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Malika

Tarabu Music from the Swahili of Kenia
House of the Cultures of the World
Product number: SM 15202
€12.00
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Product Details

Description

More than a thousand years have passed since the first Arab, Indian, and Persian traders reached the coast of East Africa. Swahili society was produced by the mixture of these groups of immigrants with the native population and its traditions. Tarabu is the musical likeness of this multicultural society. The melodic and tonal systems, whose smallest unit is a quarter tone, clearly show Arabic influence. The rhythms and texts of the songs are rooted in ancient native Swahili traditions but also use Spanish, Indian-Pakistani, or Latin American melodies and rhythms. On the coast of East Africa, Malika, also known as Asha Abdo, is without question the most popular female musician of today.

Content

Sibure Mambo
Poleni, Ndugu Wa Faza
Mja We Zingatiya
Mpawa Sumu Hakufa
Nimeona Ishara
Kusima Si Kusona
Salawatu Rabi
Nahodha Mwenye Elimo
Mti Nillioupanda
Mpenzi Wanisumbuwa

More Information

Title:
Malika
Tarabu Music from the Swahili of Kenia
House of the Cultures of the World
Malika: vocals / Anasi Sheembwana Muhaji: dharabouka, voice / Omar Saleh Al-Abdi: dharabouka, vocals / Bakari Salim Wamasha: organ / Lali Mwalimu Mzamin: bass guitar
Publisher/Label:
Wergo
Duration:
59 ′24 ′′
Series:

Technical Details

Product number:
SM 15202
MAN EAN:
4010228152029
Weight:
0,11 kg

More from this series

Music of World Cultures
World Music – What Is Distant? What Is Near? World Music is a not uncontroversial term for the rich variety of musical culture of our planet, and it comprises not only the musical traditions of the rural parts of Africa, Asia, and Latin America but also those of the high cultures of the Indian subcontinent, Japan, and China as well as the popular music of urban metropolises throughout the world today. This edition of CDs, most of which were produced in cooperation with Berlin’s House of the Cultures of the World and the Music Department of Berlin’s Ethnological Museum, mixes up the categories of “foreign” and “familiar” not only by bringing closer things that are unknown and unfamiliar but also by revealing the familiar in the foreign and the foreign in the familiar. The encounter with the varied musical ideas that exist outside of our own culture has made us more aware of our own categories and shown us that we can no longer operate with a single compulsory aesthetic but that we must instead speak of innumerable distinctive aesthetics. This conclusion is supported both by the extraordinary recordings and the high quality of the booklet texts on the WELTMUSIK label.

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