Tape Number: 11A 8 176

Place of Recording: Tierlul

Date of Recording: July 12, 1972

Date of Transcript: August 2, 1972

Source of Song:

Performer: Woman soloist with rattle for accompaniment

Informant: Paul Abulla

The village of Tierlul is a five-minute walk down a well-traveled path from Pokwo. Most frequently, after arriving, we sit down under a tree on the close edge of the village. On this day, we are visited by a variety of individuals, but work proceeds slowly.

The woman sings this lullaby while holding the baby. Another woman provides an even pulse using a baby’s rattle.

(This lullaby simply asks the baby not to cry. The baby’s name is mentioned.)

Shape: Short phrases of varying length moving downward to G.

Range: D to G, Octave and a fourth.

Intervals:

Unisons: 38 (30%)

Minor 2nds: 18 (14%)

Major 2nds: 36 (28%)

Minor 3rds: 10 (8%)

Major 3rds: 5 (4%)

Perfect 4ths: 10 (8%)

Augmented 4ths: 1 (1%)

Perfect 5ths: 6 (5%)

Augmented 5ths: 1 (1%)

Major 6ths: 2 (2%)

Octaves: 1 (1%)

Scale: See example.

Mode:

Tonality: The pitch of greatest prominence is G. An acculturative influence is suspected, possibly Arabic.

Timbre: Solo woman and rattle.

Texture: Monophonic.

Intensity: Subdued.

None present.

A duple feeling throughout.

Tempo: Quarter note = 132-144 approximate.

A solo song possessing an improvised character. Non-repetitive.

A baby’s rattle used for rhythmic pulse.

Tape Number: 11A 9 201

Place of Recording: Tierlul

Date of Recording: July 12, 1972

Date of Transcript: August 2, 1972

Source of Song:

Performer: Woman soloist

Informant: Paul Abulla

The woman sings this lullaby while holding the baby. This performance is especially for recording.

(An authentic lullaby)

This baby was given by God.

(She has three children all of them girls. This is the fourth and is a boy.)

Tape Number: 16A 2 067

Place of Recording: Pokwo

Date of Recording: July 15, 1972 from another recording

Date of Transcript: September 23, 1972

Source of Song: Pokwo Church congregation: girls singing

Informant: Paul Abulla and Henry Akway

This is a simple children’s song in praise to God.

The performance is by a group of young girls singing without accompaniment in a church gathering in Pokwo. The date of the taping is unknown as it was in the possession of the missionary and re-recorded.

Children like us love God.

Children like us love God.

I’m very happy.

(Or the text has been translated: We love children like us.)

Shape: Generally downward.

Range: D to D (C to C transposed)

Intervals:

Unisons: 1 (1%)

Major 2nds: 4 (28%)

Minor 3rds: 4 (28%)

Perfect 4ths: 4 (28%)

Major 6ths: 1 (1%)

Scale: See transcription.

Mode: Pentatonic.

Tonality: G Major in the recorded performance. Notated in F.

Timbre: Children’s voice singing naturally.

Texture: Monophonic

Intensity: A moderate volume with no increase in power.

None present.

Basically, duple with uneven stress patterns. Some 6/8 swing felt.

Tempo: approximately Quarter note = 116. No acceleration.

There are three repetitions of the printed phrase. There are very slight differences between them for the most part, having to do with pitch duration. One difference in pitch frequency occurs in the third phrase. The indicated C is sung a minor third lower on A.

None present.

Tape Number: 24B 1 000

Place of Recording: Tierlul

Date of Recording: July 22, 1972

Date of Transcript: November 4, 1972

Source of Song: Probably Gok area.

Performer: Solo girl singer, singing for the recording.

Informant: Agwa Alemo and David Omot.

Praising the child and telling it not to cry. The child’s name is Obang, the third child.

By your grandfather, don’t cry anymore.

Tape Number: 30A 1 000

Place of Recording: Pokwo

Date of Recording: July 26, 1972

Date of Transcript: February 24, 1973

Performers: About fifteen girls, ages nine to thirteen.

Informant: Agwa Alemo

On July 26, 1972, we are asked to come to Mary’s Bead Shop because the children have prepared to sing play-songs. They first sing the songs in the Bead Shop and then go outside and demonstrate the games which go with the songs. The recordings are made as the children play and sing.

“A song for fun. Like a competition between the children.” (Informant, Alemo)

One bird with a white crown and black body eats fish…

Shape: Generally downward with an up and down sing-song quality.

Range: Octave G to G

Intervals:

Unison: 16 (43%)

Minor 2nds: 6 (16%)

Major 2nds: 6 (16%)

Minor 3rds: 4 (11%)

Major 3rds: 1 (2%)

Perfect 4ths: 3 (8%)

Major 6ths: 2 (4%)

Scale: See transcription.

Mode: Major

Tonality: C (Transposed up one-half step)

Timbre: Children’s voices.

Texture: Monophonic, 12-15 voices.

Intensity: Natural in a play situation.

None present.

Duple.

There are seven repetitions of this phrase. In the play situation, the phrase would be repeated over and over.

None present.

Tape Number: 30A 2 037

Place of Recording: Pokwo

Date of Recording: July 26, 1972

Date of Transcript: February 24, 1973

Performers: About fifteen girls, ages nine to thirteen.

Informant: Agwa Alemo

This game song would be sung with the children sitting in a circle and one child in the middle. As the children finish a singing of the chant, the child in the middle would quickly sweep her hand around the circle to catch someone who is not quick enough to draw their hand behind their back after clapping in rhythm. Anyone caught would replace the child in the center.

“This kind of song is known everywhere in the Anuak area. Children play these games the same everywhere.” (Informant, Alemo)

Mother, pull the fishing basket strongly,

My mother caught fish with it.

Elaboration: When the ladies fish, they use something like a basket. The men use a spear and the small children use their hands. They put their hands in the water and catch fish and will say to their mother, “Put the basket down, I caught a fish, momma.” This means that they need their mother to come to help them. (Informant, Alemo.)

Shape:  Arc-like. Sung like a chant.

Range:  Perfect 5th. The range is covered in the first three notes.

Intervals:

Unisons: 3 (25%)

Major 2nds 7 (58%)

Perfect 4ths: 1 (8%)

Perfect 5ths: 1 (8%)

Scale:  See transcription.

Mode:  Pentatonic implied by the limited tones used.

Tonality:  Eb though the children always return to Bb. The tone of greatest prominence could be the final or the second tone.

Timbre:  Children’s voices.

Texture Monophonic. 12-15 voices.

Intensity:  Natural in a play situation with increasing intensity.

None present except for voices one octave above the notes written. The children’s voices are joined in the third repetition at the upper octave.

Duple metric feeling with hand clapping providing a steady beat.

Tempo: Approximately 112 to the quarter note. Very slight acceleration as intensity increases.

One well-defined phrase repeated over and over. Because the dotted quarter is vocally sustained into the second half of the phrase, this should be considered as one phrase rather than two smaller phrases.

No instruments are used. Hand clapping accompaniment only.

Tape Number: 30A 3 065

Place of Recording: Pokwo

Date of Recording: July 26, 1972

Date of Transcript: February 24, 1973

Performers: About fifteen girls, ages nine to thirteen.

Informant: Agwa Alemo

No particular game is associated with this song. Other than moving their hands in rhythm, the children use no motions.

When the small fish are chased away by the big fish, they will jump.

The bird will try to catch them one by one.

The small fish are going to look for a safe place by following the currents of the river.

Elaboration:  A large gray bird eats the small fish. When the small fish start their journey to the north of the river, he will follow them. When the big fish try to catch the small fish, the small fish will jump and when they jump, the bird catches them.

Shape: The first phrase is arc-like; The second less so.

Range:  M6. The range is covered in the first three notes.

Intervals:

Unisons: 6 (33%)

Major 2nds: 6 (33%)

Major 3rds: 2 (11%)

Perfect 4ths: 4 (22%)

Scale:  See transcription.

Mode:  Pentatonic.

Tonality:  C major. Returning to G gives the impression and feel of incompleteness.

Timbre:  Children’s voices.

Texture:  Monophonic, 12-15 voices.

Intensity:  Strong singing with increasing intensity and a resultant gradual raising of pitch level.

None present except for incidental singing at the fourth.

Duple metric feeling with a strong pulse on every beat. No acceleration.

Tempo: Approximately 120 to the quarter note.

Two well-defined phrases repeated over and over. The second phrase is one measure longer than the first.

No instruments are used.

Tape Number: 30A 4 088

Place of Recording: Pokwo

Date of Recording: July 26, 1972

Date of Transcript: February 24, 1973

Performers: About fifteen girls, ages nine to thirteen

Informant: Agwa Alemo

This song is fun to play. Children gather in a circle and two are selected to be in the middle of the circle. Those forming the circle will try to keep the ones in the middle from escaping. They want to find out if one is quick enough to get out. Some will never be able to escape. (Informant, Alemo)

A small insect builds a house on the roof with mud.

When the insect emerges, he is able to be swatted.

He can be swatted with a horse tail swatter.

Shape: Arc-like; rising at beginning and gradually down at the end of the phrase.

Range: D 5

Intervals:

Unisons: 9 (43%)

Minor 2nds: 4 (19%)

Major 2nds: 7 (33%)

Diminished 4ths: 1

Scale:  See transcription.

Tonality:  C is the key center

Timbre:  Children’s voices

Texture:  Monophonic, 12 – 15 voices.

Intensity: Natural as at play.

None present.

Duple metric feel.

Tempo: Approximately 116 to the quarter note, with acceleration.

The phrase is repeated over and over.

No instruments are used. Physical movement provides rhythmic feeling.

Tape Number: 30A 5 118

Place of Recording: Pokwo

Date of Recording: July 26, 1972

Date of Transcript: February 24, 1973

Source of Song:

Performers: About fifteen girls, ages nine to thirteen.

Informant: Agwa Alemo

This chant is repeated over and over. It is used by children when it is raining. They will jump while they sing this song. They indulge in a sort of contest of who is going to keep jumping the longest. The idea of the song is simply an expression of happiness. It has no other meaning.

Tape Number: 10A 6 135

Place of Recording: Pokwo

Date of Recording: July 26, 1972

Date of Transcript: February 24, 1973

Performers: About fifteen girls, ages nine to thirteen

Informant: Agwa Alemo

Many children will form a circle holding hands together. They will select one person who will test the hands of the children to see who is weak and who is strong saying,

Whose door is it…? Our door.

Can I destroy it? Yes.

The child will try to push his way out of the circle. They sometimes will not get out. But if the one being pushed against is weak, the hands will separate and they will get away.

Who is this door?

Ours.

Who’s is this door?

What is there?

Crocodile.

Will I kill it?

Yes.

Tape Number: 30A 7 171

Place of Recording: Pokwo

Date of Recording: July 26, 1972

Date of Transcript: February 24, 1973

Performers: About fifteen girls, ages nine to thirteen

Informant: Agwa Alemo

The children play with clay, making a pot, pounding it as they sing.

This is my clay.  (repeating)

Tape Number: 30A 9 251

Place of Recording: Pokwo

Date of Recording: July 26, 1972

Date of Transcript: February 24, 1973

Performers: About fifteen girls, ages nine to thirteen

Informant: Agwa Alemo

This song describes a bird with a beak and a crown. They ask the bird: “Let me see your crown…” (see below)

When the children reach the last part of the song where the bird refuses to show the crown to the children, they then imitate the action of the bird. The bird tries to walk, skipping away from the children. The children will pretend as they are imitating the bird, using the same head and body movements, skipping away

Let me see your crown.

(The bird replies), No.

Why can’t we see it?

Because I have smoke on it.

How does the smoke taste?

It tastes bitter.

Tape Number: 30A 11 366

Place of Recording: Pokwo

Date of Recording: July 26, 1972

Date of Transcript: February 24, 1973

Performers: About fifteen girls, ages nine to thirteen.

Informant: Agwa Alemo

This song is sung for the girls who are able to nurse from the breast.

The girls will dance by shaking the upper part of their body.

I cannot beg from somebody because I have my breasts.

Those that have not developed will feel ashamed.

I will not beg from somebody.

(Repeated many times.)

Texts for children’s songs are generally short and repetitive. They stress subjects that may be taken from everyday life and may simply be an expression of happiness or an imitation of adult activity in play. The texts of game songs and lullabies give opportunity for childish play or the soothing of a baby.

Shape: Children’s songs and lullabies generally consists of short phrases. Phrases are either arc-like or display a generally downward contour.

Range: Lullabies have a rather wide range. One example has a range of an octave and a fourth. Children’s songs range between a diminished fifth and an octave.

Intervals:

Unisons: (30%)

Minor 2nds: (8%)

Major 2nds: (33%)

Minor 3rds: 8%)

Major 3rds: (4%)

Perfect 4ths: (12%)

Perfect 5ths: (1%)

Major 6ths: (1%)

Mode: Pentatonic dominates with some acculturative influence found particularly in the lullabies.

No intentional harmony is found.

A duple feeling predominates.

There is considerable repetition. Generally, a phrase is repeated over and over in the children’s songs.  Considerably more elaboration and non-repetitiveness occur in the lullabies except where a small portion may be extracted and repeated.

Informal musical instruments are used such as a baby’s rattle. The pounding of feet and the clapping of hands provide a pulse.

Tape Number: 6B 1 000

Place of Recording: Tierlul

Date of Recording: July 10, 1972

Date of Transcript: July 26, 1972

Source of Song: From Gok. Composed by the singer, Olieng Ojulo.

Performer: Olieng Ojulo, a 21-year-old male. Singing without accompaniment.

Informants: Paul Abulla and Agwa Alemo

This performance was at the request of the investigator. Field notes for July 10, 1972 yield information about Olieng.

The singer-composer, Olieng Ojulo, is the first person to sing for us on this day. He is from Gok (Gawk), about forty miles away and is a well-known composer. His grandfather was also a composer and now he is following in his grandfather’s footsteps. Olieng states that he composes for pleasure and receives no pay for his songs. Most of his songs are love songs and are basically for dancing.

If you agree to marry me, although I am poor, by our life we can live together.

Why don’t you tell me if you refuse me?

My poorness made me to sing a song.

(He wants to go to a certain place with his wife. He mentions the names of his friends.)

Tape Number: 8A 1 000

Place of Recording: Tierlul

Date of Recording: July 10, 1972

Date of Transcript: July 25, 1972

Source of Song: From Gok. Composed by the singer, Olieng Ojulo.

Performer: Olieng Ojulo from Gok is a 21-year-old male. He is self-accompanied on a one-gallon gasoline can “drum.”

Informants: Paul Abulla and Agwa Alemo

This performance was at the request of the investigator. Olein Ojulo accompanies himself on a one-gallon gasoline can. Placing the can flat on the ground, he plays it with his hands using a highly rhythmic accompaniment similar to that of a western bongo player. One finds the use of such a can or a large gourd for accompaniment to be quite standard in the performing of love songs, particularly in small groups. Such accompaniment provides much less volume and the instruments are much less cumbersome than the drums of the village. One need not ask the chief for permission for their use nor do they attract undue attention.

I heard that my girlfriend went to Gilo River.

So, I hope that she will be back.

Tape Number: 20B 4 036

Place of Recording: Pokwo

Date of Recording: July 20, 1972

Date of Transcript: September 27, 1972

Performers: Young fellow about 14, Nyigwo Nyang, with a girl about 16, in the background. They are both from Gok. The boy accompanies on the one gallon can “drum.”

Informant: Paul Abulla and Henry Akway

This performance was at the request of the investigator.

The young fellow, Nyigwo Nyang, sang throughout the day with excellent enthusiasm and style. Many of the songs sung were short, praising themselves. This song is a love song that was heard many times. Frequently, the other versions were short and included the chorus only. This is an excellent and complete version of the song.

I have sent a letter to you.

She has been asked, “Why do you disturb your mind with him?”

He said, “A poor man goes out to different villages to trade till he gets something to pay.”

A rich man wants his way to be prepared.

Then he will come and pick up the girl without working any hardship for her.

If you have refused me, why don’t you tell me.

I have found another one.

He looks like a prince.

I didn’t know he was that poor.

Shape: A complex song generally on two planes throughout. A high statement is answered at approximately a fifth to an octave lower.

Range: Two octaves: C-C.

Intervals:

Unisons: 195 (38%)

Minor 2nds: 4 (1%)

Major 2nds: 171 (34%)

Minor 3rds: 48 (9%)

Major 3rds: 2 (-%)

Perfect 4ths: 60 (12%)

Perfect 5ths: 16 (3%)

Minor 7ths: 1 (-%)

Octaves: 11 (2%)

Scale: See example.

Mode: Pentatonic. Includes a melismatic quality. A non-Anuak influence implied.

Tonality: C

Timbre: Youthful full voice of a boy of about 14.

Texture: Solo unchanged male voice with the soft singing of a female in the background. The male accompanies the performance on a one gallon can “drum.”

Intensity: Free and full. Open quality, not strained.

None present.

A duple feeling throughout.

A call and response form is implied.

A one-gallon gasoline can is used as a drum.

Tape Number: 20B 15 258

Place of Recording: Pokwo

Date of Recording: July 20, 1972

Date of Transcript: September 27, 1972

Performers: Nyigwo Nyang, male about 14 with a girl singer about 16, both from Gok. The boy accompanies on the one gallon can “drum.”

Informants: Paul Abulla and Henry Akway

This performance was at the request of the investigator.

This is a very clever duet. The boy sings a phrase and the girl echoes the phrase.

I have gone to foreign lands and inside the forests, but I’ve decided that the best is to go to the Anya Nya and join them.

All the Anuaks refer their problems to me.

Where could I get this store of properties.

I better go to the forest.

You could trade a gun.

It’s just like wood.

Telling the girl: May God bless you.

It has been exposed to everyone.

The girl replies: Yes, exposed to the public.

Boy: Stay, God will help you.

Girl: You stay, you will be helped by God.

Stay, but after ten years, if you don’t get anything to pay for the dowry, I better give myself to the government.

Boy: Even me. I will give myself to a rich person that will get me some demoui and pay for the dowry.

Repeats.

Shape: Short arcs.

Range: Female: E-E one octave; Male: E-B one octave and a fifth;

Intervals:

Unisons:

Female: 83 (28%)

Male: 65 (27%)

Minor 2nds:

Female: 3 (1%)

Male: 2 (1%)

Major 2nds:

Female: 86 (29%)

Male: 111 (45%)

Minor 3rds:

Female: 69 (23%)

Male: 7 (3%)

Major 3rds:

Female: 4 (1%)

Male 1 (-%)

Perfect 4ths:

Female: 31 (11%)

Male: 26 (11%)

Perfect 5ths:

Female: 17 (6%)

Male: 30 (12%)

Octaves:

Female: 1 (-%)

Male: 1 (-%)

Mode: Pentatonic. A high degree of ornamentation in the female part implying an acculturative influence.

Tonality: E

Timbre: Unchanged male voice and youthful female voice accompanied on a one gallon can “drum.”

Texture: A duet. Two separate parts interweave. This example is very unlike any other example recorded. Drum accompanied.

Intensity: Free and full singing.

The only example discovered of harmony among the Anuak. Overlapped portions include unisons, octaves, fifths, sixths, and fourths. Horizontal harmonies.

A call and response pattern. The brief calls are short, straightforward and often repeated. The responses are also repeated and in addition are ornamented and melismatic. The responses differ from the calls.

The male singer accompanies the duet on a one gallon can “drum.”

