RUWA MIYA NG“Z“M - aflang.linguistics.ucla.eduaflang.linguistics.ucla.edu/Ngizim/Texts/00_ngizim_songs_2009... · friend (Dabulu). Dabulu is looking for Kuragama so that they

RUWA MIYA

NG“Z“M

Usman Babayo Garba Potiskum Mohammed Alhaji Adamu

Yobe Languages Research Project

RUWA MIYA NG“Z“M

Usman Babayo Garba Potiskum Mohammed Alhaji Adamu


2009

Copyright © 2009


Potiskum, Yobe State

Nigeria

Published by Ajami Press, Potiskum, Yobe State

RAMA K MA

Gangam kakkadi t”ku kuyuna mar”mamin ruwa i miya Ng”z”m ka k” k”n ntuta, z”ba, iyi, saksakta, bad” a na k” k”mu karak mbasuk duniya kapa na k” m”tu.

Ja s”ka ta Mula mi wa a barija as”m k” s”rma na ta an i miya Ng”z”m na bana da rik Yobe Languages Research Project. Aku s”n ke ja godotu na kkada bai i amatin na mamau mi wa a taíyija ruwa tku ja bi ankal k” ta nau.

PREFACE

This little book contains important songs in the Ngizim language [including] those

of love, marriage, birth, divorce, sorcery, and those of enjoying living in this life as

well as those of death.

We praise God who has given us the insight to arrange this collection in the Ngizim

language and the assistance from the Yobe Languages Research Project. Following

this we thank ??? to the women and children who sang these songs that we had the

ability to write out.

Malam Usman Babayo Garba Potiskum

Mohammed Alhaji Adamu

Potiskum, February 2009

BE A KUNU Rama K”ma iii

A BAI BAI, Amina Yusufu Garin Jala 1 DAD‘G‘RAK‘M, Halima Sarkin Bariki 2 AIWANDE DE, Hansatu Tarai Yusuf Lailai 4 RUWAK A AK V‘NYI, Amina Yusufu Garin Jala 10 TAREWA (1), Hajara Tatiye Maleka Kaka 14 TAREWA (2), Maimuna Garba (Muna) 15 AYYE YARI NAYE, Aisha Garin Jala 17 YAWAI MAMALE YAWAI DADALE (1),

Amina Yusufu Garin Jala 19 YAWAI MAMALE YAWAI DADALE (2),

Amina Yusufu Garin Jala 21 ARAYYE G‘ZHA, Hajara Tatiye Maleka Kaka 23 ARAYYE GAJA, Amina Yusufu Garin Jala 25 DLA A (1), Khadija Abdulhamid Maina Kaina 28 DLA A (2), Hauwa Subdu 30 AI BONE DARARI (1), Khadija Abdulhamid Maina Kaina 32 AI BONE DARARI (2), Hauwa Subdu 34 WA ANA MIWA, Boka Minatu 35

W‘N GAMA AIWA (1), Nana Sama na Ashe Yindiski 36 W‘N GAMA AIWA (1), Hajara Tatiye Maleka Kaka 37 AIYE KARNIGA JINGA KARNIGA,

Amina Yusufu Garin Jala 38

1

RUWA MIYA NG“Z“M

A BAI BAI

Amina Yusufu Garin Jala

IT WILL NOT BE OBTAINED


1 Ka nci ye a bai bai, Ka nci ye a bai bai, Even if you want him he will not be gotten,

2 A bai bai, a bai bai, a bai bai, A bai bai, He will not be gotten, he will not be gotten, he will not be gotten. [He will not be gotten.]

3 Ga shu gum dlam bayi bai bare b”lan, A bai bai, An ugly one cannot be gotten how much less a beautiful one,

4 Ga shu gum dlam bayi bai bare b”lan, A bai bai, An ugly one cannot be gotten how much less a beautiful one,

5 Da ulu mi arabi nyaktlarai, A bai bai, Dabulu with the Arabi hairdo is homely,

6 Kuragama jing”ri Talatan a bai bai, A bai bai, If Kuragama has gone to Talata he will not be gotten,

7 Ma na takwsu ye na vaik” ye a bai bai, A bai bai, They say even if I tie or encircle him, he will not be gotten,

8 Na pim” ye na laun” ye a bai bai A bai bai, Even if I look back and see him, he will not be gotten,

9 Ma nyaktlarai, Kuragama a bai bai, A bai bai, They say (I am) homely, Kuragama will not be gotten,

10 Ma nyaktlarai, ca gamati ga Kuragama, A bai bai, They say (I am) homely, you will not meet with Kuragam. [italicized portion in Karekare]

11 Kuragama jing”ri Talatan a bai bai, A bai bai, If Kuragama has gone to Talata he will not be gotten,

12 A bai bai, a bai bai, A bai bai, He will not be gotten, he will not be gotten,

13 W”n Baba wa danawa bi n”n a bai bai, A bai bai, My brother if we don’t go he will not be gotten,

14 Gusku t”n a bayi ya a bai bai, A bai bai, Now he will not be gotten, he will not be gotten,

Su t”ku ruwak ntuta. Ruwa a a map”ndi (Kuragama) na dabakug”ri (Da ulu). Da ulu a maka Kuragama akshi da dlam njime baci bai (ìKa nci ye a bai baiî). Ruwau a tatkewa n”n ga shi ye b”lan ye a bina babu ntutag”ri. Ntuta bik bone a ri makau (ìNa takwsu ye na vaiku ye a bai baiî). Ga a kas”n

This is a love song. The song is about a young man (Kuragama) and his girl-

friend (Dabulu). Dabulu is looking for Kuragama so that they can chat [but] she

doesn’t find him (“Though you want him he can’t be obtained”). The song shows us that

whether a person is unattractive or attractive, he will find one who loves him.

Love is a difficult thing to seek and find (“Even if I tie or encircle him, he will not be

2 Ruwa Miya Ng”z”m

n”n bana babu ntutag”rin, da jiba na kawa bai. gotten”). Because of this, if a person finds one who loves him, he should hang onto

it and not take it lightly.

DAD“G“RAK“M

Halima Sarkin Bariki

IT IS YOUR BOUNDARY [Your Freedom (as an unmarried woman) Is Over]

Halima Sarkin Bariki

1a Andiy andiyay yayy yayy y , REFRAIN (nonsense syllables)

1b B ci w”nd w s l m- laik m. Master of the house, assalamu alaikum.

1ca Andiy yayyay yayy yayy y . REFRAIN

1cb B ci w”nd w s l m- laik m. Master of the house, assalamu alaikum.

2a Andiy andiyay yayy yayy y , REFRAIN

2b ji mbalala mbala mbala M z . (nonsense syllables)


2cb ji mbalala mbala mbala M z . (nonsense syllables)


3b Um B b ram g˘diya sam bark . Umar Bubaram (Mai Potiskum), thanks, blessings.


3cb Um B b ram g˘diya sam bark . Umar Bubaram (Mai Potiskum), thanks, blessings.


4b V r” d m”zb bai v r” d m vg . One doesn't go out a hole in the wall, one goes out the front door.


4cb V r” d m”zb bai v r” d m vg . One doesn't go out a hole in the wall, one goes out the front door.


5b Ai muyig muyi k wak g ny . Oh, my girlfriend, friend who played at midday.


Ruwa Miya Ng”z”m 3

5cb Ai muyig muyi k wak g ny . Oh, my girlfriend, friend who played at midday.

6a Andiy andiyay yayy yayy y . REFRAIN

6b T rku n d b bai d bau p r kau. An orphan has no faifai mat, her faifai is the Sodom apple leaf.


6cb T rku n d b bai d bau p r kau. An orphan has no faifai mat, her faifai is the Sodom apple leaf.


7b T rku n d w bai d w b mbul . An orphan does not have a pot, her pot is the flower of a baobab (about to break open).


7cb T rku n d w bai d w b mbul . An orphan does not have a pot, her pot is the flower of a baobab (about to break open).


8b Muyi l v tiyu m (a)t(u) y z( )b bai. She taunted me that she would never marry.


8cb Muyi l v tiyu m (a)t(u) y z( )b bai. She taunted me that she would never marry.

9a Andiy andiyay yayy yayy y . REFRAIN

Lakwtu nda tawks”na z”ba n”n, amatin a ruwak ìAndiyayeî. Ndak nyana amak ama i w”nduwagara na damba a a gayi a dlama salam i m”s”k ama ma akshi zadenakshi (ìBaci w”nduwa, salam alaikuî). Ruwau a tatke m”s”k ama gafaka da taci bai (ìV”rei da m”zba baiÖî). Ruwau zam a tatka ntuta a gadava muyaucinkwina na tatka mugur”m k” ”ra (ìAi muyiga muyi kawaÖî). I pali gayi, ruwau a tatka amak ama t”rku ye, z”bau m” ”ngaran nda nyana atu i w”nduwa z”bagara na zadak ka e wa a aikwak bau (ìT”rku na dawi baiÖî). I Ng”z”m ruwa t”ku nda z”gau na ìDad”g”rak”mî (gaba i amak ama) na m”s”k ama ye da yivaci i aku bai.

At the time when one finalizes a marriage, women sing “Andiyaye”. They go to

the bride at her house with wedding presents all together and issue a greeting to the

groom saying they have arrived (“Master of the house, salam alaikum”). The song

shows that foreboding should not consume him (“Don’t sneak out through a hole n

the fence…”). The song too shows affection between girlfriends [of the bride] and

shows sympathy for the separation [of the girls from each other] (“Oh my friend,

friend who played…”). On the other hand, the song shows that though the bride is

an “orphan”, if the marriage is well-joined, they will take her to her marriage

house with the kinds of things that hands have gotten [the wedding presents] (“An

orphan does not have pots…”). Among Ngizims this song is known as

“Dad”g”rak”m” (a warning to the bride) that as for the groom, she should not

leave him behind.


