, it's the music, words. culture and history that are important to me. I have tried to approach it from a musical standpoint. Tried to learn to play it, see what makes it tick from the standpoint of harmony, melody, modes, rhythm, counterpoint, vocal and instrumental. I used to think that it was a form of expression that was somehow separate from other forms of music, and now I don't believe that anymore. I hear jazz in the blues, blues in the appalachian songs and bluegrass, country sounds in the blues, popular music in the ballads (even the trad ones), minstrel tunes in bluegrass and old timey, American banjo playing in Irish music, Irish keening in mountain ballads, minor singing against the major chords of the hymns, religious in the secular and secular in the religious. I hear folk in the rock music, African music in Motown and Hip Hop, and now Hip Hop is all over the world. I hear be bop in B.B. and down home blues in Bird. I hear the wailing of Indian shanai in Coltrane. Scott Joplin, Jelly Roll Morton, Fats Waller and James P. Johnson in Mississipi John Hurt, Rev. Gary Davis and Big Bill. I hear thirteenth chords and diminished chords in Pete's banjo. I hear the "concert artists" such as Jean Ritchie and Redpath following a traditional classical music pattern of performing for paying audiences. Doc Watson plays "Over the Rainbow" and Rockabilly when he does his accoustic country counterpoint. I hear Jimmy Rodgers and Texas Gladden in his singing. Also Ernest Tubbs. I hear the Golden Gate Quartet and Dixie Hummingbirds in the Bluegrass gospel music. "It Is No Secret", a Gospel hymn by Stuart Hamblin, a Country/Western singer (when they had that category) was a staple of African-American gospel churches. I hear old English parlor songs in the Carter Family and some vaudeville numbers there too. In short, I no longer believe that there is one clear path to American folk music. It's a big stew and the solution to the problem of learning it is to study how it's been used in the extraordinarilly various ways. Sometimes, a genre creeps in that seems definitive and then that is shown to be influenced by something else. A solution to it's study for me has been to learn how so and so does it and look to the background and history of the song or tune. The person that tries to keep folk music pure is tilting at windmills. As human beings in geneology, we are all said to be descendents of Halfdan the Warty and Erik the Fart but I think we probably go back to preZinganthropus in the Oldavai Gorge in Africa. Music follows our species in the same way, a long river with myriad tributaries. There is no pure English, Irish, American, Scottish or any other national or international music but there are elements that we recognize and honor. They can be studied, played, sung and enjoyed with the rigors of learning any musical discipline through notes or without notes. The artists that we admire have cultivated a craft through spending a lot of time at it and whatever it turns out to be reflects that sincerity, conviction and perspicacity that it takes to learn it. Frank Hamilton -snip- Btw: this post was part of the Mudcat search engine's listing of posts on the topic of African music. I guess that's because the word "Africa" and "African" are used. Be that as it may, I'm certainly glad I found this post. And I very much agree with the comment which follows that one: Subject: RE: This Forum & American Folk Music From: Jerry Rasmussen - PM Date: 05 Sep 04 - 05:32 PM Wonderful posting, Frank! |
|
18 May 06 - 09:28 AM (#1743091) Subject: RE: African Music Threads & Posts From: wysiwyg Quinteto Mambo Jambo music exchange HULL Quinteto Mambo Jambo ... are inspired by the many styles and rhythms of Cuba & the Caribbean, Brazil and Africa, and love to blend these sounds with jazz, boogie, bluegrass and even European styles to create a rootsy & joyously vibrant sound of their own - one that's good for dancing as well as listening. More in the thread linked above. ~Susan |
|
18 May 06 - 11:59 AM (#1743233) Subject: RE: African Music Threads & Posts From: Azizi Susan, while the information about the Quinteto Mambo Jambo group is interesting, in my opinion, including links & posts in this thread about any or all African African Diaspora music styles [such as Caribbean music, African American music, Latin American music] would muddy the purpose of this thread as I conceptualized it. Furthermore, it seems to me that it would be perferable if this thread does not include links to threads or posts about upcoming or ongoing performances and concerts featuring groups that perform African music or music that includes some African influence, unless those threads or posts discuss the musical genre, and is not primarily an announcement of the musicians' performance itself. Thank you. |