Tape Number: 20B 19 367

Place of Recording: Pokwo

Date of Recording: July 20, 1972

Date of Transcript: September 27, 1972

Source of Song: Probably Gok

Performers: Nyigwo Nyang, male about 14 with a female singer about 16, both from Gok. The boy accompanies on a one gallon can “drum.”

Informants: Paul Abulla and Henry Akway

This performance was at the request of the investigator.

This duet is sung with great rhythmic drive.

When I slept by night, I didn’t sleep.

Because of what I had been thinking of, I dreamed.

Plans have been destroyed by the old man.

But I’m still thinking alone.

(Praising the girl.)

I am poor.

I came from a different place, from a foreign land.

A person like me has to be poor.

You tell Akwata, I heard that her greeting has reached me.

(Praising Akwata)

I’m going to sing a song for her where she goes.

(Informing another girl): Tell that girl that properties are like water, in which everybody is in need.

So am I and I’m sure I will get it in the future.

A rich man gives a dowry as if he is tired of them.

Tape Number: 29B 7

Place of Recording: Pokwo

Date of Recording: July 26, 1972

Date of Transcript: February 19, 1973

Source of Song: Probably from Gok

Performer: Gilo Akway, 20–23-year-old lady with leprosy. Can “drum” accompaniment.

Informant: Agwa Alemo

This performance was at the request of the investigator.

A love song does not have the same exactness about it as does an Obero or Agwaga.  They are often mixed together; a portion from one love song may be joined with several others. Or the singer may sing the first part of the song, mentioning the names of the people, come to the ending and say, “I send my greeting and a letter to you, “pause for a moment and then repeat from some part of the song. The occasion and the individuals present will help to determine the performance.

Informant, Agwa Alemo, reported that the old men are not pleased with these love songs, which they consider modern. They do not have the same respect for the modern dancing songs as they have for the war songs. The old men fear that the young people will not be willing to face war if it comes. They want the young people to like war as the older generation does. The young people’s preference for the love songs is another indication to the older ones that they are moving away from cultural values.

The content of this love song resulted in a discussion of the Anuak’s relation with the Ethiopian police. Agwa Alemo stated that it is a common idea that, “If I go to be a policeman in the government in Ethiopia, they will not give me a rank or a good place to be. The government will send me where there is a war.” This is what is commonly done. Anuaks are separated. They do not serve together. An article from Mussolini’s time said that if Anuaks are together, they will cause trouble. During Mussolini, four hundred Anuaks came to fight against him in Addis Ababa. When they lived in Addis, many were given a rank. When they walked in the town, the people used to abuse them with slaps because they fought with the Gallas. Those who were given rank were taken out and went to the palace and the rank insignias were burned. His Majesty gave them the ranks, but the Anuaks became very angry and took the ranks off themselves. Many of them died on the way back to Gambela. They fought Gallas on the way. Still, a few are still alive in Addis. If the young generation wants to be in the police, they will be brought directly from Gambela to the Ogaden Desert where there is a war with Somalia.”

I’m finished with thinking.

But there is no other way unless I go to be a policeman.

If the rich man loves with you, it doesn’t mean that he really loves you.

Repeats:

(This song is mixed with a song in which my informant, Paul Nyinyoni, is included.)

The girl replies to all the people: If he was to go somewhere, everyone knew it.

I heard of the coming of Nyinyoni to the Gilo River.

(The first part of this song is from Gok and the last part is from several places. The song is repeated.)

(Insulting a rich man): If your daughter is keeping away from a rich man’s home, you will take her to a far village and give her to someone who is very rich also.

(The lover of the girl mentions): My love became like a mirror which you can see your face.

(Meaning, my lover has been seen or used by many different people.)

Tape Number: 31B 1 000

Place of Recording: Tierlul

Date of Recording: July 27, 1972

Date of Transcript: March 10, 1973

Source of Song: Village of Owelo.

Performer: Composed by Nyinyoni (not my informant). Nyigwo Nyang, male, about 14, accompanying himself on a one gallon can “drum.”

Informant: Agwa Alemo

This performance was at the request of the investigator.

This taping was done on a bright, pleasant day, sitting under a tree in Tierlul. Many singers were sitting around and shared the work of singing. One of the most rewarding singers was this young man. He sang love songs with drive and great vitality.

I’m going to where there are no villages, to look for a dead elephant.

And I advise those that don’t have parents, father and mother, not to marry.

When I made myself proud about the girl, I thought I was making it for myself, and I did not know she was going to be taken by a rich man.

(Saying about a beautiful girl):  If she wants to come to visit, we can cut the grass so that she can come easily to our station.

I’ve spent much money because I didn’t know that she was going to agree with me.

(The singer insults people who have much money.)

Tell her that even though you are married to a rich man, I’ll wait for her.

She’s lovely and needed by many Nuers and Anuak because she looks very beautiful.

Tape Number: 31B 10 641

Place of Recording: Peno

Date of Recording: July 28, 1972

Date of Transcript: March 10, 1972

Source of Song: Peno or Tedo, by Nyinyoni (Not my informant)

Performers: Nyinyoni, accompanied by player on gourd and player on two bottles

Informant: Agwa Alemo

This performance was at the request of the investigator.  The Field Notes for July 28, 1972 set the scene for a memorable day of travel and recording.

“9:40 a.m. We leave Pokwo, heading downstream to Peno. It is cloudy with a hint of rain. A cool traveling day.

“10:20 a.m. We stop at the police post in Etung and check in with the Amhara Lieutenant to inform him of our destination.

“10:40 a.m. We arrive at Peno. We land at a clear, flat area and sit with the men, the Jo Burra. Paul Nyinyoni first holds conversation with the fellow we have come to see, Nyinyoni Ajwiar from Owelo. Being friends, they discuss the injuring of the chief by one of the Anyo Nya while being drunk several days before.

“11:15 a.m. Taping session begins with Nyinyoni seated in front of us. The chief seated on a raised section under a tree, the men of the Burra watching in a circle, they younger boys at a distance under the shelter of a house roof, close enough to do whatever the Jo Burra requests. (If they fail to, they will be fined a goat or more or whipped.) The women and children are seated at a distance by the houses. Nyinyoni is a song composer of great repute and also a person who has traveled around to a great extent within the tribe. So, his songs have been composed in a variety of places at a variety of times.

“Nyinyoni wants to find a drum or a tin for rhythm, but has difficulty. Soon a man with a gourd and a man with two bottles–a beer bottle and a mineral water bottle–arrive and form the accompaniment. The gourd is played as a drum and the bottles are played alternately pounding them on the ground, causing two different pitches to sound. The placing of a finger over and then off the top of the bottles also causes a pitch change.”

(Saying about a man who has much money):

A poor boy who shares a girl together.

The girl took the poor.

Repeats.

That girl took a poor boy.

When a poor boy went to the gold mine, his wife was taken by a rich man.

(The poor boy sends back a greeting to his wife.)

Though I’m far from you, I can see you in my mind, going to Gambela and going to Gilo River.

Those rich people, they are greedy.

They don’t sympathize with any person.

They don’t eat in a group, but they eat by themselves.

Tape Number: 32A 12 795

Place of Recording: Peno

Date of Recording: July 28, 1972

Date of Transcript: March 17, 1973

Source of Song: Tedo. Written by Nyinyoni in about 1966.

Performers: Okelo, a young man of about 18, accompanied by gourd and bottles.

Informant: Agwa Alemo

This performance was at the request of the investigator.

The performance of this love song took place in the setting described for love song number 9 31B 10 641. Each love song may be different, but the themes remain quite constant.

(The singer mentions his friends who are poor like him. They left their villages in the same year.) He says: God, who creates the girl very nicely, straight and well-built.

(Mentions the leader) When the leader was invited to another village, I went with him.

When we reached where we were invited, I saw many friends and the girl whom I was in need of.

People were saying, “You are welcome to join our group.”

And you say, “Thank you very much,” to the invitation to join the group.

(The girl whom he was wanting to marry talked with him):

What do you think now? (He asked)

The girl answered, “I want my father to die so that we can skip away.”

She continued, “We better go to the gold mines so that we can work together to get the money of the rich person easily.”

The texts of love songs are generally short and repetitive and allude to several subjects. Love songs comment about the poor man who has to work long and hard to get his dowry, contrasting him with the rich man who gets what he wants without trouble and does not appreciate what he has. The rich old man takes the girls away from the poor young men. The young man loses his love because of a lack of dowry and his plans are destroyed by the old man. A dominant theme of love and lost love quite accurately reflects actual courtship problems among the tribe. Love songs may also include the names of the young people and therefore form a way of praising each other. But the dominant theme of love songs is the need of the young for marriage wealth so that their love objects will not be taken by the old and/or rich men of the village.

Shape: The examples analyzed display short arcs or a high initial statement answered at a lower level.

Range: Wide, varying from one octave to two octaves.

Intervals:

Unisons: (32.5%)

Minor 2nds: (1%)

Major 2nds: (35.5%)

Minor 3rds: (11.5%)

Major 3rds: (1%)

Perfect 4ths: (11.5%)

Perfect 5ths: (6%)

Octaves: (1%)

Mode: Pentatonic dominates. The examples analyzed are highly ornamented implying an acculturative influence.

Timbre: Young people in solo and duet combinations.

Texture: Analyzed examples include a two-part selection and solo male voice with soft singing in the background. The love songs are accompanied with a can “drum.”

Intensity: Free and full with an open, unstrained quality.

Some harmony can be found among the love songs. Duets occur as one singer sings a phrase and the second singer will echo the phrase or provide an original phrase beginning before the other is finished. The temporary layering or overlap creates a horizontal harmony of various intervals.

Love songs are highly rhythmic with a duple feeling dominating.

Love songs are relatively short and contain considerable repetition. The call and response pattern are evident.

In the improvised nature of the small singing occasions among friends, it is easier and more appropriate to do with a makeshift instrument rather than get permission to use the village drums. Therefore, a drum substitute is found. A can “drum” (a one-gallon gasoline can) or a larger metal container for a larger occasion will work as a resonating chamber for accompanying dance and singing. On other occasions, a gourd beaten rhythmically will provide a good body of sound for accompaniment. Flute, bottles beaten on the ground, or the thom (thumb piano or mbira) provide an effective accompaniment.

Tape Number: 20A 6 097

Place of Recording: Pokwo

Date of Recording: July 20, 1972

Date of Transcript: September 27, 1972

Source of Song: Probably Ajwara

Performer: Woman soloist singing for recording purposes.

Informant: Paul Abulla and Henry Akway

Marching songs, or Nirnam, may be characterized as songs of boasting. They are for a certain age set and are composed for the occasion when some large animal is to be killed. The members of the age set take an oath not to participate in some activity or to refrain from some food or drink until the animal has been killed.

We have shot holes in the beer strainer because of the boasters.

We are good shooters.

You take your 3003 rifle and fight.

The generation of Dhogo is boasting to fight.

Let us go back and drink.

You beat our drum very well.

He who goes back and drinks is spoiling his name.

(He would spoil or discredit his name because the age set of Dhogo swore not to drink beer until they had killed the elephant.)

A word-for-word linear translation follows:

Adhinga [The strainer] agocwa [shot] mac [bullet] kipper [because] gwocwa [are boasting] kongo [beer]

No [When] dwue [come] ki [from] bang ngu dhogo [liar Dhogo] ocwoli [be called] nidi [how]

Thor [Shooting aim] mo [that] enayi [he has] Kwaylwak [Man responsible for a certain generation].

Ojulo [Title of the] nikango [man] congo [the day] ojolwa [we shall respond] go [it] dhogo [person’s title] cwol [called] ni [is] dejashmach [Dejashmach].

Kwanya [Take] (Pick up) abucare [3003] ki [with] nyare [daughter] no [that] kwot [Kwot] (name of a person)

Bang [Nobody] ngat [person] jiemo [argue who is best] ki [with] uni [you] podha [proceeded] lwa [the generation] dhodo [title of man] liec

Lwa [The generation] liec [title of man] jo [people] ngwya [boast] karleng [place of fight] jo [people] dokedo [would have fought].

Joby [Title] winy, wala [buffalo] nyino [the man] obwoth [lead] abongo [type of dance] jo [people] ngwoya [boast] gin [something] rac [bad].

Dejachmach [Dejachmach] wana [we] duo [returned] bang [from] ngu [lion] wa [we] bwoth [lead] thabur [marching].

Iwa [Title] caam [of the girls] nyogira [called] nyi [girls] kwaa-ya [leaders] arage [robes] kargi [all] bet [them].

Nyi [The person] ko [said] ni [that] wa [we] do [return] ri [back to] math [drink] bulli [title] winy-caam [of a person] goc [beat]

Burwa [drum] (our drum) niber [good] ne [so] winye [heard] ngat [person] kale [brought] kongo [beer] ranya [spoil]

Nyinga [name] Gok [Gok] (village name)

Shape: Descending patterns from the initial high point.

Range: Two octaves.

Intervals:

Unisons: 27 (40%)

Major 2nds: 17 (25%)

Minor 3rds: 9 (13%)

Perfect 4ths: 8 (12%)

Perfect 5ths: 5 ((7%)

Major 9ths: 2 (3%)

Scale: See transcription.

Mode: Pentatonic (anhemitonic, first mode)

Tonality: A

Timbre: Female singer.

Texture: Monophonic. Solo without accompaniment. In a usual situation this would be sung as a call and response.

Intensity: Moderate.

Duple meter. Built on eighth notes grouped in pairs, sometimes subdivided.

Call and response, though not identified in this example.  Two nearly identical phrases.

Tape Number: 20A 1 000

Place of Recording: Pokwo

Date of Recording: July 20, 1972

Date of Transcript: September 27, 1972

Source of Song: Gok

Performer: Woman soloist from Gok singing for recording purposes.

Informants: Paul Abulla and Henry Akway

This characteristic marching song boasts of the killing of a leopard and an elephant.

All of you; all of you; you young boys, put on your shoes.

You are the second.

You young girls, put on your shoes.

You are the first.

(The young boys have killed a leopard.)

I want to perform a very nice song of marching that could be heard all over the villages.

This is the generation of the man (in charge of them) Ogira.

We are the top men.

(Praises the age set)

We don’t have an old man in our village.

But our village is always being aggressed.

We have killed a lion and a male elephant.

Our village has gone back to its former normalcy.

In the time of marching, the trumpets and the drums sound.

We march on, the generation of Ogira.

(Praising themselves)

We refused to eat a certain kind of fish.

But we will be eating the skin of an elephant.

The young boys have come after killing the elephant.

The people have received them with cheers.

Repeats.

Shape: A generally descending contour from the beginning of each short phrase.

Range: Minor tenth: C-Eb

Intervals:

Unisons: 17 (20%)

Minor 2nds: 2 (2%)

Major 2nds: 25 (30%)

Major 3rds: 2 (2%)

Minor 3rds: 13 (16%)

Perfect 4ths: 11 (13%)

Perfect 5ths: 5 (6%)

Octaves: 8 (10%)

Scale: See transcription.

Mode: Mixolydian, First mode.

Tonality: F

Timbre: Female singer.

Texture: Monophonic. Solo without accompaniment. In a village situation, this would be sung in a call and response pattern.

Intensity: Moderate.

None present.

Various combinations of duple and triple which produce at times a feeling of compound meters 5/8 and 7/8.

Call and response, though not identified in this example.  Two almost identical phrases followed by a third phrase with new material.

None present.

Tape Number: 24A 1 000

Place of Recording: Pokwo

Date of Recording: July 22, 1972

Date of Transcript: September 30, 1972

Source of Song: Okuna

Performer: Woman soloist, Omot from Gok singing for recording purposes.

Informants: Paul Abulla and Henry Akway

About thirty people surround the recording area as Omot sings about the killing of an elephant.

All the generation, we are to visit the country of Haile Selassie.

People are talking of the chief, Nyigwo.

But we are going to resume and establish again the dynasty of the chief as it was from the first chief, Okedi.

People of the village ask, “Where are the young boys?”

They have gone to the elephant.

The young boys want to go to the North where the Masengos would run and the leaves shall fall down.

(The Masengos wear leaves. Therefore, the boys would destroy them. They would run and the leaves will fall down.)

(Praising a girl) She is a gentle girl.

We were asked, where did you come from?

We came from the fence. (Or from inside the fence of the chief)

We are the people who refused olwietha (made to replace salt.)

We will never eat it again.

(Insulting it: Like the urine of a donkey.)

We refuse it and our village has been heard all over the Anuak villages.

Repeats.

(The Anuaks would have destroyed the Masenko tribe, but because of the law, they did not.)

Shape: A complexly rhythmic melody starting high and immediately descending to a low tessitura.

Range: Octave and a fifth: G-D.

Intervals:

Unisons: 20 (49%)

Major 2nds: 13 (32%)

Minor 3rds: 4 (8%)

Major 3rds: 1 (2%)

Perfect 4ths: 2 (5%)

Perfect 5ths: 1 (2%)

Scale: See transcription.

Mode: Tonal penta scale.

Tonality: Gb

Timbre: Female singer.

Texture: Monophonic. Solo without accompaniment. In a village situation this would be sung as a call and response.

Intensity: Moderate.

None present.

Complex. An incomplete quarter note triplet is described containing only 2 ½ of the usual 3 quarter notes. The last beat is cut off; it functions both as the last beat in the quarter note triplet and also as the first beat in the following eighth note triplet. (Waters)

Call and response, though not identified in this example.  This representative portion is a part of a selection of five sections. It is a theme with three variations plus a recapitulation of the theme. All sections have the same range and general shape. They begin on the same dominant and progress downward to conclude on the same tonic a perfect twelfth below. Each contain a series of repeated notes on the bottom tonic. (Waters)

None present.

Tape Number: 29A 1 000

Place of Recording: Pokwo

Date of Recording: July 26, 1972

Date of Transcript: February 19, 1973

Source of Song: Gok

Performer: Athur Abulla, female about 28 from Gok, singing unaccompanied for recording purposes.

Informant: Agwa Alemo

The young generation in Gok swore not to drink beer until they had killed an elephant. This song was sung to commemorate that event. On this particular occasion, they shot the male elephant, and the female elephant tried to chase them away. This is mentioned in the song.

Though the female tried to chase us away, we killed both and took the child of the elephants.

(The Gok people were the first in the Anuak area to catch such a small elephant.  When they tried to bring this elephant to Gambela, unfortunately it died on the way.)

This year will be a happy year.

The young generation of Ethiopia will be playing.

Our Quilwak will stand in front of an airplane and will be photographed.

(Quilwak was the leader of the generation, Kwaclwak.)

Shape: The highest point is achieved at the beginning and descends gradually.

Range: Octave and a perfect fifth: F-C

Intervals:

Unisons: 14 (29%)

Minor 2nds: 2 (4%)

Major 2nds: 13 (27%)

Minor 3rds: 7 (15%)

Major 3rds: 5 (10%)

Perfect 4ths: 7 (15%)

Mode: Pentatonic

Tonality: F

Timbre: Solo female singer.

Texture: Monophonic. Solo without accompaniment. In a village situation,  this would be sung as a call and response pattern.

Intensity: Moderate.

None present.

Complex, free.

Nonrepetitive consisting of a number of phrase groups similar to the one transcribed. Call and response, though not identified in this example.

None present.

Tape Number: 31A 4 235

Place of Recording: Tierlul

Date of Recording: July 27, 1972

Date of Transcript: March 10, 1973

Source of Song: Ajwara

Performer: Yalo Alwinye from Ajwara, a man with a clear high voice singing unaccompanied for recording purposes.