AIWANDE DE

Hansatu Tarai Yusuf Lailai

0a Aiwande de, Awande, Aiwande de,

0b Aiwande de, Awande. Aiwande de.

1a Aiwande de, Awande, Aiwande de,

1b Aiwande de, Awande. Aiwande de.

2a M j rawan? Awande, They ask where he went?

2b M j Ha ja [a aja]. Awande. He said he went to Hadejiya.

3a D d n tam? Awande, What did he bring?

3b D n s”liki. Awande. He brought silk.

4a M d n tam? Awande, They ask what he brought,

4b M y n yan. Awande. Come my friend.

5a M y n yan, Awande, Come my friend,

5b S b aci bau. Awande. Here’s what he got.

6a B d d”v a, Awande, He got it from the road to town,

6b M d dun tai? Awande. They ask who brought it?

7a D dan aci, Awande, It’s he who brought it to me,

7b M j rawan? Awande. They ask where he went?


8b Aci j Ha ja. Awande. He went to Hadejiya.

9a M d n tam? Awande, What did he bring?

9b D n s”liki, Awande. He brought silk.

10a D n s”liki, Awande, He brought silk,


10b M d n tam? Awande. They ask what he brought?

11a Ama ayan ba, Awande, Woman, come!

11b M yi ayan ba. Awande. (My) friend come!

12a B d d”v a, Awande, He got it from the road to town,

12b Ayan k ki. Awande. Come and see.

13a M d dun tai? Awande, Who do they say brought it?

13b D dun aci. Awande. It’s he who brought it.


14b Aci j Ha ja [a aja]. Awande. He went to Hadejiya.

15a M d na tam? Awande, What do they say he brought?

15b Kak”r zawa, Awande. He brought [carried] a stick.

16a Kak”r zawa, Awande, He brought [carried] a stick.

16b Kak”r zawa, Awande. He brought [carried] a stick.

17a M bag jonde, Awande, A calabash with decorations inside,

17b N bar ci bai, Awande. I won’t give it to him.

18a M bag jonde, Awande, A calabash with decorations inside,

18b N bar ci bai, Awande. I won’t give it to him.

19a Tamb z wam? Awande, And how about the gumba?

19b N z t bai, Awande. I won’t pound it.

20a Tamb z wam? Awande, And how about the gumba?

20b N z t bai, Awande. I won’t pound it.

21a S am g”ji, Awande, Just drinking water,

21b K” viyak anda , Awande. For washing the intestines.

22a S am g”ji, Awande, Just drinking water,


22b K” viyag anda , Awande. For washing the intestines.

23a M d n tam? Awande, They ask what he brought,

23b M y n yan. Awande. Come my friend.

24a M y n yan, Awande, Come my friend,

24b K ni k iki, Awande. Come and see.

25a Ayan k ki, Awande, Come and see,

25b M j A aja, Awande. They say he has gone to Hadejiya.

26a Aci j A aja, Awande, He has gone to Hadejiya.

26b M d n tam? Awande. What do they say he has brought?

27a D d s”l”ki, Awande, He brought me silk,

27b D d s”l”ki, Awande. He brought me silk,

28a M ba daviya, Awande, A washed calabash.

28b K” sa am g”ji, Awande. For drinking drinking water.

29a Tamb zai, Awande, Gumba,

29b N z t ci, Awande. I will pound it for him.

30a har gau, Awande, Yes, even fura,

30b N z t ci, Awande. I will pound it for him.


31b K” sa am g”ji, Awande. For drinking drinking water.

32a Ai tamb zai, Awande, Oh gumba,

32b f”n g”ri, Awande. In his calabash.

33a Dan d d tam? Awande, And what did he bring me?

33b D d s”l”ki, Awande. He brought me silk.



34b N dlamdau tam? Awande. What will I do with it?

35a N dlamdau tam? Awande, What will I do with it?

35b N dlam m e, Awande. I will strut about.

36a N dlam m e, Awande, I will strut about.

36b M y n (a)ki, Awande. My friend, look.

37a M yi d ki, Awande, So (my) friend might see,

37b M ya k , Awande. My friend, look for me.

38a M j rawan? Awande, Where do they say he went?

38b Ai j A aja, Awande. Well he went to Hadejiya.

39a M d na tam? Awande, What did he bring?

39b D n zawa, Awande. He brought a stick.

40a D d zawa, Awande, He brought a stick,

40b M ba daviya, Awande. A washed calabash.


41b S am g”ji. Awande. Just drinking water.

42a S am g”ji. Awande. Just drinking water.

42b K” gau. Awande. That on the fura.

43a A dlama gau, Awande, Make fura,

43b N z t bai. Awande. I won’t pound it.

44a A dlam calam, Awande, Make calam for me,

44b N zat bai. Awande. I won’t pound it.

45a N zat bai, Awande, I won’t pound it,

45b Dan j A aja. Awande. Then he went to Hadejiya.

46a D n b bai, Awande, He didn’t bring anything,


46b Kak”r zawa. Awande. He brought [carried] a stick.

47a Kak”r zawa, Awande, He brought [carried] a stick,

47b Kak”r zawa. Awande. He brought [carried] a stick.

48a Kak”r zawa, Awande, He brought [carried] a stick,

48b N maga au bai. Awande. I will not praise him.

49a N maga au bai, Awande, I will not praise him.

49b N dlama g”zhi. Awande. I will become angry.

50a N dlam g”zhi, Awande, I will become angry.

50b N b gay ? Awande. Who will I get?

51a N b gaye? Awande, Who will I get?

51b Rama k rak t”n. Awande. That nice talk.

52a Rama k rak t”n, Awande, That nice talk,

52b M”r”n r” m”s”k bai. Awande. A paramour does not substitute for a husband.

53a M”r”n r” m”s”k bai, Awande, A paramour does not substitute for a husband.

53b Dan j A aja. Awande. Then he went to Hadejiya.

54a M d n tam? Awande, What do they say the has brought?

54b D n zawa. Awande. He brought a stick.

55a D n zawa, Awande, He brought a stick,

55b Aci j A aja. Awande. He has gone to Hadejiya.

56a M yi a yan, Awande, Friend, come,

56b A yan k ki. Awande. Come and see.

57a Aci j A aja, Awande, He went ot Hadejiya,

57b D d s”l”ki. Awande. He brought me silk.



58b ngway l”bdi. Awande. Yes, he gathered a lot for me.

59a E ngway l”bdi, Awande, Yes, he gathered a lot for me,

59b Ai ngway l”bdi. Awande. Well, he gathered a lot for me.

60a Anna kw ki, Awande, You all come and see,

60b M ba daviya. Awande. A washed calabash.


61b N tamb zai. Awande. With gumba.

62a K” s g ye? Awande, For whose drinking?

62b Ai k” s g ye? Awande. Oh, for whose drinking?

63a K” s g ye? Awande, For whose drinking?

63b Ödaviya. Awande. … washed.

64a gau, Awande, Fura,

64b N z t ci. Awande. I will pound it for you.

65a N z t ci, Awande, I will pound it for you,

65b wunduwa. Awande. At home.

(The song continues in the recording.)

Ruwau a rama a ak hal jibak z”ba. A tatakewa n”n a nci amag”ri da jib saksaktag”rin aci ke da dla a babu ngo o bai (ìDeda l”bdi Ö tambazai, har agau, na zateciî). I pali gayi ke, n”n marami amig”ri gau ak bike a ngo o ji i buwa yaye, a nina be wam bai se zawag”ri. Ga a kas”n amau a saksaktag”ri bai, ka i kun ruwau (ìSo am g”ji k” viyak anda Öî). Ruwau a tatkau wam n”n jib” w”nduwag”ri b”lan bin ga ak aikwak gau au, dlam kawan, amat”ng”ri a v”ra i maka m”r”n (ìM”r”n i m”s”k baiî).

The song speaks about the way of maintaining a marriage. It shows us that if a

man wants his wife to respect him, he should not become a stingy person (“He

brought a lot … gumba, even fura, I will pound it for him”). On the other hand, a

man who is tight-fisted or is stingy though he goes on trip, he brings nothing but his

stick. Because of that the wife will not respect him, as in the song (“Here is some

drinking water to wash the intestines…”). The song shows too that if a man does

not maintain his house well because of tight-fistedness, [and] if he acts neglectfully,

his wife will go out looking for a lover (“A lover doesn’t stand in for a husband”).


RUWAK A AK V“NYI


SONG DONE ON THE GRINDSTONE


1a I Dl”ri ke bai, I am not Karekare,

1b I Ngwaz”mgu t”nu, I am Ngizim,

1c Na ramau da yarega. I am speaking in my language.

2a (Na ra)mau da yarega, I am speaking in my language,

2b Na ramau da yare bai. I am not speaking a (foreign) language.

3a Kun ngakun? Ja ngaja. How are you? We are fine.

3b Su nd”ma Ng”z”m bi bi? Isn’t that an Ngizim greeting?

3c Sauraga, ala ng”b”ro, My in-law, ala nguburo,

3d Na nd”mau k” ndattawa. I am using a greeting of the elders.

4a Duniya k” n”n gayi bai, The human world is not a single unit,

4b Duniya k” n”n guma, There are ten human worlds,

4c Gusku anzharu yaye, Even if now is tomorrow,

4d Wa z”ga anzharungu be bai. We know that tomorrow is nothing.

