Kizazi Kipya Kidumbak Group
…h the first group and brought us to this one. They sing and perform mainly for weddings and celebrations. Performers: (all male): Juma Fadhul Juma (leader and secretary but did not participate), Fadhili Faki (director and plays violin), Mohamed Khamisi (violin), Khamisi Vuai (bongos), Khamisi Bato (bongos), Ameri Sefu ( Sanduku – sinle string base), Ahmed Juma (sticks and table), Sheha Makame (shaker= cherewa) Dancers and chorus (all female): Khad…
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). …
3. Background of the Naizungwe drums Story
…95 constitution. Each ethnic society had a way it was organized socially before the advent of colonialism. Most of the societies were and still are organized on clan system. One ethnic society has a number of clans where each clan has a leader – clan leader. Each of those clans had identifying regalia and one of them are drum rhythms that symbolize the general belief of that clan. The Basoga ethnic society from the Eastern region of the country is…
Day 9 – Sunday 9th July 2017 Story
…g 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 group interview, we attempted to compare them in: size (size of resonator; length of arms and per extension of strings); materials of fabrication (types of wood); bo…
Conclusion: Challenges and Recomendations Story
…th their description in an interview. If we had done detailed preparations for the field and a recce, we could have informed the makers of all the stages we wish to record and have them prepare several instruments at different stages of completion to facilitate and economise on filming time. From a methodological point of view, for us to be able to build on the original concept of the series and remain scientifically both pertinent and correct, a…
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 1 – Saturday 1st July 2017 Story
…e tight, and some of the 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…
The Kalenjin of Kenya Album
…rs 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 Promoters and the Kewamoi Women Dancers….
The Batwa of Kisoro Album
…ts to be able to record. The Kabahenda, Gatera and Micyingo communities performing for us under the veranda of the hotel. Also included is an influences session where Winyo collaborated with the Mperwa Dancers; a collaboration between Jesse Bukindu and Francis from the Birara Dancers, recorded at the Travellers rest, and three tracks recorded in the Ketebul studios in Nairobi. Tiny Moses, from the Micyngo Community joined us in Nairobi to record h…
Omong’oluk Traditional Dancers Group
…about the instruments and costumes used by the group; these included: Atenus: The bass drum Igelu: Shakers Akwara: Sticks Isiman: Jingles worn around the ankles Etwoo: A gourd that you blow into for a ‘bass’ beat. The dancers wore “Emukule”, skins of cows and more rarely, Cheetahs. One of the dancers wore a “Amugwar”, a head piece made up of antelope horns….
Here for Research? Page
…ur daily reports written from the field during our yearly trips. Head here for detailed information about the performances we record, the musicians we meet and the instruments that they are playing. Alongside this, expect interviews, historical information and first hand accounts of the way East African music has developed and grown. Instruments In depth information and photography of the different musical instruments used in East Africa. This dat…
Day Four: February 19, 2020 (Maruhabi Palace) Story
…et us at with the first group and brought us to this one. They sing and perform mainly for weddings and celebrations. Performers: (all male): Juma Fadhul Juma (leader and secretary but did not participate), Fadhili Faki (director and plays violin), Mohamed Khamisi (violin), Khamisi Vuai (bongos), Khamisi Bato (bongos), Ameri Sefu ( Sanduku – sinle string base), Ahmed Juma (sticks and table), Sheha Makame (shaker= cherewa) Dancers and chorus (all…
Here for the Music? Page
…find moments to take some beautiful photography of our surroundings. Head here to see some images of our time on the field, the people we meet and the stunning scenery. YouTube You can find the full collection of our video recordings on our Youtube channel. With over 500+ videos for you to choose from, delve into the world of East African music and dance with us. “We set out on this mission not to become ‘fossil collectors’… We work with musicia…
Recording Resources Page
…tively 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 passionate about music in their own region! Village Visit Management Audio Recording Protocol Field Visit Workflow We hope these are useful for other researchers in…
Day One: January 18, 2019. Assemble in Tanzania Story
…and we typically have two general mics for the group and 5-6 specific microphones for singers and musicians, b) we have three video cameras operating – one wide shot for full performance, one close up to capture details of instruments and one roving camera to provide a second angle on the performance and c) we interview all group leaders to understand group musical styles and background, instruments and songs. In almost every village, we struggle…
Day Zero: February 15, 2020 – Assemble in Zanzibar Story
…time. Muhsin…decided to teach her…at the time it was considered immoral for women to join taarab groups and sing in public… She helped …transform taarab to the point where woman are now usually the lead singers. …Between 1928 and 1950 she recorded over 150 recovers…It is through her recordings …that Taarab became widely accessible. Later, further Egyptian influence was incorporated into the genre by including full string sections as well as a…