Jamma Jengi Ndoungou koye so , UMM ALY: Démminaré khori, Kier frutnds Dabouné diame koye so weti eee Dathiouki né né ya by the aentbodle ecbuct Jamma jengui, kodé niari, ndogou foyni ming et ma tane kéddino do, diodo digwettne Jamma jengi none, kodé niari, ndogou boyni Mine et ma tane kéddino do, diodo laarame Jamma jengi, kodé niari, dokou foyni miné et ma tane kéddino do, diodo digwettne Jamma jengi, kodé niari, ndogou foyni miné et ma tane kéddino do, diodo diéweténe Jamma jengi, kod niari, ndogou foyni ming et ma tane kéddino do, diodo digweténe Fatimata mi yidi ma, mi agnetama Sabou guilli Allah waadidoume tacdo énedame Jamma jengi, kod niati, ndogou foyni miné ef ma tane kéddino do, diode digweténe Patimata mi yidi ma, mi agnetama Mbimi guilli Allah waadidoume tagdo ngourdame Jamma jengi, kodé niari, ndogou foyni ming et ma tane kéddino do, diodo digweténe Lesso nani, lesso nani, lesso nani Sadda niama doumné anne diéye ko tédougalma Jamma jengi, kodé niari, ndogou foyni ming et ma tane kéddino do, diodo diéweténe Jamma jengi, kodé niari, ndogou foyni Foyni, foyni ‘miné et ma tane kéddino do, diodo diéweténe diodo diéweténe, diode diéweténe, Jamma jengi, none kodé niari, ndogou foyni Foyni, foyni, ming et banedame kéddino do, diodo diéweténe (bg fsa + get fara ) muds af Ue nigh + vl, Adung Sn. Aufe any oh‘Youmane béby, mi yidima mi agnetama yo, agnetama ma sabou guilli Allah waadidoume Taguedo henndame, hénedame, hénndame ‘Yamoune béby mi yidima mi agneta yo ho guilli Allaah waadidoume taguedo gourdame gourdame Jamma jengi, kodé niari, ndogou foyni et ma tane kéddino do, diodo digweténe Jamma jengi, kodé niari, ndogou foyni miné et ma tane kéddino do, diodo diéweténe Jamma jengi, kodé niari, ndogou foyni miné et ma tane kéddino do, diodo diéweténe Jamma jongi, kodé niari, ndogou foyni ming et ma tane kéddino do, diodo diéweténecular part r the ds so ira kora, sub cents, kind ition and pas hese sof ital rent fo. MANDE KORA MUSIC: "ALA LA KE” Kunye Sabo, kore, ard voice THE MUSIC OF SUB-SAFARAN AFRICA 205, CDi The text, designation of paris, ond irarslotion were kindly provided by Roderic Knight. c Recorded by Roderic Knight, 1970 : TIME KORA —-VOIKE | ‘00 & a0 on K tr ox K D 00 k D oar K b K bo ost k D 08 § tay K s m3 K 5 ts % ta K b 20. k s Bus bee ki {lnsteimeniat insroduetion) Kuba Av Ale Pit be, ddan jon ia ke hy, God hus d ie ih now yas Ret 6 wlan) bai; (all things ean be ‘Bunfai kino te bile, (bit bot the wishes of God) ‘Saye mew ke te baila {What Goul lise done ean’ lie dela Kor bell kn la mango le (fhe omnspotent ann) Kup fafa kina oguna oin bis) han Theadenpliting celebrity aid) nganaly lala; aganaly man kanya, AL yout wee calling geen poople they’ not all equal) Daman Wolandiey nin Danapsa Walambe (Damanse Walan the sipall, eed Dumnansa Walan the big) Moke Musg ni Moke Dantuma (Moke Musa ad Moke Daniuma) Tarokto Bulai bangeta. (flarokoto Bulal was bony) Hiviointings (ustfmental interlude, wilh voeable Ala ye men ke te baila: (What God bas done cabit be delayed) Dale be ngana juma finan killa c Somani Tam celebrities 100) ling the a Bajo bane. (oman Taba, ah, only c a) ve tiganale la Ja, nganalic man kanyan you are calling great people, they're not all equal arika, Sid) yuku makoto nit By al (eb, thanks gold, ah, Klow now.(?)) i profit, Sidi the greecly one and buyer ofi | 206 EXCURSIONS IN WORLD MusiC Southern Eweland is divided into autonomous political districts, with the Anto district having the largest population and cultural influenee. This trict, which traditionally functioned like an independent state, was ruled by a paramount chief with larg onial and sacred status, although he had the important role of mediating disputes. The chief stands at the pinnacle of a political hierarchy over geographically organized territorial and town chiefs and finally over age, and ward (village subdivision) ‘The clans and lineages (tracing descent to a comt wards thus form an important basis of the social systen people of similar age who identi ich other on this basis) are another Hl important feature of sock . Social organization is often a key to understanding basie aspects of music-making, because the formation of