Table de matières
Table de matières
II.1.Definition of the song
According to the Oxford Dictionary 8th Edition, the “song”, is a short piece of music with words that you sing or in general is music for singing.(1)
The “song” is a collection of words performed by the human voice with or without musical instruments accompaniment (2).
From the above definitions, it is worth saying that the “song” is a means of expression through which the singer in trusting in his/her own sentiments, emotions or thoughts, which sometimes are of all the audience, he/she transmits them to others with a rhythm and a good accurate melody in the purpose of exciting them. Accor ding to Fait-NZUJI quoted by Ruhaurra WAMAJEGEZA(1987:5):
“Le chanter sait que son rôle n’est pas de faire raisonner mais
d’émouvoir , de faire participer ceux qui l’écoutent à ce qu’il
ressent lui-meme et de susciter en eux les sentimentsles plus divers’’
‘’The singer knows that his/her role is not to make the
think but to excite, to make those who are listening
participate on what he feels and
to raise up divers sentiments in them”.
For the Bafuliru, when the emotion becomes strong and spreads over the whole audience, every one becomes immediately singer. Each one, young or old, man or woman sings according to his/her sensitiveness, ability; he/she chooses his/her own words and insides them in to the song, but only the rhythm and the melody remain because the looked strait at the situations’ lyrics shades are singer’s creation. Therefore, the variation according to the circumstances. That why it is difficult to connect excluding a precise song with one of the branches and circumstances. It will suffice that they change the detail in deed so that the song may be employed in many of these circumstances.
This malleableness of the song did not allow us to follow the development (evolution) of the song in Fuliru area. The persons we interviewed on this subject said that this evolution is due to the appearance of the drum in opposition to” mayunga, which were the small bells, put on the foot and rhythm the song while singing. It is worth knowing that the songs we collected are of the recent creation or of nowadays generations. It is from this malleableness that our informant Kaluku MUSHAHO said:
“Ulwimbo lwohe, kirikindu kirikumutima, ikitali kyakulooza hala
Luli muyileta lwonene ikyanya halikuwa iyuvwa mumutima”
“the song is something that you cannot look for her and there, it is
Some ting which is in some one’s heart, it appears itself once some one
is emotion”.
The song can be old, but it keeps its meaning. It always constitute to us Bafuliru rivalries (competitions) occasions between families, villages, societies represented by their professionals.
Beside this role of entertainment, the song is a means of exteriorizing the secret, intentions, realities, myths, etc. such as: love, advice, conflict, or admiration. For example, whsen the new married woman hums some words of the song “ kanamarondo” “slanderous’’ “people talker”, immediately her mother in-law feels concern . That why MOHAMADU quoted by Ruharura ZAMAJEGEZA 51987:6) said:
“le chant ne fait que parfaire une oeuvre déjà largement amorcée.
Il contribue à la mise en valeur des évenements, des situations,
suscite l’angoisse’’.
‘’the song, it only completes the piece of work which has already been
Baited. It contributes to value events, situations, feelings, and it raise
up anguish in the concerned person’s mind”.
The song puts also in relief certain cardinal realities of the society as it is shown through this songs:” kamanda” “eagle”, humed by the children to amuse themselves on the sight of the Eagle making dance in the sky.
Kamanda kinir’omugoli
Umugoli akuhe ngavu
Ingavu ugihe abatula
Abatula bakuh’enyundo
Inyundo ugihe mwami
Mwami naye akuhe omukazi
Umukazi akakubutire
Kilondolondo kishake nakuzimu atita munini
Eagle dance for the queen
May the queen give you a cow
The cow you give it to the blacksmiths
May the blacksmiths give you the hummer
The hummer you give to the king
May the king give you the wife
May the wife give birth to children
Tattooed fig-tree mayor on the earth does not kill a thin person
In this song the king’s role is put side by side with an amazing (astonishing) harmony. The king gives life, richness and it required to respect him so much. He is also considered as superior force, spirit. The work, the marriage and the death, disturber elements of the life are mentioned with great insistence. There is appearance of many other elements such as: parental system, patriarchate (may the wife gives birth for the man), the symbolism of the nature (as kilondolondo), a symbol of life, longevity. It is also a tree through which people were getting clothes, the traditional person social value in the Fuliru society: mayor on the earth does not kill a thin person i.e. he carries a way a great force. This song is very rich and educative. Focus much attention on its analysis, we run a risque of going out of our pre occupation. But it was only to show how the song is strong and meaningful.
