Recording Resources Page
…gside some amazing musical technicians, videographers and ethnomusicologists. However, it has taken us time to really work out the best processes for working effectively out in the field. With that in mind, we have created some resources for other groups to use for working in the field. Please feel free to use the below resources for your field trips in whatever region you are based, and please do reach out to us. We love to meet others who are pa…
Day 5 – Wednesday 5th July 2017 Story
…he clan”. The most interesting points Ayub had made were on the difference between playing at home, in an informal or traditional setting and playing in a foreign setting (notably in Europe). He said: “When I’m home, I’m free, I don’t care about my tuning…When I’m playing in Europe, now the violin wants to come in, the guitar wants to come in, so now I need tuning.” In any case, both his tunings and his finger plucking techniques are very much dif…
Support Singing Wells Page
…s keen to hear from people who are happy to offer their time to help the project and from companies which may be able to support us with products or services free of charge. If you can help out in this respect please contact: info@singingwells.org…
Day Three: 9 March 2022 (Kisumu) Story
…k almost an hour for the two to figure out Akwabi’s unorthodox, expressive free style for most of his songs before the actual recording began at 2:00pm. After a few false starts we finished the recordings of Peter Akwabi at 4:00 PM with his latest song which is a tribute to D.O. Misiani, the maestro of benga music who died in the lakeside city in May 2006. Next on stage was Olith Ratego, a musician whose unique dodo style is one of the oldest form…
Page
…Recording the Mperwa Dancers Recording the Batwa The Batwa of Kisoro Album Promotion of Batwa Culture – UOBDU Report #2 – Finding the Lost Voices of East Africa Letting Voices Be Heard Our mission at Singing Wells has always been to preserve the rich musical heritage of East Africa, whilst also promoting the importance of introducing this music to a wider audience so that this heritage doesn’t get lost. So many of our favourite moments, as you hav…
FAQ’s Page
…the material on the Singing Wells website and other digital media which is free to access. Any money received from the sale or commercial use of Singing Wells recorded material will be donated back to the project via The Abubilla Music Foundation and wherever possible royalties will be paid to the original performers. New Influences material is jointly owned by Ketebul Music and Abubilla Music. Profits arising from the sale of Influences material…
Singing Wells Stories Page
…isten to a sample of the music that the Singing Wells project has recorded between 2011 and 2013, then please click here. Tiny Moses We met Tiny Moses during our field trip to record the music of the Batwa in southern Uganda in late 2011. He arrived at the Travellers Rest hotel with the other members of the Micyingo community. He turned up to record with his home made guitar in his hand. We recorded him playing a few tracks with his and then we re…
Our Sponsors Page
…heir continued support in the Singing Wells project. You can sign up for a free Soundcloud account which will give you the ability to comment on our recordings. To find out more about Soundcloud, go to: http://www.soundcloud.com Nebulo Strata Type of sponsorship: discounted services Nebulo Strata have been on board from the start of The Singing Wells project, helping to design and put into practice our ideas for our website. Our website is the m…
Day One: January 18, 2019. Assemble in Tanzania Story
…when the group is constrained. So, we often do another take which we call ‘free style’ where we take our cameras off tripods, and our video team simply follows the group around as they dance and sing. This provides a much more free feel, although it does mean we can miss part of the performance, so we always try to do two versions of the song. Magic Moment: For many songs, we find there is a moment of amazing percussion, or dance, or other instrum…
Ayub Ogada Group
…he clan”. The most interesting points Ayub had made were on the difference between playing at home, in an informal or traditional setting and playing in a foreign setting (notably in Europe). He said: “When I’m home, I’m free, I don’t care about my tuning…When I’m playing in Europe, now the violin wants to come in, the guitar wants to come in, so now I need tuning.” In any case, both his tunings and his finger plucking techniques are very much dif…
Group 6: Sudi Mavenge Story
…Rwandan board game) – this is about a Rwandan board game that people would bet their Inyambo cows for. If you won, you’d win two Inyambo cows. But if you lost, you’d donate your son to the King’s Palace to join the army. As the song says, if you’re going to play, be sure you’re ready. Simbi – this is a love song for Sudi’s wife, Simbi. It’s about how back when he was 27, many boys were running after her but they had no plans for marriage – but he…
The Revival of the Entongooli Page
…these youngsters have managed to gain music scholarships so they can get a free education at their local schools. This project is not only providing a future for this instrument, but for the young people involved. Aside from this, Mr Mukadisi has a personal connection to this cross-generational project. His father was a builder of the Entongooli, and didn’t teach all the skills he needed to learn to play. In fact, none of the great players passed…
Martin Fredrick Muyeshi Staff Profile
…ry, specifically the episode “Death in Ten Minutes” as a cameraman. In his free time he was freelancing as a music photojournalist/cameraman to gain more experience. He also joined Royal Media Services’ Citizen TV where he worked on the TV programmes Tabasamu, Nairobi Law andMashtakaas a Director of Photography and a Lighting technician. He later joined Ketebul Studio, where he went on to work on several studio projects, among them the studio’…
Central & Eastern Uganda: Day 4, Part 1 – Reflections Story
…ed on training potential musicians for the palaces. This patronage was not free, however, and the resources to fund the palaces and their music ultimately came from the same villages, through taxation and food contributions. Moreover, these musicians were not empowered to create, to lead rich musical lives, to become artists, to use the palace as a stepping stone to develop their art further. They were brought into these palaces as young boys, and…
The History Of Benga Music: A Report by Ketebul Music Story
…ments—flexing their muscles, feet and shaking their heads. They dance with freedom and even total abandon. Attentive Benga audiences point out the importance of its themes especially where a song chronicles or even instigates an important social event or political drama. Many lyrics dwell on love, either extolling a woman’s beauty and praising her virtues or expressing the disappointment of an ardent suitor. Some songs sing about money and persona…
Central and Eastern Kenya: Day 3 – Nkubu to Mariene to Murungurune to Nkubu Story
…Video 1’s location. This is a balance. We want to give the groups complete freedom to perform as they would normally do, without our intervention. But we also need a good recording – and too often the groups will stray far off camera and far away from the mics. Or, as often can happen, the leader will plant him or herself directly in front of Video 1, meaning we don’t get a take of the groups. Finally, we use lapel mics on the lead singers so ther…