|
18 May 06 - 01:05 PM (#1743277) Subject: RE: African Music Threads & Posts From: wysiwyg It is a link to a group described as having African roots. I'm sorry if my contribution doesn't fit what you were asking for. Maybe the subject is a bit broader than your view can limit. If you ask for contributions, they may not fit your vision, but then a normal thread is just that, and not something upon which you can impose an editors' view. This is a thread-- not a permathread. Also, your definition of "African Music" may not work for everyone, and may not be the only viable definition. If you mean music of Africa in Africa by Africans-- I'm sorry, there is just too much text in this thread to wade trhough, to quickly come to such an understanding. This is the way of Mudcat threads-- they become what they become. It doesn't usually work to limit them, unless one is running a permathread. ~Susan |
|
18 May 06 - 01:12 PM (#1743282) Subject: RE: African Music Threads & Posts From: greg stephens Aziz: I'm sorry, but I cant really see the point of this thread. I applaud your efforts to try to set up a useful resource, but I think it is already too big and unwieldy to use in any practical way. And this is only with you putting up a selection of posts found by searching on Africa or African. What happens when you search under the names of individual countries.I just took a quick glance, and there are over 300 posts with Zimbabwe or Zimbabwean, for example. Admittedly only a proportion of these will be about music, but this all seems to me to show we have too much stuff to shove into a megathread in a linear structure. I may be completely wrong, but this a subject that interests me, and I cant really see how to use the thread. |
|
18 May 06 - 01:35 PM (#1743297) Subject: RE: African Music Threads & Posts From: wysiwyg Azizi, What Mudcatters have done in the past to encourage and support new members is to engage them in PMs and undertake to offer to help them find things. Most of us here, at one time, did not have a clear understanding of how to use Mudcat's many features effectively, and were helped by someone else until they found their own way around. I know that you still have trouble using some of these features yourself, but you can always count on your friends here to help you extend a helping hand to newbies. Perhaps the most effective way you might help friends find topics in which you share an interest is to give them the link to your own posting record-- it's a list of links to all the threads where you have posted, and it would make a menu of starting points for others to join discussions you have found interesting. As far as I know, non-members can use that link too. These are the links I am talking about: MUDCAT FAQ JOIN MUDCAT SEND AZIZI A PERSONAL MESSAGE AT MUDCAT FIND AZIZI's POSTS I know our site features pretty well-- if I can help someone find their way, I'm happy to help. ~Susan |
|
18 May 06 - 01:38 PM (#1743304) Subject: RE: African Music Threads & Posts From: GUEST,WYSIWYG Yup, they work for non-members, except of course that trying to PM you without being logged in prompts me to join or log in. But your posts come right up. ~Susan |
|
18 May 06 - 01:57 PM (#1743317) Subject: RE: African Music Threads & Posts From: Wesley S I'll try to post in more detail later but two of my favorite African performers were King Sunny Ade of Nigeria and Jaluka from South Africa. |
|
18 May 06 - 02:01 PM (#1743318) Subject: RE: African Music Threads & Posts From: Joe Offer If Azizi wants to attempt to synthesize or collect African music information that has been posted in various threads and assemble it here, I see nothing wrong with that. On the other hand, I see no reason for Azizi to attempt to control what other people post here. Let's not waste our time discussing process and procedures here - this is supposed to be a thread about African music. -Joe- |
|
18 May 06 - 02:09 PM (#1743319) Subject: RE: African Music Threads & Posts From: Big Mick Seems to me that the problem isn't the thread, I believe it is interesting and useful. Also seems to me that Azizi wanting to keep it on topic is a perfectly legitimate thing to do. The problem seems to me that Azizi wants to be able to define African Music and inhibit others from doing so. I have reread the initial post and it is vague. IMO, it would be very important to include the music of the African Diaspora. Much of the Diaspora was forced against the will of the people. Often the only thing that could be taken was the music, songs, and stories. Hence this music of the new world forms a vital link with the land of the old world, and the identities of various peoples. Keep the thread going, but it is what it is. All the best, Mick |