II.2. Data collection
How did we happen to collect some songs? Be fore showing the way we collected them, it would be better to say first that wedding songs lay over all the events from dowry or marriage portion, towards dowry putting back up to the wedding day. They are executed in different moments such as: when they to the field to look for manioc, while cooking, when putting back dowry, in the watching evening of the lady’s departure, and finally when the girl is led to her husband( the final ceremony).
The songs on which we worked on have been collected at kiliba, sange, Bwegera, Nyamutiri, and Lemera, which are the most areas where the majority of are Fuliru. Data collection has been carried out through the following methods: interview, enquiry, observation, and documentation.
II.2.1. Enquiry method
To enquiry is to ask for some one information.
With this method we tried to find our informants and asked them first the names, professions and the ages, after we asked them if they know some thing about Fuliru culture, especially wedding songs, then we asked them to give the titles of the songs, the circumstance in which they are executed, and after we asked them to give whole the songs.
II.2.2. Interview method
To interview is to ask somebody questions about his/her life, opinion, or about a given situation.
The interview as a conversation between the researcher and his /her informants who seemed to be informed about this topic. As far as this subject is concerned, with this method we did all the best to get in touch with Fuliru old men, women, and Youngs. We talked to them and asked them questions related to Fuliru culture especially wedding ceremony which cohered to our subject. Our informants were identified through the following questions:
The informant who happened to answer correctly to these questions has been considered helpful for us. This method was helpful because through it we happened to discover the meaning of the song, the circumstance in which a given song is executed i.e.it helped us to translate and to interpret the songs. II.2.3. Observation method
To observe is to watch somebody, some thing carefully, especially to learn more about them.
Through this method, we in contact with our informant while they were singing we happened to notice that each song has its own dance. Gestures and the movement of the lags, arms, eyes, mouth which both with the song spread out a given message. For example this song:
Alanyina womwija mukumulamusa/2
Al’okutangi botabota saw’ekibata/2
See the mother of the beautiful one the way of greeting her/2
See how they bound like the duck/2
In this song our informants were bounding and bending the arms between the legs. This method helped us to distinguish songs and their gestures.
II.2.4. Documentation method
To document is to prove or support something with documentations.
As a scientific work can not be realized without referring to existence literature, in our research we read books, Dictionaries, theses, diaries which were cohered to our topic. We also went to the internet and got in touch with our informants selecting pieces of information that could be helpful for us to accomplish our research and to proceed. That why the bibliography and list of informants are to be attached to this work.
II.3. Techniques and Methods of Data analysis
II.3.1. Definitions of some concepts
Here we wanted to show the ways we proceeded on analyzing the songs to discover the meanings and the messages they spread out the society.
II.3.2. Types of Techniques and Methods used
We came through in the sample constitution analysis through the following methods and techniques:
II.3.2.1. Identification of the informant
The identification of our informants was directed by the criterion based on the ability to speak Kifuliru, then we considered any person who would be able to speak Kifuliru s our informant.
Before we could begin to talk to different Fuliru native speakers of and of the different places such as: at home (Bwegera), Lemera, Nyamutiri, Sange, Kiliba, on the road even on the campus. The procedure was to introduce ourselves tour informants; we told them about our research purpose, then we asked them if they knew anything about Fuliru culture, especially wedding songs. Our informants were much interested in us and were answering to our questions positively. Although some answers were not convinced, the correct ones helped us to realize our purpose, we also asked our informants to give more information about any point concerning the Bafuliru. While entertaining with our informants, they gave us much information about Fuliru traditional norms and the cultural value. After having an agreement with each other the interview could begin. We talked to them freely asking them questions related to our topic according to the different chapters of the research paper. We managed our effort to get satisfaction about any question we had about this present piece of work though every sources we reached.
