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….
Maisha Bora Suba Group
…Rirandi and they play the Zeze/Endongwe (a one stringed instrument similar to the Kenyan Orutu and Ugandan Rigi Rigi), Rirandi (a giant horn, similar to the Uganda Big Wala, but made with 6 gourds, not one), Ekeborogo (flute), the Ekedomwa (drums), Ama’ghorro (huge leg shakers), and Firimbi (whistle). They wore Amahunsho (grasses that are attached to the shoulders, and shake with their shoulders’ movement), Enyandusbi (beads) and the men carried O…
Muturi wa Wandindi Group
… Muturi wa wandindi (Actual name is Geoffrey Mutwiri, Mbaraka). He is from Kigane Village, Nkevene Sub-location, Nicwene Division. He started performing in 1964 and is from the Ameru Ethnic Community. He plays the Wandindi (thus his performance name), which is a ‘tube fiddle’, or what the Luo call the Orutu. …
Global Influences Project: Artist Submissions Page
…ty in as much as u add a drum pattern to it or when you introduce a modern touch to it. And to be frank, i totally loved conceiving the beat and would love to do more of the genre.” We love that this project is inspiring modern artists to use these traditional rhythms, sounds and beats to influence their upcoming work. You can follow Kimani on instagram at @devonte6749 BEATS BY MAGGY X RUBANGA KINGDOM AWACH BOYS This week’s submission for the #Glo…
Kigane Traditional Dancers Group
… Kigane Traditional Dancers, from Kigane Kithurini and Ngatia villages, Suri Location, Bogeta Division. They are 11 men, 12 women, led by Cyrus Kirigia. Their style is Kwimbo, and the songs ares sung to celebrate the harvest mostly in August and March. They are from the Ameru ethnic community and use the Kibere (leg shakers) and Vilingi (whistle)….
Kangema Mwomboko Dancers Group
…Dancers: led by Maina Kirhoro. From the Kikuyu ethnic community. They are from Kiangunyi Village, Muguru Sub-location, Kangema District. The group has 45 members and was started in 2000, but the original Mwomboko style was started in 1943. This is a ‘pairing’ dance style, inspired by colonial masters but adapted locally. Mwomboko, Peter Mwangi is the lead singer and plays the accordion. George Kinyua plays the Karing’aring’a (the metal ring). The…
Wendo Group
…n the Kasanga dance style. The group is from the Kiongwe Village, Ngungi Location, Thua Division, Inuu Sub Location, Nzambani District. 12 women and 2 men, formed in the 80’s and inspired to perform at political forum. The group also uses the Vilingi (whistle). They performed 4 songs: Kiuluni Kui Landeni (going to London) Mbovoi Kisanga…
Kaniini Kaseo Group
…trunk of a banana tree; it says that the trunk can’t be climbed by boys. Mutongoi: This is a song sung to a political leader in the area. The song praises the politician and asks the people to vote for him – he’s Kyonekana na nengwe. His name means, “if seen give it to him”. Kolleji or College: This is sung in the Itheke genre. The song praises a local politician (Major Mutina Muluvi) who takes graduate students to work at Equity Bank and high sch…
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). …
The Kalenjin of Kenya Album
…2012 on location in the field in Kenya, as part of The Singing Wells trip to record the music of the Kalenjin. The album opens with Ben Kisinja on the Burkandit, recorded in Kapsokwony on the 5th March 2012. Also recorded in the same session were the Chebonet Group and the Teriet Band. We also have a short snippet of The Masirtaret – a performance that was sadly cut short by rainfall – one of the perils of recording outdoors. The Sila Dancers b…
Here for the Music? Page
…Albums, head to the links below. Stories Read some of our most memorable stories from the field, featuring stunning photography taken by our team. Learn more about the communities we meet, the instruments that are being played and the background stories behind some of the photohraphy on our website. Albums Head here to see the collection of Albums we have created as a result of our recordings on the Field and at Ketebul Studios in Nairobi. The al…
Unyago Group
…t girls becoming women. The singers come from the Wagindo people, who came from Malawi to Zanzibar, probably through the slave trade. When the British stopped the slave trade they then stayed. This band has a strong African influence. The main leader, Amina Abdalla, studied and sang with Madam Bi Kidudi, a legendary singer in Unyago style (a chain-smoking rebel!). She followed Siti Binti Saad as a major Taarab vocalist and was considered queen of…
Kika Boys Cultural Troupe Group
…to collect the Mbidde (bananas) Zitandikwe: this means the bananas are now to be buried into a hole dug in the group so they can ripen Siwa Siwa: This talks about grinding the millet on a stone while other people bring gourds in which the local brew will be poured and served Mbereju: This is the name of the drunkard who drinks excessively. He starts to abuse people and pee himself. Sivve Wano: This song is sung by the town drunk and it means, “I w…
The Luo of Kenya Album
…atures a selection of the music recorded as part of the Singing Wells trip to record the Music of the Luo in Western Kenya. The album begins in Rang’ala village – with The Sega Sega band led by Osumba Rateng, and then a Dodo group led by Ogoya Nengo. We next move to Aluny Village – with performances from The Joginda Boys, Otieno Aloka and the late Okumu K’Orengo and his Nyatiti Group. The Kochia Traditional Dancers gave a very visual performance,…
Day 1 – Saturday 1st July 2017 Story
…ely, the different stages of nyatiti making before arrival to the field in order to plan on filming economically. According to what was explained by Rapasa, who also makes the instruments, we identified 9 stages of nyatiti making. This would later facilitate following the instrument makers narratives and allow for comparison. Other pertinent information provided by Rapasa during our drive to Kisumu included the types of trees used for nyatiti (wit…
Conclusion: Challenges and Recomendations Story
…anager, and the fixer or any other individual that might act as the translator from vernacular languages into English during field recording. If this function is to be filled by the fixer (which was the case in this first recording mission), I believe he should be informed and prepared in advance accordingly. I mention this because we have noted that a lot has been ‘lost in translation’, hence data collection objectives and ways of achieving them…