Group 8: Abutazi Story
…nanga with rap. Their flow was such that they often went straight from one number into another, so the set list reflects this. Set list Agahinda (“Sad”) and Inanga. Agahinda is a song about depression that Makare wrote 8 months ago, using a metaphor of a burning house where the smoke can’t be kept in. This went straight into Inanga, an ode to the inanga and its sound and all it does for them. We loved this double number so much we recorded it twic…
Conclusion: Challenges and Recomendations Story
…ameliorated by a pre‐recording field mission – a recce. In that sense, all participants would be informed on the date they are to be filmed much more in advance, and the recce could preselect them according to their knowledge and accessibility. I believe recces have been a part of previous Singing Wells projects and both Ketebul and Abubilla crew are well aware of the benefits of this practice. This should thus be considered a reminder of its vita…
Group 1: Inganzo Ngari Group Story
…traditional wooden string instrument played in Rwanda, Uganda, Burundi and parts of Congo). Then the same dancers performed a number about a community, Intwatwa, formerly known as the Batwa, the group we recorded in November 2012. It was a celebration dance with many steps to honour their rich and historic culture. Next we had the Intore – which means a traditional warrior dance. This was a manifestation of each warrior showing the king what he’s…
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….
Albums Introduction Page
… Each album also contains a number of extra tracks that weren’t strictly part of the archiving recordings we were making. These recordings are of ‘Influences’ sessions – where a popular musical artist has joined us on our trip to collaborate with the groups we record. In the event that we have invited one of the musicians back to the Ketebul Studios in Nairobi to record, we will also include these recordings. The albums are available to download…
The Kalenjin of Kenya Album
…es of the performances have been captured well, with The Elimu Cultural Promoters and the Kewamoi Women Dancers both featured. The latter – a nice addition to the lineup, as the field day coincided with World Women’s Day. Eddie Grey was part of the team for the recordings, and he joined a number of groups to join them for Influences recordings. Two of these have been included on the album – his guitar playing accompanying The Elimu Cultural Promot…
Field Recording Report by Kahithe Kiiru Story
…5 songs accompanied by virtuoso dancers who performed, individually or in pairs, a dance centred on pelvic movements. We also recorded our influences artists – Fadhilee Itulya, performing one of his original composition called “Wango” accompanied by the mellow wound of South Teso adeudeu. Our last session for the day was recorded at Kodedema village in Kamolo location of Teso sub-county (Busia County), at the home of Obasie Palnyang’. We were w…
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…entually the snake emerges. From then on, the dance is about how close the pair can get to being bitten or strangled by the snake without getting hurt. Occasionally the snake is set upon the audience but one of the dancers pulls it back by the tail just before it strikes. Breath-taking. This form of performance is new to us (but, of course not to Tanzanians) and we’ve not seen it in Kenya or Uganda. In fact, ‘clown’ acts are quite central to Tanza…
Day 9 – Sunday 9th July 2017 Story
…an instrument comparison forum held on day 8 at the GoDown Arts Centre in Nairobi. We compared five instruments as follows, each represented by a master musician: Nyatiti – represented by Samson Otieno of Bomas of Kenya; Obokano – represented by Dominic Ogari; Litungu – an 7 string traditional lyre from the Luhya community, represented by Jackson Ingosi (Ingosi Junior); Kodo – represented by Olith Ratego who created the instrument; Classical guita…
FAQ’s Page
…administered by The Abubilla Music Foundation. Donors may support specific parts of the project – a particular field visit perhaps. For example, in 2011 we received a grant from the Institute of International Education to record the music of the Batwa in Uganda. Click here to find out more about donations to Singing Wells. You can also donate to Singing Wells via our YouTube channel. Each music video has a donation button associated with it and yo…
Day 1 – Saturday 1st July 2017 Story
…rb) and nature of improvisation that comes with it; ‐ Traditionally in the past there was a separation between vocalists and nyatiti players (not the same person); ‐ Term controversy (thum as opposed to nyatiti, is in fact a generic term for music in Luo language) and hypothetical historical explanation; ‐ Mention of “Koblong”, a tune known by almost all players, often used for teaching cause of its strong combinations; ‐ Traditional positioning o…
3. Background of the Naizungwe drums Story
…osition. Medium drums play a continuous pattern over which the other drums paint their syncopations both in lower and higher pitches. Then vocalists yodel, hum and recite poetic passages than compete with the loud drumming. Nobody needs loud speakers; the natural amplifiers are sufficient for the audience that is here. Everything comes out naturally and meaningfully to the people. That is what I see in the recording. How are these Basoga drums dif…
Group 4: Urugangaze Ballet Story
…not just a dance. As with the other Intore we saw, there was a group accompanying the dance on the amakondera (horns). A couple of facts we learned about the Intore today: firstly, the Intore name is derived from the verb “gutora” (to choose/select) as a large number of the trainees originally were recruited from the children of upper middle class families. Secondly, the lion manes that the dancers wear are made of wood that is beaten so fine it…
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). …
Day Zero: 6 March 2022 – Travel To Stream Story
…these online acts allow audiences to support the musicians via M-pesa and Pay-Pal contributions. Another possibility was to sell tickets with the use of online access codes that admit ticket holders into the virtual performance. The result was that a number of live streaming studios where performers book sessions to perform and stream their concerts sprung up in Nairobi. Some venues also adapted to hosting online performances, directly streaming…
Day Four: January 21 2019 Mwanza Story
…gashe. 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’ Ba Tanzania (Malima): Praising country, encouraging farmers and hard work – this song had an incredible beat. Ng’oma ya Asilia: a traditional song Ali Nilihali: A lady turned down Man 1 because he was poor…