II.3.2.2. Validation of the instruments
The present research was based on different methods and techniques,; which we combined so that we could make our informants understand the questions we were asking them during the entertainment. We happened to do this because we wanted to get the right information about our research. Through this technique, we happened to get every piece of information we needed for our research. We at the end admired and appreciated these methods and techniques for they were helpful and appropriate to our work achievement.
II.3.2.3.Transcription method
Transcribe is to record thoughts, speeches, or data in to written form. The transcription of the songs was carried out with the help of our informants whom we were asking to sing slowly with a good tonification to help us to write down these songs correctly.
II.3.2.4. Translation method
To translate is to express the meaning of speech or writing in a different language. With this method, we happened to express the meaning of the songs from Kifuliru in to English.
We were asking our informants to sing slowly with a good tonification, while they were singing we have been writing them in the copy book; then we translated them in to English. Although the passage from the written to the song(oral) set out a number of problems that seemed to be an obstacle to our research, as it is also shown in the course of ” Litérature orale traditionnelle Africaine”, taught by Ruhekenya JUMAPILI in G2 (2012), that the oral literature is difficult to interpret because of the strength it contains. The most problems were based on: What to translate?, How to translate?, Does this translation bring out the reality of the orality in the transcribed texts?, Should turn to some body who is mastery in two both English and Kifuliru?. But through our effort of understanding the both languages and good information we got from sources and our informants, we happened to translate them in an understandable way? In spite we happened to translate them, we confess that we did not totally skip the problem of translation, because the tongue as the first expression of the environment in a given area, the passing from tongue to an other causes the loss of these songs flavor, the shape, the sweetness they contained, and many socio-cultural realities do not have their correspondents elements in other languages, so the socio-cultural analysis should help us to spread out the realities.
II.3.3. Texts and their translations
Our typical wedding songs sample is composed of 28 songs, kept back for their concision, clarity and especially because of their popularity. As the list of them was exhaustive, we rejected some for the reason that we should not work on all the wedding songs as they are numerous. They are composed of short phrases and repeated several times so that the words can be heard distinctly. They are full of flatter words, pleasant and delightful.
A.BACHELORS SONGS
A.1. Young boy’s songs
A.1.1. ALANYINA WOMWIJA
Alanyina womwija mukumulamusa/2
Alokutangi botabota saw’ekibata/2
SEE THE MOTHER OF THE BEAUTIFUL ONE
See the mother of the beautiful one the way of greeting her/2
See how they bound like the duck/2
A.1.2.EKISHOMA HAYI WALALA?
Ekishoma hayi walala?
Nalal’emwituvyala
Biki bakuzimana?
Ubundunidekere
Kituma utalahira?
Imwabene shoni shoni
Ref: huka, huka/2
huka, huka/2
YOU KISHOMA WHERE DID YOU PASSE THE NIGHT?
You kishoma where did you passé the night?
I passed the night at my family in-law
What did they offer you?
Cassava bread on the beetroot leaves
Why have you not refused?
