Dangme traditional work songs (original) (raw)

A Thematic Analysis of Baiga Folk Songs

ELT Voices, 2023

The present paper aims to explore the themes of Baiga folk songs namely Karma and Dadariya songs of Baiga Tribe. Baiga folk songs are classified broadly into two types-Karma Songs and Dadariya songs and a few songs are selected to analyze the main themes of folk songs of the tribe. The secondary data are collected from books and journals. The Baiga is one of the primitive tribes of India that basically reside in the provinces of Central India. They are mostly found in Madhya Pradesh, Uttar Pradesh and Chhattisgarh. Baiga has very rich literature that reflects their culture and tradition. Baigas are fun-loving people and they love to celebrate small activities which are always associated with literary performances. Baiga literature which is oral in nature can be classified into different genres or types. Folk tales and folk songs are mostly popular among the tribe and folk songs are composed for different purposes and occasions. Their folksongs and music depend mostly on dance and very often folksongs are created in accordance to the occasion, while, other songs are forms of an extempore with certain variations in their rhyme and rhythm. Elwin comments on the measures and literary techniques of the Baiga folksongs. He writes, "The form of the songs depend so entirely on the dance or the tune to which they are sung that it is impossible to give standard measures for each kind. Words are clipped, altered or repeated, quantities are changed, meaningless ejaculations are inserted in complete freedom in order to fit the main burden of the song to the tune." (Elwin 437. The present paper discusses various themes of both types of folk songs that are selected for the study.

STYLISTIC PATTERNS IN ORAL LITERATURE: THE FORM AND STRUCTURE OF BAKWERI DIRGES

This article examines and analyses the language of dirges among the Kpe (or Bakweri), a homogenous ethnic group of semi-Bantu stock in the Southwestern region of Cameroon. By so doing, it exposes the fascinating language variety of the Kpe dirge form as poetry. The article is of the view that the structure of the dirges, their chant and antiphonal form, the figurative language employed by the performers (that includes lyrical repetition, personification, symbolism, imagery, apt metaphors, and allusions) constitutes some of the essential components that are utilized in the realization of this funeral poetry. The article also highlights the use of a free rhythm (that is most often enhanced by the collaboration of a lead singer and chorus) in the performances of Kpe dirges. This rhythm is articulated by dance, the accompaniment of drumming, ringing of bells, and the playing of a host of assorted musical instruments. This employment of rhythm demonstrates how the individual performer has the flexibility to treat the themes in her own way and, in so doing, expressing her emotions in the words and melodies she chooses. The vivid pictures that are conjured from the performers' imagination as they perform these funeral songs generate emotive feelings that suit the mournful atmosphere of Kpe funerals.

ORAL LITERATURE TERM PAPER

LITERARY ANALYSIS OF DANGME TRADITIONAL WORK SONGS Abstract This paper presents a descriptive analysis of the literary devices in Dangme ( a Kwa language of South-Eastern part of Ghana) traditional work songs. The Dangme people are traditionally known for their traditional industries, agricultural and native economic activities. These activities crave the occasion for some sort of songs to be used. These traditional work songs are used in contexts in which wearisome labour is involved. The songs are considered ‘special purpose poetry’ because they have some direct connection with particular occasions and actions. This paper analyses these traditional work songs and brings to bear the literary devices deployed in them as they accompany specific work(s). Data for this paper was collected from both primary and secondary sources. The data analysis is descriptive with much emphasis on the literary devices in the songs. It has been revealed that literary devices such as repetition, idiophones, parallelism and the like provide aesthetic and beauteous values to the work songs. This aids to soothe the workers’ psychological and physical bodies in order to increase their efficiency and work output.

“Ana Malie” The Traditional Buginise Song Lyrics in Discourse Analysis

ASELS_2021, 2021

This study aimed to find out discourse analysis of traditional Buginese songs through elements used in the song.By analysing the lyrics of the song and focuses on the discourse widely used in the song.The study uses qualitative descriptive method.Some discourse devices that used are cohesion, coherence, intentionality, acceptability, informativeness, situationality, and intertextuality. In this song the cohesion of each part of the sentence does not appear, it is because the sentences depend on each other.The coherence in this song is clear enough because the meaning of each part of the sentences can be easily understood. The writer’s intentionality stated in a clear word that the writer used in each of the sentences.In acceptable devices the song is considered acceptable because the song uses phrases or words that are commonly used and known by the society. The informativeness we can gain fromthis song is the story about a mother who feels sorry about her son’s fate in this world, ...

