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Shosholoza

12

Category

vocal

Age

10+

Number of participants

8-30

Duration

approx. 35 min.

Working method

group work

Musical abilities of the trainers

1  2  3  4  5  6

Equipment and instruments
  • music player / app to play the song
  • optional: percussion instruments
Competences
  • learning and memory skill
  • cultural / intercultural sensitivity
  • improvisation
  • perception
  • attention
  • concentration
  • rhythm recognition

Shosholoza

An easy-to-learn, often-repeated African melody that can be paired well with exercises such as the Storm game (6).

AIM

The melody is extremely simple and can be learned quickly based on the group leader or one of the videos. The melody can be accompanied by a wide variety of rhythms and movements, which encourage the participants to develop creative solutions.

Description

  1. Listening of the song performed by the facilitator or choose from the useful links below
  2. Explanation of the text
  3. Learning melody and lyrics with many repetitions
  4. Applause and drumming of different rhythms associated with the melody
  5. Add movement improvisation in smaller groups

Lyrics

Shosholoza
Kulezontaba
Stimela siphume South Africa.
Wen u ya baleka
Kulezontaba
Stimela siphume South Africa

Translation:

Work, work, working in the rain
Till there’s sun again
Shosholoza
Push, push pushing on and on
There’s much to be done
The steam train to South Africa.

This song meaning: “Shosholoza, this train is gaining speed and steaming for South Africa”.

Comments for facilitators

Shosholoza has become a national traditional song in South Africa for past decade.
“Shoshaloza” has no specific meaning & was derived from the onomatopoeic & repetitive sound of the train wheels transporting the migrant workers back to their families in Rhodesia (Zimbabwe).

Be Zulu

14

Category

vocal

Age

12+

Number of participants

6-40

Duration

approx. 20 min.

Working method

group work

Musical abilities of the trainers

12  3  4  5  6

Equipment and instruments
  • music player / app to play the song
Competences
  • cultural / intercultural sensitivity
  • empathy
  • attention
  • creativity
  • movement coordination
  • cooperation
  • concentration
  • sense of rhythm

Be Zulu

Getting to know the music and dances of a distant culture.

AIM

Initiate movement improvisation through an easy-to-learn Zulu folk song based on the movements of the singers in the video.

Description

With the help of the facilitator or the videos, the participants learn the Zulu tune „Siyahamba”. (With the help of the recordings and sheet music, it can be learned in several parts, but it is also absolutely perfect in unison.)

They watch the videos again and observe the movements the Africans make while singing the song.

They try them out together or in smaller groups.

The participants create their own choreography from the movement elements they like best, which they perform while singing the song or playing the recording.

LYRICS

Siyahamba, ekukanyen’ kwenkos’,
Siyahamba, ekukanyen’ kwenkos’,
Siyahamba, siyahamba, oh,
Siyahamba ekukanyen’ kwenkos’.

We are marching in the light of God.
We are marching in the light of God.
We are marching, we are marching, ooh,
We are marching in the light of God.

Mamma Mia Tralala

35

Category

vocal

Age

12+

Number of participants

15-

Duration

approx. 20 min.

Working method

group work

Musical abilities of the trainers

1 2 34  5  6

Equipment and instruments
  • music player / app to play the song
Competences
  • improvisation
  • creativity
  • collaboration
  • attention
  • cooperation
  • concentration
  • hearing sensitivity

Mamma Mia Tralala

Sing a popular and worldwide known song arranged in
an Italian folk singing style (Trallalero Genovese) to follow
with the Italian culture immersion

AIM

The aim is to try and practice some different rhythm/singing techniques (body percussion, trallalero singing and singing in a foreign language)and improve the pitching.

Description

  1. First of all they will watch a “Trallalero” song in youtube (see resources) and also “Mamma mia” (see resources)
  2. The facilitator will explain about the context and the roles in Trallalero singing techniques, also they will experiment with the singing techniques before performing them.
  3. After, they will be divided in 5 groups, each one for a voice role (guitar, basso etc.) and they will sing “Mamma mia” in a Trallalero style version.
  4. The facilitator will give them the tone and the rhythm and they will perform and change periodically the roles.

“Ideas about Trallalero”:
Tenor: sings the melody
Contralto: sings a second melody in falsetto
Baritono: does a tra-la-la constant rhythm
Chitarra: does also a tra-la-la constant rhythm
Basso: maintains the low note mainly 

Mamma mia’s Trallalero version:
Tenor: sings the melody
Contralto: sings the melody with “bocca chiusa” with body percussion
Baritono: does a “mamma mia” constant rhythm
Chitarra: does a “mamma mia” constant rhythm in a higher pitch
Basso: maintains the low note mainly

About Trallalero:
Trallalero is a form of polyphonic Traditional Folk Music originating in the Ligurian region of Genoa, in northern Italy. Although the first written and oral sources of this musical form are from around the mid-19th century, it is reasonable to assume an earlier origin. As the names of parts suggest, the imitation of instrumental styles replaces traditional vocal polyphony which is a distinguishing feature of this genre.
Trallalero groups are almost exclusively formed by males and are called squadra (Italian for „team”). They are usually made up of 7, 9 or 12 elements. Every „squadra” has 5 kinds of voices: a tenor (called primmo) who intones the chant and chooses the right key, a contralto (contræto/bagascetta/segòndo) who sings in falsetto, a baritone (controbasso) who has the task of keeping the rhythm of the trallalero constant, a voice called chitâra that has a rhythmic function obtained by placing the back of the hand in front of the mouth, which serves to accompany the singing with rapid succession of notes that imitate the sound of a plucked string instrument, and various bass voices.

Comments for facilitators

I’ve been cheated by you since I don’t know when
So I made up my mind, it must come to an end
Look at me now, will I ever learn
I don’t know how, but I suddenly lose control
There’s a fire within my soul

and I can hear a bell ring
(One more look) and I forget everything, whoa

Mamma mia, here I go again
My, my, how can I resist you?
Mamma mia, does it show again
My, my, just how much I’ve missed you?

Yes, I’ve been brokenhearted
Blue since the day we parted
Why, why did I ever let you go?
Mamma mia, now I really know
My, my, I could never let you go

I’ve been angry and sad about things that you do
I can’t count all the times that I’ve told you we’re through
And when you go, when you slam the door
I think you know that you won’t be away too long
You know that I’m not that strong

and I can hear a bell ring
(One more look) and I forget everything, whoa

Mamma mia, here I go again
My, my, how can I resist you?
Mamma mia, does it show again
My, my, just how much I’ve missed you?
Yes, I’ve been brokenhearted
Blue since the day we parted
Why, why did I ever let you go?
Mamma mia, even if I say
Bye-bye, leave me now or never
Mamma mia, it’s a game we play
Bye-bye doesn’t mean forever

Mamma mia, here I go again…