Informant: Agwa Alemo

This song refers to the killing of an elephant in 1963, approximately.

Swear not to smoke tobacco. (athumanua)

When we swear not to smoke the Anuak smoke, we went to Juba and we came back with hand bags.

When we see many fellows having hand bags, we see that our village will never again be destroyed.

All the people of the villages saw us.

Our marching and girl’s marching will be heard in the whole area of Anuak, and we will go to Juba with our girls together.

Shape: The highest point occurs at the beginning of the piece and descends.

Range: Two octaves: A-A.

Intervals:

Unisons: 56 (52%)

Major 2nds: 28 (26%)

Minor 3rds: 8 (7%)

Major 3rds: 1 (1%)

Perfect 4ths: 10 (9%)

Perfect 5ths: 4 (3%)

Octaves: 1 (1%)

Scale: See transcription.

Mode: Minor.

Tonality: D

Timbre: Male singer with a clear, high voice.

Texture: Monophonic. Solo without accompaniment. In a usual situation this would be sung as a call and response pattern.

Intensity: Moderate.

None present.

Free. No strong feeling for pulse.

The introductory phrase is repeated and followed by a number of variations. Call and response, though not identified in this example.

None present.

Tape Number: 32A 10 383

Place of Recording: Peno

Date of Recording: July 28, 1972

Date of Transcript: March 17, 1973

Source of Song: Peno

Performers: Okelo, a young man of about 18 singing at first without accompaniment and then with added gourd and bottles.

Informant: Agwa Alemo

As the singer performs for this recording, he sits before the microphone with another man playing the gourd as a drum and a third man playing the bottles by alternately pounding them on the ground causing two different pitches to sound. He sings at first without accompaniment and then the instruments are added, changing the rhythm of the song. When the rhythm is changed, the marching song becomes a dancing song.

(When they swore to kill an elephant, they said):

If we miss to kill an elephant, we will kill a young Nuer fellow.

If I’m really angry (or upset), I will go to attack a certain village of Nuers.

(Ten to fifteen years ago, the Anuaks were fighting village against village. If one village and another were in disagreement, the people who swore would say, “If we don’t kill the animal, we will go and attack that village.”)

If we capture a small elephant, we will adopt it to help it grow.

The ivory can be cut and divided among this our generation.

A gourd used as a drum and two bottles.

Tape Number: 33B 4 189

Place of Recording: Peno

Date of Recording: July 28, 1972

Date of Transcript: March 24, 1973

Source of Song: The village of Okade; written by Nyinyoni in 1963.

Performer: Nyinyoni, composer and well-known singer. Sung at first without accompaniment and then with added gourd and two bottles.

Informant: Agwa Alemo

The setting for this recording is much the same as that for Number 6, 32A 10 383.

(In our area, there are young fellows who want to cause fights between villages. The old men will send them out saying, “If you don’t know war, you better go and fight an elephant in the forest.” The old men used to say that to young boys who didn’t know war at all.)

When we kill an elephant, everybody in the village will buy a gun.

If you don’t know war, then you better go fight an elephant.

If there is a war now in the village, I know now that you are going to fight.  Repeats.

We didn’t fight an elephant because of the meat but because of the ivory.

(Instruments: gourd and bottles are added.)

When we fought elephant, we captured a small one.

Repeats: “Captured a small elephant daughter.”

You refused the old men so that the young boy that is going to marry you will give you the ivory of an elephant that we kill.

(The accompaniment slows down. The drumming changes, but the song is the same one. When the boys came from hunting, the girls went to them singing this song in the slow form.)

We are glad you are coming.

(The accompaniment speeds up again. When the girls reached the boys, the drums were beaten in a dancing form and the boys and girls danced together. This is why the music speeded up again.)

A gourd is used as a drum along with two bottles beaten rhythmically on the ground.

Tape Number: 37A 12 323

Place of Recording: Tierlul

Date of Recording: August 3, 1972

Date of Transcript: September 9, 1972

Source of Song: Oboa, composed by Omot Opiew, about 1961

Performer: Omot Opiew, male; sung without accompaniment.

Informants: Cham Moses, Obong Odiel, Omot Ochan, and Henry Akway

Omot Opiew sings for the recoding. He states that since he is a composer, it is very easy for him to learn other songs. Therefore, he knows many. The old composers in his village died, so he took over.^[3]

(These people have refused fish having scales.)

I’m greeting all of you.

You are the generation of a man called Lion.

(The man having this title is the head of that group.)

Let’s talk of this and have one decision.

Whatever we have talked about strongly (or promised to do) shall not be left. (Shall not be ignored.)

They found what they had been looking for.

The sound of bullets shall be heard at Dhirmac (a village)

People have asked us, what have you killed?

(He replied) There is no particular thing.

Whatever we will find, we shall kill it and we won’t tell the number of what we have killed.

This generation shall be counted among the top (the strongest).

(Then they were asked): Where are you going?
We are happy.

We shall be marching with our shoes.

We have refused this fish, and we shall never eat it.

Even though four or five people among us try to kill something, it is still we, the generation who has killed it.

We are the first and the strongest.

We have a decision that is hidden. (Which means, they will never expose the decision until it has been told to the chief.)

There are two groups.

The first group will be leading. (Called Awero, a kind of bird, like a duck, black and with numerous white spots, some blue on the head and no hair on the sides of the head.)

The second group shall follow the first group (called Gweno, chicken).

The groups shall cross the river through the village of Abol.

Tape Number: B 4A 9 247

Place of Recording: Tierlul

Date of Recording: January 8, 1973

Date of Transcript: April 27, 1973

Source of Song: Ocwing, about 1958

Performers: Okwot Buy, male, from Okade, joined by the group around him.

Informant: Agwa Alemo

Okwot sings this song of boasting for the recording.

(The Anuaks are using buffalo skin to make shoes. This kind of shoe is very hard to beat someone with.)

We are the generation who ignore the beating of this kind of shoes who fought the people of Maji and the people in Bale province.

The dancing that we are going to dance will be heard in the whole region of Anuak.

We are the generation of the man who is named after a giraffe.

Raise your hand with an ivory.

We are who people are looking at.

(The song praises the leader of their generation who is likened to a man who makes commands and leads during a war.)

Tape Number: B 6A 2 149

Place of Recording: Tierlul

Date of Recording: January 12, 1973

Date of Transcript: May 5, 1973

Source of Song: Ajwara. Composed by Otok in about 1956.

Performers: Kwot Onyinyi with five other men. All men are about 30-45 and sing without accompaniment for the recording.

Informant: Agwa Alemo

This marching song is unclear as to what the people swore not to eat. However, they wanted to kill a lion and their age set leader is named after a buffalo.

When we boast for a lion, we didn’t come back and people thought that our generation would be finished by a lion.

Those who say that our generation would be finished, when we fought it, we shot the lion and it fell down on its right shoulder.

When we march, we will have a flag leading and the bullets will be shooting after the flag.

You told the people to keep silent.

But they said, we are the generation of the people who disobeyed the order to keep quiet.

When people ask where are those who killed the lion, we will be in the line under the flag.

The trumpet will be blown and we will march.

Those who kill a lion are the best men.

Amharas came from hunting in the forest.

(They named themselves as Amhara, a term of respect.)

We have killed what we said we would kill.

Because marching songs relate the exploits of a group of young people in their success against some animal, they provide an opportunity for a particular age set to boast of their strength and achieve status and prestige. They boast that they are the top men, that they have been received with cheers. They have displayed their bravery by the killing of a large animal and this deed is for the entire village to see. In some ways, this activity and the recording of the activity has the connotation of establishing manhood. It is important to follow through on the promises for the sake of the status and honor of the age set.

The texts describe the mode of fighting as well as the object of the battle. Plans are described: they will be led into battle with a flag; they will go in with bullets flying; they will split up and then attack. Fighting an animal provides a surrogate war and in effect heightens the young’s desire for violence as well as providing an outlet.

The texts describe a form of ritual that the young people take seriously. They swear not to participate in something until their goal is achieved. They may not drink beer, or eat fish, or salt, or smoke tobacco until they have accomplished their goal.

Shape: There is a pattern of the highest point of the melody being achieved at the beginning of the song or at the beginning of the phrase and then descending to a lower tessitura.

Range: Wide. Ranges of the songs vary from a minor tenth to two octaves.

Intervals:

Unisons: (38%)

Minor 2nds: (1%)

Major 2nds: (28%)

Minor 3rds: (12%)

Major 3rds: (3%)

Perfect 4ths: (11%)

Perfect 5ths: (4%)

Octaves: (2%)

Major 9ths: (1%)

Mode:  A variety of tonal patterns are present including pentatonic, mixolydian, and tonal pentatonic modes.

Timbre: All recorded examples that have been transcribed were with soloists singing for the occasion.

Texture: Monophonic.

Intensity: Moderate.

None present.

Ranging from complex and free with no feeling of pulse to a duple feeling. With the addition of some rhythmic pulse, it is probable that the songs would display a duple feeling.

Varies from nonrepetitive to theme and variations, to identical phrases. In a normal village situation, a call and response pattern of singing would be followed.

None used in transcribed examples. Drums or gourds are used.

Tape Number: 10B 1 000

Place of Recording: Tierlul

Date of Recording: July 12, 1972

Date of Transcript: August 1, 1972

Performer: Young female soloist, Onyicli singing for the recording.

Informant: Paul Abulla

A dancing song would normally be performed during a village dance and would involve an age set and members of the opposite sex. Drums would be used and a call and response pattern incorporated. This performance is by a single singer for the benefit of the investigator.

I never thought of getting something, but I did.

What was given by the chief (or the king), I will not deny that I was not given.

(To a certain lady) Don’t be surprised.

This liar is trying to confuse us and bring misunderstanding between us.

Anyone who stays with the chief may get something.

(Mentions the names of the people.)

(Asking the people whose names are in the song to give something to the singer. Sometimes, when people find that their names are in the song, they will give something to the composer. Not only the chief gives, but those whose names are in the song will give something to the fellow who wrote the song.) (Informant Abulla)

(She asks the chumi (chief or king) not for herself, but to give something to the people.)

Tape Number: 11B 4 124

Place of Recording: Tierlul

Date of Recording: July 12, 1972

Date of Transcript: August 2, 1972

Source of Song: Openo

Performer: Ocan Obang, male singer, about 20, singing without accompaniment for recording purposes.

Informant: Paul Abulla

This song belongs to the Jo Burra, the bodyguard.

Mentions the names of those in the bodyguard.)

Some people used to go to the chief, saying, “Don’t give this boy demoui or cow. He is not a good man.”

(Continues to mention the names of the people.)

Tape Number: 18A 1 000

Place of Recording: Anyele

Date of Recording: July 17, 1972

Date of Transcript: September 5, 1972

Source of Song: Probably Anyele

Performers: People of the Village

Informant: Omot Ochan

Field Notes of July 17, 1972 yield this description of the village of Anyele and the recording success encountered.

“Anyele is on the right side of the Baro River, downstream from Illea. The setting is dominated by three large trees casting a shade over the dancing area and (learned later) suspected as being spirit trees, worshipped by and possibly dominating the thinking of the community. The people are not well-prepared as they were not aware of our coming. Yet they seem poorly disciplined and surly. The children sing with long delays between each song. They react to a degree and yet not with the pride evident in other places. The children sing loudly and inaccurately. The village then decides to sing, led by someone who is not the usual leader, and they do not sing well. There is much inattention and talking while singing is going on. Perhaps with the normal leader, they would do better. The first question asked of us was for some form of pay if they would sing. They showed no respect to Paul, but later showed considerable alarm when they realized who he was.”

(Praising the people in the group.)

(When performed, they praise you or praise his friend and the girl friends and the group. The dancing arrangement would be with the girls in the center of the circle surrounded by the boys.)

Tape Number: 19B 11 285

Place of Recording: Pokwo

Date of Recording: July 20, 1972

Date of Transcript: September 25, 1972

Source of Song: Gok

Performer: Gilo Akway, solo female singer who has leprosy.

Informant: Paul Abulla and Henry Akway

This recording session took place in the village of Pokwo. Thirty or forty children stood around or sat and watched the procedure. They particularly enjoyed the play-back of each tape after it had been recorded. The leprosy patient from Gok sings with confidence and with a clear, strong voice. This recording session was at the request of the investigator.

(Praising the people)

I didn’t expect that I would come out without getting anything.

I don’t know whether I will get something or not.

(Praising two people, saying): I expect something.

The king has become better now.

He has some trade but my poverty will just throw me to a foreign land.

(Praising a girl, saying): You won’t be taken by that rich man forever.

You will be back with us.

She’s a good girl.

She has refused to be taken by the rich man and the rich man now is troubled of what to do.

You insult him and give him back his properties.

(Praising the girls about their beauty.)

(Mentions a certain girl) When people talk, she will be taken to a rich man.

They will simply reply. “Oh, our beautiful girl.”

I don’t expect coming out without getting anything.

(Praising some girls) She has become like a daughter.

For me, I have enough, but I’m still looking for the next girl.

(Praising the girls, saying): Our wife has disappeared.

Something that you have looked for (meaning a girl), If it is taken by somebody, why don’t you die without feeling anything.

A bullet will strike you unknowingly, without feeling.

(Praising the girls)

Whatever people have been talking about, I have never forgotten it.

(That girl may have been the first one promised him.)

We have not cultivated very well this year because we were not determined due to the trouble of the girl that has just been picked without our notice.

(Praising the generation) I’m the poorest.

Nobody is like me.

(Praising the people)

He would be called by that bead. (The ones from the girl’s lower lip, hanging to the floor.)

(Praising the girls with their titles.)

(Praising a certain girl) Try to stop my poorness.

(Praising the people) I wish that demoui would become something very easy to be found.

(Mentioning the name of a certain girl) I compare you with a certain beautiful thing.

She works hard.

(Praising the people, saying): Who will blame you.

(Praising a girl) She is beautiful.

Tape Number: 26A 8

Place of Recording: Illea

Date of Recording: July 24, 1972

Date of Transcript: January 20, 1973

Source of Song: Illea

Performers: Soloist Odiel, male, with villagers and trumpet player

Informant: Agwa Alemo

This song is essentially a love song for the chief. It is in the dudbul, or dancing song category.  The field report of July 24, 1972 provides a description of the village scene.

“12:00 noon. Action begins with the women and children sitting to our left, the soloist in the center in front of the drums. The men are to the right and what dancing is done takes place in the far center, out of the shade of the trees. The leader is strong, expert and responsible for the composition of many of the songs sung. He is the composer for several of the villages in the area, making his living as a composer of songs for several of these places.”

God, what can I do…what can I do?

I swear in the name of our chief,

God, what can I do? I swear in the name of our chief.

When I feel my fullness, I will be calling your name.

What problem have you seen that I have done?

It seems to me that I’m the best friend in the village.

(Praising his friend and his wife also.)

(The singer mixes different languages including the sounds of the Somali.)

You are the leader of the village.

No one will overthrow you.

(Trumpet sound included)

(He is singing in a different language and then back to Anuak at which time the villagers respond.)

You re the leader of the village.

No one will overthrow you.

Tape Number: 32A 4 076

Place of Recording: Peno

Date of Recording: July 28, 1972

Date of Transcript: March 17, 1973

Source of Song: Composed by Nyinyoni Ajwiar from Owelo while he was in Gambela.

Performer: Nyinyoni accompanied by gourd and two bottles.

Informant: Agwa Alemo

Recording this composition was a part of a very pleasant session in Peno about one hour down river from Pokwo. The soloist was a strong singer, self-assured and respected.

Field Notes for July 28, 1972 describe the scene:

“Taping session begins at 11:15 with Nyinyoni seated in front of us. The chief is seated on a raised section under a tree, the men of the Burra watching in a circle, the younger boys at a distance under the shelter of a house roof, close enough to do whatever the Jo Burra requests. The women and children are seated at a distance by the houses. Nyinyoni is a song composer of great repute and a person who has traveled around to a great extent within the tribe. His songs have been composed in a variety of places and at a variety of times.

“Nyinyoni wants to find a drum or a tin for rhythm, but he has difficulty. Soon a man with a gourd and a man with two bottles, a beer bottle and a whiskey (mineral water?) bottle arrive and form the accompaniment. The gourd is played as a drum and the bottles are played alternately pounding them on the ground, causing two different pitches to sound. The placing of a finger over and then off the top of the larger bottle also causes a pitch change.”

The song includes a good deal of explaining.

(There is a girl who was married by one of the freedom fighters and the girl came to Gambela to buy clothes. When she came, she fell in love with one boy in Gambela, a man called Paul.  The freedom fighter sent a message from the headquarters to Gambela to let the girl go back. He said, “How can you fall in love with a boy in Gambela, those who are roaming in a town with no place to sleep and nothing to be eaten?” There was a rich man who produced a song against the poor. This man, Nyinyoni the singer, replied the song to him, answering the song sung against the poor.)

You refuse that boy. Don’t marry him.

Repeats

You beat the drum that can be heard in Kudbudi (Gilo River area).

(There was a boy who was wanting to marry a girl. When they agreed to marry each other, before it was heard by the people, he went to the gold mine. Those who are living in Tiernam used to marry a girl who is married already and they married the boy’s wife while he was in the gold mine. The boy who was in Torit (the location of the gold mine) asked a question about the girl.)

(He said) How were you married by that man?

(The girl answered): Because you stayed for a long time in the gold mine.

(When the boy came back from the gold mine, the girl was in need of him again. She admired him and said he looked like one of the captains of the Anya Nyas.)

There is no possible way to get money by working at the gold mine.

Repeats last part.

Our wife came back from Gambela.

We will still want her and take her again.

A rich man is a person who eats alone who wants to share nothing.

Tape Number: B 1B 7 1050

Place of Recording: Tierlul

Date of Recording: January 5, 1973

Date of Transcript: April 23, 1973

Source of Song: Composed by Odiel Okelo from Ebago. The song is from Illea, composed in 1972.

Performer: Odiel, singing without accompaniment

Informant: Agwa Alemo

An extended amount of time was spent with Odiel Okelo during this recording session as he sang for the investigator. Odiel’s work was observed several times during the time we spent in the area. He sings with his hands over his ears, sitting forward, and looking through eyes that appear not to be well.

The son of giraffe. (The father of that chief was named after giraffe.)

I will like to beg you in my songs (or continue to beg you).

Though I’m very tired, I will still sing the songs for any chief.

I didn’t see you yet. (He doesn’t know more about the chief yet because he is a new chief.)

I got a chief who gives me something.

I don’t know you yet, who is fit to lead the village.

He looks very proud to be a chief.

Try your best to lead your village, you the chief of Illea.

Your bodyguard will have dancing which can be heard to the whole world.

Tape Number: B 4B 1 000

Place of Recording: Pokwo

Date of Recording: January 11, 1973

Date of Transcript: April 27, 1973

Source of Song: Gok

Performer: Gilo Akway, solo female singer from Gok.

Informant: Agwa Alemo

This recording session took place in Pokwo at the request of the investigator. The singer relayed a bit of her background while she rested between songs. When she was young, she learned the songs she sings in the village of Ajwara. She learned the songs from the people and where the composers practiced their songs. She practiced the songs while she pounded the grain or cooked the meal. Having leprosy, this young lady is no longer able to pound or cook, but she still sings.

(Praising a man named after a pelican.)

We were unhappy because of your absence in the village.

The Amhara tribe was the one that destroyed our village and now it is beginning to take the position of the previous time.