|
18 May 06 - 02:44 PM (#1743343) Subject: RE: African Music Threads & Posts From: Azizi I'll repeat what I posted earlier: "Um, well I have to admit another mistake or two." Hopefully, this thread will be of benefit and interest to persons whatever definition of "African music" is used and wherever the discussion/listing leads. |
|
18 May 06 - 02:53 PM (#1743348) Subject: RE: African Music Threads & Posts From: Azizi greg stephens and others: As I mentioned in my first post, 'There may be a better way to compile these thread listings' on this multifacted subject. If you have any suggestions, please pm me or post on this thread [though I would love this thread to get back to the music]. However, I don't have to lead this effort. Despite my mis-step above, I am a team player. |
|
18 May 06 - 03:05 PM (#1743358) Subject: RE: African Music Threads & Posts From: wysiwyg As it now stands, it's a good resource with a variety of ways people can find out more or add more information. ~Susan |
|
18 May 06 - 03:21 PM (#1743369) Subject: RE: African Music Threads & Posts From: Big Mick Don't misunderstand me, Azizi. You are a valuable and much needed player in this thread and this forum. I think you are absolutely the one to give this discussion depth and meaning. Much of the important folk tradition in the world owes its existence to the African descended peoples, and you are a very good spokesperson. The key in many discussions is too simply give gentle nudges to the natural flow. That will be the key here. And this thread will hopefully spawn other discussions of this music, and its ties to other traditions. All the best, Mick |
|
18 May 06 - 06:11 PM (#1743497) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=45180#668744 Subject: RE: Help: Danger Waters - story behind the song? From: hobbitwoman - PM Date: 13 Mar 02 - 10:41 PM Dave, I have a copy of Joan Baez in Concert (Vol. 1) on cd - and you're right - the original album was released in 1962. I have forced my poor aging eyes to read the incredibly small print, and here's what it says: "Danger Waters: The ethnomusicologists have been tracing African influences on American folk music for decades, but now we find that our folk music, jazz and Latin American rhythyms are being re-exported to Africa and creating new hybrids which in turn will exert a new influence on our music. This lament of a hard-time heroine is from the Gold Coast, created in the "Highlife Cafes" patronized by the poor and less-poor, where a new African-Western-African music of extraordinary poetic and rhythymic strength is now emerging. Beneath the seemingly direct and simple verses is a fluid use of words and images which marks this as poetry of a higher order, a realistic poetry based on the patterns of ordinary speech which makes use of the slashing transitions and many-leveled ambiguities of the finest modern poetry." I dunno, maybe I'm just tired, but that doesn't make it much clearer to me! It doesn't explain what the song is about - other than a "hard-time herione". Annie |
|
18 May 06 - 06:11 PM (#1743499) Subject: RE: African Music Threads & Posts From: wysiwyg Azizi, you said: ...maybe these individuals who are specifically interested in the subject of African music, will stick around and and join in other discussions, and-hopefully, join Mudcat and regularly posts on whichever thread they wish to, and start new threads too. I'm in full agreement with you about that. I have come to the conclusion that personal help is one of the most effective ways to build community, so that is the context I come from. (My upthread post about that was a contribution to the effort, not an argument or complaint about the best way or the only way.) The link I posted earlier, BTW, gives access to hear sound clips of that group-- it's not just a plug for an appearance, although the thread TITLE is. It is a normal Mudcat convention to use a thread name as the link text. Some folks want to hear music, some want to talk about it, some want to do both. And some folks who have no context about African music at all need to hear it before they can talk about it. Musicians especially, I think, want to talk about the musicality of music to a greater extent than they want to explore the cultural ramifications... And I think we do have more musicians here than professional historians, sociologists, or musicologists. Although some musicians do think about and talk about (and argue about) music's cultural ramifications-- and Mudcat is a great place to do that-- there are a lot of us who just want to experience music, by hearing it and making it. I hope there is room for that, too, in your ideas, because folks around here seem to like trying out what other Mudcatters recommend, and this thread may also create an entry point for that side of things-- as Peace's BBC link does, above. Hey-- did you know that you have already added something special to the culture of Mudcat with the term you often use, "upthread"? It's especially a good piece of lingo when you consider that a thread displayed 50 posts at a time doesn't show a previous post physically "above," but below-- and so "upthread," like "upriver," is a great word in this kind of setting. You ARE appreciated here! ~Susan |
