- Pathways toward Open Dialogues about Sonic Heritage: An Introduction to The Oxford Handbook of Musical Repatriation
- Musical Traces’ Retraceable Paths: The Repatriation of Recorded Sound
- Reflections on Reconnections: When Human and Archival Modes of Memory Meet
- Music Archives and Repatriation: Digital Return of Hugh Tracey’s “Chemirocha” Recordings in Kenya
- Rethinking Repatriation and Curation in Newfoundland: Archives, Angst, and Opportunity
- Repatriating the Alan Lomax Haitian Recordings in Post-Quake Haiti
- “Where Dead People Walk”: Fifty Years of Archives to Q’eros, Peru
- Audiovisual Archives: Bridging Past and Future
- Archives, Repatriation, and the Challenges Ahead
- Returning Voices: Repatriation as Shared Listening Experiences
- “Boulders, Fighting on the Plain”: A World War I–Era Song Repatriated and Remembered in Western Tanzania
- “We Want Our Voices Back”: Ethical Dilemmas in the Repatriation of Recordings
- Sharing John Blacking: Recontextualizing Children’s Music and Reimagining Musical Instruments in the Repatriation of a Historical Collection
- Autism Doesn’t Speak, People Do: Musical Thinking, Chat Messaging, and Autistic Repatriation
- Musical Repatriation as Method
- Teachers as Agents of the Repatriation of Music and Cultural Heritage
- Radio Afghanistan Archive Project: Averting Repatriation, Building Capacity
- Bringing Radio Haiti Home: The Digital Archive as <i>Devoir de Mémoire</i>
- Bali 1928 Music Recordings and 1930s Films: Strategies for Cultural Repatriation
- Cinematic Journeys to the Source: Musical Repatriation to Africa in Film
- “<i>Pour préserver la mémoire</i>”: Algerian <i>Sha‘bī</i> Musicians as Repatriated Subjects and Agents of Repatriation
- Repatriating an Egyptian Modernity: Transcriptions and the Rise of Coptic Women’s Song Activism
- New Folk Music as Attempted Repatriation in Romania
- The Politics of Repatriating Civil War Brass Music
- Radio Archives and the Art of Persuasion
- The Banning of Samoa’s Repatriated Mau Songs
- Bells in the Cultural Soundscape: Nazi-Era Plunder, Repatriation, and Campanology
- Digital Repatriation: Copyright Policies, Fair Use, and Ethics
- Mountain Highs, Valley Lows: Institutional Archiving of Gospel Music in the Twenty-First Century
- “The Songs Are Alive”: Bringing Frances Densmore’s Recordings Back Home to Ojibwe Country
- After the Archive: An Archaeology of Bosnian Voices
- Reclaiming Ownership of the Indigenous Voice: The Hopi Music Repatriation Project
- Yolngu Music, Indigenous “Knowledge Centres” and the Emergence of Archives as Contact Zones
- Traditional Re-Appropriation: Modes of Access and Digitization in Irish Traditional Music
- Claiming <i>Ka Mate</i>: Māori Cultural Property and the Nation’s Stake
- Repatriation and Decolonization: Thoughts on Ownership, Access, and Control
Abstract and Keywords
The song “Shiganga Jilikenya ku Mabala” (Boulders, fighting on the plain) was composed during World War I by Ng’wana Matonange, a Sukuma singer conscripted into the German Army. Matonange saw the war in economic terms from the point of view of a pastoralist, commenting that the Germans and the British were at war because of cattle. The song enjoyed popularity in dance competitions during the 1920s, before being collected by the anthropologist Hans Cory. The song text was transcribed, and archived with the Hans Cory Papers at the University of Dar es Salaam. The text was referenced in interviews with living musicians and other commentators who were from the village where the song was collected. They were able to elucidate further about the composer, the melody, additional verses, performance practice, and the battle documented in the song. Their commentary informed ethnographic and historical interpretation of the song’s transmission trajectory.
Keywords: World War I, Tanganyika, Tanzania, Hans Cory, Sukuma, porters, soldiers, pastoralist, German, British
College of Music, Florida State University
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- Pathways toward Open Dialogues about Sonic Heritage: An Introduction to The Oxford Handbook of Musical Repatriation
- Musical Traces’ Retraceable Paths: The Repatriation of Recorded Sound
- Reflections on Reconnections: When Human and Archival Modes of Memory Meet
- Music Archives and Repatriation: Digital Return of Hugh Tracey’s “Chemirocha” Recordings in Kenya
- Rethinking Repatriation and Curation in Newfoundland: Archives, Angst, and Opportunity
- Repatriating the Alan Lomax Haitian Recordings in Post-Quake Haiti
- “Where Dead People Walk”: Fifty Years of Archives to Q’eros, Peru
- Audiovisual Archives: Bridging Past and Future
- Archives, Repatriation, and the Challenges Ahead
- Returning Voices: Repatriation as Shared Listening Experiences
- “Boulders, Fighting on the Plain”: A World War I–Era Song Repatriated and Remembered in Western Tanzania
- “We Want Our Voices Back”: Ethical Dilemmas in the Repatriation of Recordings
- Sharing John Blacking: Recontextualizing Children’s Music and Reimagining Musical Instruments in the Repatriation of a Historical Collection
- Autism Doesn’t Speak, People Do: Musical Thinking, Chat Messaging, and Autistic Repatriation
- Musical Repatriation as Method
- Teachers as Agents of the Repatriation of Music and Cultural Heritage
- Radio Afghanistan Archive Project: Averting Repatriation, Building Capacity
- Bringing Radio Haiti Home: The Digital Archive as <i>Devoir de Mémoire</i>
- Bali 1928 Music Recordings and 1930s Films: Strategies for Cultural Repatriation
- Cinematic Journeys to the Source: Musical Repatriation to Africa in Film
- “<i>Pour préserver la mémoire</i>”: Algerian <i>Sha‘bī</i> Musicians as Repatriated Subjects and Agents of Repatriation
- Repatriating an Egyptian Modernity: Transcriptions and the Rise of Coptic Women’s Song Activism
- New Folk Music as Attempted Repatriation in Romania
- The Politics of Repatriating Civil War Brass Music
- Radio Archives and the Art of Persuasion
- The Banning of Samoa’s Repatriated Mau Songs
- Bells in the Cultural Soundscape: Nazi-Era Plunder, Repatriation, and Campanology
- Digital Repatriation: Copyright Policies, Fair Use, and Ethics
- Mountain Highs, Valley Lows: Institutional Archiving of Gospel Music in the Twenty-First Century
- “The Songs Are Alive”: Bringing Frances Densmore’s Recordings Back Home to Ojibwe Country
- After the Archive: An Archaeology of Bosnian Voices
- Reclaiming Ownership of the Indigenous Voice: The Hopi Music Repatriation Project
- Yolngu Music, Indigenous “Knowledge Centres” and the Emergence of Archives as Contact Zones
- Traditional Re-Appropriation: Modes of Access and Digitization in Irish Traditional Music
- Claiming <i>Ka Mate</i>: Māori Cultural Property and the Nation’s Stake
- Repatriation and Decolonization: Thoughts on Ownership, Access, and Control