sembles, the definition of genres, and even the organiz events are frequently shaped by local conceptions of social hierarchy as well as according to the groups (e.g., gender, age, lineage) that people use to de- fine their social identity. Among the Anlo-Ewe, voluntary dance clubs, organized by individual villages, wards, or age groups, are the primary institutions through which the all-important dance-drumming traditions are performed, As villagers migrate9. ALLAH L'A KE (cuineasissav) Mandinka invocation to God and a mor Yo Allah ta Ke, Sllan wo don wa kari bayi le Allah baro, djonte bayi la // Jaliya lo n'yo mada; jaliya mo kan kolbntid, // Jali ke nin Ke te kOlonmt baba tive rh los / Jali bin te kélonti na tunya vi dl fo du saba h Gunya rotero hata baden kind le wosabe Jandi 47 Koro kond nin wode dunye jam Utukoro tunyala ko, / Hara bude kOnd be kasi mo ninfina. / Woyie terela kominda tono te wok ‘fil fana ta manyama fanaba eursi dom / Adi prin kanta, Adi tama mese mese / Adi wt lo bundala / “Kombara kuman kura kur me Yonin fol ke leleyen kata moyon badenya le ma” / Ada gina wuln ku walaka Ado fo folon silama / Adi badenya wo jaf /Adi manamana-kan tole / Na bana ns fonya di jania / Wo kaffri da sibo kuju to Xe wrondoba // bolo dun i ydréro. /Jaliya ta n'y da, jaliya mo kan kolontil. // Jali ko nin ke t kelenti haba tunya. ci dio. kelonti na tunya ri dio. All praise to God, God who ereatod all thing bat Cod Nas created, eannot be taken away nen are different from other men; jalé women ane difforont from others too, £/ There are thvea birds (spirits) in the world. / The huaan spirit is tho last. / If there ig somoone you don't know liar, he hides in his costume and listens at th hoard something mow," he says, but hho doosw't know whit he heats. /FIEtell you s oerot, because we're family.” ‘Thats tho way the liar is, at's tho eoneorn of the commnnity That's ous talk. / Whew he's finished his he'll need to go out for some air Ik about others, take care of yoursell is different, jaya Jali men are different from other men, / Jali women are dit Fovont from others tItyou want a eortain status in Suclan, you have to marry 2 Malian woman. / thank hat | havo your lave. / 1 you want tates in Sudan, you have to marry a Guinan woman, you want a eortain states in 8 Gambian woman, / If you want a ceertaln status, you havo to muarey a woman from Sudan, / 1 you want a exrtain sta Abidjan. 7 My rich in gold or money, but 1 am looking fo or money, hut Iam looking for somoone who sincere. / Open the door to me. The one wham, will that 1 Tove yo emeone gracafl like a 20th-centucy anthem of eolebration of free dom, this vorsion is sung as a praige-song to patron in Abidjan Adama denul ‘mama masa kumia wo Aly Djaka k kinibili usu f tanti/ tye nx Jon tan, nina ho, / Bimolr mana mana kuna wo nia, Woyi nanfulen, mandiny® Kinibili dusuta 1 Djaka bara Linyena Kamara bana, la mal nanfslon Konye N'ko n't fulon, 7 Ah Djakale kasi mandinye / Kinibli Ansa tant, 7 bemba koroma pare 8 arakadi. / Ba laduba diabic Lol rearifa i must led kava ura kin Noman nd nidina nal a niet bara mir n't m'bara kondrd ban / N'ne nyant nia n'baca miri m'bara kondr’ ban, 7 Nine nyan ard fond woyl led: wo branl Avy, don’t know, don't know people say undermine the trust between a mJ Ldon't Djaka. don’t bo angey with people, madam. 17 The {co you, nanfulen. / Don't be angry with peo ple. 7 aun going to visit D no All the a, Lam going to be alu have eontitence in her nt t0 800 Djaka ery Don't be angry with people, madam. / Your ancostors have sacrificed for you, / So that pox ings will eome to you. 7 Kamar Hvory day, Ga ou, but if you know mo know. / Th 1 confide in yy nce me fat roflocted on H again moro, / 1 don't see my confidante, / Death is F havo reflected again anv tuntil Tean no more. #1 don't see my absolute nnymore. Death is terrible. / God respects you no one else ean. / Gow is great, destiny is 5, JANJON (mats nother song of tl founding of the Empire of Mali, about tho heroic strugale of Sunjata Keita, Janjon is poplar torm for a aneo rhytiun, Jan jonba, jan jonba din kelu ooh... /Jan jonba din Kelo wo ook, / Jan jon ne nina. / Nin fora bbula mansa si soluyé: / Soro