|
18 May 06 - 06:24 PM (#1743507) Subject: RE: African Music Threads & Posts From: Azizi http://www.mudcat.org/thread.cfm?threadid=36657#507614 [When you hyperlink to this thread you will find a number of related threads listed below that thread title] Subject: LYR ADD: Shololoza From: Sorcha - PM Date: 16 Jul 01 - 10:32 AM Shosholoza Traditional This song has been recorded by a variety of artist. From Ladysmith Black Mambazo to PJ Powers and Peter Gabriel. It was even recorded by Helmut Lotti. Each artist recorded their own version so the lyrics might be different but these are the basic lyrics (with the English translation alongside - I can't vouch for the correctness thereof). The word 'Shosholoza' means 'Go forward' or 'Make way for the next man'. From Boetie, Dugmore (Barney Simon, ed.), "Familiarity is the Kingdom of the Lost" (New York: Four Walls Eight Windows, 1969), pp. 71-72 'Chocholoza!' Chocholoza is the song that South African blacks sing under hardship. Especially by long-term convicts when engaged in hard labour. Chocholoza is like a child with no parents. Nobody knows when or where it originated from, but what everyone knows is that when there is some kind of deep-rooted ache in the heart, the first thing to visit the lips will be 'Chocholoza'. The song with no beginning and no end, as old as misery itself. Shosholoza Ku lezontaba Stimela si qhamuka e South Africa Wen u ya baleka Wen u ya baleka Ku lezontaba Stimela si qhamuka South Africa (Shosholoza You are meandering on those mountains The train is from South Africa You accelerate You accelerate On those mountains The train is from South Africa) Here's the lyrics as recorded by Ladysmith Black Mambazo Chorus: Shosholoza Ku lezontaba Stimela si qhamuka e south africa Shosholoza Stimela si qhamuka e south africa Wena u ya baleka Wena u ya baleka Ku lezontaba Stimela si qhamuka e south africa Verse 1: Shosholoza Work, work, working in the sun We will work as one Shosholoza Work, work, working in the rain 'Til there's sun again Verse 2: Shosholoza Push, push, pushing on and on There's much to be done Shosholoza Push, push, pushing in the sun We will push as one Sithwele kanzima, sithwele kanzima (ooh, aah!) Sithwele kanzima, sithwele kanzima (ooh, aah!) Sithwele kanzima, sithwele kanzima (ooh, aah!) Sithwele kanzima, sithwele kanzima (ooh, aah!) Sithwele kanzima, sithwele kanzima (ooh, aah!) Etshe! Shosholoza repeat chorus repeat verse 1 repeat chorus Shosholoza is available on the following compilation albums of South African music: Ladysmith Black Mambazo with the Springbok Rugby Team - We Are The Champions - The Songs That Won The World Cup also on Anthems Ladysmith Black Mambazo 1999 (Metro Mix) - Sound Offerings From South Africa 2 PJ Powers - Springbok Rugby Hits Leon Schuster - We Are The Champions - The Songs That Won The World Cup West Transvaal Youth Choir - Rainbow Nation - Rhythm & Chants From South Africa From: http://www.geocities.com/rembrandt0/Lyrics/S/Shosholoza.html (note--even I don't believe I found this!) |
|
18 May 06 - 06:39 PM (#1743517) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=16088#148972 Subject: Lyr Add: SARIE MARAIS From: Shimbo Darktree - PM Date: 11 Dec 99 - 09:24 AM When I was at primary school (YEARS ago) we were taught this song. We were told it was from South Africa. You can have what I remember (first verse and chorus) but it will have the flaws of a child's memory. My Sarie Marais is so far from my heart, And I long to be with her again, She lived on a farm by the Moie(???) River bank, Before I left on this campaign. Oh take me back to the old Transvaal, That's where I long to be, Way yonder 'mong the mealies by the green thorny tree, That's where she's waiting for me, I wonder if I'll ever see that green thorny tree, Where Sarie is waiting for me. Any South African Mudcatters? Regards, Shimbo |
|