5a Anzharungu be bai, Tomorrow is nothing,

5b Biwu se gazan tana. Today all that remains is memories.

6a Se gazan tana, MEMORIES are all that remain,

6b Na ramau da yare bai. I am not speaking a (foreign) language.

7a Da yarewa, With our language,

7b Tiyega ye a ni, Everyone of mine will come,

7c Tiyega a ni, Everyone of mine will come,

7d Ma wayim ma ambala. [Karekare] For money of ?amabala.


8a Neno bota baÖ [Karekare] Look at her mouth!

8b Bisimillah zan fara, [Hausa] In the name of Allah I’ll begin,

8c Yaya ne rawan namu? How is that dance of ours?

8d Nekana ngudiganai, I saw my poor man,

8e Jing”ri karen m”tka. He has gone to be a driver's mate,

9a Nekana ngudiganai, I saw my poor man,

9b Jing”ri karen m”tka, He has gone to be a driver's mate.

9c Jing”ri karen m”tka, He has gone to be a driver’s mate,

9d M”tka injin a t”kdu. The car engine will kill him.

10a Nekana suwarakun, I see your dancing,

10b Kwa suwari kwa ma e. You are dancing and showing off.

11a Akugu shar-shar-shar, His waist is skinny,

11b Ka aku m”r”n mici. Like the back of his mother's boyfriend.

12a Shar-shar-shar, Skinny,

12b Ka aku m”r”n mici, Like the back of his mother's boyfriend,

12c Ikana m”r”n miwun, He saw his mother's boyfriend,

12d A suwari na ma e. He was dancing and showing off.

13a Ikana m”r”n miwan, He saw his mother's boyfriend,

13b A suwari a ma e, He was dancing and showing off,

13c Suwari a ma e, Dancing and showing off,

13d Su suwari bai bone. That’s not dancing, it’s trouble.

14a Ka ptai bai ka bdai bai, Don't uproot me, don't pinch me,

14b Na mana tawan? Which one would I take?

14c Na mana tawan? Amma Which one would I take? But


14d Na ramau da yare bai. I won't say it in [another] language.

15a Ramau tawanke bai, Not in just any language,

15b Na ramau da yarewa, I will say it in our language,

15c Na ramau da yarewa, I will say it in our language,

15d Su miya Ng”z”m bi bi? Isn't that Ngizim?

16a Miya Ng”z”m, Ngizim language,

16b Miya Ng”z”m b”lan bi ba. Isn’t the Ngizim language beautiful?

17a Ma amau gaye? Kane, Whose wife do they say it is? What,

17b Bo k” Is”bu Mele, Well its Yusufu Mele,

17c K” Is”bu Mele, Yusufu Mele's,

17d Kane zabiyau bi bi? Oh is she not a singer.

18a Zabiyau bi bi? Is she not a singer?

18b Ama Is”bu Mele. The wife of Yusufu Mele.

19a Ma Magajigu n”n tai? Who has taken the (role of) Magaji?

19b Magajigun Sani, It’s Sani who is the Magaji,

19c Magajigun Sani, Is’t Sani who is the Magaji,

19d Jing”ri i Sabon Sara. He has gone to Sabon Sara.

20a Jing”ri i Sabon Sara, He went to Sabon Sara,

10b Ka v”ri da yarewa, As if he has left our language,

10c Ka ramau da yarewa, You are speaking in our language,

10d Na ramau da yare bai. I definitely am speaking in our language.

21a Tai Hasan Gishuwa, Who is Hasan Gishuwa,

21b M”su n”n tai? Who is the male?

22a Na tuno Hasan Gishuwa, [Hausa] I remember Hasan Gishuwa,


22b Ma m”s”k Ngwaje bi? He took Ngwaje’s husband, didn’t he?

22c M”s”k Ngwaje bi? It was the husband of Ngwaje, wasn’t it?

22d Ma Ngwaje gun tai? They say who is this Ngwaje?

23a A ugo n”n tai? Who is Adugo?

23b Ma Amina Shatomi, They say Amina Shatomi,

23c Amina Shatomi, Amina Shatomi,

23d Ma gag”zhin Gulle. They say it is Gulle who remains,

24a Ma Magajiyan Gulle, They say that it is Gulle who is the Magajiya,

24b Yan Gulle Hasan Gishuwa, Yan Gulle Hasan Gishuwa,

24c Magajiyan Gulle, I is Gulle who is Magajiya,

24d Ma Magajiyan Hasan Gishuwa. They say it is Hasan Gishuwa who is Magajiya,

25a Hasan Gishuwa, Hasan Gishuwa,

25b Na ramau da yare bai. I won’t speak in [another] language,

26a Na ramau da yarekun, I am speaking in your language,

26b Kwa wutau da yare bi? Do you catch it in [another] language?

26c Kwa d”mu suwaru bin, If you can’t dance,

26d Wa cacpi wa yinawa. Let’s gather and go away.

27a Wa capta wa yinawa, We will gather and go away,

27b Wa yi wa dlandu kawawa. Let’s go and play our games.

28q Wa dlan kawawa, Let’s play our games,

28b Anzharu wa dlan z”nz”n, Tomorrow let’s tell stories,

28c Wa dlam biwa, Let’s do our thing,

28d Anzharu wa dlan kawa. Tomorrow let’s play games.

29a Anzharun wa dlan kawa, Tomorrow let’s play games,


29b Gusku t”n wa dlan z”nz”n. Today let’s tell stories.

30a Na ramau k” jirewa, I will tell the truth,

30b Tangale i Kakasku, Slipperiness of Allah ("death"),

30c Tangale i Kakasku, Slipperiness of Allah ("death"),

30d Ra ”na D”g”m Ali. Has overthrown Chief Ali.

31a Ra ”na D”g”m Ali, It has overthrown Chief Ali,

31b Daguna D”g”m Wambai. It has overtaken Chief Wambai

(The song continues in the recording.)

Su ruwak a ak v”nyi. Ruwak a ak v”nyi zadak gayi bai, zadak gawa. Amatin gayi a ak v”nyi n”n, a dlama ruwa kalkal na bi wa a a kun g”shakshi ga a da bi íyale wanau. A lakwtu agai, amatin a ruwa da s”karci a akshi, bike masaskinkshi bike mantu, kak” i kun ruwa t”ku (ìMa amau kaye? Ö k” Isubu Meleî). Lakwtu agai ye ruwak a v”nyi nda dlamau ga a t”fe t”ka agai, ka k” (ìNa ikana ngudiganaiî). T”n gagaya, biwu t”ta ka bi ama a a v”nyi miyau dacima.

This is a song sung on the grindstone. There is not one type of grinding song,

they are many types. When women “mount” on a grindstone, they sing songs that

match with what is in their hearts in order that they get some relief in the work. At

one time, women may sing to praise themselves, or (?) those whom they honor, or

their close friends, as in this song (“They ask whose wife … that of Isubu Mele”).

At another time a grinding song, one does it in order to cast innuendos on [enter the

body of] someone, as in (“I see my shameless one”). Since times past, it would be

hard for you to find a woman grinding with her mouth closed [not singing].

TAREWA (1)

Hajara Tatiye Maleka Kaka

TAREWA (1)


1 m”sug m nai, Tar wa. Eh, my first husband [m s k m ‘groom’ = Hausa mijin lalle, the husband whom marries as a new bride],

2 m”sug m nai, Tar wa. Eh, my first husband,

3 m”sug agwd nai, Tar wa. Eh, my husband who married me as a divorcee,

4 Agwd agwdu gu nya, Tar wa. Divorceehood, what is that divorceehood,

5 Ai m”sug m nai. Tar wa. Eh, my first husband,

6 Agwd J j no, Tar wa. Divorceehood, Jajano,



8 Ai g” zan t lo, Tar wa. Oh, a single thread,


10 Agwd (a)gwdu gu nya, Tar wa. Divorceehood, what is that divorceehood,

11 Agwd J j no, Ö Divorceehood, Jajano,


13 m”sug agwd nai, Tar wa. Eh, my husband who married me as a divorcee,

14 Ai m”su manai, Tar wa. Eh, my first husband,

15 Agwd (a)gwdu gu nya, Tar wa. Divorceehood, what is that divorceehood,





20 m”su agwd nai, Tar wa. Eh, my husband who married me as a divorcee,


I kun ruwa t”ku ama a s”ka ta m”s”kgara. Atu mana m”s”kgu i a m”s”k a o na m”tu. Ga a kas”n aci m”s”k amagara aci ye m”s”kgara ke agwdu zam. Aci na mashirin bai (ìAi g” azan tiloî).

In this song a wife praises her husband. She has taken that husband as a husband

for life [husband of life and death]. Because of that he is husband of her first

marriage and her husband in her old age as well. He won’t have a second [marriage]

(“Oh a single thread”).

TAREWA (2)

Maimuna Garba (Muna)

TAREWA (1)

Maimuna Garba (Muna)

(This song was no translated in the field, and there are parts that I don’t follow.)