At others it is a shame, a shame
Ref: eat, eat/2
eat, eat/2s
A.1.3. EMUSHENGI
Emushengi ndayiji kuhuna kubidobo ee
Emushengi ndayiji kuhuna kubidobo ee
Nayiji lol’ekivyala kyani tubomboke ee
Nayiji lol’ekivyala kyani tubomboke ee
Ref: tubomboke ee/2
Tubomboke mwana washengi tubomnoke ee
Tubomboke mwana washengi tubomboke ee
MY AUNT
My aunt I did not come to ask you your food ee
My aunt I did not come to ask you your food ee
I came to take my cousin so that we may elope ee
I came to take my cousin so that we may elope ee
Ref: let us elope /2
Let us elope my aunt’s daughter let us elope ee
Let us elope my aunt’s daughter let us elope ee
A.1.4. HOWANGA YANGO MWOLO
Howanga yangomwolo unagule ngulube/2
Igabuta kabiri unagule shuli/2
Mukazi muzimba aa, mabokwelutanda/2 mawe
Mabokwelutanda aa, amasu emulyango/2 mawe
INSTEAD OF MARRYING A LAZY WOMAN
Instead of marrying a lazy woman, you can buy a pig/2
It will give twice and you buy a bull/2
A thief woman, her hands on the stall/2, mother
The hands on the stall, the eyes towards the door/2 mother
A.1.5. NDIYONGIBERE
Ndiyongibere
Mwadata/ ndiyongibere
Mwamawe/ ndiyongibere
Hamwitu/ ndiyongibere
Nayija/ ndiyongibere
Bukye buhondo/ ndiyongibere
Na bitu / ndiyongibere
Ref: ndiyongibere/3
I COME TO SUCK
I come to suck
At my father/ I come to suck
At my mother/ I come to suck
At ours/ I come to suck
I come / I come to suck
May the good day come/ I come to suck
With my friends/ I come to suck
Ref: I come to suck/3
A.2. YOUNG GIRL’S SONGS
A.2.6. IMWABENE MIGAZIMINGI
Imwabene migazi mingi mawe wani
Hango wa shenya mbuta shenya mawe wani
Hango wavwoma mbutavwoma mawe wani
Hango wahula mbutahula mawe wani
Hango wadeka mbutadeka mawe wani
Hango wakola mbutakola mawe wani
Ref: wasiga bamwinyu mawe wee
AT OTHERS MANY MOUNTAINS
At others many mountains my mother
When you cut fire woods they say that you did not my mother
When you fetch water they say that you did not my mother
When you pound they say that you did not my mother
When you cook they say that you did not mother
When you work they say that you did not my mother
Ref: you left your familiars mother you
A.2.7. NALIREIRI HALWIJI
Naliriri halwiji /e kaboga
Nanagwana jongo halwiji/ e kaboga
Ananjulike kifune kumino/ e kaboga
Anngula mino munana/ e kaboga
Hanasigalogundi munana/ e kaboga
Ref: ngola ngatoleka, tolekaga/2
I WAS AT THE RIVER
I was at the river/you kaboga
And I met a crow at the river/ you kaboga
he boxed me on the teeth/ you kaboga
he cracked me eight teeth / you kaboga
It remained other eight / you kaboga
Ref: I want to beak, beak now/2
A.2.8. ZENZ E ZENE
Zenze, zenze ngalal’emwawe zene
Yija, yija kungingo yani yija
Zene zene kungingo yawe zene
Katugalala zene katugataha zene
Munyere wayija zene karibwimwitu zene
Munyre lwayangwa mawe atakisar’emwabo
Zena wayija mawe wayij’ekirindye mawe
K’ilemera kahofi mawe mukuyij’ekirindye
Ref: yija, yija, yija mawe yija
TODAY TODAY
To day today I am passing the night at yours today
Come come on my bed come
Today today on your bed today
Shall we pass the night today or we shall go back home today
Girl you come be well come at ours today
If a girl is married mother, she cannot want to go back at theirs again
Zena you came mother to kirinye
Is lemera near mother to come from towards kirindye
Ref: come, come, come mother come
Omwana tumbalala, atumbalala, atumbalala
Ngengoko yibombwe, ngoko yibombwe ngoko yibombwe
THE CHILD IS SEATED DANDLING
The child is seated dandling, seated dandling seated dandling
Like a hen suffering, hen suffering hen suffering
Yinamuka tulolyamalanga we bwamayira