ula Fakoli don Raya bila Pakoli don, / Bati bila Fakoli den Batlmanan bila Fakolt den, / Demo nyda gon akoll él. / Ani Dionara kokadan tf 6 Siramanba Koita Jo nin masosdalo, / Ni Ninn Kanto Jan, Mak Datuma: / Ani woluk Vin yard fola. Fakoli Ken Janjon dancers, janjon dancers, / Dance 10 the s played for ‘the chief with five names: Groat-groat-yrands of Sore Bula Kakol bila. Fakoli ineat-grandson of | Bati Bila. Fakoli ion of Batimanan Fakol,/ akol the Protector Nith whom did he first collaborate? / With“Sweet Mother” Chotus Sweet mother, I no go forget you For this suffer, wey you suffer for me ch Sweet mother, Ino go forget you Por this suffer, wey you suffer forme ch Verse 1 When I dey cry My mother she go carry me She go say "my pikin’ Wey thing you dey cry oh ob Stop-stop (3x) And make you no ery again ob When I want sleep My mother go bed me She go lie me well well for bed oh She cover me cloth Say make me sleep Sleep sleep, my pilin oh When I dey huogry My mother go run up and down She go find me something wey I go chop 0 Sweet mother, ab ah Sweet mother, oh oh Say, my sweet mother When I dey siele My mother go ery cry ery She go say instead when I go die ‘Then make she die oh She go pray God Gold help me, God help me Oh, my pikin o Ao, my mother o If I no sleep My mother no go sleep If Ino chop My mother no go chop She no dey tite ah Sweet mother Tno go forget this suffer wey you su me eh ebmother eh ch Sweet mother ch oh Swe Sweet mother I no go forget you o For the suffer wey you suffer for me And IFT should forget you ‘Therefore I forget my life ‘The air I breathe Fi, Tdare you all men Dare you not forget your mother For if you forget your mother You've lost your life st Repeat Chorus Verse 2 When I dey cry My mother she go carry me She go say "my pikin’ Wey thing you dey cry Stop-stop Gx) And make you no ery again ob ci ‘Oh my mother, oh sorry When I want sleep My mother go bed me She go Tie me well well for bed oh She cover me doth Say make me sleep Sleep sleep, my pikin oh When T dey bungry Miy mother go run up and down She go find me something wey T go chop 0 Sweet mother, ei ei ei Sweet mother, oh hey ei When I dey sick My mother go ety ery ery She go say instead when I go die “Then make she die oh She go pray God Gold help me, God help me Oh, my pikin oIF Ino sleep My mother no go sleep If Tno chop My mother no go chop She no dey tire ah, Sweet mother Ino go forget this suffer wey you suffer me el ei Sweet mother eh ch ‘Sweet mother eh oh Oh, sweet mother Ino go forget you o For the suffer wey you suffer for me Yei, my mother You are the one who suffer for me Ma, Susan, my sweet mother You are the one who suffer for me My sweet mother, Ino go forget you My sweet mother wey suffer for me When I dey ery My mother go cry She no knowo wetin go do "You no well? Na wetin cley worry you my pikin?" You fit get another wife You fit get another husband But you fit get another mother? Nol My mother is great, greater than the world When I dey hungey Mty mother go run up and down She go find me something wey T go chop 0 Sweet mother, ci ei ei Sweet mother, oh hey ei When I dey sick My mother go ery cry cry She go say instead when I go die ‘Then make she die oh She go pray God Gold help me, God help me Oh, my pikinIfTno sleep My mother no go sleep If 10 chop My mother no go chop She no dey tire ah, Sweet mothet I no go forget this suffer wey ye Sweet mother ah ah Sweet mother ci ei ei fer me ci el ‘Sweet mother ah ah Sweet mother ei ei ei Sweet mother ah ah Sweet mother ci ci ei“Spirit Voices” We sailed up a tiver wide as a sea And slept on the banks On the leaves of a banyan tree And all of these spirit voices rule the night Some stories are magical, meant to be sung. Song from the mouth of the river ‘When the world was young And all of these spirit voices rule the night By moon We walk “Yo the brujo's door Along. path of river ston Women with their nursing children ted on the floor We join the fevers And the broken bones The candlelight flickers ‘The falcon calls A Time-green lizard scuttles down the cabin. wall And all of these Sing rainwater, sea water River water, holy water Wrap this child in metcy - heal her