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Waagi

Description:
FRENCH: Cette chanson est chantée en duo alterné par un homme et une femme (Dianka Diarra et Boulaye Sidibé), accompagnées au tambour (djembé) et à la guitare par Oumar Diagouraga. La chanson a été enregistrée à Batama.<br>ENGLISH: This song is performed as an alternating duet by a man and a woman (Dianka Diarra and Boulaye Sidibé), accompanied on djembe and guitar by Oumar Diagouraga. The song was recorded in Batama.
Resource Type:
sound recording
Collection:
Radio Rurale de Kayes (Mali)
Waagi

Wage renme

Description:
FRENCH: Ce récit est déclamé par Bakary Dramé dit Hadadi, qui s’accompagne au luth (ganbare). Il a été enregistré le 17 Juin 1989 à la Radio Rurale de Kayes.<br>ENGLISH: This story is recited by Bakary Dramé aka Hadadi, who also plays the ganbare luth. It was recorded on June 17, 1989 at Radio Rurale de Kayes.
Date:
June 17, 1989
Resource Type:
sound recording
Collection:
Radio Rurale de Kayes (Mali)
Wage renme

Wakan Tanka, parte 1, 2, 3, 4, 5 y 6… y otros

Description:
SPANISH: Se presenta y da lectura a la primera parte del texto Wakan Tanka, el gran espíritu el cual fue escrito por el jefe indio norteamericano High Pine (Pino Alto), el texto fue localizado en la revista Testimonios en la cual participó en su elaboración Jorge Robles, Alejandro Calvillo, Alfonso González, Alejandro Ordorica Estrella Fugaz, Carlos Narro, Pedro Echeverría, Margot Aguilar, Paco Ignacio Taibo II, entre otros. Se presenta y da lectura a la segunda parte del texto Wakan Tanka, el gran espíritu el cual fue escrito por el jefe indio norteamericano High Pine (Pino Alto). Se presenta y da lectura a la tercera parte del texto Wakan Tanka, el gran espíritu el cual fue escrito por el jefe indio norteamericano High Pine (Pino Alto). Se presenta y da lectura a la cuarta parte del texto Wakan Tanka, el gran espíritu el cual fue escrito por el jefe indio norteamericano High Pine (Pino Alto), el texto fue localizado en la revista Testimonios, en el cual se alude a las diferencias entre la cosmovisión de los occidentales a la cosmovisión de los pueblos indios. Se presenta y da lectura a la quinta parte del texto Wakan Tanka, el gran espíritu el cual fue escrito por el jefe indio norteamericano High Pine (Pino Alto). Se comenta acerca de las enseñanzas del Jefe Seattle y el Jefe Felipe Venado y se enuncia que el movimiento indio norteamericano sigue existiendo ya que no se ha perdido la tradición y sus costumbres. Se presenta y da lectura a la quinta parte del texto Wakan Tanka, el gran espíritu el cual fue escrito por el jefe indio norteamericano High Pine (Pino Alto), el texto fue localizado en la revista Testimonios.<br>ENGLISH: The first part of the “Wakan Tanka, the great spirit” text is presented and read, which was written by the North American Indian chief High Pine (Pino Alto), the text was located in the “Testimonios” magazine in which Jorge Robles, Alejandro Calvillo, Alfonso González, Alejandro Ordorica Estrella Fugaz, Carlos Narro, Pedro Echeverría, Margot Aguilar, Paco Ignacio Taibo II, among others participated in its elaboration. The second, third, fourth and fifth parts of the “Wakan Tanka, the great spirit” text, which was written by the North American Indian chief High Pine, are presented, and read. The text was in the “Testimonios” magazine, in which the differences between the worldview of Westerners and the worldview of the Indian peoples are pointed out. The teachings of the Chief Seattle and Chief Felipe Venado are commented on, and it is stated that the North American Indian movement continues to exist since tradition and customs have not been lost. The text was found in “Testimonios” magazine.
Date:
199-
Resource Type:
sound recording
Collection:
The Ricardo Montejano Collection
Wakan Tanka, parte 1, 2, 3, 4, 5 y 6… y otros