1 Ai m”s”kg m nai. Tar wa. Oh my first husband,

2 Ka ikan rama bai, Tar wa. If you see it, it is not talked about,


3 Ka b”dl”n k ganga, Tar wa. If you “dig” [into him], he is like a drum, [see lines 16 and 19, which make more sense]

4 Ögagwd nai, Tar wa. [Husband] of my old age,

5 Ka ikan rama bai, Tar wa. If you see it, it is not talked about,

6 Ka b”dl”n k ganga, Tar wa. If you “dig” [into him], he is like a drum,

7 Nazga ramak Zan bai, Tar wa. I don’t know how to speak Kanuri,

8 N ramau m tam nya? Tar wa. What will I say?

9 N ramau m , ì r !î Tar wa. I will say, “Come here!”, [Kanuri]

10 B ba ramau g wa, Ö Baba, there’s a lot to say,

11 B ba ram”n da rami, Tar wa. Baba, if he speaks, let him say it,

12 D maci d”ng” g”zhe, Tar wa. Domaci [a type of tree] is medicine for the heart,

13 D”ng da ke, Tar wa. Medicine for life is best,

14 Ö m nai, Tar wa. (see line 1)

15 K kan rama bai, Tar wa. If you see it, it is not talked about,

16 Ka l”nt”n k ganga, Tar wa. If you touch [him], [he is] like a drum,

17 ms”kganai, Tar wa. As for me, my first husband,

18 K kan rama bai, Tar wa. If you see it, it is not talked about,

19 Ka l”nt”n k ganga, Tar wa. If you touch [him], [he is] like a drum,

20 D maci d”ng” g”zhe, Tar wa. Domaci [a type of tree] is medicine for the heart,

21 D”ng da ke, Tar wa. Medicine for life is best,

22 Nazga ramak Zan bai, Tar wa. I don’t know how to speak Kanuri,

23 N ramau m tam nya? Tar wa. What will I say?

24 N ramau m , ì r !î Tar wa. I will say, “Come here!”, [Kanuri]

25 B ba ramau g wa, Tar wa. Baba, there’s a lot to say,

26 B ba ram”n da rami, Tar wa. Baba, if he speaks, let him say it,


I ruwa t”ku, ama a s”ka ta m”s”kgara. Atu a ma a a m”s”k gu ma aci baci kanadi (ìKa ikan a rama baiî). At”n m”s”k gu babu k”ma yaye, ka nci k”lappiya a acin, ka dl”matici arau bai (ìKa b”dl”n ka gangaî).

In this song a wife praises her husband. She praises [takes head of] her husband

saying that he is a patient person (“If you see it, it is not talked about”). But even a

husband who is a patient person, if you want well-being for yourself, don’t do things

to displease him [spoil life for him] (“If you ‘dig’ [into him], [he is] like a drum”).

AYYE YARI NAYE

Aisha Garin Jala

AYYE YARI NAYE

Aisha Garin Jala

1a Ayye yari naye, G”na Ayye yari nayi,

1b Ayye yari naye, G”na Ayye yari nayi,

2a Ayye araye iye nanaye yare dije, G”na Ayye araye iye nanaye yare dije,

2b Ayye araye iye nanaye yare dije, G”na Ayye araye iye nanaye yare dije,

3a Kulum Ngwajinana, G”na Always it’s Ngwajinana,

3b Kulum Ngwajinana, G”na Always it’s Ngwajinana,

4 Ayan ba, ayan ba, G”na Come here! Come here!

5a Ayan kaki zanko, G”na Come and see something amazing,

5b Ayan kaki zanko, G”na Come and see something amazing,

6a Ngajinana dlamna m”nd”l bare samira, G”na Ngajinana has done a turd how much less in a bowl,

6b Ngajinana dlamna m”nd”l bare samira, G”na Ngajinana has done a turd how much less in a bowl,

7a Kulum Duduwale, G”na Always it’s Duduwale,

7b Kulum Duduwale, G”na Always it’s Duduwale,

8a Ayan Duduwale, G”na Come Duduwale!

8b Ayan Duduwale, G”na Come Duduwale!

9a Kulum na rameci, G”na I have always been telling you,

9b Kulum na rameci, G”na I have always been telling you,


10a Ayyaraye iye nanaye Allah ya yi, G”na Ayyaraye iye nanaye [Hausa] Allah has done it,

10b Ayyaraye iye nanaye Allah ya yi, G”na Ayyaraye iye nanaye [Hausa] Allah has done it,

11a I o na ramau fa, G”na I indeed will say it I tell you,

11b I o na ramau fa, G”na I indeed will say it I tell you,

12a Ayan kaki Kaku ka m”nd”l k” Aishale, G”na Come and see, Kaku, it’s like a turd of Aishale’s,

12b Ayan kaki Kaku ka m”nd”l k” Aishale, G”na Come and see, Kaku, it’s like a turd of Aishale’s,

13a Kulum, ìNa ya naya,î G”na Always, “I am going grinding,” [while pretending to grind, Aishale shat in a bowl]

13b Kulum, ìNa ya naya,î G”na Always, “I am going grinding,”

14 Kulum Ngwajinana, G”na Always it’s Ngwajinana,

15 Ayan Ngwajinana, G”na Always it’s Ngwajinana,

16a Ayan Ngwajinana ka be Ngwajinana, G”na Come Nwajinana, it’s like Ngwajinana’s thing,

16b Ayan Ngwajinana ka be Ngwajinana, G”na Come Nwajinana, it’s like Ngwajinana’s thing,

17 Kulum na rameci, G”na I have always been telling you,

18 Ayan kwaki kallo, G”na Come and have a look,

19 Ayan kwaki kallo, G”na Come and have a look,

20a Ma kallo sami a, G”na I say a look at the bowl,

20b Ma kallo sami a, G”na I say a look at the bowl,

21a Samirau gayayya, G”na It’s one bowl I say,

21b Samirau gayayya, G”na It’s one bowl I say,

22 Ayan Ngwajinana. G”na Come Ngwajinana!

Su ruwak z”bak t”mi . Z”bak t”mi b”lan bai ga a a awa amak ama da jib dlama bi tak shau i m”s”kgu bike

sauraucingara. I kun ruwa t”ku, Ngwajina ci ”du na dlamak shu i kun f”na ab”n da yidi sauragara.

This is a song about forced marriage. Forced marriage is not good because it may

cause the bride to begin doing scornful things to her husband or her in-laws. In this

song, Ngwajina set a bad precedent by doing shit in a food bowl and taking it to her

in-laws.


YAWAI MAMALE YAWAI DADALE (1)


OH MY MAMALE OH MY DADALE (1)


1a Yawai yawaye, yawai Mamale, Oh my yawaye! Oh my Mamale!

1b Yawai Mamale biwu dengara. Oh my Mamale! The thing has come,

2a Biwu dengara jibnayu a gunai, The thing has come and had caught me in the loins,

2b Jibnayu a gunai, jibnayu a akau. It has caught be in the loins, it has caught me in the back,

3a Ka damasandaya da yangare gunai, It is like a great discomfort [dictionary says “going to sleep of the foot”] has come to my loins,

3b Damasandaya da yangare gunai. Great discomfort has come to my loins,

4a Miga a nciyu bai, af”kga a nciyu, My mother doesn’t like my, my father doesn’t like me,

4b Da dla a kwa ncunayin da kwa ji gaza. Were it the case that you like me, you would go to a fortune-teller.

5a Kwa ji i gaza, ìMalam ka ji ba, You go to the fortune-teller, “Sir, do you hear, [Hausa]

5b Ka gaza na nawan?î ìNa goro shirin, For how much do you do fortune-telling?” “For two kolas,

6a Na goro shirin, na sule shirin.î For two kolas and two shillings.”

6b Ma, ìKa k”me ma tam?î Ma, ìK”m ka kalau.î I ask, “What do you hear?” He says, “You are afraid.”

7a Ma, ìK”m ka kalu baya, íyi bin tam nya?î He says, “You are afraid, if it’s not a birth, what would it be?”

7b ìI men na kalu a rameneci men, “As for me I am afraid, tell him indeed,

8a A ramenetu ba ma, shim migara! Go ahead and tell her [changes gender reference to the fortune-teller], here mother’s cunt!

8b Na da kakal-kakal, ka da guvarakai!î With bulging eyes like the eyes of a crowned crane!”

8r Yawai yawayya, biwu dengara. Oh my, or my! The thing has come,

9a Biwu dengara jibnayu a gunai, The thing has come and had caught me in the loins,

9b Tla in a rawan? A lodik rake. Where are the oxen (for drawing a cart to carry her to the hospital)? They are loading sugar cane.


10a Babu a rawan? Babu a Pat”skum. Where is the motorcycle? The mortorcycle is in Potiskum.

10b Na anguluk Janar, denayu Janar. In the ambulance of the Hospital, it took me to the Hospital.

11a Denayu Janar baya biwu dengara. It took me to the Hospital inasmuch as the think has come,

11b Biwu dengara jibnayu a gunai, The thing has come and has caught by in the loins,

12a Dengare gunai, íyiyi bi tam nya? It has come to my loins, if it is not birth what might it be?

12b Ma, ìK”m ka kalu baya, íyi bin tam nya?î He says, “You are afraid, if it’s not a birth, what would it be?”

13a Ai su moriya ai su damuwa, [Hausa] Oh things like enjoyment, oh things like being troubled,

13b Su t”ku gaibu baya tam nya? This is the unknown else what might it be?

14a Yawai yawayya, i ma na ramau, Oh my! Oh my! I say I will speak,

14b I ma na ye bai, kun ma nan na yi, I say I will not go, you say I will go,

14c I ma na ye bin, kun ma nan na yi, I say if I will not go, you say I will go,

14d Ma sotai na ju, biwu dengara. Well here it is I have go, the thing has come.

15a Biwu dengara, davjig”ri a rakai, The thing has come and he is lying on the bed,

15b Ma, ìCin ka yuwan bi?î Ma, ìOío, na yuwan bai.î I say, “You are you sleeping?” He says, “No, I’m not sleeping.”

16a ìKa yuwan bin, a tlu ba ka mbashi! “If you are not sleeping, arise and sit up!

16b A tli ba, ka mbashi! Biwu dengara! Arise indeed, sit up! The thing has come!