Their chief Otong is becoming the leader of Anuaks and he can give a common man money for marriage.

I would have married a girl to make food for me but there is no money to be paid for her.

It was said that God gives something unknowingly, but there is nothing left in my father’s home.

I will like to give myself to a rich man.

(Praising a girl and one of his friends, saying): I am going to be rich.

I’m the son of daughter of the king.

If I don’t sing some other song, it may be because of our chief.

(Means, his chief is going to send something to make him rich so he won’t have to sing songs anymore.)

(Informing one lady, saying): The money of marriage will never be finished.

Our village which is called Gok has a brave generation which can make good dancing in it.

The spear which was given by a certain girl was not repeated.

(Praising one of his friends) His friend was wanting to kill himself because of his wife.

He advised him not to kill himself because he can get a beautiful girl from the smaller groups (the younger generation).

God who blesses is the only God who gives money to the people.

There are two kinds of love: a love which can last for a short time and the kind that can last for good. (Means, there is love of 5 cents and love of a dollar.)

Those who refuse to live in their village, they will never be good.

Our area is good when you have relatives.

The poorest people are those who died but those who go for a long journey they can get money or become rich in the future.

(Praising one of his friend’s wife.) You are fit to be at home.

There is no person in Gok village for me to sing my song to.

(Praising a girl who sympathizes with anyone who comes to her home.)

Tape Number: 26A 4 251

Place of Recording: Illea

Date of Recording: July 24, 1972

Date of Transcript: November 18, 1971

Source of Song: By Odiel for the chief of Ebago

Performer: Odiel, singing without accompaniment.

Informants: Agwa Alemo and David Omot

This performance was a part of the village singing and dancing which was staged for this investigator. The people sat and listened to Odiel sing this song. They are not familiar with it as it was composed for another village.

This chief had been in prison in Ogre for ten years. When he was released, Odiel sang a song for him. This was the song he sang.)

Because our chief has been released from the prison, greet him with a salute.

Everybody, you better see with your eyes because our chief made no mistake.

They released him from the prison.

(There were some people who were against the chief. They were propagating that he would not be released but that he would be killed in the prison. The chief was held responsible for the death of a man beaten from Gilo because he was leading the village. A guest from Gilo married the chief’s daughter without money and was therefore beaten until dead. When the chief was in prison, the first wife of the chief took care of the village with her son.)

(In this part, he praised her) When your husband was in prison, you looked like him.

I’m now begging you without your husband together, to let me have something.

Tape Number: 28A 2

Place of Recording: Pokwo

Date of Recording: July 25, 1972

Date of Transcript: February 17, 1973

Source of Song: From Ojalo

Performer: Olok Okae from Cham, an older man singing without accompaniment.

Informant: Agwa Alemo

Olok Okae was one of the strongest singers encountered during the time spent in the Pokwo area. A highly experienced singer, he came to Pokwo for the single purpose of singing for this project. The field repot of July 25, 1972 sets the scene:

“We arrive at our place of recording at Pokwo and meet with a man who has come up river earlier in the day. He is an older man, very dignified in appearance, proud in bearing and very ready to sing…We sit down immediately, and he seats himself on the mat in front of us and begins with great power and fervency. As he continues one song after another, the sweat begins to pour off his face and down his short beard. He lifts his shirt to cool himself, but he keeps on singing.”

(Dudbul are frequently difficult to explain because they are simply praising the names of the people with their wives together. If the singer doesn’t want anything, he will praise the names of all his friends. This makes it difficult to translate into English.)

(Praising the names of many people.)

If I refuse to farm, I will refuse because I didn’t get the lady I expected.

I will go to Ojung (tribes near the highlands) village to get the lady who is left from these people.

(In the Gilo area, if a girl in your village is married by one man in another village, they will sing a song against the husband of the girl, insulting and saying some bad things to let the girl refuse or come back from that man. If she is beautiful, they want a girl to marry in her own village. The singer of this song said he is going to marry from the Ojung tribe because the girl he expected was married by a person from another village.)

The dudbul or dancing song accompanies a major portion of the dance activity of the Anuak. Much, if not most of the content of the dudbul, is taken up with the praising of the names of the people and their wives. There are other references on the part of the singer of expecting to get something for the singing of the song. Some references are made about the rich man and comments are made about the condition of the village rule. But the major content of these songs has to do with the praise of the people.

Tape Number: 1B 1 000

Place of Recording: Pokwo

Date of Recording: July 23, 1972

Date of Transcript: May 25, 1973

Source of Song:

Performers: Pokwo Church Congregation. Drummers accompany the singing.

Informant: Agwa Alemo

Other versions of the same song have been cross-referenced for textual comparison and are as follows:

1A 8 144, 3A 6 253, 7A 8 357, B2B 8 733: Agwa Alemo, Informant.  16A 10 330: Paul Abulla and Henry Akway, informants.

This hymn is composed in the Obero (Achenya) form. This implies a type of drum beat pattern using two performers playing three drums. The performer on the large drum also plays the medium drum. Another performer plays the smaller drum. The text of the Obero form is usually in praise of a chief, frequently expecting some gift in return. The test of an Obero hymn will contain many references in praise to God and will request blessings as well.

When Jesus the Son of God takes our spirit, He will make another person, a new man.

Praise Jesus, the Son of God, in your heart.

Believe Jesus in your heart to get new life.

We are poor, Jesus Christ,

Help us, help us.

Sins make us poor.

Save us, save us.

We have to pray to God so that He could give us new life.

Jesus died on the cross for our sins, (for the bad things) and to save the earth and the heaven.

He was sent by God and is the son of Mary, to fulfill what was said by God.

Shape: The leader begins high and consistently moves down one octave to the entry point of the congregation at the unison or octave. The congregation’s responses are arc-like.

Range: Soloist: Octave; Chorus: Major 6th.

Intervals: Soloist – Congregation – Combined

Unisons: 31 – 16 – 47 (57%)

Major 2nds: 5 – 11 – 16 (19%)

Minor 3rds: 6 – 3 – 9 (11%)

Major 3rds: 0 – 1 – 1 (1%)

Perfect 4ths: 7 – 6 – 13 (17%)

Perfect 5ths: 3 – 0 – 3 (4%)

Scale: See example.

Mode: Pentatonic: (D) E F# A B D

Tonality: E

Timbre: Male soloist, congregation, drums. Open quality.

Texture: Thick texture, unison lines with accompaniment.

Intensity: Full volume, strong singing.

Unisons and octaves are heard at overlap of solo and chorus.

Duple, a frequent triplet feeling.

Tempo: 112 to the quarter note approximately.

This selection uses the Obero pattern of two performers playing three drums.

Call and response. The call by the soloist and the chorus response are about equal in length.

Tape Number: 3B 2 025

Place of Recording: Pokwo

Date of Recording: July 5, 1972

Date of Transcript: May 19, 1973

Performers: Pokwo Church congregation. Two drummers and Mary Akela playing bells accompany the leader and congregation. Recorded in a usual situation.

Informant: Agwa Alemo

Other versions of the same song have been cross-referenced for textual comparison and are as follows:

1B 13 448, 3A 1 000, 3A 11 425, 7A 14 747: Agwa Alemo, Informant. 15B 7 329, No. 99, 16B 16 332, 19A 9 135, 19A 12 310: Paul Abulla and Henry Akway, Informants.

This hymn is composed in the Obero form. This implies a type of drum pattern using two performers playing three drums. In this performance, bells on sticks (like sleigh bells) are shaken in time to the music.

The composer is Mary Akela, an Anuak woman of about 35. She is active in the Pokwo community, taking part in the church services, and running a bead shop employing several Anuak young people. She is unmarried, self-employed, and is the only Anuak individual this writer knows who has been able to save out of the profits of her industry. Being unmarried, self-employed, and able to work for a profit are very non-Anuak traits.

This song is interesting melodically and frequently sung. It has been sung long enough to be written down (text) in an Anuak hymn book gathered by the local Presbyterian missionaries.

The man who carries our sin in His body is in heaven.

Jesus is the only one who can take away sins.

You must believe in God before He returns so that you may go to Paradise.

If you come later on and try to pray, it’s too late.

Let us believe in Him while He is still absent, before His coming.

(Try to convert yourself before our Lord has come.)

When He comes, He shall gather us together.

Shape:  The leader begins on the highest sung note and moves downward where the chorus enters at the unison or octave. The audience response is extended. The leader only introduces the song. Chorus parts are in general shallow arc, ending low. Exception is the first entrance which starts high and ends low. A jaunty, memorable tune. (Much more melodious than usual.)

Range: Soloist: Octave; Chorus: Octave and Major 6th.

Intervals: Soloist – Congregation – Combined

Unisons: 5 – 8 – 13 (18%)

Major 2nds: 7 – 28 – 35 (49%)

Minor 3rds: 1 – 9 – 10 (14%)

Major 3rds: 1 – 1 – 2 (3%)

Perfect 4ths: 2 – 6 – 8 (11%)

Perfect 5ths: 1 – 1 – 2 (3%)

Minor 6ths: 1 – 1 – 2 (3%)

Scale: See example.

Mode: Pentatonic C D E (F) G A

Tonality: C (Transposed down one-half step)

Timbre: Soloist, congregation, drums. Open quality.

Texture: Thick texture, unison lines with accompaniment.

Intensity: Full volume, strong singing.

None present.

Duple. A jaunty upbeat feel.

Tempo: Approximately 112 to the quarter note.

A modified call and response. The leader only introduces the song and each repetition. The audience response is extended.

This selection uses the Obero pattern of two performers playing three drums. Playing of bells on sticks by some in the congregation.

Tape Number: 15A 2 031 #83

Place of Recording: Pokwo

Date of Recording: July 15, 1972

Date of Transcript: September 16, 1972

Performers: Pokwo Church congregation. Two drummers accompany the leader and congregation.

Informants: Paul Abulla and Henry Akway

Other versions of the same song have been cross-referenced for textual comparison and are as follows:

1A 12 220, 1B 5 134, 3A 10 384: Agwa Alemo, informant; 16A 15 476, 16B 1 000: Paul Abulla and Henry Akway, informants. This hymn is composed in the Obero form. Performance and textual implications are the same as previously stated.

Oh, the Son of God, you are the great one who introduced life to us.

We refused the idols, the untrue gods of the earth.

The helper (Savior) has come to choose those who have believed in Him. (Separate those who believe in Him.)

Jesus has made the sacrifice on the cross.

But now He is in Paradise.

We are praying to Him.

There is no death in heaven.

All people are sinning.

All people are being seen.

Those who pray strongly to God will be given new life.

When Jesus died on the cross, He was told by His Father to show Himself in the earth.

He died for the sins of the earth. (He was sinless.)

We pray in the name of Jesus every day.

When we pray, Jesus is with us.

Those who have believed in Him must know that this is the right way.

Let us leave sinning.

Intervals: Soloist – Chorus – Combined

Unisons: 16 – 51 – 67 (43%)

Minor 2nds: 2 – 1- 3 (2%)

Major 2nds: 21 – 24 – 45 (29%)

Minor 3rds: 0 – 15 – 23 (15%)

Major 3rds: 8 – 2 – 2 (1%)

Perfect 4ths: 7 – 6 – 13 (8%)

Perfect 5ths: 0 – 2 – 2 (1%)

Shape: Generally downward but more arc-like than many in the solo part. Chorus generally arc-like or inverted arc.

Range: Soloist; Major 9th; Chorus: Major 9th.

Scale: See example.

Mode: Pentatonic. F G A (Bb) C D (E)

Tonality: F (Transposed up a whole step to avoid accidentals.)
Timbre: Male soloist, men’s and woman’s voice and drums.

Texture: Thick texture; unison lines with accompaniment.

Intensity: Full volume, strong singing.

Men sing in octaves to the women and leave some of the higher parts to the women. Otherwise, no harmony.

Duple.

Tempo: Approximately 112 to the quarter note. (Note: All Oberos are sung in sequence and maintain a constant tempo.)

This selection uses the Obero pattern of two performers playing three drums.

A call and response pattern is followed with some duplication of the response by the soloist.

Tape Number: 16B 3 029

Place of Recording: Pokwo

Date of Recording: July 15, 1972

Date of Transcript: September 26, 1972

Performers: Pokwo Church congregation. Three drummers accompany the leader and congregation.

Informants: Paul Abulla and Henry Akway

Other versions of the same song have been cross-referenced for textual comparison and are as follows:

15A 7 237, No. 88: Paul Abulla and Henry Akway, informants. 1A 15 284, 1B 7 211, 3A 12 486, 7A 15 883: Agwa Alemo, Informant.

This hymn is composed in the Agwaga form. This implies a type of drum pattern using three performers playing three drums. The performer on the large drum improvises freely while the performers on the two smaller drums maintain a steady beat pattern.

Like the Obero, the Agwaga form is borrowed from the secular practice and applied to the church situation. In the secular setting, the Agwaga is usually a war song. This aspect of the Agwaga is perhaps not suited for the church though the words of this particular hymn have a certain militancy.

This Agwaga hymn was the first of a series of Agwagas to be sung on several of the occasions that I listened to the congregation singing. The first Agwaga in the series is sung very slowly at first, with the leader and the congregation singing their parts, but the drummers striking the drums only on occasion seemingly without rhythmic pulse though they strike together. After lining out the song, it is repeated up to tempo with the drums accompanying. The congregation sings many songs one right after another (either all Oberos or all Agwagas) with not a beat missed between the end of one and the beginning of another. The Oberos are sung first. The congregation stops. The drummer is added and the Agwagas are sung.

God, who is the greatest father, I’m begging you to send your spirit upon us.

I’m calling in your name, in the name of your son, Jesus Christ.

Our father, Jesus has been killed.

He rose up and went back to His father.

But He shall come again.

Whatever has been said by Jesus has been written in the Bible.

Those who believe (if you convert yourself) will be born again.

When Jesus returns, the earth will shake.

The trumpets will be sounding.

The sky will change.

The angels will come back.

Intervals: Soloist – Congregation – Combined

Unisons: 7 – 24 – 31 (39%)

Major 2nds: 3 – 25 – 28 (35%)

Minor 3rds: 2 – 7 – 9 (11%)

Major 3rds: 0 – 1 – 1 (1%)

Perfect 4ths: 0 – 7 – 7 (9%)

Perfect 5ths: 0 – 2 – 2 (2%)

Minor 6ths: 0 – 2 – 2 (3%)

Octave 0 – 2 – 2 (3%)

Shape: The short solo parts are generally downward. The chorus parts display a downward pattern.

Range: Soloist: Octave; Chorus: Octave and Major 6th.

Scale: See example.

Mode: Major

Tonality: D

Timbre: Male soloist, men’s and women’s voices and drums.

Texture: Thick. Congregation, soloist, drums.

Intensity: Very full and strong.

Leader and chorus are doubled at the octave. The soloist will at times round off his own phrase differently than the continuing chorus. No intentional harmony.

Duple and driving.  120-126 to the quarter note.

This selection uses the Agwaga pattern of three performers playing three drums.

A call and response with frequent repeats. After being slowly sung, the Agwaga is joined by the drums at an up-tempo. The notation is with the drum accompaniment.

Tape Number: 15A 1 000 #82

Place of Recording: Pokwo

Date of Recording: July 15, 1972

Date of Transcript: September 16, 1972

Performers: Pokwo Church congregation. Two drummers accompany the leader and congregation in a regular church service.

Informants: Paul Abulla and Henry Akway; Agwa Alemo

Other versions of the same song have been cross-referenced for textual comparison and are as follows:

16A 14 438: Paul Abulla and Henry Akway, informants.

1A 11 199, 1B 4 102, 3A 9 336, 7A 11 493, B 2B 10 817: Agwa Alemo, Informant.

This hymn is composed in the Obero form. Performance and textual implications are the same as previously stated.

Oh, God, we are asking (begging) Jesus who is going to return in the future, to clear (dissolve, chase away) our sins and give us new life which doesn’t end.

We will pray to God to give us health.

We will pray early in the morning during Christmas time in the name of Jesus who is in heaven.

He is the man who died, who is the Savior (helper) and was resurrected after three days.

He is the helper (or Savior) who clear us of our sins.

Those who sin when they walk in the forest (those who make mistakes when they go) for a long journey, they still have to pray (Praise) to Jesus.

Leave the gods of earth.

Those who believe the devil will have no place in the presence of God. (He who believes Satan is destroying himself.)

A word-for-word linear translation follows:

Jwok [God] aa [no meaning…will go high] Kwaya [begging] Jesu [Jesus] yaa [no meaning…will go high] odue [future tense: will come] Cäng, moro [future]

Ni [To] riem [clear or wash away] ray [sins] bäätwa [on us] wano – yïti [we will get]

Kwow [life] mo [with] bung – cunge [no end] woo [father] yoo [to extend the sound].

Oo [Son of] Jwok [God] laamwa – laamo [pray to him] nie [to] cïïpɛ   [give] (eh) jot [health] del [body].

Walämo [We will pray] ka – amolla [in the morning] ki [during] cang [day] Kircmic (Christmas) aa.ɛ

Jesu [Jesus} oo [son of] Jwok {God] aa wäwa [our father] ni [in] mal [heaven] (sky) öö.

Beye [Is]    ngatl [he] thow [die] oo dïkunyi [savior or helper] ɛ  ni [him] ki [from] cäng [day].

Nin ɛ  (day) adääk [three] aduu [came] wok [out] ki [from] yi [the] thoö [dead] (death).

Jesu [Jesus} oo [son of] Jwok [God] aa wana [we} dong [remain] yïth [in] ray (rye) [sins].

Ywo [to extend] ngato [he who] ngääth [believe] go [him] oyïïti [will get] ki [a] kwow [life].

Ngato [he who] bääyo [makes sins] yaa k (Kah) [extend] (still) pot [yet] (vote) lama [pray] Jesus [Jesus] no [when he].

Cäädh  ɛ  yi luum wa [when he walks where there is no village…in the forest]

Wiyu [leave] juk – piny [gods of the earth] ngato [he who] Ngäätha [believe] anägo [satan] (god who kills) kar ɛ [place].

Räänyno [destroy] aa kwaa [beg] (verb without subject) yaa [of] (extend) kwaa [beg] oo [son of] Jwok [God] öö (extend).

Tape Number: 1B 2 041

Place of Recording: Pokwo

Date of Recording: July 23, 1972

Date of Transcript: May 25, 1973

Source of Song: From the Sudan

Performers: Pokwo Church congregation. Two drummers accompany the leader and congregation.

Informants: Agwa Alemo, Paul Abulla and Henry Akway

Other versions of the same song have been cross-referenced for textual comparison and are as follows:

1A 9 166, 3A 7 277, 7A 9 412, B 2B 9 784: Agwa Alemo, Informant. 16A 13 416: Paul Abulla and Henry Akway, informants. This hymn is composed in the Obero form. Performance and textual implications are the same as previously stated.

God, you are the greatest (the one great God) who watches us in the earth.

Nobody creates things in his hand, except God.

Sometime in the future, Satan will be chased away.

When our great God went away, the snake came and cheated the man and his wife.

They didn’t get anything after that.

Tape Number: 16B 4 046

Place of Recording: Pokwo

Date of Recording: July 15, 1972

Date of Transcript: September 26, 1972

Source of Song: From the Sudan

Performers: Pokwo Church congregation. Three drummers accompany the leader and congregation

Informants Paul Abulla and Henry Akway; Agwa Alemo

Other versions of the same song have been cross-referenced for textual comparison and are as follows:

1A 14 162: Paul Abulla and Agwa Alemo, informants.