Yina mukatulolyamalanga we bwamayir’obwo/4
BOW UP WARDS
Bow upwards so that we may see the face it is just night
Bow upwards so that we may see the face it is just night now
C.BRIDE’S FAMILY SONGS
Emunyere wahya ee/2
Emunyere wahirir’ilemera
Kudet’ogagende buvira
YOU GIRL YOUARE GETTING MARRIED
You girl you are getting married
You girl you refused to be married at lemera
Now you are going to uvira
Omwana nun’ebavira/2
Omwana nun’ebakundwa/2
Omwana nun’edata/2
Omwana nun’emawe/2
Akili we obiky’oyomwana mukitabu kywe kyomulala
Akola wawe lwoshi/2
Ref: omwana nun’ebavire/2
omwana nun’ebakundwa/2
omwana nun’edata/2
omwana nun’emawe/2
THE CHILD IS GOOD
The child is good my fellow parents/2
The child is good my friends/2
The child is good my father/2
The child is good my mother/2
Akili you add that child on the list of the members of your clan, she belongs now to you forever
Ref:the child is good my fellow parents/2
the child is good my friends/2
the child is my father /2
the child is good my mother/2
Mwana witu agenda aa/2
Agend’emawe/2
Agend’emuhyahya ee
Mwana witu ajamba aa/2
Ajamba mawe/2
Ajambir’emuhyahya ee
OUR CHILD GOES
Our child goes /2
She goes mother/2
She goes to the plain
Our child gets thinner/2
She gets thinner/2
She gets thinner in the plain ee
Nand’ugahula kandi
Nand’ugahula kandi
Na Mawazo kera genda
nand’ugashenya kandi
Nand’ugashenya kandi na Mawazo kera genda
Nand’ugavwoma kandi
Nand’ugavwoma kandi na Mawazo keragenda
WHO IS GOING TO POUN D AGAIN?
Who is going to pound again
Who is going to pound again when Mawazo has already gone
Who is going to collect fire woods again
Who is going to collect fire woods again when Mawazo has already gone
Who is going to fetch water again
Who is going to fetch water again when Mawazo has already gone
Twagenda tuye niri ee
Twataha misago ee
Twagenda tuyeniri ee
Twataha misago ee
WE WENT COMPLETE WE CAME BACK UNCOMPLETE
We went complete ee
We came back uncomplete ee
We went complete ee
We came back uncomplete ee
Twamuloz’kuboba ee/2
Kubob’emawe /2
Kubober’eBwegera yo
Mwana witu munini yoo/2
Muni mawe /2
Mutamuger’ekishakulo ee
Mwana witu munini yoo/2
Munini mawe/2
Sura yage yatosha ee
Ref : aio Furahe wee olingakaloke/2
aio Furaha wee omuyakayaka/2
e Euric okazi suma omwanw witu atayarare/2
WE WANT TO SHOUT
We want to shout ee/2
To shout mother /2
To shout at Bwegera you
Our child is thinner ee/2
Thinner mother/2
Do not equal her to the mortar you
Our child is thinner ee /2
Thinner mother/2
Her face is sufficient you
Ref: you Furaha you, you are like small ball/2
You Furaha you, you are shinning/2
You Euric you must ration so that our child may not change her colour
Sango mawe/2
Akashishi katanwa mavu
Likanganwa mavu kanalongole sango
NEWS MOTHER
News mother/2
A wagtail does not drink alcohol
If it drinks alcohol it quarrels, this news
Tugabonana kumaruba
Sezer’abana tugende
Wagenda wagenda emunyere
Wazanga wazanga emunyere
Washona ngerino emunyere
Mugule kahofi emunyere
Ref: aiii baba tugabonana kumaruba
WE SHALL MEET THROUGH THE LETTER
We shall meet through the letter
Say good bye to the children so that we may go back
You go, you go you girl
You start the difficult life you girl
You stick like tooth you girl
Mugule is not near girl
Ref: aiii dady we shall meet through the letter
Banyere mweshi muyangwe
Muyangwe/2
Kera binyu bayangwa
Muyangwe/2
Kera binyu bayangwa
Esa munane yagonga, yagonga
Yagonga/2
yagongera bashumba aa
ALL GIRLS GET LET YOU GET MARRIED
All girls let you get married
Get married/2
Get married the others have already got married
2:00 p.m. rings, rings