18 May 06 - 06:45 PM (#1743521) Subject: RE: African Music Threads & Posts From: greg stephens I was critical earlier about the practical use of this thread, and I still am. So I would like to add(because I know how destructive negative energy can be) that I am a 100% supporter of Azizi's indefatigible attempts to make sure that discussions of black music get a fair crack of the whip here on Mudcat. Those who are familiar with what I do will know me, but I would like to add on this thread that I am a white do-gooder liberal, obsessed with ethnic music, who has attempted with various degrees of success to understand some of the different musics of the world, and to try to meet some of the people who make that music, and even try to join in with the process.So keep it up Azizi. But dont expect me to always appreciate the complexities of this thread! |
|
18 May 06 - 06:47 PM (#1743523) Subject: RE: African Music Threads & Posts From: Azizi Here are two posts from that thread. The 2nd [re]post is in response to the first [and the initial] post to that thread. Subject: Audience participation? OK? From: Chet W. - PM Date: 11 Jul 99 - 01:07 PM After trying for years unsuccesfully to get people to sing along, on choruses at least, when I was performing in public, I had the opportunity to perform and to be an audience member in some European countries. My experience was that if people know the song, you don't have to try to get them to sing along, at least in Central Europe. What's it like where you live? Chet -snip- Subject: RE: Audience participation? OK? From: Jeri - PM Date: 11 Jul 99 - 07:07 PM I remember seeing an African American performer once who said he'd taken a trip to Africa expecting to hear those syncopated claps. Guess what - he said everyone he heard clapping was doing so on 1 and 3. I haven't heard enough African music to know where the claps fall or whether they might have once fallen in different places. |
|
18 May 06 - 06:53 PM (#1743530) Subject: RE: African Music Threads & Posts From: Azizi Susan, you wrote "Although some musicians do think about and talk about (and argue about) music's cultural ramifications-- and Mudcat is a great place to do that-- there are a lot of us who just want to experience music, by hearing it and making it." This thread may be better suited for those who want to read about the cultural ramifications of music. However, it would be great if folks would post links to websites with sound clips of African music. |
|
18 May 06 - 06:56 PM (#1743531) Subject: RE: African Music Threads & Posts From: Azizi thread.cfm?threadid=12063#93297 Subject: South African vocal music From: Andrés Magré - PM Date: 06 Jul 99 - 11:39 PM Has anyone seen in the Web a source for Midis, or full score for the songs of that marvelous group called LADYSMITH BLACK MAMBAZO ? They are the most famous representatives of South African a capella songs called ISICATHAMIYA. They made a long U.S. tour in 1998. I'm part of a large vocal group in Argentina, some of us interested in giving a try to those astonishing harmonies. Dozens of sites can be found in the Web, but only discography, history, fans, etc. I could not find a single sheet or Midi file. I recall all of you that I am very close to the sources of argentine folk and tango music, and would be glad to be of any help to those interested. Best regards - escamillo@ciudad.com.ar |
|
18 May 06 - 07:26 PM (#1743548) Subject: RE: African Music Threads & Posts From: wysiwyg Yes, Azizi, that's what I mean-- people may discuss here, when they want to, but they may need a hand finding what to listen to, before discovering they have anything to offer on the cultural discussion. I appreciate you making your intent on this thread a bit clearer-- if I understand what you mean-- culture, rather than the music itself? ~Susan |
|
18 May 06 - 08:09 PM (#1743575) Subject: RE: African Music Threads & Posts From: Azizi In my opinion, this thread speaks for itself. Read this thread if you want to. If you don't want to read it, don't. If you want to, post general comments about African music & links to sound clips on this thread. If you want to, post comments and/or questions related to the subjects of specific threads about African music on those specific threads. If you want, start new threads on African music. And if you don't want to, don't. It's your choice. I'm interested in the information sampled here and preserved in those mostly archived threads. Hopefully, others are too. As the spirit moves me, I will post additional links to other Mudcat threads on African music. I will also continue to post sample comments from those featured threads. Others can post what they wish on this thread. Or not. It's your choice. Best wishes, Azizi |
|
