International Library of African Music: Recent Episodes
International Library of African Music
The International Library of African Music (ILAM) is one of the world’s greatest repositories of African music and musical instruments. We were founded in 1954 by Hugh Tracey and we're attached to the music department of Rhodes University (South Africa). Our aim is to discover, record, analyse, archive, teach, publish and promote the music and oral arts of Africa - and we're using podcasting to help us do that.
Esi siqendu sichaza i-Akonting yase-Senegambia njengenye yezixhobo zase Afrika ezineentambo zokuqala, kunye nenqanawa yomculo yembali emangalisayo yaseGambia. Esi sixhobo sisinyanya sanamhlanje kwizixhobo ezininzi ezineentambo kuquka iBanjo! African Music Activists
Adungu ke ye nngwe ya diletšo tša dithapo tše di kgahlišago kudu tšeo di hwetšwago Afrika. Karolong ye re ahlaahla sebopego se sebotse le sebopego sa seletšo se sa Uganda mola re theeleditše mehlala ya modumo wo se o dirago. African Music Activists
I am an ethnomusicologist and music pedagogue from Rhodes University.
My role is to facilitate the interaction between the community and scientists via sound, traditional creative expressions (TCEs) and music. This sonic link has expanded my view of the project as a whole and given me a real understanding of the impact that the IMIsEE project has.
Sound is powerful.
Sound is knowledge. IMIsEE audio postcard sound-scape exhibition
Multimedia Storyteller who enjoys listening to stories and telling stories.
Shh listen carefully to the
oldest storyteller of all time.
The sounds of the rocks and the waters, generations of stories. IMIsEE audio postcard sound-scape exhibition
I am a senior scientist at the South African Institute for Aquatic Biodiversity (SAIAB) in Grahamstown/Makhanda, South Africa. I am the Principal Investigator of the Indigenous Marine Innovations for sustainable Environments and Economies (IMIsEE) Project funded by South Africa’s National Research Foundation. The focus of this research is to use innovative nature-based approaches that can offer opportunities to counteract the adverse impacts of coastal built environment by improving the values of coastal habitats in terms of early stage usage, functioning and diversity. IMIsEE audio postcard sound-scape exhibition
I am a Professional Development Program Postdoctoral Research Fellow at the South African Institute for Aquatic Biodiversity (SAIAB) in Grahamstown/Makhanda, South Africa. My research role is to monitor associated marine biodiversity from larval to adult stages aggregating around innovative nature-based structures using remote underwater video (RUV) cameras as well as environmental DNA barcoding. IMIsEE audio postcard sound-scape exhibition
My current research focuses on assessing metals distribution in coastal environment using the bioindicator species like invertebrates and algae.The intertidal zone as the transition between land and ocean is the ultimate dumping point of chemicals from varying distribution sources like storms and runoffs, sewage deposition, agricultural activities, nearby industries, and harbour-related activities which significantly impact the marine ecosystems.The findings from this research study will be necessary for the development of the appropriate strategies for the contaminants monitoring in coastal environment, as well for determining the health status of urban coastal sites. IMIsEE audio postcard sound-scape exhibition
I am a doctoral candidate registered with the Department of Ichthyology and Fisheries Science at Rhodes University. My overall role in this project is to monitor the chemical and physical changes in water, primary productivity measures, and changes in species community structures for food web interactions and successional changes on a spatiotemporal scale. IMIsEE audio postcard sound-scape exhibition
I am a PhD student registered with Nelson Mandela University, based at the South African Institute for Aquatic Biodiversity (SAIAB) in Grahamstown/Makhanda, South Africa, with research interests in marine ecology, ecological restoration, and social science. My role in the IMIsEE project is to investigate the potential of imizi to be cultivated by using three different cultivation techniques, and also to understand community cultivation IMIsEE audio postcard sound-scape exhibition
I am a PhD student within the Indigenous Marine Innovations for Sustainable Environments and Economies (IMIsEE) project based at the South African Institute for Aquatic Biodiversity and registered at Rhodes University. My current research aims to combine ecological engineering with indigenous cultural innovations and knowledge in finding nature-based alternatives to resolve some of the adverse impacts of coastal armouring from an early life-stage perspective. IMIsEE audio postcard sound-scape exhibition