17a Biwu dengara, ma cin ka yuwan, The thing has come, you say you are sleeping,

17b Ma cin ka yuwan ci, i n”n na yuwan bai. You say YOU are sleeping, well me, I am not sleeping.

18a Na yuwan bai, a tli ba ka mbashi! I am not sleeping, arise indeed and sit up!

18b A tli ba ka mbashi, ka yinayi Janar! Arise indeed and sit up, take me to the Hospital!

19a Be ka dlan t”nu, se ka deda atu, What you have done, rid me of it,

19b Be ka dlan t”nu, ka deda atu. What you have done, rid me of it.


20a Gudl”mb” em gu ro, davjig”ri a rakai, The enormous oaf, he is lying on the bed,

20b Ma ka dlanna madau, ayendani ka jidu. I say you have brought on the pregnancy, take me and rid (me) of it.

21a Maya ka jidu, ka deda atu, I say rid (me) of it, rid me of it,

21b Biwu na ramau, jibnayu a gunai. The thing that I am saying, it has taken me in the loins.

22a Ka be damasandayan da yengare gunai, It’s like a thing of great discomfort has come to my loins,

22b Jibnayu a gunai, biwu ka dlan t”nu. It has taken me in the loins, the thing that you have done,

23a Baba gudl”mb” ”m ka deda atu, Big fat oaf rid me of it,

23b I ma na ya bai, kun ma nan na yi. I say I will not go, you say I will go,

24a Baba gudl”mb” ”m gu ro, davjig”ri a rakai, The enormous oaf, he is lying on the bed,

24b I ma ri ka awatun ka deda atu, I said where you put it, come and take it out for me,

24c I ma ka gub iyu ka mi ka vagiyu, I say you beat me and then you drug me,

24d Soti dengara ka deda atu. Here it is it has come rid me of it,

25a Ai su moriya, ai su damuwa, [Hausa] Oh things like enjoyment, oh things like being troubled,

25b Ai su gaibu ya baya, su t”ku iyi bai. If it weren’t for this being the unknown, this would not be birth. [The sense of this recurrent line seems to be that the woman doesn’t know what to expect as she gives birth and wants reassurance.]

YAWAI MAMALE YAWAI DADALE (2)


1a Yawai Mamale yawai Dadale, G”na Oh my Mamale! Oh my Dadale!

1b Yawai Mamale yawai Dadale, G”na Oh my Mamale! Oh my Dadale!

2 Baba gudl”mb” ”m gu o dav”jig”ri a rakai, G”na The enormous oaf, he is lying on the bed,

3 Ai su gaibi ya baya ai su iyi bai, G”na Oh if it weren’t for this being the unknown, this would not be birth.

4 Su t”ku gaibi ya baya su t”ku iyi bai. G”na If it weren’t for this being the unknown, this would not be birth.


5 Na kun soro na kun katanga bai, G”na I am in a square house I am not in a walled compound,

6a Ch: Na kun soro na kun katanga bai, ---- Chorus: I am in a square house I am not in a walled compound,

6b Ch: Da dla a katanga n”n da na sana au, ---- Chorus: Were it a compound, I would jump over (the wall),

7a Na kun soro na kun katanga bai, ---- I am in a square house I am not in a walled compound,

7b Da dla a katanga n”n da na sana au, G”na Were it a compound, I would jump over (the wall),

8a Jibna yu a gunai jibna ya akau, ---- It has caught me in the loins, it has caught me in the back,

8b Jibna yu a gunai jibna ya akau, G”na It has caught me in the loins, it has caught me in the back,

9 Su t”ku gaibi ya baya su t”ku iyi bai, G”na If it weren’t for this being the unknown, this would not be birth.

10 Mashin a rawan da yina yu i Janar? G”na Where is the machine (motorcycle) that it might take me to the Hospital?

11 Babur a rawan da yina yu i Janar? G”na Where is the motorcycle that it might take me to the Hospital?

12 A rame Anguluk Janar be aci dlam t”nu, G”na Tell the Ambulance of the Hospital what he has done,

13 Be aci dlam t”nu da deda atu, G”na What he has done let him rid me of it,


15 Ai su moriya ai su damuwa, G”na [Hausa] Oh things like enjoyment, oh things like being troubled,

16 Ai su gaibi ya baya ai su iyi bai, G”na If it weren’t for this being the unknown, this would not be birth.

17 A rame Anguluk Janar be aci dlam t”nu, G”na Tell the Ambulance of the Hospital what he has done,


19 Ai su gaibi ya baya ai su iyi bai, G”na If it weren’t for this being the unknown, this would not be birth.

Ruwa t”ku a tatka zadak bone mi wa a amatin a sau lakwtu madu kapa iyi. Ku u a tatkau z”ga bi ke m l”m a ka gun iyi bai (ìMa z”ga maya iyi baya tam nya?î). Ruwau

i i s”nu bai, atu a tatka faidak nyana mi iyi a az”b”ti (ìKwa rami anguluk Janar da yinayu i Janarî). I kun ruwau,

This song shows the type of suffering that women experience at the time of

pregnancy and birth. Also it shows that a sorcerer or a soothsayer can’t provide a

remedy for birth (“They say the soothsayer asks if it’s not birth what is it?”). The

song does not stop with that, it shows the value of taking a woman in labor to the

hospital (“Tell the ambulance of the Hospital to take me to the Hospital”). In the


n”n a ankaltang”ri na zadak hal shalingwa o m”saskin jigap a tatkau i amatinkshi lakwtu iyi n”n (ìBaba gudl”mb” ”m dav”jig”ri a rakaiî). Ruwau a tatkewa t”ta iyi a nci ndak ra bi ke auza (ìSu t”ku gaibi ya baya su t”ku iyi baiî).

song, one draws attention to the type of lackadaisical behavior that some husbands

show to their wives at the time of birth (“The fat oaf is lying on the bed”). The song

shows us that the pain of birth calls for helpers or support (“If it weren’t for this

being the unknown, this would not be birth”).

ARAYYE G ZHA


1 Hayyeyeye arayye, yeyeye, Araye g”zha. Hayyeyeye arayye, yeyeye,

2 Yiyiwaya arayye, yawai yawai, Araye g”zha. Yiyiwaya arayye, yawai yawai,

3 Hayyeyeye arayye, yeye Baba, Araye g”zha. Hayyeyeye arayye, yeye Father,

4 Yawai Baba arayye, ye Baba kara? Araye g”zha. Yawai Baba arayye, [Karekare] ye Baba kara?

5 Ma gusku t”n wam arayye, na (ya)nga a Jarma,

Araye g”zha. I say now again arayye, I am going to Jarma town,

6 Ka ye a Jarma arayye, ye ka ye tam? Araye g”zha. You are going to Jarma town arayye, wha are you going for?

7 Ma na ye tam? arayye, na ya ga a Totai, Araye g”zha. You ask why am I going? arayye, I am going because of Totai {‘small’ in Karekare),

8 Naye Totai g(u?) arayye, aye Totai? Araye g”zha. [Karekare] Where is that Totai? arayye, where is Totai?

9 Ayan, Totai! arayye, gwanik zatak s”rka, Araye g”zha. Come, Totai! arayye, the expert at making [pounding] poison,

10 Ma ga agaye? arayye, ye ga( a) Daura, Araye g”zha. One asks who is it for? arayye, it’s for Daura,

11 Araye Daura arayye, ye ga a g” mo? Araye g”zha. Araye Daura arayye, why?

12 Ayye Daura arayye, b”nna s”ma, Araye g”zha. Ayye Daura arayye, she cooked up beer,

13 B”nna s”ma arayye, ga ak Daura, Araye g”zha. She cooked up beer arayye, for Daura,

14 Ma ga ak Daura arayye, ga ak Daura, Araye g”zha. They say for Dauri arayye, for Daura,

15 Nda sana s”mau t”n arayye, nda sana s”mau t”n,

Araye g”zha. One drank that beer arayye, one drank that beer,

16 Ma salamko arayye, su wam tai? Araye g”zha. One says greetings to you arayye, who is that?


17 Ma su wam tai? arayye, su wam Totai, Araye g”zha. One says who is that? arayye, it’s Totai,

18 Ma ka de tam? arayye, de ri Daura, Araye g”zha. One asks what have you come for? arayye, I have come [to see] Daura,

19 Ka de ri Daura arayye, ka bara tam? Araye g”zha. You have come to see Daura arayye, what will you give me?

20 Na barici tam? arayye, na b”n s”ma, Araye g”zha. What will I give you? arayye, I have cooked some beer,

21 Na b”n s”ma arayye, tiye sadu bi bi? Araye g”zha. I have cooked some beer arayye, shouldn’t everyone drink some of it?