1B 8 235, 3A 13 531, 7A 16 934, 7B 1 000: Agwa Alemo, informant.

 This hymn is composed in the Agwaga form. Performance and textual implications are the same as previously stated.

Lingi: Jesus is mentioned as a best friend, lingi. A best friend in the Anuak culture is one who, when one dies, or is about to die, will act in behalf of the person. He will speak for that person, i.e., “I am Agwa Alemo (using the name of the ill or deceased). You have inherited such and such. I have borrowed demoui, or money, from this person. You collect it from that person” He acts in his stead.

When will the Savior come (the representative, lingi)?

He will come sometime in the future.

He is still with His Father.

He died on a cross for our sins to give us new life (good conditions).

Those who are preaching in the villages are preaching in His name according to what was written in the Bible.

Let us take the way of God because it is very large (room to contain a large group of people).

His blood was given (He lost His blood) for our sins.

Please let us all believe in Him.

Believe in the great God that owns everything.

Leave the idols of before, you will never get anything from them.

He came like a poor boy in the earth to save all people and to chase away the gods of the earth.

He is a door to us (a guide, the way).

He is appreciated by all the people all over the world because He is helping people.

The Bible says, “Let us believe before He comes back.”

When He comes, there will be no time to believe.

Why don’t we believe the truth which was being said by God?

Jesus was sent to give new life.

The bad things (or people) went with the devil and the good people went with Jesus. (future tense)

My father, Jesus, I’m ready (we are ready) to pray to Jesus.

Tape Number: 15A 6 190 #87 (Anuak hymnbook)

Place of Recording: Pokwo

Date of Recording: July 15, 1972

Date of Transcript: September 23, 1972

Source of Song: By the composer, Otheti

Performers: Pokwo Church congregation. Three drummers accompany the leader and congregation.

Informants: Paul Abulla and Henry Akway; Agwa Alemo

Other versions of the same song have been cross-referenced for textual comparison and are as follows:

16B 8 124: Paul Abulla and Henry Akway, informants.

1A 20 370, 3A 17 775, 7B 5 086, B 3A 1 000: Agwa Alemo, informant.

This hymn is composed in the Agwaga form. Performance and textual implications are the same as previously stated.

God who blesses, why don’t you clear away the sins so that we can be clean (or good, pure, or healthy).

We are begging God (praying) to lead us into a good life.

Jesus who is the Son of God, has all things in His hand (the greatest of all, the owner of everything).

If you believe in Satan you will be destroyed.

A snake, the animal of the forest has deceived us.

We have eaten the fruit.

This snake cheated us to make beer for him. (“If we enlarge it, many years ago, Adam and Eve were cheated to eat the fruit of the tree, the trick made at that time. Now, the devil cheats us to make beer for him.”)

Still people are making beer and sinning.

It is better for you to leave the gods of the earth.

When the drum is beaten, we sing to God (it shows our prayers).

He gives us belief (or faith).

All of us, let us believe in Him, and trust Him.

All people must believe in Him strongly.

The devil is teasing (cheating, deceiving) those who are making beer for him.

Refuse to believe the gods of the earth.

If you believe in them you will suffer in the fire when our God comes.

The Savior who is the Father is in heaven.

When He comes, he will wash away our sins. (He’s going to live for a long time. He will remain in heaven until many are exhausted.)

Tape Number: 15A 10 349 #91(Anuak Hymnal)

Place of Recording: Pokwo

Date of Recording: July 15, 1972

Date of Transcript: September 23, 1972

Source of Song: Mary Akela, Pokwo

Performers: Pokwo Church congregation. Three drummers accompany the leader and congregation.

Informant: Paul Abulla and Henry Akway; Agwa Alemo

Other versions of the same song have been cross-referenced for textual comparison and are as follows:

1A 22 429, 1A 24 476, 3A 4 135: Agwa Alemo, informant.

This hymn is composed in the Agwaga form. Performance and textual implications are the same as previously stated.

All people (all of you). We are called by God in the name of Jesus.

He is the precious treasure to us.

All the nations are under you.

You are God, wash out our sins.

Help me.

Jesus lives in heaven on a chair. (A throne; a chair is only for king or chief.  Others sit on the ground.)

Jesus who is the father of the earth.

All villages stand or live on Him. (All countries depend on Him.)

Tape Number: 15A 11 398 #92 (Anuak hymnal)

Place of Recording: Pokwo

Date of Recording: July 15, 1972

Date of Transcript: September 23, 1972

Source of Song: Either by Mary Akela or from the village of Gilo.

Performers: Pokwo Church congregation. Three drummers accompany the leader and congregation.

Informants: Paul Abulla and Henry Akway; Agwa Alemo

Other versions of the same song have been cross-referenced for textual comparison and are as follows:

16B 11 163: Paul Abulla and Henry Akway, informants.

1A 23 456, 3A 18 843, 7B 6 124, B 6B 15 992: Agwa Alemo, Informant.

This hymn is composed in the Agwaga form. Performance and textual implications are the same as previously stated.

O God, the head of every creature, you unite us as one body.

He protects His village from Satan.

Come to us to forgive our sins.

People, let us believe in the absence (before He returns) of Jesus, our chief.

What has been preached by God is that we are to leave all of these earthly things: wealth or making beer to idols.

We received a letter (the Bible) which was about the way of life.

Girls and boys, come to accept it.

Our father is happy when all of you are healthy (spiritually).

We have believed in Him and He shall wash out our sins.

Intervals: Soloist – Congregation – Combined

Unisons: 22 – 35 – 57 (35%)

Minor 2nds: 1 – 1 – 2 (1%)

Major 2nds: 15 – 36 – 51 (32%)

Minor 3rds: 9 – 21 – 30 (19%)

Major 3ds: 1 – 0 – 1 (1%)

Perfect 4ths: 7 – 13 – 20 (12%)

Shape: The leader begins high and moves downward to the entry of the chorus. Frequent overlap is a characteristic. The chorus line also starts high and descends.

Range: Soloist: Octave and a Perfect 4th; Chorus: Octave and Perfect 5th

Scale: See example.

Mode: Pentatonic.

Tonality: C

Timbre: Soloist, congregation, drums. Open quality.

Texture: Thick texture, unison lines with accompaniment.

Intensity: Full volume.

Frequent overlapping is a characteristic of this piece. There is doubling at the unison and the octave. No intentional harmony.

Duple. 120-126 to quarter note.

This selection uses the Agwaga pattern of three performers playing three drums.

Call and response with considerable overlapping.

Supplementary Notes on 5.10. Hymn (15A 11 398 #92) by Joseph Waters:

On the footage used for this transcription, the hymn is sung once through and then repeated. There is a slight difference in the repetition, which is as follows: During the second time through the hymn, the first phrase, i.e., the leader’s chant and the choir’s response, marked at A on the score, are omitted. The hymn’s repetition starts, then, at the point in the score marked A1.

The material transcribed here is the hymn sung once through from the beginning. The aforementioned repetition is omitted.

1. The first phrase, marked A, is repeated with slight variation at A1, i.e., the first few notes are different and also, at A1, the leader’s voice is joined by a solitary woman’s voice which is slightly out of time with the leader’s voice, causing the clarity of the line to be distorted. On this transcription, I have not tried to indicate the exact difference between the voices, on the assumption that they are attempted repetitions of the melody at A.
2. A chorus of women’s voices enters at points in the score marked x and continues until the next entrance of the leader’s voice in the tenor clef.
3. Men’s voices join in with the women’s at the lower octave at points marked * (above the staff). Parentheses () around a note indicate that its intonation is not clear and thus the pitch level written is an approximation.

Students of African culture have frequently commented about the influence of the missionary on the culture of the native believer. Writers have criticized acculturative influences that have been brought in, at times negating the values of the native. Nketia describes such a process as it occurred among some Ethiopian tribes:

“…the church…preached against African cultural practices while promoting Western cultural values and usages. It adopted a hostile attitude to African music, especially to drumming, because this was associated with what seemed to Christian evangelists as “pagan” practices. Moreover, this music did not appear to be suitable for the form of Christian worship that Westerners were accustomed to. The fact that drums and other percussion instruments were used in the Ethiopian church, which had been established in the fourth century A. D. much earlier than any other church in Africa—did not affect the evangelistic prejudices. In some areas, the converts were not only prohibited from performing traditional African music, but even from watching it. Hence, active participation in community events—in festivals and ceremonies—was discouraged.”^[5]

Tucker in his survey among the Southern Sudan, had this to say: “Experimental use of African tunes for mission purposes demonstrates the limited range of native scales and the brevity of the tunes. Though individuals croon sitting or at work, a group must express the rhythm with bodily movement. Hitherto, no mission permits more than hand clapping. Native instruments being for individual singing, the people will not bring them for congregational use. If African music is to be used in the churches, it must be applied in African manner, not in European.”^[6] Tucker’s comments about the South Sudan have been updated with the approach used among the Anuak. Here, music for worship is being “applied in African manner, not in European.” Templin has said that “the area of the greatest creativity in the Anuak church has been their drum hymns which have all been created by the Anuak churches.”^[7]

The Anuak hymns are divided into two chief categories, those that use the Obero drum patterns and those that use the Agwaga patterns. Dominant themes seem to be quite the same in both instances. Both speak of man’s condition, the role of God and the role of the devil. Both types of hymns contain admonitions to be saved before it is too late, to leave the idols of the earth, and to live a good life. The Agwagas seem to have a more kingly, grander concept, stressing the worship, praise, and prayer to God. The Oberos display a horizontal interest showing concern for the individual’s relation with another individual and their relation to God.

Shape: Usually, the leader begins on the highest note of the song or at least begins high and moves downward to the entry point of the congregation at the unison or the octave. Chorus parts are generally arc-like, though they may also display a downward pattern.

Range: The soloist’s range is from an octave to an octave and a perfect fourth. The chorus ranges from a major sixth to an octave and a major sixth.

Intervals:

Unisons: (38%)

Minor 2nds: (1%)

Major 2nds: (33%)

Minor 3rds: (14%)

Major 3rds: (1%)

Perfect 4ths: (9%)

Perfect 5ths: (2%)

Major 6ths: (1%)

Octaves: (1%)

Mode: Pentatonic dominates.

Timbre: Hymns are normally sung following the pattern of the Obero and Agwaga with a soloist, chorus, and drums.

Texture: Thick texture, unison lines with accompaniment.

Intensity: Full strong singing is typical.

The leader and the chorus will frequently overlap. Doubling occurs at the unison and octave. The soloist will at times round off his own phrase differently than the continuing chorus. There is no intentional vertical harmony. The horizontal line is the important concept.

Generally, a duple feeling with a frequent triplet subdivision within the pattern. Tempos are generally brisk. The Agwaga has greater drive and a faster tempo than the Obero.

Obero: about 112; Agwaga: about 120-126.  Since the songs are sung in sequence, all of the Oberos together and then all of the Agwagas together, tempo changes are slight.

Tape Number: 12A 3 070

Place of Recording: Ebago

Date of Recording: July 13, 1972

Date of Transcript: August 3, 1972

Source of Song: Ebago

Performers: Chorus of about 100 villagers led by a leader, a male of about 50, and two drummers.

Informant: Paul Abulla

This performance was at the request of the investigator. Field Notes for July 13, 1972 set the scene:

“Upon stepping ashore at the village of Ebago we were led to the elders of the village who seemed very disposed to the idea of visiting and recording their music. They suggested that perhaps we would like to hear them sing immediately. To this I agreed and quickly prepared the equipment. The children who had been listening to the discussion now became a most enthusiastic chorus and were led by a very strong and quite excellent leader, an older man of about 50. After singing one song, the leader sat back, assuming he was finished. I then replayed the tape for him which entranced him. He then asked if we would like another, and another. The first and third songs were particularly well-sung. (This is the third song.)

“The songs were sung with power, full voice, with intense and original rhythm. They wear themselves out, giving all they have. Several villages were active in displaying acts of pantomime with expressive facial and hand movements, driving points home and giving attention with their eyes to me or to the leader.

“Two drummers performed on the two smaller drums. The large drum was too heavy to carry over for such an impromptu performance.”

I’m begging the chief to give me something.

(Mentions the names of the people.)

There are some people saying that they are going to attack us here and destroy our village, but this is not true.

They are liars.

(Continues to mention the names of the people.)

We will not fight any longer.

We must stop.

Intervals:

Unisons:

Soloist: 20

Chorus: 13

Combined: 33 (35%)

Major 2nds:

Soloist: 12

Chorus: 13

Combined: 25 (27%)

Minor 3rds:

Soloist: 13

Chorus: 8

Combined: 21 (23%)

Perfect 4ths:

Soloist: 5

Chorus: 2

Combined: 7 (8%)

Perfect 5ths:

Soloist: 3

Chorus: 0

Combined: 3 (3%)

Major 6ths:

Soloist: 1

Chorus: 0

Combined: 1 (1%)

Major 9ths:

Soloist: 1

Chorus: 0

Combined: 1 (1%)

Octaves:

Soloist: 2

Chorus: 0

Combined: 2 (2%)

Shape: The solo portion moves downward, the chorus part is chant-like, remaining within a range of a fourth.

Range: Soloist: Octave and a Perfect fourth; Chorus: Perfect fourth.

Scale: See example.

Mode: Pentatonic.

Tonality: G.

Timbre: Male soloist and chorus of villagers.

Texture: Thick texture, unison lines with accompaniment.

Intensity: full voice, freely singing chorus with drums.

A duple Obero rhythm.  A general feeling of four.

Tempo:  108 to the quarter note (approximately)

The Obero pattern of two performers playing three drums.

Call and response A short call by the soloist, saying: “obero” or obereo, followed by alternating parts.

Tape Number: 18B 2 040

Place of Recording: Tierlul

Date of Recording: July 18, 1972

Date of Transcript: September 5, 1972

Source of Song: Pokwomo. A new song for the chief in the area.

Performers: Okolo Gay, a young man assisted by three other men without accompaniment.

Informants: Omot Ochan and several others assisting.

This performance was at the request of the investigator. It took place in Tierlul, a village somewhat away from the river and about a five-minute walk from Pokwo. Sitting under a tree, we are soon joined by about 25 very attentive people who listen to the singers. The singer, Okolo, is joined by three other men who sing the parts that the villagers would sing if this would be performed in their village.

I have sung a lot of songs for the chief, but the chief gave me nothing in return.

(Such a comment is accepted by the chief because the composer-singer is careful in stating it in an indirect manner.)

Let my dowry be paid. (Sung in a form of begging.)

I have given myself to the chief, to become a son of the chief.

The chief has already paid me one demoui, but I need more.

This chief is like my father.

Good, generous, and brave.

He fights with the government.

Intervals:

Unisons:

Soloist: 28

Chorus: 41

Combined: 69 (52%)

Minor 2nds:

Soloist: 0

Chorus: 2

Combined: 2 (2%)

Major 2nds:

Soloist: 12

Chorus: 23

Combined: 35 (27%)

Minor 3rds:

Soloist: 3

Chorus: 8

Combined: 11 (8%)

Major 3rds:

Soloist: 0

Chorus: 1

Combined: 1 (1%)

Perfect 4ths:

Soloist: 7

Chorus: 3

Combined: 10 (8%)

Perfect 5ths:

Soloist: 1

Chorus: 1

Combined: 2 (2%)

Major 6ths:

Soloist: 0

Chorus: 2

Combined: 2 (2%)

Shape: Generally downward from initial high point at beginning.

Range: Considering only the notes sung alone, Major 9th by the soloist; the chorus may be singing parts of the soloist. Approximately a minor 10th

Scale: See example.

Tonality: C (Transposed from C#)

Timbre: Male soloist with male chorus.

Texture: Dark. Soloist joining chorus in their parts with possible chorus singing some of the solo parts.

Intensity: Restrained. Affected by recording occasion.

None present except unisons.

Free meter. Without a pulse provided by drums, the singing is relatively nonmetric. A triplet feel. Tempo: 100 – 104 to the quarter note.

No instruments used. Call and response.

Note extended chorus length. Being an artificial situation, the soloist is singing the chorus parts also.

Tape Number: 26A 7 535

Place of Recording: Illea

Date of Recording: July 24, 1972

Date of Transcript: November 18, 1972

Source of Song: Illea. Composed by Odiel Okelo for the chief, Obang Cham.

Performers: Odiel Okelo, male soloist, villages and random trumpet.

Informants: Agwa Alemo and David Omot

This performance was at the request of the investigator. It took place in the moderate sized village of Illea about thirty minutes downstream by motorboat from Pokwo. The entire village of about 300 participated.

The Field Notes set the scene: “At eleven a.m., we arrive, walk through the saw grass and stop at the meeting place of the men. Here we wait. The meeting place is so important to the men of Anuak villages that, as each passes by, he puts his right arm behind his back, grasping it with his left as a sign of respect for the area. Such a place is usually under a large tree where the skins are set out and the men sit or lie and talk.

“Today we wait for quite a while and very little seems to be happening. Eventually the chief comes out of his hut. He is a young man, about 25 and very youthful looking. He has just returned from being in government detention for several weeks in an attempt to get more taxes out of the village. The villagers had earlier paid four dollars apiece. But because there is no place for the villages to keep receipts for their payment, as they have no boxes in the village, they are at the mercy of the government to extract more taxes, whether previously paid or not. On this occasion, they got three dollars more per head.

“Action continues very slowly and so Paul Nyinyoni, my informant, says, ‘We came the first time and you said to come back and you would be ready. We came the second time and you were not ready (because of a death in the village). Now we come the third time and still you are not ready. What’s the matter with you fellows?’

“At that, the chief got up and went to his house. Soon a man brings out his chair. (The chief is the only one in the village allowed to have a chair.) The chair is placed in the center of the area facing us. The men immediately move to the sides at a very respectful distance. Then the drums are brought out and the children and women begin to appear.

“Action begins with the women and children sitting to our left, the soloist in the center in front of the drums, the drums in the center, the men to the right, and what dancing is done to the far center, out of the shade of the tree.

“The leader, Odiel, is strong, expert, and responsible for the composition of many of the songs sung. He is also the composer for several of the villages in the area, making his living as a composer of songs for several of these places. He travels around considerably and his songs sung today are from several places. He sings with intensity, one song after another.

“On occasion, a trumpet (probably an Italian bugle) is played at random times and with random notes. It probably should not be considered an instrument in the mode of playing that is used. It is used more as an attention getter, blaring forth.”

(The song, being unknown to the village, is sung completely by the soloist.)

When Obang Cham wants to feed people, the sound of the drum will be heard by many villages and everybody will be laughing and happy.

What more do you want?

(The singer asks the people of the village, “What more do you want?” The chief had been in school for some years.)

(He praises the second in command, the Nikwo or prime minister.)

Praises because of the good words he said.

(He praises the chief also.)

If there is anything that you prepared for me, you better give it to the chief secretly (without being seen by the people).

Intervals:

Unisons:

Soloist: 16

Chorus: 52

Combined: 68 (60%)

Minor 2nds

Soloist: 6

Chorus: 0

Combined: 6 (5%)

Major 2nds:

Soloist: 22

Chorus: 5

Combined: 27 (24%)

Minor 3rds:

Soloist: 2

Chorus: 0

Combined: 2 (2%)

Perfect 4ths:

Soloist: 3

Chorus: 0

Combined: 3 (3%)

Perfect 5ths:

Soloist: 5

Chorus: 0

Combined: 5 (4%)

Major 7ths:

Soloist: 1

Chorus: 0

Combined: 1 (1%)

Major 9ths:

Soloist: 1

Chorus: 0

Combined: 1 (1%)

Shape: Rather limited in interest. The pattern is downward to a chant-like chorus part. Each segment is quite short.

