An Evening with Mserego Mwatela Group News
…oung people involved I decided to go to schools and teach music. I compose new material with my students and come up with something they like. I watch how they dance and whether they feel the rhythms and I try to teach them what I’m doing, but I also adapt to how they feel the music. I let them take the music where they want to take it as long as it is rooted in our traditions. I just watch them dance and move and create the linkages. Q to the gra…
Northern Uganda: Day 6 – Soroti to Kampala (a driving story) Story
…up the truck for Vicki before you arrange seating for children. This is a new practice. We’ve found that setting up camera 3 on top of one of our vans gives us a very good new ‘context’ perspective. Equally, it involves solving a rather elaborate puzzle of guiding a truck through a maze of equipment and children, while ensuring it doesn’t end up in ‘the shot.’ Assume two trucks with 11 people drive on average at 50 kilometers an hour. This follow…
How music archives can help communities News
…ingdom was reinstated in 1987 and the Wachsmann recordings have inspired a new generation to revive some of the instrumental and stylistic traditions of old. The Klaus Wachsmann collection is being repatriated to Uganda at the Makerere University in Kampala. The curator of the music archive is Dr. Sylvia Antonia Nannyonga-Tamusuza who we will be meeting while we are in Uganda next week. Click here to link to the Klaus Wachsmann Music Archive. Re…
Northern Uganda: Day 5 – from Pakwach to Soroti (a road trip) Story
…ched bundles are then sold at the market to businesses that are working on new thatched roofs or those needing repairs. A thatched roof lasts for between five and ten years. Then there are the charcoal makers and sellers. The thatch ladies ensure that the roads are dotted with thatch pillars. The charcoal makers burn the charcoal and then fill five foot high white bags of charcoal that line the roads in groups of 4-5. We often mistake them for nun…
Northern Uganda: Day 4 – night recording at Fort Murchison Story
…okay, very dark. The good news is we have good lighting equipment. The bad news, good lights attract bugs. These are Nile bugs, mind you, so in addition to the millions of little moths you’d expect, we had bat size critters, from very big grasshoppers to fairly intimidating beetles. Our recording sessions were part Singing Wells and part BBC wildlife documentary. We reassured ourselves that at least the bugs that whacked into you were unlikely to…
Reporting back on recording trip to Kisoro, SW Uganda News
…and in particular, collaborate with contemporary music artists to generate new material for ‘Influences’ – a series of new songs influenced and inspired by traditional themes. Our aim is to provide a lasting benefit for the Batwa community in Uganda and we are doing this through our continuing relationship with UOBDU. We were delighted to receive this message from Henry Neza, UOBDU Capacity Building Officer and our liaison contact with the Batwa c…
Northern Uganda: Day 4 – Pakwach to Widiang’a, Nebbi Story
…s playing Mbeta. We loved these musicians the fun of the traditional dances. You got mad at the stubborn girl, you got scared when the hunter returned and you celebrated for the new chief. On the way to Fort Murchison where we were staying, we saw some spectacular stormy scenes as we crossed the River Nile:…
A day in the field with Singing Wells News
…to our equipment lists all of the time as we refine our methods and learn new techniques and face new challenges. For our next field recording trip to northern Uganda (December 2012), this is the list of everything we will be taking with us: 2 Apple 17″ MacBook Pro 2 MOTU Traveler MK3 Audio Interface 4 Headphone amps 8 Sony MDR-V600 headphones 2 Shure mics & stands 2 Rode Lavalier omni-directional mics 2 Rode NTG-1 condenser Shotgun mics 1 Matche…
UOBDU report on Singing Wells visit to the Batwa, Kisoro Uganda News
…all the music groups who performed for the Singing Wells project. The good news is that being involved in the project seems to have given the groups a new and added pride for their music and has inspired them to practice their dances so that they can confidently perform to more audiences. It is also clear that the financial contribution made to UOBDU by the Abubilla Music Foundation has gone a long way to improve the quality of life for the Batwa…
Northern Uganda: Day 2 – from Gulu to Acet Story
…ging Wells 2012 shirt! He also got one of our Polaroid pictures. This is a new innovation for us – every group gets to listen to their song back during their performance and we take a Polaroid photo of each person so they can take a photo home. Then a quick 50 kilometer ride back to Gulu (smile) taking photos the whole way home of great road scenes. We then bought some Ugandan instruments in Gulu and William, Akello and Hannah feasted on some gras…
The Tribal and Musical Structure of East Africa – Worldmap Research News
…spend time doing work experience in preparation. I was introduced to this new way of displaying data when working for the Virtue Foundation in 2011. They were keen on this new technique and trained me to use it for mapping health data in Ghana (example shown below). This was in collaboration with Harvard University. Following on that I spent some time working with the GIS department at Harvard in Boston specifically learning how to use the mappin…
African Strings: The Nyatiti and The Adungu News
…nal Instruments’ of the Uganda People’ (2012), Face Music, Available: http://www.face-music.ch/ ‘EgpytSearch Forums’, Wysinger, M. (2008), REAL Ancient Egyptian Music and Dance , Available: http://www.egyptsearch.com …
Day 9: Ketebul Studios with Ben Kisinja Story
…d Winyo on vocals. Watch this space. We also continued our work to capture new artists for Missing – Global Remix, our 2012 fund raising song. We had Prasad Velankar, a wonderful Indian percussionist join us to put on new percussion. He plays the Tabla at the speed of light and transformed the song. He was so good, we decided to put together a magic moment. Watch this space for videos. We recorded right through to 9PM and the ‘northern folks’ rush…
Day 7: In Nairobi – sponsors, blogs and strategy Story
…ting with contemporary studio musicians and sound engineers ready to bring new arrangements. The sponsors discussed that these missions are sometimes in conflict. If we spend too much of our time showing videos of more traditional tribes singing traditional songs, we might turn off the young audience we are trying to attract. Like kids everywhere, they tend to reject their parents’ and grandparents’ music, hoping to discover new music they can uni…
Day 5: Recording the Marakwet Story
…he only issue was, the more animated he became, the slower we went. So we knew that the more interesting the trip the longer it would take and tried to get the balance right between good questions to Tabu and long silences to let him drive faster. 80kms later we rediscovered a beautiful tarmac road that led us directly up into the hills. Long, winding roads taking us up and down hills. Every acre was farmland, even those acres on steep hill sides….
Day 3 continued – an interview with Steve Kivutia Story
…that same year he met Tabu through a friend who sang with Tabu’s band, He knew of Tabu because of his legendary status within Kenyan music. Tabu invited Steve into a meeting where he brought some songs he had worked on. Steve was still a big Hip Hop fan and loved R Kelley. He also liked Salif Keita, an afro-pop singer/songwriter from Mali, his only ‘African music’ influence. Steve’s first job at Ketebul was as an intern working with Jesse and Gabr…