I am a PhD student registered through Rhodes University at the Department of Ichthyology and Fisheries Science but based at the South African Institute for Aquatic Biodiversity (SAIAB). My involvement in the (IMIsEE) project is to assess the physiological fitness of early life stages of invertebrates, characterise the ambient soundscapes and determine the structural complexity of the surfaces of rocks to which the marine organisms recruit themselves. IMIsEE audio postcard sound-scape exhibition
I am a PhD (Ethnomusicology) candidate at Rhodes University in the Music and Musicology Department, supervised by Dr Boudina McConnachie. My research in the Indigenous Marine Innovations for Sustainable Environments and Economies (IMIsEE) project is focusing on Sacred spaces as living archives: using music and ritual as a lens to remember heritage practices through the lens of Ecomusicology. The sound I associate this project with is a piece of music that was sung by our Keiskamma research partners when they were weaving imizi grass. IMIsEE audio postcard sound-scape exhibition
I am the Head of seamstress/HR/artist at the Keiskamma Trust. When I was approached I had to learn to weave with imizi grass and have now passed these skills on to the women that I work with. This project is part of the work that my team in Hamburg does. I am proud of each and everyone involved and am an environmental activist using art as my tool. I have travelled the world and represented the KKT at the UN last year. I even met with the President, Cyril Ramaphosa! IMIsEE audio postcard sound-scape exhibition
I arrived at this project as a piece worker in 2007. I was interested in sewing and was taught how to do it by Veronica. I now work on the sewing machines, making cushions. At the Keiskamma project, I am involved with the stockroom, the sewing machines, piecemeal work and the Imizi project. IMIsEE audio postcard sound-scape exhibition
I am from Peddie. I started here in 2016. I came here with my friends to look at things they make here, and I was drawn to it because I love art. I enjoyed drawing even before joining this project. Everyone here uses cloth and relies on my drawings on the cloth for their artwork. I associate with this project with the sound of a pencil on the fabric. IMIsEE audio postcard sound-scape exhibition
I was born and raised here in Hamburg. I joined this project because I like sewing. We then joined the IMIsEE project. We use water to make the Imizi wet and often leave it overnight in a wrapped towel to stay soft for us to use the next day. IMIsEE audio postcard sound-scape exhibition
I am from eMantilini. I was unemployed, and my family was struggling financially. A friend of mine suggested that I approach the Keiskamma project to find work. I came here, and I learned a lot. We learned how to sew our life stories into our work. The sounds I associate with this project happened this morning as I was coming here when I walked past a man herding his cows, and he ‘’shouted hey, little boy, please help me chase my cows”.
I IMIsEE audio postcard sound-scape exhibition
I was born and grew up here in Hamburg. I have three children and a grandchild. In 2008, I joined this project. I was taught how to sew. I really struggled, but I persisted, and now I can sew. The sounds that I associate with this project are the sounds of my pigs and chickens, as I have to feed them every morning before coming here. IMIsEE audio postcard sound-scape exhibition
I left school in 2007 after I matriculated and then started this project in 2009. I come from a family that struggles financially, and my parents often went fishing to provide for us. I joined this project to try and assist my family financially, and it has made a significant difference back home. I learned how to sew here and I love my work. The sounds I associate with this project are the sounds of myself singing to work and the birds here and the sounds of ladies chatting as you walk in. IMIsEE audio postcard sound-scape exhibition
I am a Programme Coordinator in the Community Engagement division of Rhodes University. Community engagement is a core function of universities in South Africa. I am also a PhD candidate in Journalism, Media Studies, and Ethnomusicology at Rhodes University. Joining IMIsEE enabled me to seamlessly blend these two roles by using digital storytelling to explore the potential of community engagement in research. My role in the project is to listen radically through a community-based participatory approach. IMIsEE audio postcard sound-scape exhibition