22 I (na) nangaci bai arayye na ya ga a g” mo? Araye g”zha. Me I didn’t abuse him arayye, why should I go?

23 Na ya ga a g” mo? arayye, i na ya bai, Araye g”zha. Why should I go? arayye, I will not go,

24 Na ya bai arayye, nda dlamani jawabi, Araye g”zha. I won’t go arayye, one has given me advice,

25 Ga ak jawabi arayye, ma wa da ba! Araye g”zha. Because of advice? arayye, come on, let’s go!

26 I na ya bai arayye, ka ya mi wa a ga a g” mo? Araye g”zha. Me, I’m not going arayye, why will you not go.

27 Maya Totai arayye, da zar”na Daura, Araye g”zha. They say Totai arayye, pulled Daura off,

28 I w”nduwa arayye, dedi w”nduwagara, Araye g”zha. To the house arayye, she took him to her house,

29 Ta na buci arayye, ta na buci, Araye g”zha. She spread a mat arayye, she spread a mat,

30 Ta ana buci arayye, ?? Daura, Araye g”zha. She spread a mat arayye, ??? Daura,

31 Da w”ze s”ma arayye, da w”ze s”ma, Araye g”zha. She poured out some beer arayye, she poured out some beer,

32 Mairam Totai arayye, barda s” ka, Araye g”zha. Mairam Totai arayye, she gave me poison,

33 Kai k”m Totai! arayye, na dlamek”m tam? Araye g”zha. Hey you Totai! arayye, what have I done to you?

34 Ka zare iyu arayye, ka bara s”rka? Araye g”zha. You have drug me arayye, you have given me poison,

35 Ka jibdanai arayye, i na nganai, Araye g”zha. You have held it for me arayye, I am leaving,

36 Ma nda w”nduwa arayye, ai bik rama, Araye g”zha. They say the people at home arayye, it’s a source of talk,

37 Ma dlam”n tam? arayye, yeye Totai, Araye g”zha. They ask (?) what has happened arayye, yeye Totai,

38 Toti zariyu arayye, bara s” ka, Araye g”zha. Totai drug me arayye, she gave me poison,

39 Toti ga a g” mo? arayye, dlamik”m tam? Araye g”zha. Totai, why? arayye, what did he do to you?

40 Ka mana alaki arayye, na kutlija, Araye g”zha. You have taken on a moral debt arayye, along with our children,


41 Ai bik rama arayye, ka ni ka zariyu, Araye g”zha. Oh it’s a source of talk arayye, you came and you dragged me,

42 Ka bara s” ka arayye, na dlamik”m tam? Araye g”zha. You gave me poison arayye, what did I do to you?

43 Amatin ma arayye, ai k”m Totai, Araye g”zha. The woman say arayye, oh, you, Totai,

44 Ai m”saja arayye, dlamik”m tam? Araye g”zha. Oh our husband arayye, what did he do to you?

45 Ka zari(ci) nanadi arayye, ka barici s” ka, Araye g”zha. You purposely dragged him arayye, you gave him poison,

46 Hayyeyeye arayye, yeyeyeye, Araye g”zha. Hayyeyeye arayye, yeyeyeye,

47 Ma w”nduwau bi arayye, w”nduwa bi t”ta, Araye g”zha. They say that the house is no more arayye, the house has suffered troubles,

48 Na la na arayye, na la bai, Araye g”zha. [Karekare] I am going arayye, I am not going,

49 Ma na la bai arayye, ndoni ba, Araye g”zha. [Karekare] They say I am not going, go!

50 I na kunu bai arayye, dlamna k” Totai. Araye g”zha. Me I’m not involved arayye, it was Totai’s doing.

Su t”ku ruwak sa s” ka. Totai nanadi da zarena Daura ga ak barici s” ka. Bar”na s” ka t”n, daci da t”kna aci. Ndiwau jigap na amatingu jigap da ram ma go lambekshi, dan da dina a akshi da kunu kar ndiwa da ram ma da tk”na Daura na z”gayakshi. Su atu ne ka gun k” bar s” ka i kun s”ma. Ga a ka s”n ndiwa tawanke da dlam ankal na sak s”ma i kun ndiwa bi ke baka, ko amatin bi ke mangaucin. Gusku atu sak s” ka t”ku tatkiwa ndiwa gawa akshi a gaba na ndawa ga a bar s” ka i kun s”ma. Ga a ka s”n n”n mi wa a wanag”ri sak s”ma n”n, da dlan ankal na sak s”ma ga ak da ri agi n”n da barici s” ka dan damcing”ri i vatku.

This is a song about drinking poison. Totai purposefully dragged Daura along

in order to give him poison. When she gave him the poison, it killed him. Some

men and some of their wives said it was not their concern, and they withdrew

themselves from the matter [from inside] lest people say that [Totai] killed Daura

with their knowledge. This, it is a remedy for giving poison in beer. Because of

that all the people are careful about drinking beer amongst people or off to the

side, whether women or friends. Now this, drinking his poison shows us that

many people have enmity with people for giving poison in beer. For this reason a

person who takes it upon himself to drink beer should be careful abour drinking

beer because at some time or another [from a certain place] a person might give

him poison and he would die for naught.

ARAYYE GAJA


ARAYYE GAJA

(Amina Yusufu Garin Jala) – the singer is not correctly identified

(I seem not to have gotten a translation, and there are a number of lines that are unclear to me.)

1a Ayye Dije arayye, Arayye, Ayye Dije arayye,

1b Araye iye Dije, Arayye gaja. Araye iye Dije,






4a Ai marota, Arayye, ???

4b Na ramdikun, Arayye gaja. I tell you

5a Na ramdikun, Arayye, I tell you

5b Na ramdikun, Arayye gaja. I tell you,

6a N”n babur bai, Arayye, A person is not motorcycle,

6b V”kshu na danja, Arayye gaja. But his anus has a brake light,

7a N”n babur bai, Arayye, A person is not motorcycle,


8a N”n keke bai, Arayye, A person is not a bicycle,


9a Ayye Dije, Arayye, Ayye Dije,


10a Mba ai mba ai, Arayye, Mbarai-mbarai,

10b Bi men katoci, Arayye gaja. The thing indeed ???

11a Mba ai mba ai, Arayye, Mbarai-mbarai,

11b Bi men katoci, Arayye gaja. The thing indeed ???


12b Yare iye Dije, Arayye gaja. Yare iye Dije,


13b Yare iye Dije, Arayye gaja. Yare iye Dije,


14a Ai a gu tawan? Arayye, Oh which is the town?

14b Ma a Koko, Arayye gaja. They say it is Koko town,

15a I ke na yi ba, Arayye, As for me, let me go,

15b Na bina dlam lacca, Arayye gaja. I have gotten something for giving a lecture,

16a I ke na yi ba, Arayye, As for me, let me go,

16b Na bina dlam lacca, Arayye gaja. I have gotten something to talk about,

17a Su a gu tawan? Arayye, This one, which town is it?

17b Su ma a Ciki, Arayye gaja. This one, they say, is Ciki town,

18a Ambi na yi ba, Arayye, ??? let me go,

18b Na bina bar waz”k, Arayye gaja. I have gatten something for giving a sermon,

19a Su a gu tawan? Arayye, This one, which town is it?

19b Ma su a Sambo, Arayye gaja. They say this one is Sambo town,

20a Ambi na yi ba, Arayye, ??? let me go,

20b Na bina bar waz”k, Arayye gaja. I have gotten something for giving a sermon,

21a Na bina bar waz”k, Arayye, I have gotten something for give a sermon,

21b Na bina bar lacca, Arayye gaja. I have gotten something for giving a lecture,

22a Na bina bar waz”k, Arayye, I have gotten something for give a sermon,

22b Na bina bar lacca, Arayye gaja. I have gotten something for giving a lecture,

23a N”n keke bai, Arayye, A person is not a bicycle,


24a Mal”m Waya, Arayye, Malam Waya,

24b Kapa na godeci, Arayye gaja. I thank you,

25a Na wandoga, Arayye, I have my pants,

25b Ma wandog leda, Arayye gaja. They say pants made of plastic,


26a Na wandoga, Arayye, I have my pants,

26b Ma wandog leda, Arayye gaja. They say pants made of plastic,

27a Mota ---------- danja, Arayye, A car [… crowd noise] brake light,

27b Mota ---------- danja, Arayye gaja. A car [… crowd noise] brake light,





Su ruwak bad” a. Caman ndiwa d”vi dlam”ngara n”n, ika aka a idlan, a ramau ma aka bad” a. I kun ruwau nda t”fe t”ka n”n mabad” , nda jabjapta idla akau ka k” bi gaya. Mabad” jibna n”n n”n, nda yadu i rik z”ga bike mal”m.

This is a song of sorcery. It seems that people, when night came and they saw a

fire flaring, said that it was a fire of sorcery. In the song one casts innuendos that

someone is a sorcerer, one is amazed at the flaring of the fire like something

climbing up. If a sorcerer takes control of someone, he is taken to a fortune teller

or maker of charms.

DLA A (1)

Khadija Abdulhamid Maina Kaina

DLA A (1)


1 Dl , Dla a gayu waka,Dla a.

Dlaba,

Dlaba climbed a tree, Refrain.

2 Dla a gayu waka, Dla a, Dla a kw l l , Dla a.

Dlaba climbed a tree,

Dlaba the scatter brain.

3 Gayu waka, Dla a, Gayu waka na sono, Dla a.

She climed a tree,

She climbed a tree with shoes on.

4 Dla a gayu waka, Dla a, Gayu waka na sono, Dla a.

Dlaba climbed a tre,

She climbed a tree with shoes on

5 Dla a kwalale, Dla a, Dla a gayu waka, Dla a.

Dlaba the scatter-brain,

Dlaba climbed a tree.

6 Dla a gayu waka, Dla a, Dla a kwalale, Dla a,

Dlaba climed a tree,

Dlaba the scatter-brain.


7 Dla a na sono, Dla a, Dla a gayu waka, Dla a.

Dlaba with shoes on,


8 Gayu waka na sono, Dla a, Dla a kwalale, Dla a.

She climbed a tree with shoes on,


9 Dla a kwalale, Dla a, Dla a kwalale, Dla a.

Dlaba the scatter-brain,


10 Dla a k , Dla a, Dla a kwalale, Dla a.

Dlaba the very thin one,








13 Be dlamu n”n S”ku, Dla a, Dla a kwalale, Dla a.

The thing that only God has done,





15 Dla a k , Dla a, Dla a gayu waka, Dla a.



16 Dla a gayu waka, Dla a, Gayu waka na sono, Dla a.

Dlaba climbed a tree,














21 Dla a k , Dla a, Gayu waka na sono, Dla a.




DLA A (2)

Hauwa Subdu

DLA A (2)

Hauwa Subdu

1 Dl kwalale, Dla a, B wu o dlam n” S”ku, Dla a. Dla a kwalale, Dla a. B wu o dlam n” S”ku,Dla a.

Dlaba the scatter brain,

This thing, it's Allah who brought it about.