Heaven's only daughter Alllof these spitit voices rule the night My hands wete numb My fect were lead drank a cup of herbal brew ‘hen the Combined with the lightness in my head And I heard the jungle breathing in the bamboo rit voices rectaess in the ait Saudae~oes (Greetings!) D'a licenca um momento (Excuse me, one moment) Te lembr’o (1 remind you) Que amanh~n (Fhat tomorrow) Ser'a tudo ou ser'a naoa (It will be all or it will) (be nothing) Depende, corae~ao (It depends, heart) Ser'a breve ou ser'a grande (It will be brief or it will) (be great) Depende da paix~ao (It depends on the passion) Ser'a suo, ser’a sonho (Tt will be dirty, it will)(be 2 dream) Cnidado, cora,e~ao (Be careful, heart) Ses'a util, sex'a tarde ({t will be useful, it will be) (ate) Se esmera, com,c~ao (Do your best, heart) F; confia (And have trust) Na for,ca do amanh~a (In the power of tomorrow) Lord of the earthquake My trembling bed jder resumes the rhythm Of his golden thre: And all of these spitit voices rule the nightO- Gu-tarto ‘twe Nst-nst Churta'barnte. me [See af (Okunage) + a a eat doped tobe tot (Okwawnla) E = Der Einsatzpunkt dieses okwanula liegt zwischen dem Il, und 12. Ton des okunage. Sete Hise reel @ Nesi-a Si fw-a-taa-ba-n-te $.558-1.511-1 twra-l basto tw-a-h bacleso-zi 4.44443 reaait| Ba: ti-bwa-oato + | 3 2 Lo beads i a a 13..211.8 Muu - 9 - gi Na-n-jo-be! Heese ; Mula <9 Bt ie Text [see Kubik in Simon 1983:165] Olutalo olw’e Nsinsi twatta abantu ‘The battle of Nsinsi killed so many people. Sitwalulaba twali bato twali balenzi. We did not witness it; we were young, mere boys. ‘Tetwatuuka twali bato twali balenzi ‘We missed it; we were young, mere boys.Olutalo olw’e Nsinsi Iwatta abaleega. Baatulwanako abedda. (2x) Baatulwanako amafumu. Mulungi Nanjobet Mulungi! Mulungi Nanjobe! Olw'e Nsinsi, Otw’e Nsinsi lwatta abaleega ‘Sitwalulaba twali bato twali balenzi. Olwatta ssebo. (2x) Amafumbe gazadde embogo eweeka (2x) Mulungi! Mulungi Nanjobe! Mulungi, mulungi ow“engo mulungi Oba tompadde kasujju anampa ‘Mulungi, mulungi, Nantale mulungi, Mulungi ow’ensolo. Baatulwanako abedda Baatulwanaku amafumu.Ol’we Nsinsi Olutalo olw’e Nsinsi hvatta abaleega. Sitwalulaba twali bato Olwatta ssebo on’olwogera Siirwogere Twali bato twali balenzi. Sitwalulaba twali bato twali balenzi Baatulwanako abedda. Baatulwanako amafumu Baatulwanako abedda. Amafumbe gazadde embogo eweeka The battle of Nsinsi killed so many. Onur ancestors fought without us, ‘They fought without us -- the spears Nanjobe is beautiful! She is beautiful! ‘Nanjobe is beautiful! ‘The battle of Nsinsi killed so many We did not witness it; we were young, mere boys, They killed my father ‘The civet cats produced [their young], and the buffalo is pregnant. She is beautiful! Nanjobe is beautiful! ‘The one from the Leopard clan is beautiful! Af you have given me nothing, Kasujju will give me something, Nantale is beautiful! ‘The one from the Ensolo-clan is beautiful! Our ancestors fought without us ‘They fought the battle without us ~ the spears. The battle of Nsinsi killed so many people. We did not witness it They killed my father, you will speak out, I will not speak about it ‘We were young, mere boys. We did not witness it; we were young, mere boys. Our ancestors fought without us. ‘They fought without us -- the spears, Our ancestors fought without us. ‘The civet cats produced [their young}, and the buffalo is pregnantMulungi mulungi ow’engo. The one from the Leopard clan is beautiful! Mutungi ow enjenga. ‘The one from the Enjenga clan is beautiful! Mulungi! She is beautiful! GGANGA ALULA 4, sung and played on the ennanga by Temuseo Mukasa, 1952 Sound of Africa TR 138, B/I = SWP 008, no. 2 cassette with Selected Reports in Ethnomusicology 5, 2:48 5. sung and played on the ennanga by Temuseo Mukasa, rec, K. Wachsmann, 1949 cassette with Selected Reports in Ethnomusicology 5, 3:41 6. sung and played on the ennanga by Evaristo Muyinda, ca, 1952 Gallotone LP, XYZ, 7381 cassette with Selected Reports in Ethnomusicology 5, 2:42 7. sung and played on the ennanga by Albert Ssempeke, rec. P. & A, Cooke, Scotland, cassette with Cooke, Play Amadindal, A/6 4:30 8, played on the anradinda by Albert