Wale ɲuman dͻn

Description:
FRENCH: Ce chant de femme en duo alterné est joué par deux femmes (Salimata Togola et Safiatou Sangaré), accompagnées au Djembé et à la jita (demi-calebasse avec cauris). Il a été enregistré à Sirimambougou.<br>ENGLISH: This alternating duet women’s song is performed by two women (Salimata Togola and Safiatou Sangaré), accompanied by Djembe and jita (half calabash with cowrie shells). It was recorded in Sirimambougou.
Date:
1988-1990
Resource Type:
sound recording
Collection:
Radio Rurale de Kayes (Mali)
Wale ɲuman dͻn

Wandallen wa xaasaana renmun kaane

Description:
FRENCH: Cette chanson est chantée par un homme (Sinkasso Demba Sissoko), accompagné d’un chœur de femmes, au tambour (dundun), au tambour (djembé), à la cloche et de Jita. La chanson a été enregistrée à Bangassi-Nango.<br>ENGLISH: This song is performed by a man (Sinkasso Demba Sissoko), accompanied by a choir of women, dundun drum, djembe, bell, and jita (half calabash with cowrie shells). The song was recorded in Bangassi-Nango.
Date:
1988-1989
Resource Type:
sound recording
Collection:
Radio Rurale de Kayes (Mali)
Wandallen wa xaasaana renmun kaane

Waraba yo

Description:
FRENCH: Cette chanson est jouée en duo alterné par deux femmes (Kadiatou Diakité et Kadiatou Traoré), accompagnées au tambour (djembé). Elle a été enregistrée à Dar-Salam-Samé en 2004.<br>ENGLISH: This song is performed as an alternating duet by two women (Kadiatou Diakité and Kadiatou Traoré), accompanied on the djembe drum. It was recorded in Dar-Salam-Samé in 2004.
Date:
2004
Resource Type:
sound recording
Collection:
Radio Rurale de Kayes (Mali)
Waraba yo

War and Diplomacy in Yoruba: Kiriji as a Case

Description:
A public lecture on "War and Diplomacy in Yoruba: Kiriji as a Case" by his highness Oba Adenipekun Fabunmi III, Oloja-Oke of Imesi-Ile under the chairmanship of Professor J.F.A. Ajayi,B.A, Ph.D. Professor of History, at the Institute of African Studies, University of Ibadan on December 9, 1971.
Date:
December 1971
Resource Type:
sound recording
Collection:
Archive of Sound and Vision, Institute of African Studies, University of Ibadan
Modern Endangered Archives Program
War and Diplomacy in Yoruba: Kiriji as a Case

War and Diplomacy in Yoruba: Kiriji as a Case

Description:
A public lecture on "War and Diplomacy in Yoruba: Kiriji as a Case" by his highness Oba Adenipekun Fabunmi III, Oloja-Oke of Imesi-Ile under the chairmanship of Professor J.F.A. Ajayi,B.A, Ph.D. Professor of History, at the Institute of African Studies, University of Ibadan on December 9, 1971.
Date:
December 1971
Resource Type:
sound recording
Collection:
Archive of Sound and Vision, Institute of African Studies, University of Ibadan
Modern Endangered Archives Program
War and Diplomacy in Yoruba: Kiriji as a Case

Waraw bͻra

Description:
FRENCH: Cette chanson est chantée par Baba Mariko, accompagné au luth de chasseur (donso ngoni) et enregistrée à Kayes.<br>ENGLISH: This song is performed by Baba Mariko, accompanied on the hunter’s lute (donso ngoni) and recorded in Kayes.
Resource Type:
sound recording
Collection:
Radio Rurale de Kayes (Mali)
Waraw bͻra

