Download Lozi Songs [BEST]
Eleanore Bansmer
At approximately 09:30, His Majesty the Litunga, dressed in traditional Silozi kilt (sikutingo), leaves the Palace and, in keeping in tune with the Royal drums, walks majestically to Lealui Nayuma Harbour. Eulogists, the praise chanters, with very strong voices take turns in praising the Litunga.
At 16:00 the spy boats Natamikwa and Mundende arrive before Nalikwanda docks at Limulunga Harbour where the Litunga is received by thousands of people. A display of Manjabila, Lishoma, and Maoma, are played before the Nalikwanda docks. Men perform the Silozi Royal salute (kushowelela) while the women dance and sing limeka and liimba. The Litunga emerges from the Nalikwanda immaculately dressed in his Royal Admiral Ceremonial suit in tune with Royal drums. He walks majestically (Kutamboka) to the Royal Pavilion (Lutatai). Paddlers, like warriors, dance to Lishoma and then perform the Silozi Royal salute.
At 05:00, the Maoma Royal Drums are beaten following the same procedure till 07:00. The Maoma Royal drums will not be sounded again till Kufuluhela Ceremony, when his Majesty, the Litunga, returns to Lealui. This is followed by Silozi Royal salute (kushowelela) by the Ngambela (Prime Minister), Indunas, and paddlers.
A variety of traditional songs and dances are performed.
Liwale Royal dance is the major dance of the day. It is performed by women led by princesses. All women wear flamboyant traditional Silozi dress known as misisi. They dance to the rhythm of the Royal drums without a song. This dance ends with the Silenga and Lishoma dances.
The penchant to describe rather than investigate becomes even more questionable in the second chapter. Lozi rulers, propped up by indirect rule, set up a wide-ranging hierarchy of positions to administrate their territory. Some subjects are much better covered than others. The narrative traces the community in terms of the local regime's bureaucracy, housing, ethnic identity, and the importance of migration to South Africa. Almost completely absent from this discussion are the voices of Africans themselves, save those at the apex of political power in the community. Evidence drawn from officials reminiscing on the past or colonial correspondence obviously has value; however, the author's decision to privilege her English contacts comes across painfully clear in her rather static portrayal of African life in the region. It is one thing to hear songs have "a gaiety and sense of fun," but it would be better to examine the meanings of the lyrics or arrangements (p. 58). In an interesting discussion of Lozi state rituals, the author might have tried to explore the multiple and varied readings of these ceremonies instead of assuming groups were simply "attached to the rituals of royalty" (p. 79).