Mchele Mchele Sanaa Group Group
…This group, from the Sukuma community, was formed in 2010 and performs with a number of styles: Bukomia Lume, Buchheye, Wigashe. Their instruments are: Ng’oma (Drums), Pembe (animal horns, large impala), Firimbi (flute), and Njuga (shakers). …
Liwambwe Group
The Group Leader is: Atanas Teleni. It is a fairly new group, having played off and on for three years. They had unique drums, including small drums with wooden spikes on bottom to be embedded in sand, called the Siganga. They also had a pair of drums called the Likuti and a long drum called the Msondo, and a very long thin drum called a Neya. In the dance they had a character in a mask called a Lipiko, who wore a vest called a Mjuga. They played…
Day two: From Sirisia to Mabuyole Falls Story
…February 19, 2018: Woke up early and drove to Sirisia to record the band Namatete. The band was founded by Weput Khulu Namatete in 1992. He and his friends gradually made instruments and learned to play them while taking care of their cattle. By 1992 they were good enough to call themselves a ‘serious’ band. The founder started by playing the Lituneu. His brother joined him for a while and brought the Shirili, the single stringed instrument simil…
Global Influences Project: Loop Library Page
…roupe – 111bpm Joginda Boys -116bpm Hiari Ya Moyo – 121bPM Rubanga Kingdom Awach Boys – 127BPM Otacho Young Stars Shoe Shine Box – 143BPM Aloka Ohangla Drum Solo – 146bpm Ekhunjwe Musical Group – 153bpm Watmon Cultural Group – 154BPM Nyatiti group – 158bpm Kidinda Cultural Group – 158bpm singingwells · SW Samples – Adungu Cultural Troupe 111BPM Adungu Cultural Troupe – 111BPM The Adungu Cultural troupe are based in Kampala, Uganda and the main foc…
The Revival of the Entongooli Page
…who has also headed up the revival of the Royal Entenga Drums and the Bigwala, has travelled to visit Mr Mukadisi, who is educating a group of children on how to build and play this instrument in the hopes of continuing it’s legacy. Below you will find footage and information about the Entongooli and how the project is working to restore this instrument back to it’s former glory. Skip ahead to your preferred section… A Musical Education Finding…
3. Background of the Naizungwe drums Story
…nda ones? Athough Basoga and Baganda conical drums are similar in many ways, they have differences. They are differently woven and this causes them to differ in appearance. Also Basoga drums are mainly played with sticks while only the namunjoloba (the smallest drum in the Baakisimba drum set), and in some cases nankasa (the smallest drum in the nankasa set) is played with sticks. Also, the drums in mujaguzo regalia which also include entenga are…
The Singing Wells podcast #3 Podcast
…Here is podcast number 3. In this podcast, we look at the development of Abubilla Music – one of the partners in The Singing Wells project – from initial idea, to music label. There are interviews with members of the SMCC, and music from the SMCC, Louise Calf, Gus Warriner, Tati Kalveks, Chris Kozlowski and Ketebul artist Winyo. Click here to download the podcast….
Day Four: January 21 2019 Mwanza Story
…bout an hour to Kisesa (A) to record two groups: Group 1: Mchele Mchele Sanaa Group: This group, from the Sukuma community, was formed in 2010 and performs with a number of styles: Bukomia Lume, Buchheye, Wigashe. Their instruments are: Ng’oma (Drums), Pembe (animal horns, large impala), Firimbi (flute), and Njuga (shakers). We recorded five performances: Ntale Atabihyala: ‘The boss, who is always wrong, wants to be always right. Just accept it’ B…
Day 9 – Sunday 9th July 2017 Story
…“a plucked string instrument with no fingerboard, having strings running parallel to the soundboard tied on a yoke at the upper end of the instrument” (1). According to Hornbostel– Sachs(2), all four would be classified as composite chordophones, more precisely under the 321.2 category of: “Yoke lutes or lyres – The strings are attached to a yoke which lies in the same plane as the sound‐table and consists of two arms and a cross‐bar.” Through a…
Conclusion: Challenges and Recomendations Story
…the main intentions of this report on SW’s pilot Masters programme was to analyse and report on the difficulties encountered in the field. Although it is based on a somewhat personal experience, it was previously discussed with Ketebul’s Project Manager, as I wished to include other voices and mention issues raised by several team members. It is our hope that common findings and understandings would arise, leading to betterment of future Masters…
Day 1 – Saturday 1st July 2017 Story
…he preliminary work had not been completed, we opted for a semi‐formal preparative interview with John Otieno ‘Rapasa’, a young nyatiti player based in Nairobi, yet from Alego area (Siaya County), who was a part of our team as a fixer and translator. The main objective of this semi‐interview was to define, at least, approximatively, the different stages of nyatiti making before arrival to the field in order to plan on filming economically. Accordi…
The Kalenjin of Kenya Album
…p are represented on the album with the track ‘Kamitol’) and secondly the Takar group – their Korutan and Chepo Mining making it through past technical difficulties on set. The very visual performances of the and the Sagat group (their image is on the cover) and the Embolet are both represented on the album. The final field day of the trip was spent recording the Tugen. The vocal harmonies of the performances have been captured well, with The Elim…
Day 5 – Wednesday 5th July 2017 Story
On our last day in Lake Region, we paid a visit to Ayub Ogada, probably the most internationally acclaimed Kenyan musician, whose use of the nyatiti in different musical genres is both original and pertinent for our Masters of the Nyatiti story. We spent the day at his home in Nyahera location, not far from Kisumu town, and conducted a long yet free of form type of interview. Although a Luo himself, Ayub had never learned how to play the nyatiti…
Field Recording Report by Kahithe Kiiru Story
…ed in elaborate costumes, the group displayed two traditional dances (imbiraand isuna) and sang six songs orchestrated in a soloist and choir response manner typical for national folk music festivals and competitions. We also recorded Magic Moments focusing on percussive instruments only and an Influences improvisation with Fadhilee. Our last session for the day was scheduled to take place in a nearby village of Mumias sub-county. Here we met Rich…
Namaddu Troupe Group
Dance Style: Namaddu The group belongs to the Bagwere Clan Band Leader: Ndoboli Ramathan Instruments include Ngoma (drums), the Mudiri (long drum) and Entongoli (6 string adunga). Song meanings “Lwaki Ndamba”: Why do I have to suffer? A woman can’t have a baby so her husband beats her and sends her to the witch doctor who ensures she gets pregnant. She then returns to husband, who has been off drinking, and they reunite. “Kwakira Wiita”: A song…
Mohamed Uthman Kidumbak Group Group
…usic in the DCMA. Kidumbak is a musical style with three main influences: Taarab, Unyago and Rumba. Dumba stands for a large drum. So Kidumba is a smaller, bongo style drum. Adding Ki to the beginning of the word makes it small. Mohamed Othman had no musicians in his family. He became interested in Kidumbak style music at 16 and taught himself the violin and bass. He went to Egypt off and on for six years on a scholarship from the DCMA to study vi…