Watte

Description:
FRENCH: Ce morceau est joué en duo alterné par deux jeunes filles (Diariatou Sakiliba et Killé Saounéra), accompagnées tambour (dundun), tambour d’aisselle et à la jita (demi-calebasse avec cauris). Il a été enregistré en marge du festival Madikaama-Musundo à Kayes.<br>ENGLISH: This piece is performed as an alternating duet by two young girls (Diariatou Sakiliba and Killé Saounéra), accompanied on the dundun drum, talking drum and jita (half calabash with cowrie shells). It was recorded during the Madi-Kaama Musundo festival in Kayes.
Date:
1996-2000
Resource Type:
sound recording
Collection:
Radio Rurale de Kayes (Mali)
Watte

Wattiburen ya ni xonne

Description:
FRENCH: Cette chanson est chantée en duo alterné par deux femmes (Boulaye Sidibé et Youma Joka Dramé), accompagnées au grand tambour et enregistrée à Batama.<br>ENGLISH: This song is performed as an alternating duet by two women (Boulaye Sidibé and Youma Joka Dramé), accompanied on a big drum and recorded in Batama.
Resource Type:
sound recording
Collection:
Radio Rurale de Kayes (Mali)
Wattiburen ya ni xonne

Wele ka na

Description:
FRENCH: Ce chant de femme en duo alterné est joué par deux femmes (Salimata Togola et Safiatou Sangaré), accompagnées au tambour (djembé) et à la jita (demi-calebasse avec cauris). Il a été enregistré à Sirimambougou.<br>ENGLISH: This women’s song in performed as an alternating duet is performed by two women (Salimata Togola and Safiatou Sangaré), accompanied by djembe drum and jita (half calabash with cowrie shells). It was recorded in Sirimambougou.
Date:
1988-1990
Resource Type:
sound recording
Collection:
Radio Rurale de Kayes (Mali)
Wele ka na

William S. Burroughs

Description:
SPANISH: Se habla del significado del día b'atz' en el calendario maya. Se reproducen grabaciones de la sesión Al filo de la oscuridad: extranjeros y disipados, beatniks, espirituosos y hippies: años cincuenta y sesenta. Jorge García Robles hace una semblanza biográfica sobre William S. Burroughs, en la cual habla de su adicción a los opiáceos, su llegada a México, sus primeras impresiones sobre el país y su posterior desencanto. Aborda la escritura de sus libros Junkie y Queer; la relación con su esposa Johanne, a quien asesinó accidentalmente mediante un disparo; su condena en Lecumberri y el destino de sus hijos tras su detención. Se habla de la influencia de Burroughs en algunos grupos de rock y se complementa su biografía con información sobre sus posteriores escritos, como Desayuno al desnudo. Se presenta la sección Cartelera e invitaciones. Incluye piezas musicales de Bob Dylan, Nirvana y Lou Reed.<br>ENGLISH: The meaning of the day b'atz' in the Mayan calendar is discussed. Recordings of the session Al filo de la oscuridad: extranjeros y disipados, beatniks, espirituosos y hippies: años cincuenta y sesenta (At the edge of darkness: foreigners and dissipated, beatniks, spirits and hippies: the fifties and sixties) are played. Jorge García Robles gives a biographical sketch of William S. Burroughs, in which he talks about his addiction to opiates, his arrival in Mexico, his first impressions of the country and his later disenchantment. He discusses the writing of his books Junkie and Queer; his relationship with his wife Johanne, whom he accidentally shot to death; his conviction in Lecumberri and the fate of his children after his arrest. Burroughs' influence on some rock bands is discussed and his biography is complemented with information on his later writings, such as Naked Breakfast. The section Billboard and invitations is presented. Includes musical pieces by Bob Dylan, Nirvana and Lou Reed.
Date:
August 17, 2000
Resource Type:
sound recording
Collection:
The Ricardo Montejano Collection
William S. Burroughs