Ssempeke (age 30) and his group rec. 1967 by G. Kubik, Kampala CD with Kubik, Theory of African Music, no. 1 2:10 9. played by the enfaala with vocals-without binder; rec. 1964 by Lois Anderson, Kampala cassette with Selected Reports in Ethnomusicology 5, 1:15 10. played by the enfaala with vocals-with binder, rec. 1964 by Lois Anderson, Nabbale cassette with Selected Reporis in Ethnomusicology 5, 1:13 Toll Ch aes 11. played by the royal enfenga musicians, F. Mukiibi, head; rec. 1965 by L. Anderson, Mengo Performers play on edges of drums until they are certain of the correct combination of parts; then play in center of skin area; percussion drums are added later cassette with Selected Reports in Ethnomusicology 8, 1:13 12. played on the akadinda by Sheikh Burukan Kiwuuwa and his group of royal musicians rec, 1987 by Peter Cooke in Kidinda village, Buganda CD with GEWM I, no. 14. 2:26‘Translation of Mukasa’s Gganga alula (1952) They cut off parts of his fingers, Gganga escaped. Nassolo Gganga ‘When they cut off the fingers, those which used to steal meat. Nassolo Gganga ‘What telling you, the remaining fingers, listen to the fingers, think about the strings My friends, Kabaka Walugembe is at Mengo, Nassolo Gganga My friends listen, Walugembe is ruling. Nassolo Gganga Our friends listen, where the fingers were which stole meat. Think about the fingers My father, what I have seen is good, I have seen ennanga, I have appreciated When I have seen the good things, when I see enfenga, 1 like them Father, what I have seen is good, I have seen people. Nassolo Gganga He is going to say where the fingers were. It was a bad thing sir! Tt was a dangerous thing, that which made them cut Gganga, baabal The tall owner of the house, whoever he touches will cry out Yaya baaba. It is the same village, Sir ‘You are bewitching me, something that I refused. 1 will pass here at our place T will pass here where there is a white man, baaba. I want you to come up with suggestions. What telling you, that made them cut Gganga, that’s it. The tall ‘owner of the house, Whoever he touches will cry out Yaya baaba, listen to the fingers My friends, I am to be pitied, that’s what telling you. See if you are denying it, bring the fingers. They were cut off! Fingers, fingers, fingers, fingers, ten fingers. Think about the fingers Father, because of the fingers, which are used for eating. My friends, look at the fingers You are better than me, you have ten fingers, which used to steal meat Father, you are wealthier, you have more big fingers Listen, fingers My friend, where the fingers were, they should have beaten with a stick and left the fingers which eat. My father, they should have cut off his feet but left him with parts of his fingers. See what telling you My friends, see where the fingers were! My father, that which you do to the Lord, that which you do, that thing about alcohol. ‘The tall owner of the house whoever he touches will cry! Mmm. ‘Walugembe; he is at Mengo. Nassolo, Gganga My friends, my friends, people of Walugembe, he is ruling. Think about fingers What telling you, where the fingers were which stole meat. My friends, I am to be pitied When I see you, because of the parts of fingers which stole meat. Think about fingers They cut them off? If you are denying it, bring the fingers! They were cut off! ‘The fingers, the fingers, Gganga you have escaped. This Nassolo, Gganga ‘They cut off his fingers, my friends listen, the fingers. Think about the fingers When I see you, you are better off than me, you have the big fingers that stole meat They were cut off. You are better off, because you have fingers which eatStimme (Okayinba) Harfe (Okunage) Harte (Okzeatna) Der Binsatzpunke dieses oktwawade liegt 2wischen dem Il. und 12. Ton des okunage. 13.2 [Mudu -9 -8i! ext [see Kubik in Simon 1983:165] Olutalo olw’e Nsinsi Iwatta abantu, Sitwalulaba twali bato twali balenzi, Tetwatuuka twali bato twali balenzi g5rS.1.5 nest Iwata -ba-n-ca g1a.d twat baclesm-2i 4.44444 Ba = ui-lwana-ko 4 13.241. 