Range: Soloist: Octave; Chorus: Static: G-A

Scale: See example.

Mode: Diatonic. Very possible acculturative influence from the Sudan.

Tonality: A minor

Timbre: Male soloist. Very full, nasal carrying solo quality on solo parts with more rounded and relaxed quality on chorus parts.

Texture: Monophonic.

Intensity: Strong and nasal contrasted with relaxed.

None present.

Free. No pulse provided by drums. 92 to the quarter note. Bugle blown irrespective of rhythmic pulse.

Bugle is blown randomly.

Call and response form extracted through deduction.

Tape Number: 26A 5 308

Place of Recording: Illea

Date of Recording: July 24, 1972

Date of Transcript: November 18, 1972

Source of Song: Ebago or Illea

Performers: Odiel Okelo, male soloist, villagers, and two drummers.

Informants: Agwa Alemo and David Omot

This performance was at the request of the investigator and took place in the village of illea. The entire village of about 300 participated. A normal village situation.

(This selection is difficult to translate because of the great number of names being mentioned. People are named according to their animals.)

You better listen because our chief was brought from the prison by God.

(Drums added)

(Names mentioned according to their animals continues.)

(Giving himself to the God who blesses, saying): God will help me. Man is good if he shows pity for everybody in the village.

(In the Anuak area, if all of your relatives die, you will be like a man who has no relatives.)

He is looking for a good society. (A group that would accept him.) If people come against me, I will be protected by the group that I am in. (This is mentioned several times in this song.)

(Names mentioned according to their animals continues.)

Intervals:

Unisons:

Soloist: 26

Chorus: 34

Combined: 60 (52%)

Minor 2nds:

Soloist: 3

Chorus: 0

Combined: 3 (3%)

Major 2nds:

Soloist: 7

Chorus: 10

Combined: 17 (15%)

Minor 3rds:

Soloist: 3

Chorus: 6

Combined: 9 (8%)

Major 3rds:

Soloist: 1

Chorus: 1

Combined: 2 (2%)

Perfect 4ths:

Soloist: 7

Chorus: 10

Combined: 17 (15%)

Perfect 5ths:

Soloist: 2

Chorus: 2

Combined: 4 (3%)

Major 6ths:

Soloist: 1

Chorus: 0

Combined: 1 (1%)

Major 9ths:

Soloist: 1

Chorus: 0

Combined: 1 (1%)

Octave & 3rds:

Soloist: 1

Chorus: 0

Combined: 1 (1%)

Octave & 5ths:

Soloist: 1

Chorus: 0

Combined: 1 (1%)

Shape: The soloist begins high and continues with a downward slope. The chorus has an active melodic line.

Range: Octave and Perfect 5th for soloist; Chorus: Minor 7th.

Scale: See example.

Mode: Diatonic and Pentatonic

Tonality: A Minor

Timbre: Male soloist and mixed chorus.

Texture: Monophonic. Thick texture with drum accompaniment.

Intensity: Strong and driving.

None present. Some overlapping.

Driving duple rhythm. Tempo: 132-136 to a quarter note.

Drums are used in pattern appropriate to type of song. This does not seem to be in the traditional form of the Obero. It is more like a dancing song.

Call and response. Note the extended chorus parts.

Tape Number: 34A 6 243

Place of Recording: Tierlul

Date of Recording: July 31, 1972

Date of Transcript: March 31, 1973

Source of Song: Written by Ojini from Gok Depach for the chief or king, Omot.

Performer: Okiech, female singer from Gok Depach singing without accompaniment.

Informant: Agwa Alemo

This performance was at the request of the investigator. Field Notes report: “We arrive in Tierlul at about 1:00 p.m. and find a pleasant spot quite far from the noise of the grain grinder. Quite a bit of time goes by before people become ready to sing. However, once we get started, shyness disappears and quite good results are heard.

“This Obero was sung for Omot while he was alive. As in all Oberos, much of the content is filled with asking for a gift for the singer. Not only are requests and praises made to the chief, but to those around him.

“The personal names of the individuals are not mentioned. Rather, it is the names of animals that they have been given. Men and boys have their own animal names. The women do not have their own but take the names of their husband’s.”

(Mentioning the names of the people. He mentions the names of their wives. He mentions one of his best friends in the village.)

In concluding, the singer says, “My animal is working slowly, very slowly and I’m Okiech from Gok Depach.” Her animal is probably a lizard or a turtle.

Intervals:

Unisons:

Soloist: 28

Chorus: 13

Combined: 41 (43%)

Minor 2nds:

Soloist: 6

Chorus: 5

Combined: 11 (12%)

Major 2nds:

Soloist: 6

Chorus: 11

Combined: 17 (18%)

Minor 3rds:

Soloist: 9

Chorus: 1

Combined: 10 (11%)

Major 3rds:

Soloist: 0

Chorus: 3

Combined: 3 (3%)

Perfect 4ths:

Soloist: 8

Chorus: 5

Combined 13 (14%)

Shape: Soloist begins high in initial statement, “Obero,” and then downward. After initial moderate range, the song settles low.

Range: Soloist: Octave and Perfect 5th. Chorus: (simulated) Minor 7th.

Scale: See example.

Mode: Basically Pentatonic

Tonality: Ab

Timbre: Female singer

Texture: Monophonic.

Intensity: Free and open. No Harshness.

None present.

Alternating between free solo and more metric duple chorus part, A duple feeling throughout. Tempo: 104 to a quarter note. Approximate and very erratic.

No instruments are used in this performance.

Call and response.

Tape Number: 37B 1 000

Place of Recording: Tierlul

Date of Recording: August 3, 1972

Date of Transcript: September 16, 1972

Source of Song: By Kwot from Ajwara for the dead king, Cham Medho, about 1955.

Performer: Omot Opiew from Oboa. A strong singer and composer of fine quality. He has a vast knowledge of songs.

Informant: Paul Abulla and Henry Akway

This performance was at the request of the investigator. The singer-composer Omot Opiew, from Oboa performs. He has a very extensive knowledge of songs. Since he is a composer, he says that it is very easy for him to learn other songs. Therefore, he knows many. The old composers in his village died, so he took over.

Oberos may be prepared for leaders while they are still alive and have them sung to them. At other times, leaders may request an obero to be sung to them before they die which will also take the form of a lament or dirge after they have died. This is an obero for a dead king, Cham Bedho from Ajwara.

Why should the Anuaks be proud?

Why should they be neglected?

He has been left by his father to rule here.

You have killed his father.

Don’t bring these corruptions here.

(Indirectly) Don’t try to kill him again.

He is going to rule even for more than ten years.

(The feeling of the people is that he is still alive. He is not really ruling but ruling in their hearts.)

(People are mentioned and praised.)

(The singer informs the people about his work; some days back, he had gone with the king into battle.)

(informing the people): The people he has killed could not be counted. Nobody knows the exact number.

(He thanks the first man praised before.)

This king was tall, huge, big eyes, and brave; born for us.

(He praises the structure of the king. It is important to praise the structure of the king.)

Suppose he had been killed by a living thing; he would not have been buried alone.

He would have been buried with people.

(The king died in Malakal in the hospital where he had been taken for treatment.)

They don’t know if he died in sickness or what.

You leave some crops for next year.

He walks like his father.

Which part of Anuak do they not know that we have a very handsome king and brave?

(Praising the son of this man who took the power. Also, “Crops for next year” means, you better leave us some good people who can rule us like you. Some sons. These are the crops mentioned.)

Odoro.  (Thunder without rain): this reference to thunder without rain is believed to be an omen that a king is going to die. “Then all the kings get suspicious. Am I going to die?”

He has gone for good.

But at the time he died, we didn’t think anything.

We were surprised by a telegram coming from Malakal to Akobo.

I know that when he was taken by the Sudan government, the king had been sentenced to death (an assumption).

(Praised two people) How could I go to the new king and bow down?

The liars have surrounded the king talking of something against me.

(Praised three people.)

The village which is divided into four parts, nothing good can come of this.

(Still praising the dead king returning to the structure of the king.)

(The singer praises others.)

It is all right if people are making corruptions.

I must make corruptions also.

(The singer talks against the liars mentioned before.)

Intervals:

Unisons:

Soloist: 10

Chorus: 20

Combined: 30 (38%)

Major 2nds:

Soloist: 10

Chorus: 13

Combined: 23 (29%)

Minor 3rds:

Soloist: 5

Chorus: 6

Combined: 11 (14%)

Perfect 4ths:

Soloist: 4

Chorus: 8

Combined: 12 (15%)

Perfect 5ths:

Soloist: 1

Chorus: 0

Combined: 1 (1%)

Shape: The soloist begins high in the usual pattern of singing “Obero” at the beginning. The melody descends to a lower level. He changes voice quality to contrast solo and group parts.

Range: Soloist: Minor 10th; Chorus: Minor 7th.

Scale: See example.

Mode: Minor (restricted note usage)

Tonality: G minor

Timbre: Male soloist; quality difference between solo and chorus parts.

Texture: Monophonic. One singer singing both parts.

Intensity: Free and open, not strained or forced.

None present.

A free feeling because of lack of drums for accompaniment and stability of rhythm. A triplet feeling.

No instruments are used in this performance.

Call and response based on deduction (voice quality and range characteristics).

Tape Number: B1A 1 000

Place of Recording: Tierlul

Date of Recording: January 5, 1973

Date of Transcript: April 21, 1973

Source of Song: Illea. Written by the singer, Odiel Okelo, for the chief of illea, 1971.

Performer: Odiel Okelo from Ebago village.

Informant: Agwa Alemo

This performance was at the request of the investigator. Odiel Okelo is a singer from illea, Anyele, and sometimes, Ebago. As has been recorded previously, he sings with intensity and great skill. He sings with his hands over his ear, sitting forward, looking through eyes that appear not to be well. In this instance, he sings without accompaniment.

(This Obero is for the young chief of Illea. The singer takes the chief as the treasure.)

You better live in the village of your father quietly.

(Because the son of the chief is needed by everybody. They like his leadership.)

Those who are in need of you, they are those whom you can talk with.

This large village, who can make himself destroy this large village?

The grandson of Nyigwo which is our treasure at the same time.

This is my luck that I am still begging you.

(He took one man called Oman in the village. Oman means a boy who has many sisters.  He mentions another man who is helping the chief with the leadership.)

Don’t support those who are saying bad words to you, because you are the foundation of this village.

This may be my bad luck, because the singers who were having the same rank as I became very rich.

They got much money already.

There is a man who is helping the chief in leadership.

This is my request to you, that you can give me a cow.

The talk of illea must not be done secretly, but you can do it in public.

(To the prime minister): Those generation who are after you are those who want the village to be destroyed.

(As a newcomer to the village, he was invited to go and drink beer. When he entered the house, some people looked at him from the corner of the house, staring at him.)

When they looked at me, staring at me, I laughed at them.

That made me leave the house immediately because I was afraid.

I walked from illea to Etung and I ignored my hunger.

When we walked together, I didn’t request him for something to eat, but I was in need of something like a price from him.

When the people brought the chief, they brought him like a governor to us.

(The chief was in the fourth grade and didn’t want to be chief so he escaped to Gambela. Agwa and Cham advised him to go to school and get an older man to replace him. When the chief went to Pokwomo, the people there said, “No, you will never return to school. The people need you as chief.” So, they took him to Illea as chief. Agwa Alemo was his teacher.)

(Admiring the chief.)

(Praising him after his animals and his grandfather’s and uncle’s animals.)

What bad thing have I been doing in the village?

I’m informing all of you if you agree on one point to give me something.

I was also hoping that God will help me in any way that He likes.

Look what my uncles are doing.

When I first entered the village, everybody will be very glad to accept me in their village. Repeats.

When you raise your hand in the village. (That is, expose your arm.)

Keep your arms down.

Don’t mix freely with them.

Say only that which is true.

(The song is repeated. On other occasions, Odiel has also advised Obung Cham to show love equally to all and not to a favored group. If he favors a group, then disagreements will break out.)

Intervals:

Unisons:

Soloist: 17

Chorus: 11

Combined: 28 (48%)

Minor 2nds:

Soloist: 2

Chorus: 0

Combined: 2 (3%)

Major 2nds:

Soloist: 12

Chorus: 3

Combined: 15 (26%)

Minor 3rds:

Soloist: 5

Chorus: 2

Combined: 7 (12%)

Perfect 4ths:

Soloist: 2

Chorus: 2

Combined: 4 (7%)

Perfect 5ths:

Soloist: 2

Chorus: 0

Combined: 2 (3%)

Shape: The soloist begins high in the usual pattern of singing “Obero” at the beginning and then descends to a more comfortable level for the chorus.

Range: Soloist: Octave; Chorus: Perfect 4th

Scale: See example.

Mode: Minor

Tonality: G minor (somewhat ornamented)

Timbre: Male singer

Texture: Monophonic. One singer singing both parts.

Intensity: Free, open carrying quality.

None present.

Free duple feeling. Approximately 104 to the quarter note.

No instruments used in this performance.

Call and response. The first phrase is repeated (simulation of call and response based on deduction).

Tape Number: 20A 3 030

Place of Recording: Pokwo

Date of Recording: July 20, 1972

Date of Transcript: September 27, 1972

Source of Song: Gok. For the dead king (chief) Omot Warakic.

Performer: Gilo Akway, female about 20-23 from Gok Depach.

Informant: Paul Abulla and Henry Akway

This performance was at the request of the investigator. This is an Obero for a dead chief, Omot Warakic, who died in prison about 1968. He had been arrested for suspected support of the Anyanya. He died without sons or daughters. This song was composed after he died.

The soloist, Gilo Akway, is a leprosy patient from Gok. She is a very pleasant girl but has stumps for fingers and a stump of a foot wrapped in bandages. As she sings, some thirty or forty children and older individuals are gathered around. They listen, especially enjoying the tape playback of each song and make quiet comments among themselves.

(Praising the chief.)

I have poorness and never achieved anything.

(Praising somebody, sympathizing): This man has died without a child.

(Telling somebody): Stay here and feed the small children.

(Praising the wife of the chief. Praising a man and then a girl): Make your home good.

(Praising the people, telling them): You go back to where you came from.

(Informing others, saying): Whenever you get a person, you contribute your hands to him.

(Praising the girl): You are the doctor of hunger.

(Praising somebody): The most important is something to cover myself with.

My stomach, it matters not.

(Praising a certain person): Whatever is asked by a singer.

What kind of talk is this that has been brought to me strongly without base?

(Praising people saying): A certain girl has been left with poverty without gaining anything.

Repeats.

Intervals:

Unisons:

Soloist: 35

Chorus: 16

Combined: 51 (49%)

Major 2nds:

Soloist: 34

Chorus: 3

Combined: 37 (36%)

Minor 3rds:

Soloist: 9

Chorus: 0

Combined: 9 (9%)

Perfect 4ths:

Soloist: 6

Chorus: 1

Combined: 7 (7%)

Shape: An excellent example of the downward contour of the melody.

Range: Soloist: Major 9th; Chorus: Perfect 5th

Scale: See example.

Mode: Pentatonic

Tonality: Ab

Timbre: Female singer

Texture: Monophonic. One singer singing both parts.

Intensity: Strong, free and open.

None present.

Duple feeling. Rhythmically strong.

Tempo: Approximately 116 to the quarter note.

None used in this performance.

Call and response. (Simulation of call and response based on deduction.)

Tape Number: 31B 4 099

Place of Recording: Tierlul

Date of Recording: July 27, 1972

Date of Transcript: March 10, 1973

Source of Song: Ajwara. For the dead king, Medhow Cham, from Ajwara in 1966. By Orio Kway.

Performer: Owar Otico from Ajwara, an older fellow, singing without accompaniment.

Informants: Paul Abulla and Henry Akway

This performance was at the request of the investigator. The taping took place in Tierlul on a very pleasant afternoon. We had found a comfortable spot and many singers were sitting around and shared the work of singing. One would sing for a little while and then another would be ready to sing. And so, the afternoon progressed.

This particular Obero is for the dead Nyea (king) who died in 1966, Medho Cham, from Ajwara. A Donam is held when the Nyea dies. An ordinary person dies an ordinary death. But for a king the people say donam. The Anuak believe that the Nyea came from the river and when the Nyea dies, he returns to the river.

This is a song full of secrets and is important and well-known to my informant, Agwa Alemo.

The leader, Medhow, fought German people.

(The Germans did not come to that area.)

If you knew that the rain is going to come, would you have a seed for planting?

And you people of Adongo, we know what you are doing.

You killed the king legally.

I was supposed to go and play where the king lives, but there is a liar (or one person) saying lies to the king and to the people.

Those liars who are saying wrong things to the king were known because of the talk of lying that they did.

(The Gallas along the border of the Sudan came into the area. This song was sung for one man from Agwa’s clan who fought the Arabs and the Gallas at the same time. He killed many of the Gallas and the Arabs. These Arabs and Gallas then organized and joined forces to look for Agwa’s clan and wanted to finish them. But when this leader, Medhow, found out that they were looking for the clan, he gave himself up to them and he was killed by the Arabs. He is famous and was never defeated. When he gave himself to the Arabs, they sang this song. He and Agwa’s father did not like the Gallas.

The song mentions the people who fought in the field with him. The song mentions Agwa’s father. Agwa’s father heard that Medhow gave himself up. At that time, he was in the Gambela area, but when he tried to go back to the Gilo river area for the death of his brother, they killed Agwa’s father in the village of Perbongo. Agwa was a very small child at this time. Agwa’s father was a king and that is why Agwa is named Agwa.)

My father died and I was born.

(Mentions the powerful ones who fought.)

(Mentions the work the king had done in the Anuak area and in the control of the people, including Arab and Galla people.)

If there were no strong kings at that time, we would have been defeated by the Arabs and the Gallas or colonized by them.

(Mentions the generosity of the king in freely distributing the goods gained in battle.)

(When Agwa came to school in the Gilo river area, they feared that he would be killed because of his father. So, they said they should not call him Agwa Alemo but just Agwa.)

The things you captured from the Arabs; I can have one of them. (The last part mentions the names of the people.)

The singer would like to be given a wife or something that was captured from the Arabs.

Intervals:

Unisons:

Soloist: 19

Chorus: 22

Combined: 41 (42%)

Major 2nds:

Soloist: 20

Chorus: 10

Combined: 30 (31%)

Minor 3rds:

Soloist: 9

Chorus: 4

Combined: 13 (13%)

Perfect 4ths:

Soloist: 8

Chorus: 2

Combined: 10 (10%)

Perfect 5ths:

Soloist: 4

Chorus: 0

Combined: 4 (4%)

Shape: Downward contour.

Range: Soloist: Octave and Major 7th; Chorus: octave.

Scale: See example.

Mode: Pentatonic

Tonality: Bb Major

Timbre: Male soloist, deep resonant quality.

Texture: Monophonic. One singer singing both parts.

Intensity: Strong.

Duple with a triplet feel. Tempo: Approximately 108 to the quarter note.

None used in this performance.

Call and response (simulation deduced from solo.)

Tape Number: B5A 2 052

Place of Recording: Tierlul

Date of Recording: January 11, 1973

Date of Transcript: April 30, 1973

Source of Song: Tierlul. Recently composed

Performer: Obulo Goc singing and teaching his song to those assembled.