It rings /2
It rings for spinsters and bachelors
Bwitegereze bwarurema mundalo ye edeni
Butali bwija umundu arambe yehe yenyene
Ngamugirira umutabazi muguma
Ana muhereza Eha, bwo buhya butazi mukihugo
Umundu agasiga yishe na nyina
Banagendanwe nomuhya wage
Yabobombi bagaba magala maguma
Ndayo shobwiri okubahandula
Ref: mubwatale nomutula
Muyingingane mukati ke nyumba yinu
Kukyanya ikikwanini muzate kuguma
Kukyanya ikita kwanini muzate kuguma
GOD’S OBSERVATION
God’s observation in the field of Eden
It is not good for the man to live himself
I will make him one partner/helper
He give him Eve that was the first marriage on the earth
Man will leave his father and mother
And go with his/her wedded
Those both will be one body
None one can try to separate them
Ref: live in peace, coddle one an other in your house
Walk together in sweetable moment
In unsweetable moment walk together
Emunyere wayangwa
Utakisare mwinyu
Liwanga sar’emwinyu
Matama kuhema
YOU GIRL YOU GET MARRIED
You girl you get married
Do not think about at yours
If you have a twinkling of an eye at yours
Your cheeks will become bigger
Kamat’orukunga lwanamanenge tunenge nenge
Alenyumba ndayo
Al’omushosi ndaye
Al’omukazi ndaye
Alatugaye byoshi
Kenyumb’egweti
Al’enyumba egweti
Tutimbe hashi
Tudete byoshi
Ref: kamat’orukunga lwananenge
tunengenenge kamat’orukunga
lwanamanenge( repeated strophe)
kamat’orukunga
TAKE THE LABOUR
Take the labour of the dancer so that we may dance
Here is no house
Here is a worthless husband
Here is a worthless wife
Let us detest all
Does the house feat?
Yes it does
Let dance( let make the earth reason)
Let talk about all
Ref: take the labour of the dancer
So that we may dance take the labour
Of the dancer ( repeated strophe)
Take the labour
Twadeta kongwa komwatukumanya
Misore yitu rurema abagashanire
Kubwitonde bwinyu mwagira
Kubwitegereze bwinyu mwatuyereka
Ye Malega twakuhanula ukunde yibalo kubyoshi
Mango wamujandagiza ugalumuka
Ye Kidumu twakuhanula ukunde mukawe kubyoshi
Mango wamujandagiza ugalumuka
Ref: umukunde no mutima gwoshi Malega
ndaye gundi ugalonga halind’okufwa
umukunde nomutima gwoshi Kidumu
ndaye gundi wali kisime halind’okufwa
WE SAY THANKS
We say thanks for you gether us
Our youngs may God bless you
For your kindness you shown us
For your carefulness you did
You Malega we recommend you to love your husband for all
Is you neglect him you will blame yourself
You Kidumu we recommend you to love your wife for all
If you neglect her you will blame yourself
Ref: love him with all your heart any other one you will get up to your death
love her with all your heart any other one you will love up to your death
24.YUVWA TUKUHANULE
Musafiri yuvwa Musafiri tukuhanule
Wayituma wengwa kwo uyangage,ee bulibwija
Saliko ubimenye kwobiri bikayu
Ref: ndaye gundi waye kiyange hanyuma lya Rukundo
Rurema abagashanire murambe no rukundo
Rukundo yuvwa Rukundo tu kuhanule
Wayituma wengwa kwo uyangagwe, ee bulibwija
Saliko ubimenye kwobiri bikayu
Ref:ndaye gundi walikisime hanyum lya Musafiri
rurema abagashaniremurambe no mutual
LISTEN WE ADVISE YOU
Musafiri listen Musafiri we advise you
You decide yourself to get married, yes it is good
But know that it is difficult
Ref: any other one you will marry apart from Rukundo
May God bless you and live in love
Rukundo listen Rukundo we advise you
You decide yourself to get married, yes it is good
But know that it is difficult
Ref: any other one you will love apart from Musafiri
May God bless you and live in peace
D.MARRIED’S SONGS
D.1.WIFE’S SONGS
25.KANAMARONDO
Kanamarondo, kanamarondo, kanamarondo