3 Muu - 5 ~gi Na-n-jo-be! ‘The battle of Nsinsi killed so many people. We did not witness it; we were young, mere boys We missed it; we were young, mere boysOlutalo olw’e Nsinsi twatta abaleega. Baatulwanako abedda. (2x) Baatulwanako amafumu. Mulungi Nanjobe! Mulungit Mulungi Nanjobe! Olw'e Nsinsi, Olw’e Nsinsi Iwata abaleega. Sitwalulaba twali bato ¢wali balenzi. Olwatta ssebo. (2x) Amafiumbe gazadde embogo eweeka (2x) Mutungi! Mulungi Nanjobe! Mulungi, mulungi ow’engo mulungi Oba tompadde kasujju anampa Mulungi, mulungi, Nantale mulungi, Mulungi ow’ ensolo. Baatulwanako abedda, Baatulwanaku amafumu.Ol’ we Nsinsi Olutalo olw’e Nsinsi lwatta abaleega. Sitwalulaba twali bato. Olwatta ssebo on’olwogera Siirwogere. ‘Twali bato twali balenzi, Sitwalulaba twali bato twali balenzi. Baatulwanako abedda, Baatulwanako amafumu, Baatulwanako abedda. Amafiumbe gazadde embogo eweeka ‘The battle of Nsinsi killed so many. Our ancestors fought without us They fought without us -- the spears, Nanjobe is beautiful! She is beautifiul! Nanjobe is beautifial! The battle of Nsinsi killed so many We did not witness it; we were young, mere boys. ‘They killed my father The civet cats produced [their young], and the buffalo is pregnant She is beautiful! Nanjobe is beautifull The one from the Leopard clan is beautiful! Ifyou have given me nothing, Kasuiju will give ‘me something. Nantale is beautiful! ‘The one from the Ensolo-clan is beautifull Our ancestors fought without us. ‘They fought the battle without us ~ the spears. The battle of Nsinsi Killed so many people. We did not witness it. They killed my father, you will speak out, I will not speak about it We were young, mere boys, We did not witness it; we were young, mere boys. Our ancestors fought without us. They fought without us -- the spears Our ancestors fought without us. The civet cats produced [their young], and the buffalo is pregnantMulungi mulungi ow’engo. ‘The one from the Leopard clan is beautiful! Mulungi ow’enjenga The one from the Enjenga clan is beautifull Mulungit She is beautiful! GGANGA ALULA 4. sung and played on the ennanga by Temuseo Mukasa, 1952 Sound of Africa TR 138, B/I = SWP 008, no. 2 cassette with Selected Reports in Ethnomusicology 5, 2:48 5. sung and played on the ennanga by Temuseo Mukasa, rec. K. Wachsmann, 1949 cassette with Selected Reports in Ethnomusicology 5, 3:41 6. sung and played on the ennanga by Evaristo Muyinda, ca. 1952 Gallotone LP, XYZ 7381 cassette with Selected Reports in Ethnomusicology 5, 2:42 7. sung and played on the ennanga by Albert Ssempeke, rec. P. & A. Cooke, Scotland, cassette with Cooke, Play Amadinda!, AJ6 4:30 8. played on the amaidinda by Albert Ssempeke (age 30) and his group rec, 1967 by G. Kubik, Kampala CD with Kubik, Theory of African Music, no, 1 2:10 9. played by the entaala with vocals—without binder; rec. 1964 by Lois Anderson, Kampala cassette with Selected Reports in Ethnomusicology 5, 1:15 10. played by the emtaala with vocals-with binder; rec. 1964 by Lois Anderson, Nabbale cassette with Selected Reports in Ethnomusicology 5, 1:13 Dilla Cb. MES 11. played by the royal entenga musicians, F. Mukiibi, head; rec. 1965 by L. Anderson, Mengo Performers play on edges of drums until they are certain of the correct combination of parts; then play in center of skin area; percussion drums are added later cassette with Selected Reports in Ethnomusicology $, 1:13 12. played on the akadinda by Sheikh Burukan Kiwuuwa and his group of royal musicians tec, 1987 by Peter Cooke in Kidinda village, Buganda CD with GEWM 1, no. 14 2:26‘Translation of Mukasa’s Gganga alula (1952) ‘They cut off parts of his fingers, Gganga escaped. Nassolo Gganga When they cut off the fingers, those which used to steal meat, Nassolo Gganga ‘What telling you, the remaining fingers, listen to the fingers, think about the strings My friends, Kabaka Walugembe js at Mengo. Nassolo Gganga My friends listen, Walugembe is ruling. Nassolo Gganga ‘Our friends listen, where the fingers were which stole meat, Think about the fingers My father, what I have seen is good, I have seen ennanga, I have appreciated ‘When I have seen the good things, when I see enfenga, | like them Father, what 1 have seen is good, I have seen people. Nassolo Gganga He is going to say where the fingers were, It was a bad thing sir! Tt was a dangerous thing, that which made them eut Gganga, baaba! ‘The tall owner of the house, whoever he touches will cry out Yaya baaba. It is the same village, Sir You are bewitching me, something that I refused. 