POETRY IN SONG: LITERARY DEVICES IN EAST INDIAN FOLK SONGS OF THE WEST INDIES

Many people in the West Indies are not aware of an existing corpus of folk songs of (East) Indian origin in the region. The immediate challenge, therefore, is not only to collect, translate and classify these songs, but also to critically examine them before they disappear altogether. This paper examines a selected anthology of songs culled from Trinidad, Guyana, Jamaica, St Lucia, Grenada and St Vincent from a literary perspective. Songs of the biraha [impromptu], sohar [lullaby], ulara [lyrical], marsiya [dirth] and doha [couplet] genres are studied for their metaphorical and figurative values. Almost all of the songs have been found to have two levels of meaning which contain rhyme, repetition, parallelism, alliteration, assonance and other prosodic devices. Comparisons are also made between (the form and structure of) these songs and those of other communities in the West Indies and the wider world. Keywords -poetry, folk songs, oral literature, East Indians of the West Indies. Except for the familiar category of literary works by V. S. Naipaul, Samuel Selvon, Rajkumarie Singh, Sheik Sadeek, et al., the imaginative compositions of (East) Indians in the West Indies are generally not known because they are not yet recorded, though still being performed. There is the need, therefore, to examine the surviving folk songs in order to appreciate the status and value of Indian vocal forms, and indeed of other ethnic communities in the region. These vocal compositions were never studied by research scholars mainly because they were considered crude and artistically under-developed creations of the unlettered labouring masses (see Finnegan 1977). This popular form of poetry, however, can be considered a more subtle and realistic expression of working people than written verse,

Glory Style in Mandar Song Lyrics: A study of Mandar Tribe in South Sulawesi, Indonesia

JOURNAL OF ADVANCES IN LINGUISTICS, 2017

This research background of how the style of language in the lyrics of Mandar song because of today many of the Mandar song lovers who lack understanding of the meaning that is in the lyrics Mandar song. The purpose of this research was to describe the fact of lyrics and identify the style of language in the lyrics of the song Mandar. This research applied descriptive qualitative research method. Descriptive research was a research procedure that produces descriptive data in the form of written words about the nature of individuals, circumstances, symptoms of certain groups that can be observed. The study, which began in September 2015 to January 2016, was unbound by space. In this study, it was found that the most commonly used hyperbola, asonation, and repetition style. Concluding remarks of the study were 174 lyric styles consisting of 8 personatic language styles, 6 metaphorical language styles, 7 simile / comparison language styles, 10 depersonative language styles, hyperbolic ...

Examining Body Moves in the Rhymes of Cancang Song: A study of Indonesian traditional art

Proceedings of the 2nd International Conference on Arts and Design Education (ICADE 2019), 2020

Salawaik Dulang is an Islamic Minangkabau traditional vocal music that functions as a medium of ritual and entertainment. Cancang song is one part of the song's structure of Salawaik Dulang. Cancang song as the text is formed by poetry and melody. The essence of Salawaik Dulang's performance is in the rhyme of Cancang song. This article aims to analyse the meaning of Cancang song in Salawaik Dulang's performance. The method used was Narrative Inquiry. Data collection used observation, interviews, and document study. The results showed that Cancang song which is contained in Salawaik Dulang described the examining body. It has meaning in the form of an appeal and advice to the humans to conduct the Shari'a, the Tariqa (path), the Haqiqa (reality), and Ma'rifa (gnosis) in life.

Character Values in the Oral Tradition of Folk Songs From Dairi

Studies in Media and Communication

One form of the language of a culture that is reflected in the group of speakers is folk songs. A song consists of various word arrangements with a unique and interesting language style. The composition of these words contains meanings that aim to influence the formation of the identity and character of the adherents. The Pakpak Dairi community is no exception. So this study aims to describe the character of the Pakpak Dairi community through folk songs. The research method used is descriptive qualitative interactive model of Miles and Huberman in anthropolinguistic studies. Data on Pakpak Dairi folk songs analyzed were three songs. The results of the analysis obtained a description of the character of the Pakpak Dairi people, namely: 1) love for the motherland (nationalism); 2) environmental care; 3) hard work; 4) independent; 5) responsibility; 6) national spirit; and 7) friendly/communicative.