Kwotugahinga kwotugadetwa/ kanamarondo
Tilimufuluka balimudeta/ kanamarondo
Tulimushenya balimudeta/ kanamarondo
Tulimuvwoma balimudeta/ kanamarondo
Tuli muhula balimudeta / kanamarondo
Tulimudeka balimudeta/ kanamarondo
Ref: kanamarondo, kanamarondo, kanamarondo
SLANDEROUS
Slanderous, slanderous, slanderous
We are going to the field they talking about us/slanderous
We are coming from the field they talking about us / slanderous
We are collecting fire woods they are talking about us / slanderous
We are fetching water they talking about us / slanderous
We are pounding they are talking about us / slanderous
We are cooking they are talking about us / slanderous
Ref: slanderous, slanderous, slanderous
Ngayiyangirwa mawe na komeresa
Komeresa mawe wemirondo
Uganyambika mawe kira namuna
Kira namuna mawe ye mirondo, mawe aina ngofula
Mukibanye mawe ye katuma
Ye katuma mawe ndagabuta
Mukumbereza mawe inya ye nzobe
Nabamwitu mawe batalya nzobe
Naliriri mawe ngayilengera
Nana gwanana mawe umushoferi
Mushori mawe kukilalo
Kukilalo mawe kya shange
Anambereza mawe inoti yani
Inoti yani mawe ya gatanu
Nana bwir’owitu mawe angulir’rkitambala
Kitambala na wagisi mawe aina ngofula
Ref: eee, mushosi wani vyuka tugende
Tuga fwira kumbinga
Data na mawe bagula imikeke
Balyabanyima
Aupi/3 kutenda
WHEN I AM TO GROAN
I will marry mother a businessman
A businessman mother of clothes
Who will wear me mother every kind
Every kind of clothes, mother kind of ngofula
My co spouse mother has deceived me
She caused me mother not to give birth
When she give me mother the nzobe meat
When at ours they do not eat such a kind of meat
I was passing by mother
And I met mother a driver
A driver mother at the bridge
The bridge mother of the river shange
He give me mother a bill of mine
My bill mother of fifty
I told my partner mother to buy me a silk kerchief
A Silk kerchief and wax mother kind of ngofula
Ref: you my husband, wake up so that we may go
we are to die in the streets
my father and mother bought salmons
they ate and deprived me
aupi/3 to groan
Al’omulozi mukuloga atamutola yagaloga
Yija nawe uyikobere kera nyehe ngakobwa
Eh, munyere wagenda wasiga yisho wagenda
Eh, munyere wagenda wasiga nyoko wagenda
Eh, munyere wagenda wasiga abana wagenda
Ref: yija, yija , yija nawe uyikobere
COME COME
Look the sorcerer never chooses a person to kill
Come, come also surrender for I have already surrendered
You, lady you go you leave your father you go
You lady you go you leave your mother you go
You lady you go you leave the children you go
Ref: come, come, come also surrender
D.2. HUSBAND’S SONG
Kirikondo wa mwizo ngamugond’ehirinda
Kirikondo akajamba, ndayemwana ohubanyina
Al’enyumba yahira, yahir’omutondo
Ikahir’omutondgo yana sig’omulyango
KIRIKONDO OF UNCLE
Kirikondo of uncle I endowed her seven millions
Kirikondo has got thinner any child can confuse his her mother
See the house is burnt, it is burnt the roof
It has burnt the roof and remained the door
II.4.PARTIAL CONCLUSION
This chapter deals with the classification of the collected wedding songs , their transcription and translation. We presented them in different groups according to the steps of the wedding ceremony and shown their tonafication which contributed to their interpretation.
In this chapter, we tried also to emphasize on the techniques and methods through which we happened to collect these songs, to transcribe and translate them, we also gave a slight idea of the analysis of these songs which follows in the third chapter.
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