1 will pass here at our place T will pass here where there is a white man, baaba, I want you to come up with suggestions, What telling you, that made them cut Gganga, that’s it. The tall ‘owner of the house. Whoever he touches will ery out Yaya baaba, listen to the fingers My friends, Tam to be pitied, that’s what telling you, See if you are denying it, bring the fingers, They were cut off! Fingers, fingers, fingers, fingers, ten fingers. Think about the fingers Father, because of the fingers, which are used for eating. My friends, look at the fingers You are better than me, you have ten fingers, which used to steal meat Father, you are wealthier, you have more big fingers Listen, fingers My friend, where the fingers were, they should have beaten with a stick and left the fingers which eat, My father, they should have cut off his feet but left him with parts of his fingers. See what telling you My friends, see where the fingers were! My father, that which you do to the Lord, that which you do, that thing about alcohol. ‘The tall owner of the house whoever he touches will cry! Mmm. Walugembe; he is at Mengo. Nassolo, Gganga My friends, my friends, people of Walugembe, he is ruling, Think about fingers ‘What telling you, where the fingers were which stole meat. My friends, I am to be pitied When I see you, because of the parts of fingers which stole meat. Think about fingers ‘They cut them off! If you are denying it, bring the fingers! They were cut off? The fingers, the fingers, Gganga you have escaped. This Nassolo, Gganga “They cut off his fingers, my friends listen, the fingers. Think about the fingers When I see you, you are better off than me, you have the big fingers that stole meat “They were cut off. You are better off, because you have fingers which eatonal _ Hono vanofamba neviei tiuiswands ‘Hona vane mhanga inobike sadzaHaa 6 THE MUSIC OF SUB-SAHARAN AFRICA iged my mind because your sa wi . about with an owl in a basket) "a miamba [snaked thar cooks food) 23224 EXCURSIONS IN WORLD MUSIC Unlieited i Harare, Zimbabwe. pher: Thomas Turina, 1995, ir abroad, however, Mapfumo added st of cosmopolitan audiences; by the early 1990s h Pique the in mbira players in the band. : pieces like “Nhemamusasa” are used as the basis for some of Mapfumo’s pieces. Electric guitars might play the basic four-phrase Kushaura ostinato as well as melodic fines that would be on the higher m keys; the electrie bass plays the part of the lower mbira keys of the kushaura, In recent recordings, according to Mapfumo, the keyboard often plays the kutsinhira mbira part, and the mbiras divide these parts as they no would. ‘The dra plays a rhythm on the highhat that sounds HilLee Ziwere MuKgbenhavn ‘track t: Ziwere (Rolling Down) 6.29 Zwere Io the fast & hot version of the Tuku beat fit-for the high speed of metropolitan Ife. Continous Chorus: Waruma na zivere zivere Warumwa Zivere waramiva Howu wowu huwere ndeha ndeha x2 (A) Ndlani watora mwana wangu Kutora moana ndirpo vakomana Imi Notts wemuramba rihura Ndakananga kwa Mutenheoarwva Hoyu wowo huwere Ndeha ndeha ndhea x2 (8) Nalani wapunza musha uae Kupunza mucha ndisipo vasikana lini Ndoitawo muramba mhuru chete Ndakananga kwaMutenhesanwa Ziwere ziwere Ziwere wee Ziwere alwere Repeat (A) Zivece Ziwere Zwore x4 Repeat (A) 2uiwere ziwere mudhara Ziwere zivere Repeat (B) dian ano-ehinha iyeyo Kakono kakadai x9 Algeba x5 Rugeba geba Algeba Natsai nateai zou kutamba munga punze mukombe Mungapunze hwatwa Zlwere Ziwere Ziwere «A Hoyu nowy hoyere Ndehahicha ndeha x2 Repeat (A) were ziwere mudhara Ziwere zinere mukoma Repeat (B) Kakono kakadei x9 Algeba x57? Mugeba geba Algeba Geba“Nkosi Sikelel Afrilki” Nkosi Sikeleli Africa Malup hakanyiswa phando hwayo Yiswa imithanda zo yethu Nkosi Sikelela hina lusapo hvayo Nikosi Sikeleli Africa Malup hakanyiswa phando lvayo Yiswa imithanda zo yethu Nkosi Sikelela ‘Thina lusapo hvayo Nkosi Sikeleli Africa Malup hakanyiswu phando bwayo Yiswa imithanda zo yethu Nkosi