New Songs In Rwanda 2023 Download Video Download Mp3 Download

I remember RTLM broadcasting songs conveying hatred and demonising the Tutsi. The songs would openly call for our extermination. Political slogans were translated into song and young people were mobilised into youth movements. These youth movements were key to executing the genocide.

"Whenever I post a short video on my Douyin account, my Chinese followers comment on my videos asking me how I managed to learn Chinese and be able to sing Chinese songs with ease. My followers also ask me about African culture, languages and food. When I get time, I send replies to the comments," he says.

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"I cannot dance any more, so these days I train other dancers, but I have my own troupe, and I would love to travel to the UK because my music and dance is not known there. I want them to see our culture, to show them properly, and for our songs to be heard."

Rwanda, one of the ancient kingdoms of southern Interlacustrine Africa, is nowa republic with 7,568,207 inhabitants (according to the population census of 31December 1999). The country covers an area of 26,338 km2and is divided into 12 provinces. Its language, Kinyarwanda, belongs to the Rwanda-Halinguistic-cultural group, which belongs to the Bantu language family. Kinyarwandahas great similarities with the other two languages in this group, Kirundi and Giha(a kind of dialect of the first), which are spoken in Burundi and Buha respectively,two ancient neighbouring kingdoms that have many cultural similarities with Rwanda.Besides Kinyarwanda, Rwanda has two other official languages, English and French.A small proportion of the population speaks Swahili.

The term imbyino is a noun that is derived from the verb kubyina, which hasa multitude of meanings: to perform a song accompanied by dance; to dance by stampingone's feet on the ground to the rhythm of a song performed by the dancer and/or others.The noun imbyino can therefore be defined as: popular song generally accompaniedby dance (The INRS Rwandan-French dictionary, abridged by Jacob). Dance songs were performedat the royal court and gave rise to the dance called Umushagiriro, which has a slowtempo and is danced with sliding steps. It is usually performed by women, with an emphasis on theelegance of gestures and movements and showing off the body. According to some Rwandan choreographyexperts this song is highly characteristic of Tutsi music with its refined complication of tones,voices that are often high, its ornamentation and melismatics.

The other category of Imbyino songs are those that give rise to the dance calledUmudiho, a dance in which 'the feet are stamped on the ground with a certaindegree of force'; it varies depending on the dancers who dance it and in particular varies fromregion to region.This variation, which can be said to be horizontal, makes dance songs in Rwandaone of the richest genres in the sphere of music and choreography. Dance songs possess thecharacteristics that are inherent in the cultural traits of each of the three population groups.There is a Tutsi type of dance song, there is a Hutu type of dance song and there is a Twa typeof dance song, defined by the subject matter, the melodic texture and the choreography. There isalso a female type of dance song and a male type of dance song. The richest horizontal variation,however, is the regional variation. Each of the regions listed above possess a certain number ofcharacteristics that set one dance song apart from another. In choreographic terms and withrespect to the various regions, it has been noted that the umudiho dance canbe subdivided in two categories: 1) that with powerful steps and movements of theikinimba dance that is characteristic of the mountainous areas of the country(Ruhengeri, Gisenyi, and Byumba in the north, and Kibuye-Gikongoro in the southwest and westof Rwanda) and 2) that with less accentuated steps and movements in the rest of Rwanda,which maintains the name umudiho. As such, since dance is a stylizationof the everyday activities and way of life of the group performing it, we have: dance songs that evoke and recreate certain gestures and movements related to theagricultural way of life; dance songs that evoke the pastoral way of life, the themes of the songs relatingto breeding cows and their socio-economic value; songs that evoke the warriors' way of life, the themes of the songs relating tovictories and conquests;songs that evoke the hunters' way of life - although this way of life now really onlybelongs to the past, some polyphonic dance arrangements of the Twa evoke it with nostalgia; songs that recreate the rhythm of certain trades and socio-economic activities;and ritual songs, more specific those of the Lyangombe and the Nyabingi cults.

These activities and ways of life, however, are determined by a certain number of factors thatare related to the physical environment: the orography, hydrography, the climate or the socialenvironment, which the group concerned has had to deal with and harness, so that their dancereflects and relates the way in which they went about dealing with and harnessing these.

In the Imbyino dance songs, the steps and movements of the dance only become true formsof expression and only take on the power of language through the song, which gives them theirname and their meaning. Indeed, it is by the name of the song, the style and the melody, andthe meaning of the words sung that the dances can be classified into one or other theme or sphere.