I am presently employed as the Communications and Stakeholder Relations Manager at the South African Institute for Aquatic Biodiversity (SAIAB). My role in the IMIsEE Project is to provide guidance to ensure that the project embraces the framework of engaged research and the principles of RRI to achieve the impact of cooperation between ‘Science with and for Society’. To do this, one of my main roles is to develop a science communication strategy and science engagement outputs as deliverables on this project. This involves developing digital/social media outputs. IMIsEE audio postcard sound-scape exhibition
I am an environmental intern at TNPA, assisting the SAIAB team with all the logistics needed for the research within NMB ports. I also assist with fieldwork as a researcher. The audio contains the sound of the ocean and people. If you listen carefully in some instances, the people are much louder than the waves (ocean). The project aims to enhance biodiversity due to anthropogenic activities by people. In a nutshell, people may damage or cause harmful activities to the ocean, but there will always be ways to overcome these activities to try to retain the ocean to its original state IMIsEE audio postcard sound-scape exhibition
. Currently working as an Environmental Specialist for Transnet National Ports Authority (TNPA), based in the Head Office at Port of Ngqura. For this project I am responsible for assisting with the administration and coordination of the IMIsEE project within the Nelson Mandela Bay Ports since I am responsible for TNPA’s research and development in the Environment and Sustainability department. Lastly, I am a registered Professional Scientist under SACNASP. This project helps TNPA to ensure that coastal ecosystems are protected and remain productive in the natural system IMIsEE audio postcard sound-scape exhibition
I am a Rhodes University postgraduate student in the Department of Music and Musicology. In this transdisciplinary project, my task as the Sound Engineer is to facilitate and oversee all audio technical endeavours. I am part of a team that does audio recordings, videography and editing. We explore the relationship between nature, music, and culture and that includes the documenting and preservation of the indigenous knowledge of the Hamburg community which is known for its weaving of the imizi amongst other things. The sound I present is something that I mixed after our first workshop together in 2022. IMIsEE audio postcard sound-scape exhibition
At the heart of South Africa's rugged ocean shores, new ways of constructing knowledge are taking shape, inspired by centuries of Indigenous wisdom and the intricate dance between culture and nature. The Indigenous Marine Innovations for Sustainable Environments and Economies (IMIsEE) project represents a collaborative effort to tackle the pressing issues facing our coastal habitats. This trans-disciplinary collaboration brings together a diverse team of researchers, community members, and university scholars, all united by a singular mission: to sustainably regenerate South Africa's shoreline.
To showcase this innovative research, IMIsEE is using "sonic postcards." These are MP4 files, combining soundscapes with visual elements, designed to be shared widely via email, podcasts, and social media. Lasting one to two minutes, these postcards are crafted from a rich tapestry of recorded sounds, encompassing the natural echoes of the environment, human-made noises, and spoken narratives. This method not only captures the essence of the project's locale but also serves as a vibrant medium for storytelling and conservation awareness. IMIsEE audio postcard sound-scape exhibition
"Soundscapes" follows the research journey of all those involved, as stories were recorded. It is unedited and real: an audioverité of experiences and collaborative meaning-making. Through unfiltered and authentic sounds captured in the field, is a kind of auditory tapestry of unscripted experiences and creative manifestations, moving with a fluid and almost tidal intelligence... "The ocean, we have found, is connected to all of us - but often not in the ways we expect it."
Welcome to episode 2 of Songs of the Ocean. In this podcast we look at the Songs of the Ocean through the eyes of the Xhosa people of Eastern Cape in South Africa.
Our journey continues in Hamburg, a small town in the Eastern province of South Africa. It is located on the coast between the city of East London and the town of Port Alfred. Here we will continue exploring the physical and spiritual value of the oceans and their extensions such as lagoons and river mouths.
Namnkelekile kwisiqendu sesibini seeNgoma Zaselwandle. Olu lusasazo shicilelo olukhenketha unxweme lwaseMzantsi Afrika olujoliselwe ekuphangalaliseni ulwazi ngolwandle nabo baphila ngalo. Kulenqubo siqokelela ulwazi lwemveli nenkcubeko oluvakaliswa ngamabali neengoma eziqokelelwe kwizithili ezigudle unxweme lweWild Coast eMpuma-Koloni.
Kwesi isiqendu uhambo lwethu lusibeka eHamburg, idolotshana encinane kwiphondo laseMpuma Koloni.