18 May 06 - 08:14 PM (#1743577) Subject: RE: African Music Threads & Posts From: Azizi And needless to say, as the spirit moves other Mudcat members & guests, you can & hopefully will post additional links to other Mudcat threads on African music. Other Mudcat members & guests can & hopefully will also continue to post sample comments from those featured threads. :o) |
|
19 May 06 - 03:53 AM (#1743720) Subject: RE: African Music Threads & Posts From: Alan Day There are examples of South African music on the recently released "Anglo International" which features Zulu Squashbox Music the brilliant 15 year old Regardt de Bruin and Zak van der Vyver plus concertina music from various parts of the World (3CD set). Al |
|
24 May 06 - 11:52 AM (#1746571) Subject: RE: African Music Threads & Posts From: GUEST,Asomani I'm looking for the lyrics for Africa, Center of the World. Can anyone help me?? Regards Asomani |
|
24 May 06 - 12:08 PM (#1746579) Subject: RE: African Music Threads & Posts From: wysiwyg Welcome to Mudcay, Asomani. I've emailed someone to ask them to post the lyrics here or email me an MP3 so I can transcribe them to post in case no one here has them. ~Susan |
|
24 May 06 - 12:15 PM (#1746586) Subject: RE: African Music Threads & Posts From: wysiwyg Roy Ayers' website is here: http://www.royayers.com/ and there may be sound samples there, but my computer's sound is not working right now for me to transcribe the song's lyrics. ~Susan |
|
24 May 06 - 02:16 PM (#1746689) Subject: RE: African Music Threads & Posts From: Alba I have the Track "Africa, Center of the World" on the Album: Music of many Colors by Fela Anikulapo Kuti and Roy Ayers I would have to go searching through a lot of my Music as it is not the Genre I am working with at the moment and I don't have a turntable to play vinyl right now:) Asomani. If you have no success finding what you are looking for please let me know and I would be happy to try and get something together and transcribe the Track for you. Jude |
|
12 Jun 06 - 07:23 AM (#1757857) Subject: RE: African Music Threads & Posts From: Azizi I'm refreshing this thread for Quarcoo {and anyone else who wants to post to it}. Quarcoo emailed me this morning indicating that he had tried to load this thread on Thursday, but it didn't load properly. And he said that on Friday, the entire Mudcat website was inaccessible. Hopefully, those technical difficulties have been fixed so that Quarcoo and other 'Catters and Guests from African nations will have access to Mudcat for reading & for posting. In his email Quarcoo also mentioned that Ghana is playing against Italy in the world cup today and the whole country is up in a frenzy. Because I don't know anyone from Italy, and because I know one person from Ghana, I'm taking sides and saying "Good Luck to Ghana!!" :0) Azizi |
|
12 Jun 06 - 07:29 AM (#1757863) Subject: RE: African Music Threads & Posts From: Lizzie Cornish Azizi!!! How are you my friend? Oh Azizi, I've recently discovered such soul enriching music! Here, take a listen: Ayub Ogada: http://www.myspace.com/ayubogada Isn't that just the most beautiful sound! I'll be back in a minute with some more links. Myspace is opening up music from around the world. Lizzie :0) |
|
12 Jun 06 - 07:47 AM (#1757876) Subject: RE: African Music Threads & Posts From: Azizi Wow!! Lizzie!! Thanks so much for introduing me to Ayub Ogada. I'm playing that clip now as I write. That's the kind of thing I was hoping would happen via this thread! I love that clip!!! That soothing music is just what I need to help prepare me emotionally for the stress that invariably comes from my line of work. Here's some information on Ayub Ogada: Ayub Ogada's life is a prime demonstration of the wonders of cultural collision; the exposure to both traditional African and modern Western values provided a rich background on which he founded his unique musical talents. Ogada is one of the Luo people of Western Kenya, and he received his first exposure to Western culture early on. When he was six, his parents (also musicians), toured the college circuit in the U.S. Ogada then returned to Kenya with his parents, and was educated in a Catholic school, then an English boarding school. After finishing school, he played for several years in a Kenyan group called African Heritage Band, which fused traditional music with the sounds of rock and soul that Ogada and bandmates heard regularly on the radio. In 1986, he decided to take his talents abroad. Armed with his nyatiti (a lyre-like stringed instrument), he went to the U.K., and played on the streets for money. After the better part of a year, he was approached and asked to play at Peter Gabriel's WOMAD festival. In 1993, he was invited to Gabriel's Realworld Studios, where he recorded his first album, En Mane Kuoyo (Just Sand). He continues to tour extensively with WOMAD. " -snip- I've definitely got to get this CD. And I'm emailing a friend of mine in Pittsburgh, Pennsylvania who is a Luo from Kenya. He probably knows about Ogada, but just in case he doesn't, I'll sending him that website address. And-while I'm emailing him about that-I'm going to encourage him to check out this Mudcat thread, and hopefully join Mudcat. Thanks again!!! Azizi |