Informant: Agwa Alemo

In an effort to determine the procedure of song teaching, I requested that we be able to sit in on the teaching of a new song to a village. Over a period of three evenings, we observed and taped such a teaching process. The Field Notes from the first evening serve to set the scene.

Paul Ningyoni and I leave for Tierlul at about 8:00 p. m., walk through the dark village seeing groups of people sitting around in circles around glowing embers or seeing them within their huts. They ask us, “Why do you foreigners come to Tierlul at night?” They of course know us but wonder what we are up to this time. We went our way through the village to the Burra where there are about thirteen men sitting, anticipating our arrival. They have mats ready for us and invite us to sit down. I ask permission to take pictures, mentioning that a flash will result. They say that is all right. After setting up my equipment, the song leader stands and begins singing. He sings with very little delay or stopping. As he continues to sing, others start to join him little by little. The process is slow and long and the singing is at first tentative but increases in authority as the evening wears on. Soon, as the village hears the singing, more join the circle, but as the women, children and young men assemble, none sit where the Jo Burra is sitting, but rather, behind the singer or to this side, facing the Jo Burra. More and more join. As the children come, we notice that they come out the strongest and the quickest. After singing for a period of time, perhaps ten to fifteen minutes, he rests, smokes and relaxes and then resumes. …The singer is intent on his own work and ignores the bad behavior of some around him, simply singing over and over. We leave the Burra by 9:30, and when we leave, the others leave also. A worthwhile session.

Essentially, the text states:

Everybody, I am begging a new crowned chief.

I’m begging the new chief who is the grandson of Nyigwo, who finished the talk of price with his father’s wife together.

(Informing the bishop, Nyitoga, saying): Let’s keep our chief to lead our village.

The chief which has been famous along the Baro River.

(Informing Agira): I was supposed to be given a price, but the liars prevented me not to get a price from the chief.

You better remain as a chief in our village.

(Informing a man named Nyithire): I am between to be given a price because the meeting place has no peace and love.

Give me the special beads because the meeting place is the richest.

Agira, don’t cry because of the hunger. Because your chiefdom is famous or known everywhere.

(Informing Nyibur, saying): Let’s take care of our village because the liars can destroy the village.

(Informing the chief who fought the government, saying): When he fought the government, all Anuaks were afraid when the Amhara picked up their guns.

Those who were newcomers in our village escaped away.

Give me a chance to farm and don’t give me ten liars because the people of the meeting place are looking after me.

(informing a man called Olow): He took the chief as a precious treasure.

I’m going to beg him.

He is the son of Crocodile, who is acting like God.

I can beg him every year.

(Informing a man, Ogwele): Tell everybody because Buffalo is going to the meeting place. (He took the chief as a buffalo.)

A word for word translation follows:

Obero [All people] Wära [father] Quackal [chiefdom] Quar [the grandson]  Thawo [animal] that grandfather is named after (Crock) Winyi, Nyigwo [of Nyigwo]

Thwol [a snake] olaw [has gone] (verb) lullo [to a thick forest] (a group of trees) buut [near] nyomonyokdi [the granddaughter of Nyomonyokdi] (which is crockodile)

Nytoga [bishop] gwo [keep] kwäc-paac [the chief of the village] (paac is the village) wära-apodho [our father is known] bäät-naam [all over the river]

Agira [a bird] (The boy is named after agira, bird. His father named after fish, puro.) wao [the son of] (fish) puro [puro] kaya – määna [I am prevented] (by) twoti [liars]

No – Känga – jaap – kwääri [If I’m not being given something by the chief] (If I’m prevented to be given something by the chief.)

Muue [a gift] kare [time of giving] ocäno [very near] (coming close) ya [prep].

Nyitheri [Name of a person] wao [son of] curo [animal his father is named after] (ants or catfish).

Ano [I’m] dheer [between] coon [just] (chone) (Prep).

Bura [meeting place] Bääng – meere [there is no place] (or love) bura [meeting place] okwer [rich] jaak [very].

Agira [A bird] wao [the son of] puro [Puro] deeri [your body] jwäno [cry] kääc [hunger]. (The son of Puro, I cry in my hunger to you.  Named after the brown-black color of the bird.)

Nyibur [advisor] wao [son of] Nyang [crockodile] gwo [keep] paayo – ya [the village]. (Advisor, the son of crock, we better keep the village in good condition is implied. Gwo: we better keep. We is included in the verb.)

Kär [Don’t] paac [village] weego [give] räänyo [destroy] (Don’t let or give the village destroy.)

Meeri [Villagers} cotha {destroy or disturb} tote [liars] (Don’t let the village be destroyed by the liars. Because liars are the disturbers of the villages.)

Tote [liars] adäo [came] räänyo [disturb or destroy] kwääyo [your chief] kaany [here] (Liars came to disturb your chief here.)

Curo [Catfish or ants] wao [son] Ogwiele [name of father] nakeede [when he fought] dinyokuca [the government] (not correct in Anuak: in His Majesty) eanywna [Anuaks] (E to make plural) alwäy [fear]. (Catfish of the son of Ogwiele, when he fought the government, all Anuaks were afraid.)

Wayo – wayo [you were saying jur [tribe] (common name for tribe) marwa [our] kirwa [alone]. (You were saying that Amhara tribe were ours alone.)

Na [When] pär [pick] bääto [on] owäängi [guns] gwa [newcomers from different places] kana – rigi [hiding themselves] (When they picked up their guns, newcomers were hiding themselves.)

Weego [Let him] pur [cultivate] beel [grains] muc [don’t give] tote – areo [two liars]. (Let him cultivate grains and don’t give him two liars.)

Bura [Bodyguards] neta [looking] eni [him. (Bodyguards are looking after him)

Nen [Something covered] nobäädigew [name] (secret) kwayo [beg] jwok [God] ko – kwayo – kwayo [keep begging him] wao [son of] Nyang [crock].  öö

Na [every] roon [year] (Digew who is named after something which is secret, beg your God and I will keep begging him. He the son of crockodile, every year).

Amwong [permanent thing] nyo [the daughter the bird called obkok] bok [after] Ogwele [name] wao [son] Ogeira [name of the father] jobi [buffalo].

Odwieto [said] ni – kom [tell] (advise) jee – ya [the people] Ogwele [name] wao [son] ogeira [name of father] jobi [buffalo].

Odwieto [said] bura [in the Bura]. (Amwong Obok advised Ogwele who is the son of Ogira to tell the people. The chief sent an article to his prime minister to tell everyone in the village.) or (The chief is in the bura where he meets with his bodyguards. He sent this article in front of the prime minister and his bodyguards and he elected his prime minister to go and announce the article which had been said in the meeting place.)

Intervals:

Unisons:

Soloist: 38

Chorus: 20

Combined: 58 (72%)

Major 2nds:

Soloist: 10

Chorus: 0

Combined: 10 (12%)

Minor 3rds:

Soloist: 9

Chorus: 0

Combined: 9 (11%)

Perfect 4ths:

Soloist: 3

Chorus: 0

Combined: 3 (4%)

Perfect 5ths:

Soloist: 1

Chorus: 0

Combined: 1 (1%)

Shape: Descending pattern from high point at beginning.

Range: Soloist: Major 9th; Choir: Perfect 4th.

Scale: See example.

Mode: Pentatonic

Tonality: B or F

Timbre: Male soloist.

Texture: Monophonic, but changing with the later addition of voices and drums.

Intensity: A loud but not resonant voice. Gains in intensity as the song is learned.

None present.

Free. Without drums, pauses between sections and repetition of each part breaks up rhythm. Addition of drums later on, places the song in a duple pattern.

None used in the potion transcribed. Obero beat is added later.

Call and response. Each phrase is repeated for teaching purposes.

The texts of Oberos are filled with the names of villagers. In fact, entire songs can be built on the names of individuals with praise and the requests of the singer intertwined. The singer is free to give advice to the chief through the Obero. He may comment without reprisal about the condition of the village, social concerns, and the leadership qualities of the chief, telling of his kindness, goodness, and outstanding characteristics. Like the Agwaga, the texts of the Obero may also contain references to the brave of the village and comment on battles that have been fought. But the praise of the chief is their major concern.

Shape: Generally downward from the initial high point at the beginning. Chorus portions may be more chant-like or may have active melody lines.

Range: The soloist’s range is from an octave to an octave and a minor seventh. Chorus parts range from a major second to an octave, considerably more restricted than the soloist.

Intervals:

Unisons: (49%)

Minor 2nds: (3%)

Major 2nds: (25%)

Minor 3rds: (11%)

Major 3rds: (1%)

Perfect 4ths: (9%)

Perfect 5ths: (7%)

Major 6ths: (1%)

Mode: Pentatonic dominates. Some may display minor and diatonic qualities and others are suspected of having Arabic influences.

Timbre: Obero performances range from one soloist to a chorus of villages.

Texture: In a village situation, thick with soloist, villagers and drums.

Intensity: Very full in a village situation.

None present except unisons.

Duple Obero rhythm with tempos ranging from 92 to 136 to a quarter note. Most are around 116 to a quarter note.

Obero drum beat pattern. Two players playing three drums. A bugle is blown occasionally.

The Obero drum beat pattern implies a type of drum beat pattern using two performers playing three drums. The performer on the large drum also plays the medium. Another performer plays the smaller drum. The performer on the large drum improvises freely. The performer on the small drum maintains a steady beat pattern.

Call and response. In much of the analysis, the division of parts was simulated and deduced from voice quality and range characteristics.

Tape Number: 4A 2 011

Place of Recording: Pokwomo

Date of Recording: July 6, 1972

Date of Transcript: July 18, 1972

Source of Song: Pokwomo. Dating from the Second World War.

Performer: About 30 men in a drinking hut

Informant: Paul Nyinyoni

This performance was in a natural setting and not staged for the investigator. The field Notes for July 6, 1972 describe the setting for the recording of this selection.

“At 12:40, my informant and I arrive at a compound in the town of Pokwomo where there are two huts filled with men. One hut has mud sides (the drinking house) and the other, the usual grass walls. Twenty to thirty men are crowded into the small round building in a circle, drinking out of a common pot, using straws (bamboo shoots) to drink the beer made out of grain.

“It is relatively easy to investigate what happens in the Anuak tribe because the events and those involved are mentioned in the songs. Frequently, a song will relay information that a speaking Anuak would not be willing to share. When a village fights another village, they will compose a song against the people they are fighting and include the names of the people who have been killed, listing them in the song.

“This particular song dates from the Second World war and concerns the fighting between the Ethiopian police and Ojunga Ogilo. Ojunga Ogilo was an Anuak who caused trouble and when the police became involved, fought them and killed the police (or Gallas). (Even though the police may have been Amharas, Gallas have been in this area to hunt. The Anuaks have asked them to pay for the animals they have killed in the area. Since the Anuaks have had contact with the Gallas, all Ethiopians are called Gallas by the Anuaks.)

“The father of Ojunga is called a beggar. Therefore, this is a song against Ojunga, the police, and Ojunga’s father. The police have agreed to give flour, a goat, and chickens to Ojunga, but he is still unsatisfied and causes trouble.

“The repeated phrase is, ‘Ojunga killed the Gallas.’ Participants shout when their bulls are mentioned in the song. Each male has a bull or animal name and is able to identify the animal, and therefore themselves, with distinctive characteristics of the animal’s shape, size, and color.”

The repeated phrase is, ‘Ojunga killed the Gallinya (Gallas).

Shape: The solo portion is quite improvisatory in nature. There is a clearly defined refrain sung by the men.

Range: Soloist: Major Seventh; Chorus: Perfect Fifth.

Intervals:

Unisons:

Soloist: 21

Chorus: 7

Combined: 28 (54%)

Minor 2nds:

Soloist: 4

Chorus: 1

Combined: 5 (10%)

Major 2nds:

Soloist: 9

Chorus: 4

Combined: 13 (25%)

Minor 3rds:

Soloist: 2

Chorus: 1

Combined: 3 (6%)

Perfect 4ths:

Soloist: 0

Chorus: 2

Combined: 2 (4%)

Perfect 5ths:

Soloist: 1

Chorus: 0

Combined: 1 (2%)

Scale: See example.

Mode: Pentatonic

Tonality: Refrain: G; Soloist: D

Timbre: Male soloist and 30 men in hut.

Texture: Men’s voices.

Intensity: Very full and driving, boisterous.

None present.

Duple: Agwaga rhythm. Tempo: Approximately 100 to the quarter note.

None used on this occasion.

Call and response. Improvised style verse by soloist with the same response each time from the men. This is a departure from the normal pattern among the Anuak. Usually, responses are different each time. This is the only example found of the same response occurring over and over.

The first solo passage has been omitted from this transcription because its beginning was not recorded.

Tape Number: 9B 1 000

Place of Recording: Opanya

Date of Recording: July 11, 1972

Date of Transcript: August 3, 1972

Source of Song: Opanya

Performer: Old man singing and accompanying himself on the Anuak thom.

Informant: Paul Abulla

This performance was at the request of the investigator.

Agwagas 2 9B 1 000 and 3 9B 7 388 were recorded in Opanya, a village upstream from Pokwo. The Agwagas recorded there feature the singing and playing of an old gentleman who performed with great skill and willingness.  He performed on the Anuak thom, an instrument not encountered in any other parts of the Anuak area. The Field Notes for July 11, 1972 provide the setting.

“2:30 p.m. Leave Pokwo on foot heading upstream. We quickly encounter a body of waist high water standing over the dry season roadway we are following. And so, we wade in, holding all equipment high. We continue for 45 minutes through high grown saw grass and plantings of corn in various stages of growth. Shortly before reaching the village, we cut left through the six-to-nine-foot grass and corn and enter the village of Opanya.

“We seat ourselves on Ethiopian cloth rugs, attractively designed with lions on the border. The young fellows sitting together are obviously enjoying each other’s company. Two pots of goat meat are boiling over the fires, being constantly stirred and cared for by another fellow. All of the men are in their early 20’s.

“After a brief wait, the gentleman we have come to hear comes from the other part of the village, strumming his thom as he comes. The instrument is heard before he appears. He arrives and seats himself in front of us. A pleasant appearing man of at least 50 with expressive features, quick to smile and willing to please.

“3:40 p.m. He begins singing using the Anuak thom. The instrument seems related to the Amhara krar, six strings stretched over a stylized animal carving for a bridge and over a skin resonating box. He sings for the most part in unison with the strings which he plays with both hands. The left-hand thumb plays the first two strings, the index finger, strings two and three; the third finger, strings three and four, and the fourth and fifth finger of the left-hand plays string five. The right-hand thumb plays string six and sometimes five, and beats rhythmical against the body of the instrument. He plays with total contentment and total control and naturalness.

“This soloist has had this instrument for only about three years, although the instrument appears to be older than that. He learned to play when he was a young man, teaching himself and not being taught by anyone else. He said, ‘It was a gift from God.’ He said that there were other players in the area that are better than he, but those who recommended him consider him to be an expert.”

Fifteen to twenty years ago, the Anuaks were fighting with the Massengo tribe. The Anuaks were captured and made slaves who were then sold to the Nuers and to another tribe.

(The song includes the names of the people and says that the people are not happy.)

When they hear the small drum, the people will get up and march with the chief.

 (Each phrase is repeated. The word for small drum is “Odolla.”)

Shape: A complex and very well-formed song. Phrases generally end low though some display an arc-like contour.

Range: Soloist:  minor 10th; Thom: Major 9th

Intervals:

Unisons: 56 (34%)

Major 2nds: 55 (33%)

Minor 3rds: 46 (28%)

Perfect 4ths: 5 (3%)

Perfect 5ths: 3 (2%)

Minor 7ths: 1 (1%)

Scale: See example.

Mode: Pentatonic.

Tonality: G (Transposed down one whole step).

Timbre: Old gentleman singing with thom accompaniment.

Texture: Unison with voice and instrument with added ornamental bridges between segments. Improvisatory instrumental style.

Intensity: Subdued.

Octave doubling. Otherwise, none.

Duple feeling. Approximately 116 to the quarter note. Slight variations.

A solo piece accompanied with Anuak thom including short instrumental interludes. This is a complicated, well-formed song which is repeated in its entirety with only slight variations in tempo.

The performer plays the Anuak thom.

Tape Number: 9B 7 388

Place of Recording: Opanya

Date of Recording: July 11, 1972

Date of Transcript: August 3, 1972

Source of Song: Opanya

Performer: Old man singing and accompanying himself on the Anuak thom.

Informant: Paul Abulla.

This performance was in a natural setting but was at the request of the investigator.

The songs from Opanya seem to be characteristically short with relatively few ideas expressed. They are quite melodic with a great deal of repetition. These songs lack the volume and explosiveness found in many of the other Agwagas from other villages. Instead, they are sung softly by the leader and by those who join in. There also seems to be a lack of a clear break between the leader and group as found in songs from other areas. It would seem that most of the singing of this village is to the Anuak Thom rather than to the accompaniment of drums. This may be an unwarranted assumption as we did not observe or hear any performances other than those of this man in Opanya.

(A very interesting song melodically.)

He went to the Gallas.

We are the people of fighting.

(The people of Opanya used to fight against certain villages.)

Repeated.

(Repetition is a characteristic of this composer-singer’s songs. Greater interest is derived through this repetition.)

Tape Number: 26B 4

Place of Recording: Pokwo

Date of Recording: July 25, 1972

Date of Transcript: January 20, 1973

Source of song: Cham

Performer: Olok Okae from Cham

Informant: Agwa Alemo

This performance was at the request of the investigator. Olok Okae, a mature song leader and composer, performs Agwagas 4 26B 4 and 5 27A 1 000.  A description of the setting is from the Field Notes of July 25, 1972.

“1:00 p.m. We arrive at our place of recording in Pokwo and meet with a man who has come up river earlier in the day. He has come with the expressed purpose of singing. His name is Olok Okae from Cham, an older man, very dignified in appearance, proud in bearing, and very ready to sing. He is a singer from a village where he is no longer living. Therefore, it has been a long while since he has been able to lead a village in singing. The songs he knows are not known by the village where he is at present. In addition, being a foreigner to the village where he is now living, he has not been called on to sing. And so, he is coming full of songs and anxious to begin.

“We sit down immediately. He seats himself on the mat in front of us and begins with great power and fervency. As he continues one song after another, the sweat begins to pour off his face and down his short beard. He lifts his shirt to cool himself, but he keeps on singing. The only reason he stops at first is for me to change the tape.

“Rain interrupts our efforts, so we move under the protection of the clinic roof. The singing continues until 4:30. By this time, he is obviously tired, though not as tired as we are, and the session ends. He would have continued if encouraged to do so, but he was anxious about starting down the path back to his home again. He sings songs from Cham, Nyigila, Tedo, Ojallo, Adongo, Pocala, and Okadi.”

This is a song sung especially for the king. When a group of people are mentioned in a song, special respect is paid them and they are not called according to their names but according to the animal names they have been given. Therefore, the individuals mentioned in this song are identified by their animal names.

This song was composed and sung because of the competition between two kings. The man who wanted to compete with the cruel king heard the message sent by this singer. When he heard the message, he was afraid and hid himself as a woman who has given birth. He returned to his home in Adongo.

The dispute was between the village of Nikane which is a group of villages under a common name. The Nikane group consists of Openo, Alorow, and Gilo. The dispute was between the Nikane villages and Odongo because of corn and cows.

(Friends are praised.)