Yimigcobo nemincili ukunamkela kwinqubo yokuqala ngqi yeNgoma Zaselwandle. Olusasazo-shicilelo luza luziziqendu eziliqela luvuka kumavukazi aseTsitsa lukhwela ikhwelo lukhweza ngokhwezi libubutha’unxweme lomntla-mpuma weMpuma-Koloni ukuyonqandwa ziintaba zeeNgquza. Ngoko ke hamba nam uKuhle Ngqezana sifunxe kwimithombo yolwazi ngobudlelwano boluntu lwasenxwemeni nolwandle abaphila ngalo. Kweziziqendu zalenkqubo yeeNgoma Zaselwandle siniphathela ingqokelela yobugcisa, inkcubeko, amagugu kunye nolwazi oluphilisayo oluphila ezingomeni nakumabali.
Uhambo lwethu luqala kuGatyana idolotshana yamaXhosa akwaGcaleka kude kufuphi neQunu iDutywa neGcuwa. Kulapho siqala khona ukuva banzi ngobunzulu bolwandle, amachweba nezinqa adibana kuzo elisweni lenyama nasemoyeni.
Welcome to the season premiere of Songs of The Ocean. This is a podcast series that travels around the coast of South Africa, in a journey dedicated to learning about the deep relationship between the Ocean and those who live off it.
In this series we have a collection of indigenous heritage and knowledge through the eyes of the Xhosa people in the Eastern Cape of South Africa. This knowledge is expressed through stories and songs. In this episode we begin our journey in small coastal town known as Willowvale.
In this podcast, we discuss what attributes a graduate from a South African university should have. We wonder about what we want our students to look like when they obtain their degrees, how we envisage them to be able to think what they should know, how they should engage with society, and how they should think of themselves as citizens, not only in South Africa, but as citizens of the world.
Madosini. Ma Dosini. The mother of the Dosini clan is also the mother of an art form. The most talented and most important traditional bow player in the world. A vital force in African music. Meet her - hear her - here. www.ru.ac.za
While all our activists are teachers to some extent, Dr Patricia Opondo has dedicated her life to creating the next generation of performers ... and teachers. Hear her story ... and the results of her work.
Performer, researcher, teacher, archivist, campaigner, inspiration. Few people have done more to document, promote and champion traditional African music and musicians than Professor Andrew Tracey. This is his remarkable story.
Timbila is recognised by Unesco as one of the Masterpieces of the Oral and Intangible Heritage of Humanity. It is Mozambique's national instrument but, without the passion and dedication of one family, it would almost certainly have disappeared. Meet Vanancia Mbande Junior, a brilliant musician who is also doing all he can to keep this extraordinary music alive for future generations.
From learning the uhadi bow at his mother's knee to becoming an international superstar to being the first black professor of music at the University of Cape Town, Dizu Plaatjies has never stopped believing one thing - without its music, Africa would be lost.
Before we introduce you to some of Southern Africa's most talented and influential musicians, here's a bit more information on what this series is all about. International Library of African Music
The mbila was developed by the Chopi tribe from Mozambique and groups of timbila (the plural) are often played in 'orchestras', using complex cross rhythms. Its unique sound has made it world famous – it’s even won a UNESCO award. Find out more in this edition of Afroloops.
In Africa, whether it's war or peace, joy or sadness, birth or death - it will often be drums you hear spreading the message. Celebrated for its versatility, the djembe drum is one of Africa’s most popular musical instruments. Join us as we find out more about making the drums 'talk'.
The mbira - or thumb piano - is traditional to the Shona people of Zimbabwe. Mbiras are often used for rites and ceremonies but this one - the nyunga nyunga ("sparkle sparkle") mbira is just for entertainment. Find out how it lives up to its name.
The Uhadi Bow is a traditional Xhosa instrument. It creates one of the most distinctive sounds of all African instruments and is traditionally played by women. Hear how it's made and played in this edition of Afroloops.
How many instruments can you think of that can be played by up to eight people at once? The amadinda is originally from Uganda, created by the Baganda people and played for more than 40 generations at the court of their king. Now it’s finding its way around the world. Find out why.
The marimba is one of the most African of instruments ... or is it? Xylophone-like instruments are found all over the world but the marimba sound we know is so very South African. In this episode discover the real origins of the South African marimba and find out how the sound evolved.
In 1920, a young Hugh Tracey was shipped off to Southern Rhodesia to work on his older brother’s tobacco farm. He immediately became fascinated by the songs he heard the African workers singing. It was the beginning of his life’s work – travelling Africa recording the music of the continent. In this first edition of Afroloops, travel back in time and discover more about one of the earliest recordings he ever made.