|
12 Jun 06 - 07:55 AM (#1757881) Subject: RE: African Music Threads & Posts From: Lizzie Cornish Diogal: http://www.myspace.com/diogal Alpha Dialia: http://www.myspace.com/alphadialia Rahmane Diallo: http://www.myspace.com/rahmanediallo Mandeng Tilo: http://www.myspace.com/mandengtilo Maher Cissoko: http://www.myspace.com/mahercissoko Sorry for the delay, took a while to do the blue clickies..then the computer turned itself off! Grrrr!... Anyway...I hope you enjoy them all. I've fallen completely in love with much African music. It should be all over our radio and TV's in exactly the same way that Western music is. One world! Lizzie :0) PS...GREAT thread by the way Azizi, must be taking you ages to sort all this out. Well done! :0) |
|
12 Jun 06 - 08:03 AM (#1757890) Subject: RE: African Music Threads & Posts From: Lizzie Cornish AND....Azizi, Ayub's music was used for the soundtrack to 'The Constant Gardener' film recently. It is an excellent film which deals with the corruption within the huge Corporate Medical Companies and tells how they're using innocent people in Africa to test their new inventions on...In the film it was a vaccine for malaria. It will really open up your eyes...and make you seethingly angry, which is of course what we all need to become, to stop these terrible things from happening in the first place! I've got Ayub's CD and it's wonderful. My children LOVE it and my friends here it and go "WOW!! WHO is that?" I had trouble tracking down his CD, but then someone gave me this link on the Radio 2 board and we ordered it from there. It's now one of our favourites. I wish he'd do more!! http://www.realworldrecords.com/catalogue/titles/action.lasso?-response=framesetLink.html&-token.rwrID=cdrw42&-nothing Hope that helps and I am SO glad that I've introduced you to him Azizi! Take care.... Lots of love... Lizzie :0) |
|
12 Jun 06 - 01:12 PM (#1758118) Subject: RE: African Music Threads & Posts From: Azizi Lizzie, I am so happy that I refreshed this thread. Thanks so much for those links. You are right about this music being soul enriching. And thanks to the Internet, it can be shared with everyone no matter where or who they are. Positive vibrations and lots of love to you too! Azizi |
|
13 Jun 06 - 06:09 AM (#1758710) Subject: RE: African Music Threads & Posts From: Kweku We have had a dynamic music arena in Ghana,from the 1950's calypso style music, to the 1970's to 80's highlife and the burger highlife of the 1990's and currently contemporary highlife and hiplife(rap + highlife). The message too have moved from patriotic and decent songs to lyrics that leaves much to be desired. this has led to some music being banned from air-play on radios. Ghanaian music too have moved from live band music to already-made instrumentals, and much of the work is done by sound engineers. During the live band era,Ghanaian music was very much like jazz,with every musical instruments from the guitar to the dondo(local drum) and artists like E.T. Mensah,Pat Thomas,A.B. Crentsil,A.A.A.,Black Chinese,Frimpong,etc. giving us their best. |
|
26 Jul 06 - 09:47 AM (#1793639) Subject: RE: African Music Threads & Posts From: Azizi FYI, Guest Gwen and several other folks who live in South Africa have been discussing various recording artists in this Mudcat thread: Music of South Africa thread. Among the artists that are noted in this thread are: Sibongile Khumalo who "combines jazz with traditional African music, and also performs a lot of classical [music]" Abdullah Ibrahim Joe Nina Hugh Maskela Lucky Dube Arthur Mafokate (solid hip-hop) Freshlyground, Nthando (Afro-pop) Zola, Judith Sephuma (gospel) Zamajobe (Afro-pop/soul) Skwatta Kamp, Kabelo (kwaito - hard-core township-based pop In addition, Guest Gwen highly recommends the soundtrack to the movie "Amandla: A Revolution in Four-Part Harmony" which "tells the story of the role music played in the SA liberation struggle. On this soundtrack, you will find Sibongile Khumalo performing one of the anthems of that struggle - it is called "The Untold Story" - and she is accompanied only by a pianist. It will give you some idea of her power." -snip- I found various online references to Sibongile Khumalo. Here is one link to information about this South African artist: http://www.music.org.za/artist.asp?id=99 |