When do Rwandans dance? The Imbyino are performed at particular events in Rwandan sociallife. A substantial repertoire of songs and dances is associated with marriage ceremonies.Dance songs were also performed at the rites of the First Fruits, Umuganura, at eveninggatherings when friends or family were visiting, at drinking sessions after certain communityactivities such as ploughing, putting a thatched roof on a hut, after a hunting expedition, atthe childbirth blessing ritual and at the naming of a newborn. The Imbyino dance was alsoperformed at other rituals and ceremonials at the royal court (D'Hertefelt et Coupez,La Royaut Sacre de l'Ancien Rwanda, RMCA Annals, 1964: pp. 21-23, 67-71) andamong the population, where dance served as a ritual element that enhanced the celebration oras an act of magic associated with other curative, preventative or incantatory acts or acts ofjettatura. Among these rituals celebrated among the people, there are the dances performed inthe cult of Kubandwa or Lyangombeand in the cult of Nyabingi,the latterbeing performed particularly in the north of Rwanda. Bourgeois (1954: 628-269) describes othersettings in which magic ritual dances were performed, some of which have only been reportedon by the author.

The people gathered at such occasions gave free rein to their creative genius. And here thesedance songs had several functions and addressed a variety of issues:they could (and still can) be an indirect representation of historical events(Vansina 1962: 17-41); or the expression of the critical look by the people at themselves and their rulers.Satirical, humoristic and caricatural dance songs performed by the women and particularly bythe young women flourished particularly prior to independence (Mbonimana 1971: 66); they also played a didactic role, praising virtue, denouncing vice with amusing anddelightful stories and addressing many other issues.

One of the categories of song that fall within this didactic genre - this is also the maincategory within this genre - is that of the majority of the songs performed at wedding ceremonies,which were a veritable school of morals and established a realistic and strict code of conductfor the future bride.This category of songs includes:the songs performed before the wedding as part of the Umuhuro or'the meeting of the young girls with the engaged friend who is about to leave'; those performed during the wedding celebrations, some of which were amusing, somewhatdaring or inclined towards unbridled gaiety. Most of them, however, have a beauty that elevatesthem to the level of an epithalamium;those performed some time after the wedding, during the ceremony when the bride is presentedto her in-laws, friends and the local community.

Within the marriage ceremony and in their didactic role, dance songs reminded the newly-weds oftheir respective and mutual duties, evoked the problems associated with divorce, stigmatized themisadventures of arranged marriages, which were prevalent in the old Rwanda, and set the standardsfor the household chores that children should carry out and those that went beyond. They alsoextolled the virtues of having many children. It could also have a laudatory character: extolling leaders, singing the praises ofheroes' glorious deeds, and commending the beauty of the hills and rivers of Rwanda, theevening sun, the Rwandese woman, or the ankole cow with its lyre-shaped horns. The polyphonicTwa songs should be mentioned here along with certain Hutu songs that are performed in theevenings and songs by Tutsi women and the Gogwe people in which cattle, and especially cows,are praised.

Dance songs have a responsorial structure, with a chorus that remains the same throughout thesong and is repeated by a group of singers. The chorus comes after each verse, of which thereare usually many and which are started by a soloist.Dance songs have a simple or complexmeasured rhythm, with metric accentuation (strong beats and weak beats), patheticaccentuation or expressive accentuation (a qualifying rhythm 'expressing the inner-mostfeelings of the soul' (Mbonimana, 1971: 41). They are traditionally vocal. The melody, eitherin unison or polyphonic, is accompanied by the clapping of hands, which supports the rhythmand indicates the time to the singers and dancers. A number of musical instruments have graduallybeen added to this type of percussion with the hands: first the ingoma drum (small in size),but also the inanga zither, the ikembe sansa (a type of lamellophone), theumuduri (umunahi) musical bow, the indingiti fiddle and the ihembe horn.In some regions of Rwanda, the ikinyuguri, agakenke or agahubano rattles,the igicunda cruche and all the insengo whistles have always accompanied dancesongs. It is worth pointing out that except for the island of Nkombo, where the ikinyugurirattle accompanies the secular dance songs, in the other regions of Rwanda, this same rattle,together with the inzogera bell, supports the rhythm of ritual songs, those of the cultof Lyangombe in particular. The small amayugi bells traditionally worn by the Intorewarrior dancers around the ankles are increasingly worn by the imbyino dancers.

Some vocal polyphonies of Twa dance are supported by amakondera horns.The recordingsheld by the RMCA, which date back to the 1950s, contain dance or danceable melodies and rhythmssupported by a harmonica or by an accordionor even by a whistle of Western origin,all of whichwere gradually abandoned after the independence of Rwanda, for reasons that are not very clear.Today the dance songs in the urban areas are supported by a variety of Western instruments:the guitar, the electric organ, drums, saxophone and trumpets. J. Gansemans writesabout the interaction between Rwandan music and the instruments that are used in it in LesInstruments de Musique du Rwanda (1988), which now serves as reference on the subject, and is infact the only one to give an overall view. 17dc91bb1f