Refrain.

2 Ma mbuzam gayu waka, Dla a, Gayu waka na sono, Dla a. Dla a kwalale, Dla a. Dla a kwalale, Dla a.

They say a hunter climbed a tree,

He climbed a tree with shoes on.

Refrain.

3 Dl kwalale, Dla a, Dl kwalale, Dla a, Dla a kwalale, Dla a. Dla a kwalale, Dla a.



Refrain.

4 B wu o dlam n” S”ku,Dla a, Dl kwalale, Dla a. B wu o dlam n” S”ku,Dla a. Dla a kwalale, Dla a.

This thing, it’s Allah who brought it about,


Refrain.

5 Ma mbuzam gayu waka, Dla a, Gayu waka na sono, Dla a. Ma mbuzam gayu waka, Dla a, Gayu waka na sono, Dla a.



Refrain.

6 Zanki a a muzam gayu waka, Dla a, Gayu waka na sono, Dla a. ???, Dla a. Dla a gayu waka, Dla a.

Zankirara the hunter climbed the tree,

He climbed the tree with shoes on,

Refrain.




Refrain.


8 Ma kwalale, Dla a, B wu o dlam n” S”ku,Dla a. Dla a kwalale, Dla a. Dla a kwalale, Dla a.

They say the scatter brain,

This thing, it's Allah who brought it about.

Refrain.




Refrain.




Refrain.

11 Ki a a gayu waka, Dla a, Dla a kwalale, Dla a, Dla a kwalale, Dla a. Dla a kwalale, Dla a.

Kirara climbed the tree,


Refrain.




Refrain.

Su ruwa ama mi a a na g”ri mi wa a a gaya waka na sono. Nda z”gadu gaya waka na sono a dlama bai. At”n Dla a a gaya waka na sono ga a a nci dla angare z”ga. Ga a kas”n ndawa a lawan biwu a ak dlamasku. A dlamangare bone i n”n umulu (ìBe dlamu n”n S”ku Ö gayi waka na sonoî).

This is a song about a woman whose mind if affected by spirits [her head is in a

hollow] who is climbing a tree with shoes on. One knows that climbing a tree with

shoes on isn’t done. But Dlaba is climbing a tree with shoes on because she wants to

become a fortune-teller. Because of this people see the matter on the level of the

doing of Allah. It would be difficult for a person without special powers (“It is

Allah who has done it … climbing a tree with shoes on”).


AI BONE DARARI (1)


OH THE SUFFERING IS EXTREME (1)


1 Dada Mb ”me b dlamu, K ne b dlamu g un Ngwajin. Ai b ne dar ri!

Sister Mbarime, the thing that she did,

Oh my! Something has happened in the walls of Ngwajin.

Oh, what great pain!

2 Baba Dabe v”ju k yuwan, K ne Baba Dabe sharau ja . Ai b ne dar ri!

Baba Dabe lay down as if sleeping,

Oh my! Baba Dabe [is] completely silent.

Refrain.

3 Dada Mb ”me b dlamu, K ne b dlamu g un Ngwajin. Ai b ne dar ri!

Sister Mbarime, the thing that she did,



4 Baba Dabe v”ju k yuwan, K ne Baba Dabe sharau ja . Ai b ne dar ri!

Baba Dabe lay down as if sleeping,

Oh my! Baba Dabe [is] completely silent.

Refrain.

5 K ne b dlamu g un Ngwajin. Ai b ne dar ri!


Refrain.

6 Bi t”ku nd ramau k kawa, Kana biwu ji ewa. Ai b ne dar ri!

That thing, one spoke as if in jest,

Oh my! The thing was true.

Refrain.

7 K ne b dlamu g un Ngwajin. Ai b ne dar ri!



8 Bi t”ku nd ramau k kawa, Kana biwu ji ewa. Ai b ne dar ri!

That thing, one spoke as if in jest,

Oh my! The thing was true.

Refrain.

9 Kai w”nya Z”mb bu, ka bakayu bai, Ai b ne dar ri!

You daughter of Zimbubu, don't burn me,

Refrain.

10 Kane ai bone darari. Ai b ne dar ri!

Oh my! Oh what great pain!

Refrain.

11 Ga a zani T”lde gayi, Kane T shuru ki n w”ng”ri. Ai b ne dar ri!

For the sake of one gown from Jos,

Oh my! Tushuru has eaten up his son.



12 Ga a zani T”lde aram, Ga a zani T”lde aram, Kane T shuru ki na w”ng”ri. Ai b ne dar ri!

For the sake of a mere gown from Jos,

For the sake of a mere gown from Jos,


Refrain.

13' K ne b dlamu g un Ngwajin. Ai b ne dar ri!


Oh, what great pain

14 M b rama dengara i Ngwajin, Kane T shuru ki n w”ng”ri. Ai b ne dar ri!

They say some talk came from Ngwajin,


Refrain.

15 Ga a zani T”lde gayi, Kane T shuru ki n w”ng”ri. Ai b ne dar ri!

For the sake of one gown from Jos,



16' K ne b dlamu g un Ngwajin. Ai b ne dar ri!


Oh, what great pain

17 Tafkarak M j wa ramd nai m , Davanangu na v”ji n J j je bin n m”tu. Ai b ne dar ri!

The francolin from Majewa told me saying,

This year I should lie with Jajeje or else I would die.

Refrain.

18 Kane Jajeje ka gun m”tu. Ai b ne dar ri!

What do you know! Jajeje is a remedy for death.

Refrain.

19 Ma tafkarak M j wa ramd nai, Ma davanangu na v”ji n J j je bin n m”tu. Ai b ne dar ri!

The francolin from Majewa told me saying,

This year I should lie with Jajeje or else I would die.

Refrain.

20 (Not transcribed) Ai b ne dar ri!

(not transcribed)

Refrain.

21 Kane Jajeje ka gun m”tu. Ai b ne dar ri!

What do you know! Jajeje is a remedy for death.

Refrain.

22 I ma n ng ni (i) gwampi. Ai b ne dar ri!

I said that was on my way for soothsaying.

Refrain.

23 Ma ka ya i gwampi t”nu, Kane gwamp c ”kana k bi? Ai b ne dar ri!

You say that you're going for soothsaying,

Oh my! Is that soothsaying of yours better than mine?

Refrain.


24 I Bardai Jaya wum n bar , Bar w”nganai daducikas. Ai b ne dar ri!

Me, Bardai Jaya indeed I give it to,

How much less my good-looking son.

Refrain.

AI BONE DARARI (2)

Hauwa Subdu

OH THE SUFFERING IS GREAT (2)

Hauwa Subdu

1 Bi dl”rg”du kane dl”rg”du a garu Ngwajin. Ai b ne dar ri!

Something has collapsed, oh my it has collapsed in Ngwajin town.

Refrain.

2 Alambazam Baba Dabe barna miya, Zaure mar”m dl”rg”du kane dl”rg”du a garu Ngwajin. Ai b ne dar ri!

Alambazam (son of) Baba Dabe has given the word,

A great entrance hall has collapsed, oh my, it has collapsed in Ngwajin town.

Refrain.

3 Zaure mar”m dl”rg”du kane dl”rg”du a garu Ngwajin. Ai b ne dar ri!


Refrain.

4 Zaure mar”m dl”rg”du kane dl”rg”du a garu Ngwajin. Ai b ne dar ri!


Refrain.

5 Lala Sambo barna miya, Baba Dabe v”du ka yuwan kane Baba Dabe sharau. Ai b ne dar ri!

Lala Sambo has given the word,

Baba Dabe has lain down as if sleeping, oh my, Baba Dabe is silent.

Refrain

6 Alambazam Baba Dabe barna miya, Be dlamu a garu Ngwajin, Zaure mar”m dl”rg”du kane dl”rg”du a garu Ngwajin. Ai b ne dar ri!

Alambazam (son of) Baba Dabe has given the word,

Something has happened in Ngwajin town,


Refrain.

Su ruwak m”tu gaja . Nda z”ga m”tu i babu f”ra waci. Ga a kas”n m”tu gaja dlam”ngare bik ajab. Kak” k” Baba Dabe a garu Ngwajin (ìBaba Dabe v”ji ka yuwan Ö Ai bone darariî). Fatawanke ndawa a yiva m”tu i ak dlama Mula bai, se da awi i miya bi agai ka k” bad” a bi ke dagwa na gag”nawa. I kun ruwau nda madu ma Tushuru bari w”ng”ri i bad” a ga ak bik duniyabu (ìGa a zani T”lde aram kane Tushuru Öî).

This is a song about unexpected death. One knows that death [is coming] to

someone who is sick, of course. Thus unexpected death is something startling.

Thus it was for for Baba Dabe in Ngwajin town (“Baba Dabe lay as if sleeping …

Oh the pain is great”). People never leave death to the doing of Allah, instead they

attribute it to something else, such as sorcery or evil spirits and the like. In the

song, it is claimed [returned] that Tushuru gave his son over to sorcery for the sake

of worldly goods (“Because of a mere gown from Jos, Tushuru …”).