(The king is compared with a lion.) He was terrible in the village…he used to kill people.

But he heard of one king. If I meet that king, the bad king will see me.

(The singer-composer sends a message to this king, saying): Don’t compete with this king because he is terrible.

(The king heard the message of the singer and heeded it.)

(The king of Nikane village said): I don’t want a war to start because of cow or corn. (He’s the cruel king.)

Are the people of Odongo mad or what? What happened to them”

We sent a message to them saying we don’t want a war started because of the corn or cows.

But they are still stealing our cows and insulting us.

If we agree to make a war with them, they will never face it.

Starting many years ago, we were known by many people that we were warriors.

And we refuse to make a war with other villages because we were blamed by many villages for killing many people.

Our king, Agwar keeps our village in peace and we help keep many villages from the hunger.

Even during the time of Mussolini and the Italian invasion, we were the people who fought seriously. (They fought against the Italians.)

People of our village were divided because of a dispute between them, not because of the attack of some other village.

During the Italian invasion, we chased them away many times, and we captured many things from them.

Elaboration on Text:

The later portion of this song alludes to the relations of the village of Cham with the Italian forces during the Second World War. My informant, Paul Nyinyoni, added background information about the occupation years:

This is an old song from Cham (a village of eleven settlements) against the Italians. During their invasion of Ethiopia, Cham acted against the invading Italians. The Italians, while ruling this area, acted cruelly to the villages taking anything by force including food and women and felt free to do anything.

The people of Cham said that, “My arm would not be twisted…” They refused the force and were not to be oppressed. They composed songs against the invaders to let the Anuaks know that they were the only village that refused the force of the Italians.

Not too many Italians were in this area. Only those of high rank. The others were black people whom they employed. In the fight in Cham, there was only one Italian in the fighting. All others were black. The captain remained alone, though all of his forces were completely destroyed. Cham is on the border of Ethiopia and the Sudan, located on the Acobo River. When the captain found that he could not do better, he escaped by night to the Gilo River where he remained to wait for reinforcements. The Sudan government delayed in action.

The captain attacked a second time after getting reinforcements. This was during the dry season and arrived with many soldiers. They attacked Cham from the Ethiopian side and then from the Sudan side, defeating them. Sudanese forces, including troops from Uganda and the Congo, retaliated, attacking Gambela, the stronghold of the Italian troops.

During this time, the Gallas and the Amharas and the Anuaks fought on the side of the Italians. They were convinced through being given clothes, money, etc., to join the Italian forces. The Anuaks were not aware that the Italians had evil intentions, even though they were treated badly by the Italians. Slight wounds were ignored and allowed to become fatal. Simple mistakes were cause for the sentence of death. The village of Cham was severely beaten by the Italians, though the king of the village, Cham Akway, was not killed. A severe revenge was mounted against these people because of their resistance.

Shape: An old and well-formed song. Generally downward movement from an initial high head voice range at the beginning of phrase groups.

Range: Two octaves and a third.

Intervals:

Unisons: 54 (53%)

Major 2nds: 25 (25%)

Minor 3rds: 4 (4%)

Major 3rds: 4 (4%)

Perfect 4ths: 7 (7%)

Perfect 5ths: 3 (3%)

Major 6ths: 2 (2%)

Octaves: 2 (2%)

Scale: See example.

Mode: Pentatonic.

Tonality: G (Transposed up a whole step.)

Timbre: Older gentleman singing with excellent resonance.

Texture: Monophonic. Solo voice.

Intensity: Great vitality, penetrating quality.

None present.

Free rhythmic feeling.

The song is non-repetitive. It consists of an introductory phrase group indicated on the score at (1) followed by a series of phrase groups which are variations of the second group, marked (2). In a village performance situation, the song would take on a call and response character as well.

No instruments used.

Tape Number: 27A 1 000

Place of Recording: Pokwo

Date of Recording: July 25, 1972

Date of Transcript: February 3, 1973

Source of Song: Cham, before 1935 and the Italian Occupation

Performer: Olok Okae from Cham, a mature song leader and composer (about 50) singing without accompaniment.

Informant: Agwa Alemo

This performance was at the request of the investigator.  This song is about a leader called Warabwoola who had become engaged to a beautiful girl from Cham. The king of Cham also wanted to become engaged to this girl. Because of this, Warabwoola wanted to fight against the king of Cham. War then started between the two villages because of the dispute over this girl. This song was composed to inform the people of what the other village had done so that the Cham villages would get ready to fight. This is one of the oldest Agwagas now known.

(The composer praises the King of Cham and speaks of his former deeds, saying):

Our king fought against the Ethiopian government with his friends.

The government could not kill the persons but simply wounded them.

(In Cham village, there is a wife of the old king. The composer shows his appreciation to her saying):

You and our leader were left by the previous king to rule the Cham village.

(Appreciating a person who is powerful in this village):

When they fought against this king, Warabwoola, there was a man beside Warabwoola who was killed by a friend of the king of Cham.

How powerful we were to be able to kill a man by Warabwoola’s side.

And he was eaten by a vulture.

(Appreciating those who chased away the people of Warabwoola, the singer says to the friend of the king of Cham):

Beause of the war we made, you better give something (a spear for example) which will make me very glad.

(The singer appreciates the wife of the king, saying):

When we came back from the war, our king’s wife had seen our hunger.

We were very hungry.

She gave us something to eat and to drink.

She is our mother.

(The singer says something about the war):

We agreed to fight against you because of the lady our king engaged.

Even our commander agreed to fight against you for we saw that we were not mistaken.

(The singer says to his friend):

When we drank the beer, I heard something people were saying about you.

“Let’s give the singer simple beads and not the special ones.”

(Singer appreciating the big men, the leaders, in the village. When the village wants to attack another, they will call a meeting and agree on a time that they are going to attack that village):

When we go to attack another village, we will never be defeated because you can see the strength of us in the village.

We will never be defeated.

So, you must marry the girl.

Even in different ways, no village can attack Cham.

There is no village that can attack Cham.

Even a group of villages together, because they have seen what we have done to the Warabwoola people.

(When people want to go to war, they will call a meeting to pray. “God, if we are mistaken when we go to war, we will be defeated. If not, give us strength to defeat them.”)

It is a curse from God to kill our brother who was famous in our village.

But when we go to war, I hope everybody will kill at least one person.

(There are people in the villages who have been chased away from other villages, refugees.  If there is a meeting in a village, they will not be called by the leader. The refugees went to inform those of the other village that they will be attacked.)

Those who say lies against Cham village will be considered as criminals.

When that fish comes up to get air, the waves will go in every direction.

They will go around.

The same so like Cham village.

Cham cannot be attacked in one direction or even in every direction because it is surrounded by powerful warriors.

Liars are going to cause something very difficult in our village which will make us very sad.

Tape Number: 31A 6 291

Place of Recording: Tierlul

Date of Recording: July 27, 1972

Date of Transcript: March 10, 1973

Source of Song: Adongo.

Performer: A young man with a clear high voice, Yalo Alwinye from Ajwra. He sings without accompaniment.

Informant: Agwa Alemo

This performance was at the request of the investigator.

Individuals in an Anuak village are divided into age sets. The age set system is both a stabilizing influence as well as a cause of friction between the various people of the village. This song alludes to the wisdom of King Nyer Aqui who ruled two villages, Ajwara and Otello many years ago. Later, when Aqui died, the village divided and Ajwara was given to Cham and the son was given Otallo. The son of Aqui was named Cham Aqui.

The king who feeds ten different generations will never have any disagreement in the village.

(People will love the king who is able to keep ten generations happy. The generations differ in ideas. But in feeding all the generations, the king is able to have them share ideas and get along thus extending his time of rule. There are not many rulers like this. The singer mentions a deaf man):

The deaf tease me.

When I met him in the forest, his stomach is blind.

It doesn’t see.

Something is going to come in the future.

(The people of Adongo came to fight the people of Arieth because of the disagreement started between the deaf man and the men of Adongo.)

Because of the deaf man, the trap fell on the Arieth people. (Many of them died.)

One war which is left to be fought and the relatives will dislike each other.

(Mentions the war fought with the Ajiba tribes):

The war between us and the Ajiba tribes was because of the cattle not because of the lying.

(A Nuer and Ajiba tribesman, if they see an Anuak, will kill him. If the Adongo people hear that one Anuak has been killed by an Ajiba or Nuer tribesman, they will go for war and kill many of them and bring their cows as spoil.)

Tape Number: 33A 3 266

Place of Recording: Peno

Date of Recording: July 28, 1972

Date of Transcript: March 24, 1973

Source of Song: Peno.

Performers: Ogato, a man in his late 50’s with men around him, joining in.

Informant: Agwa Alemo

This performance was at the request of the investigator.

Peno is about one hour downstream by motorboat from Pokwo. This day was filled with recording, most of it being done in an open flat area. Later in the day, we are forced to move indoors because of the wind and rain. Ogato sings inside an Anuak house with listeners crowded around.

This song was sung during an attack of one village upon another. This is a bitter war song. It is possible that it may have been composed in the village that lost the fight. The singer is informing all the villagers to go to the field of war.

When they picked up their gun and went to war, they chased away the people who attacked them.

They answered the question of the people.

We refused to fight with you.

Because of that, we fought.

But you didn’t face us.

Those who used to eat snake fish, we controlled (forced) them not to farm on the other side of the river.

When we went early in the morning, when the morning star rised up, we killed a person who was not really Anuak.

His father is Anuak and his mother is Nuer.

We ignored.

(We ignored:  This is the first step before fighting. “Do you want to fight me?” “No,” i.e., “We ignored.” But the person being asked will record it in his mind. When he is asked the third time, the fight will occur and the person asking will be defeated.)

The people of Powl asked the first and second time.

But the third time, we fought and we defeated them.

(In our area, that is common.  To ignore the person the first and second time. But the third time everybody will agree. “Why don’t you fight him? He is repeating the same thing always.” If you kill him, many people will support you, saying, “He ignored the request to fight the first two times, and will not blame you much if a killing occurs.”)

During the war, we killed a person with the evil eye.

(Implying that he is not a pure Anuak and therefore, not too important.) When they killed th son of the chief, his wife remained without a husband.

(Insulting each other.)

We killed the son of the chief which made us very glad to fight against the people of Powl.

Repeats: The people of Powl asked the first and second time. But the third time, we fought and we defeated them.

The chief agreed to fight.

(The chief is named after a crocodile.)

He agreed to fight against the people of Powl.

They say he (the chief’s son) died as an ordinary person and not as a chief’s son.

Because each one was thinking about the big (the many deaths) death that happened in the village and not about the chief’s son.

The war will never make you handsome.

But it will teach you a good lesson.

Everybody became against himself. (quarreling)

Who caused this war?

(Murmuring against themselves and not against the Peno people. Insulting the big lady of the chief, the wife. References to sex.)

When they killed many people beyond the village, the vultures came and ate the women.

Tape Number: 36B 2 111

Place of Recording: Tierlul

Date of Recording: August 3, 1972

Date of Transcript: April 20, 1973

Source of Song: The village of Oboa on the Baro river. Composed by Ochan. Very old.

Performer: Omot Opiew from Oboa. A fine male singer and composer singing without accompaniment.

Informant: Agwa Alemo

This performance was at the request of the investigator.

This is a very old war song from Oboa during the time they were under a king named Odiel Ojulo. Oboa attacked and defeated the village of Pinykiew under chief Obulo. This melodically interesting song records the defeat of the Pinykiew people.

They ran away.

They ran away.

We threw their guns in the river.

They ran to the other side of the river.

Those whose grandfathers didn’t sleep in the skin of the lion will never compete with us.

I’m begging our leader who defeated and burned the villages down.

I’m begging those who support the king and who paid all the things for the marriage of a certain friend. (The friend is named after a pelican, ocar or olmayi, a bird which is tired of fishing.)

When the old people went for the attack, the things they captured, they will destroy…even the ladies.

(The singer compares the old men in the village who have the same rank.)

(A small village called Depa went to attack the Oboa people and the Oboa people were victorious. The Oboa people replied):

Any village who wants to be defeated can come and attack our village.

The people of Depa seem like a best friend (or a best relative) to us because of their attack.

We agree to finish them.

Depa was ignored at first, but then we attacked and the children were pounded like you pound grain.

So, the Depa people were destroyed.

(Praising their chief):

Strangers from other villages come.

He sees their stomach to see if they are starved or not. He’s a leader who adopts those who don’t have parents.

Once our leader aggresses to fight, he will fight till he destroys the village.

Now you, our village, don’t separate, because the villages along the Gilo River aggress to come for attacking us.

All Anuaks said, “Where will Oboa people be?”

We answered them, “We will be in our previous village where we defeated everybody.”

Tape Number: 37A 1 000

Place of Recording: Tierlul

Date of Recording: August 3, 1972

Date of Transcript: September 2, 1972

Source of Song: By Omot Opiew from Oboa.

Performer: Omot Opiew, a fine male singer and composer, about 30, singing without accompaniment.

Informant: Cham Moses from Akobo, 22; Obong Odiel from Akobo, 25; Omot Ochan from Akobo, 25; Henry Akway from Pochalla, 19.

This performance was at the request of the investigator.

This is a new song. Omot Opiew composed the song in July, sang it for the chief during the last week in July and taught the song to the people a week before this taping. By August second, he felt it was known well enough by the village.

This song is not against another village nor is it in any sense a war song. The composer tells the chief about his difficulties and how well he rules his village. The composer is simply and clearly begging something from the chief and those around him.

(The composer mentions the names of the people living in the area. He tells the chief about his poorness and praises the chief, saying):

He’s great as a mountain

I just found a chief as great as a mountain.

(That is, as strong as the rocks of the mountain. He compares him with God, almost worshipping the chief.)

I came from Gilo, having no penny.

So, I am expecting something from the chief. (Like demoui.)

(In the village, the second man in command under the chief is responsible for certain problems. The singer now praises this man):

The poor man is saying there are many riches in the assistant’s house.

I don’t have land to go and farm.

(The land is plenteous. He came after the people had cultivated.)

I have no grain nor anything. Where can I eat?

I have no relatives in the village.

(He demands something from the village. He continues to praise the same man and brings in his wife.):

You go see your wife.

What is she doing?

Perhaps she is preparing beer.

I’m going to see the family of the chief.

Maybe I can get demoui.

There are people working against me.

(He continues to praise the chief. When a guest comes, he has to wait till something is given to him. He must observe and wait.)

Who could give him a gun or a cow? (He’s fighting some people.)

People are backbiters in this land.

In your name (the chief) I swear, these songs are all my own.

I didn’t try to get the words from someone else.

I just came to this village because of you.

You know that all in the village are praising you.

(Assuring the chief): When he came from Abol, he got one piece of demoui from the chief and it was so nice that everybody liked it.

(The singer assures the big people of the village):

The chief is strong because of you who are strong in the village.

(He expresses his unluckiness, saying): The new generation have forgotten about respect for the chief.

This generation is dishonoring the chief.

It is good to arrest them.

(A boy making a mistake can be arrested and fined before the vice chief.)

(Telling someone): you are really very important to me.

(He may have forgotten him in another song, but now is praising him.)

We can make Agwaga here till your name is heard in the other tribes.

We have got the real chief.

Who can we compare him with?

We can compare him with the men who brought the rifles, the Italians.

We have so many cattle, we can eat meat without problem.

Tape Number: B2A 4 552

Place of Recording: Tierlul

Date of Recording: January 6, 1973

Date of Transcript: April 23, 1973

Source of Song: Tedo.

Performer: Obulo Goc from Tedo, composer and singer. Dates from about 1963.

Informant: Agwa Alemo

This performance was at the request of the investigator.

This Agwaga is truly a war song. A war between Tedo and Ojallo broke out because of the wife of the king of Ojallo who committed adultery with one of the Tedo men. The king of Ojallo made a plan against the Tedo people in revenge. He called them to join in a party in Ojallo. During the dancing, many of the people of Ojallo were away according to plan. When they applauded for the king, the Ojallo people came behind and killed all of the Tedo people. The few remaining from Tedo made a long-range plan in reprisal. They let the Ojallo people forget what they had done. When the people in Tedo heard that most of the people of Ojallo went away for dancing in another village, leaving few people in Ojallo, the people of Tedo came and killed all the women and the few men who remained in the village. This then is the Tedo song.

All Anuaks, why don’t you ask that man why he is angry.

He’s mad and we didn’t consider the people whom we killed as the main (or important) people.

Because we killed ladies (considered them as nothing).

When they came back from dancing, they were very upset.

You, Anuaks, ask why they are angry.

We did not consider the people we killed as important.

There is a man who was left to watch the ladies who was killed by the Tedo people.

His name is Aquothi, known in Ojallo.

Those who came from dancing had nothing to say except to sit lonely (or cry lonely) because they have seen the dead bodies and the bloodshed mixed with the feces in the home of the king.

(They collected the wives together of the king and killed them in the home of the king.)

A second plan is always dangerous.

There is a man who sang Agwaga song when Tedo people were killed.

(They insult him in the song):

Who involves you in our problem?

Because you are not the citizen of Ojallo village.

If they had seen you, you would have been like those ladies who died.

(They ask a man known from Ojallo also):

How is the condition in your village by now?

The poorness of missing wives and daughters made them very upset because there is no lady who can make food for meal.

Our chief cannot be compared to any chief.

He who had allowed the younger generation to kill all the women and children.

The Agwaga texts have been described as being the major source of tribal history and they contain much of this. Many names are mentioned by their bull names and other animal names. The chief is described and compared and praised. He receives comment and veiled criticism from the singer. But basically, the Agwaga is a war song transmitting information of who was brave, describing the battle, the reasons for war, and as always, pleas by the singer to have his needs met.

After fighting a village, when you return to your own village, the song is formed according to the activities. Ebago will also make a song. Fighting may have been strong on both sides. There would be courageous men on both sides though one side would have lost. Either side would have been happy to kill courageous men on the other side, therefore reducing the strength of the opposing village and so those strong courageous men would be mentioned in the song of either side. If a lesser man is killed, he would not be mentioned, but a brave man would gain recognition. A composer will mention the chief in a prominent way along with the brave fighters. So, a song can be dated if the chief’s term is remembered. The composer will also mention something that he wants from the chief or anyone else in the song. And the chief will give the composer something… perhaps not what he has asked for, but something. Therefore, the composer will take advantage of the fact that he is writing the song and is in control of the words, therefore, he will ask for something as a part of the song.^[10]

Shape: Generally downward movement from a high beginning point. Phrases generally end low, though some may display an arc-like contour.

Range: Ranges may be as much as two octaves or more for the soloist. The chorus has less range demands. An analysis of more material would allow a more definitive statement.

Intervals:

Unisons: (47%)

Minor 2nds: (3%)

Major 2nds: 28%)

Minor 3rds: 13%)

Major 3rds: (1%)

Perfect 4ths: (5%)

Perfect 5ths: (2%)

Major 6ths: (1%)

Major 7ths: (1%)

Mode: Pentatonic predominates. Some chromaticism is found in solo portions which may be indicative of acculturative influences.

Timbre: Male soloists.

Texture: In a village situation, male voices in a call and response arrangement.

Intensity: Generally, very full and driving. With a soft string instrument, the quality is subdued.

Octave doubling. Otherwise, none.

A duple rhythm. Ranging from about 116 beats per minute and faster.

In village performance situations, a call and response character would be present. Some Agwagas are non-repetitive, others have repeated responses.

Agwaga style accompaniment. Three drums played by three drummers.