Sikelela ‘Thina lusapo hvayo, Yiza Moya (Yiza, Yiza) Yizn Moya (Yiza, Vira) Yiza Moya ¢ Nkosi Sikele hina lusapo lwa Morena boloka sechaba sa heso (ea heso) fedise dintwa le matswenycho Morena boloka sechaba sa he O fedise dintwa le matswenyeho O seboloke (O se boloke) O seboloke mor Sechaba sa Africa O seboloke morena O seboloke sechaba Sechaba sa Heso Sechaba sa Africa“Mbube” [Nfjalo Bkuseni Uya Waletha Amathiamss ‘eho Amathamsangs Mbnbe Uyimbube Uyimbube yin (ropent 2 tines) Uyimbube Uyimbube Mama We Hel Hel Hel Hel Uyimbube Mana ‘We We We We We We yim Uyimbube Kusukela Kudala Kuloku Kuthiwa Uyimbube Uyimbube Mama Every Morning You Bring Us Good Lack Yest Good Lack Lion You're A Lion You're A Lion You'e A Lion You'te A ion You're A Lion, Mama! Hey! Hey! Heyl Hey! You're A Lion, Mama ‘Oh Oh Oh Oh Oh ON. You're A Tion You'se A Lion Long, Long Ago People Used ‘To Say You're A Lion You'se A Lion, Mama“Pata Pata” Saguquga sathi bega nantsi Pata Pata Saguquga sathi bega nantsi Pata Pata Saguquga sathi bega nantsi Pata Pata Saguquga sathi bega nantsi Pata Pata Hiyo mama hiyo ma nantsi Pata Pata Hiyo mama hiyo ma nantsi Pata Pata Hiyo mama hiyo ma nantsi Pata Pata Hiyo mama hiyo ma nantsi Pata Pata aguquga sathi bega nantsi Pata Pata Saguquga sathi bega nantsi Pata Pata Saguguga sathi bega nantsi Pata Pata Saguquga sathi bega nantsi Pata Pata "Pata Pata’ is the name of a dance we do down Johannesburg way. And everybody starts to move as soon as "Pata Pata" starts to play - whoo Saguquga sathi bega nantsi Pata Pata Saguquga sathi bega nantsi Pata Pata Saguquga sathi boga nantsi Pata Pata Saguquga sathi bega nantsi Pata Pata Hiyo mama hiyo ma nantsi Pata Pata Hiyo mama hiyo ma nantsi Pata Pata Hiyo mama hiyo ma nantsi Pata Pata Hiyo mama hiyo ma nantsi Pata Pata Saguquga sathi bega nantsi Pata Pata Saguquga sathi bega nantsi Pata Pata aguquga sathi bega nantsi Pata Pata aguquga sathi bega nantsi Pata Pata Whoo, every Friday and Saturday night i's "Pata Pata" time The dance keeps going all night long till the morning sun begins to shine - hey! Aya sat wuguga sat - wo-ho-o Saguquga sathi bega nantsi Pata Pata Saguquga sathi bega nantsi Pata Pata Saguquga sathi bega nantsi Pata Pata Saguquga sathi bega nants} Pata Pata Hiyo mama hiyo ma nantsi Pata Pata Hiyo mama hiyo ma nantsi Pata PataHiyo mama hiyo ma nantsi Pata Pata Hiyo mama hiyo ma nantsi Pata Pata Saguquga sath’ - hit it Aah- saguquga sath’ - nar Saguquga sathi bega nants si ~ hit itl Pata Pata“Diamonds on the soles of her shoes” A-wa awa) o kodwa u zo-nge li-sa namblange (Acwa awa) si-bona kwenze ka kanjani (A-wa awa) amanto mbazane ayeza She's a rich girl She don't try fo bide it Diamonds on the soles of her shoes He's a poor boy Fmpty as a pocket Empty asa pocket with nothing to lose Sing ta nana "Vana na na She got diamonds on the soles of her shoes ‘Ta na na Tana na na She got diamonds on the sok Diamonds on the soles of her shoes Diamonds on the soles of her shoes Diamonds on the soles of her shoes Diamonds on the soles of her shoes ‘of her shoes People say she's crazy She got diamonds on the soles of her shoes Well that's one way to lose these Walking blues Diamonds on the soles of your shoes She was physically forgotten ‘And then she slipped into my pocket With my car keys She said you've taken me for granted Because I please you Wearing these diamonds And I could As if everybody knows What I'm talking about Asif everybody here would know Axaetly what Iwas talking about Talking about diamonds on the soles of her shoes 00 00 00. She makes the sign of a teaspoon He makes the sign of a wave he poor boy changes clothesAnd he puts on after-shave ‘To compensate for his ordinary shoes And she said honey take me dancing But they ended up by sleeping In. doorway By the bodegas and the light Uppet Broadway Wearing diamonds on the soles of their shoes on And 1 could say 00 00 00 And everybody here would know What I was talking about 1 mean everybody here would know exactly What {was talking about ‘Talking, about diamonds, People say I'm ery 1 got diamonds on the soles of my shoes ‘Well that's one way to lose ‘These walking blues Diamonds on the sok of my shoes (Repeat to fade oud)