WA ANA MIWA

Boka Minatu

WE ARE CRYING FOR OUR MOTHER

Boka Minatu

(Questioned phrases were not understood by speakers.)

1 Na ye Mam” o b”la k”ciwa, Yeyeye na g mau. I'm going to Mamudo, new town.

2 Yeyeye na g mau, Yeyeye na g mau. (meaning not clear)

3 Mamu salala wa ana miwa ba, Yeyeye na g mau. Let us mourn our mother Dimba Lalimawa,


5 Wa ana miwa amzharu wa garme, Yeyeye na g mau. Let us mourn our mother tomorrow we will perform a sacrifice.

6 Miwa Zara, Zara Luluwaye, Yeyeye na g mau. Our mother Zara, Zara of Luluwaye


8 Yeyeye na gamau, Yeyeye na g mau. (meaning not clear0




12 Mam” o a karak v”ri a g”shik d”m, Yeyeye na g mau. Mamudo the pleasant town it came from the heart of a tree.


14 Na gwaf”nganai da miya angwarina, Yeyeye na g mau. I have swerved away from that which is unwanted.

15 Na gwaf”nganai da miya angwarina, Yeyeye na g mau. I have swerved away from that which is unwanted.

16 Angwarina damba angwarina guzbu, Yeyeye na g mau. Suffering in bondage suffering, a slave.

17 Angwarina guzbu ”kana bayenato, Yeyeye na g mau. A slave is better than ??

18 ”kana baye bare furawa, Yeyeye na g mau. ??

19 ”kana baye tarna furawa, Yeyeye na g mau. ??








26 Mam” o a karak v”ri a g”shik d”m, Yeyeye na g mau. Mamudo the pleasant town it came from the heart of a tree.




Su ruwak tana babu m”tu. Ruwau a tatkewa n”n gaiwa babu tuwayu. Nda dlam m”tun aci a g” ta a an ga a tana akau, at”n aku yuwan shirin tuwayudu ka k” i kun ruwai (ìWa ana miwa, anzharun wa gamshiî). Zam ruwau a tatka ama na kutligara bike kakancin a s”ka ta mi m”tu na dl”gun dama-dama (ìZara Luluwaye, D”mba Lal”mawaî) ga ak tana.

This is a song in memory of someone who has died. The song shows us that a

human being is one [that can be] forgotten. If one experiences a death, he will shed

tears because of remembering the past, but after a few [two] days he forgets as it is in

the song (“We are crying for our mother, tomorrow we will laugh”). Likewise the

song shows that a woman and her children or grandchildren may praise the deceased

with various names (“Zara Luluwaye, Dimba Lalumawa”) as a way to remember.

W N GAMA AIWA (1)

Nana Sama na Ashe Yindiski

SON OF A BLACK WOMAN (1)

Nana Sama na Ashe Yindiski

1 awu kware g”nau w”n gam -- Putting on an indigo-dyed gown suits the son of [a black] woman,

2 Katap” a w”n g”nau w”n gama -- Katapera shoes suit the son of [a black] woman,

3 Zani aiwa ye g”nau w”n gama -- A black shirt suits the son of [a black] woman,

4 D”rbari g”nau w”n gama -- A derbari gown suits the son of [a black] woman,

5 Ma jakuwa ngum g”nau w”n gama -- They say a cap too suits the son of [a black] woman,

6 Aiye yeyye w”n gama -- Aiye yeyye son of [a black] woman,

7 S”padu w”n g”nau w”n gama -- Covered shoes suit the son of [a black] woman,


8 S”padu ngum g”nau w”n gama -- Covered shoes suit the son of [a black] woman,

9 awu kware g”nau w”n gama -- Putting on an indigo-dyed gown suits the son of [a black] woman,

10 Jakuwa ngum g”nau w”n gama -- A cap too suits the son of [a black] woman,

11 Zani aiwa ye g”nau w”n gama -- A black shirt too suits the son of [a black] woman,

12 D”rbari g”nau w”n gama -- A derbari gown suits the son of [a black] woman,

13 Katap” a wam g”nau w”n gama -- Katapera shoes suit the son of [a black] woman,

W N GAMA AIWA (2)


SON OF A BLACK WOMAN (2)


1 Ma bab” gu g”na w”n gama aiwa, They say a motocycle suits the son of a black woman,

2 Gayi dukan g”na w”n gama aiwa, Riding a horse suits suits the son of a black woman,

3 Ma garin g”na w”n gama aiwa, They say if it’s a gown it suits the son of a black woman,

4 Jakuwa ya g”na w”n gama aiwa, A cap too suits the son of a black woman,

5 Maya zani g”na w”n gama aiwa, They say a shirt suits the son of a black woman,

6 Wando gu g”na w”n gama aiwa, The pants suit the son of a black woman,

7 Kwa daran g”na w”n gama aiwa, And if it’s a fez it suits the son of a black woman,

8 Be keke g”na w”n gama aiwa, A bicycle suits the son of a black woman,

9 Ma mota g”na w”n gama aiwa They say a car suits the son of a black woman,

10 Ma garin g”na w”n gama aiwa, They say a gown suits the son of a black woman,

11 Rak”nu ya mbas”n w”n gama aiwa, If he traveles or sits, the son of a black woman,

12 Ka keke g”nau w”n gama aiwa, Like a bicycle suits the son of a black woman,

13 Jakuwa ye g”na w”n gama aiwa, A cap too suits the son of a black woman,

14 Be tawanke g”na w”n gama aiwa. Everything suits the son of a black woman,


Ruwa t”ku nda dlamatu nanadi ga ak z”gaya awa ka e k” D”g”m Nakaso. I kun ruwau nda maga a g” n”n gabu

awa kare b” an a gadava kamacawa g”ri. Aci D”g”m Nakaso, babu ntuta ka e aiwa at”n a g”nag”ri ka k” tam (ìBe tawanke g”na w”n gama aiwaî). I pali gayi ke aci gayu duka ye, keke ye mak a g”nag”ri.

COMMENTARY INADVERTENTLY OMITTED FROM ORIGINAL BOOK This song was composed especially for making known the type of clothes worn

by Degem Nakaso. In the song one praises a person becaue of wearing nice clothes among his friends. He, Degem Nakaso, is one who likes black clothes but they befit him exceedingly well (“Each thing suits the son of the black woman”). At any one place, whether he rides a horse or a bicycle, they all befit him.

AIYE KARNIGA JINGA KARNIGA


AIYE KARNIGA JINGA KARNIGA


1 Ayye karniga jinga karniga, Ayye karniga jinga karniga, Ayye karniga jinga karniga,

2 Kane n”n Matl”r na n”n Daja, G”na I’m telling you a person from Matlirai and a person from Daja,


4 Kane mar”m gu n”n n”n Daja, G”na I’m telling you the PERSON FROM DAJA is the big one,

5 Bataba r”ptu gadlig”rin,

se da ram ma, ìGwarbo a rawan?î

G”na Bataba [a Matlirai person] if he opens his granary,

then he will say, “Where is Gwarba?”

6 Bataba r”tu gadlig”rin,

s e da ram ma, ìGwarbo a rawan?î

G”na Bataba [a Matlirai person] if he opens his granary,

then he will say, “Where is Gwarba?”

7 Kane n”n dlam bi zhiru n”n nda ramau bai, G”na I’m telling you if someone does something shameful, one does not speak of it.

8 Kane n”n dlam bi zhiru n”n nda ramau bai, G”na I’m telling you if someone does something shameful, one does not speak of it.

9 Kane na nci ramau ye na kalau, G”na I’m telling you although I want to say it I am afraid,


11 Ali Ari ka dlamna bi rama, G”na Ali Ari you have done something worth talking about,

12 Kane n”n M”g”n”n na n”n Matlirai, G”na I’m telling you a person from Miginin and a person from Matlirai,

13 Kane n”n M”g”n”n ye ???, G”na I’m telling you a person of Magenen ???,

14 Ma zadak M”g”n”n ye ???, G”na They say one whose origin is Magenen ???


15 Ma zadak Matl”ri ye bi kalau, G”na They say one whose origin is Mathirai is to be feared,

16 Kane Kofi Yaya bi kalau, G”na I’m telling you Kofi Yaya is something to fear,

17 Kane Kofi Yaya bi kalau, G”na I’m telling you Kofi Yaya is something to fear,

18 Kane ka ika zadau n”n ka rawa, G”na I’m telling you if you see that taype, you will run away,

19 Kane n”n zayi bai nda raki duwa, G”na [Maybe?] A person [without] a rope, he was driven into a well,

20 Kane n”n zayi bai nda raki duwa, G”na [Maybe?] A person [without] a rope, he was driven into a well,

21 Kane na nci ramau ye na kalau, G”na I’m telling you although I want to say it I am afraid,

22 Kane sarkin aía Bagz”bi, G”na [Hausa] I’m telling you the most polite is Bagzebi,

23 Kane yawai yawai Mamale. G”na I’m telling you yawai yawai Mamale.

Ruwa t”ku da s”ku a tatka zadak kawa wa a nda biwu i wita au a in. I pali gayi ye a bar laba bik ajap k” n”n agai wa a da ta aci i duwa aci da v”rai go la u agai.

This song from the beginning shows up the type of play that is found between the

various clans. A one point [not included in this rendition of the song] one gives a

story of an amazing thing about a person that was dropped into a well and he came

out with no injuries.

Documents

RUWA MIYA NG“Z“M - aflang.linguistics.ucla.eduaflang.linguistics.ucla.edu/Ngizim/Texts/00_ngizim_songs_2009... · friend (Dabulu). Dabulu is looking for Kuragama so that they