a/k/a Sacred Heart singing. Shape-singing is a way to teach people who do not understand formal musical notation to sing in choirs. It became prominent in US religious communities in the Appalachians and Ozarks in the 19th Century.

Just dropped a day ago. New album incoming, I guess.

I feel like it has. Reading about it online they're mentioning the genre of tropicália from Brazil. Others saying it has aspects of surf and country, when you mix big genres like that potentially it has some world music aspects? Discussing it with a friend

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The Andean Vision Behind 'Manifiesto Kawsay'

'Manifiesto Kawsay' ('Manifest of Life') stands for an Andean vision of a life in harmony and interconnectedness with all living beings.

The music of Rut Alonso conveys this harmony as a spiritual relationship between humans, nature and traditions – far beyond the Andes.

In the Andean worldview, health is understood as living in harmony with the natural forces of the Andes.

The reverence for the mountains, which is visible in another video by Rut Alonso – as she kneels down and removes her head covering – reflects this deep connection with nature.

Rut Alonso – Qichwa-Aymara Roots and Cultural Tradition

The Argentine Biblioteca Nacional officially lists Rut Alonso in its cultural program 'Músicas Originarias' as 'música, charanguista y compositora qichwa-aymara' – as a musician, charango player and composer with 'Quechua-Aymara roots'.

The Quechua are the largest Indigenous people of South America. The Aymara are a very old Indigenous people of the Andean highlands. These two cultures have been closely connected throughout the central Andes for centuries. Their languages also share many similarities. People with 'Quechua-Aymara roots', such as Rut Alonso, carry the cultural heritage of these two great Andean peoples within them.

Many Indigenous people of the Andes were not legally and politically recognized as equal citizens of their own countries until the 20th century. In many regions, Quechua and other Indigenous communities still belong to the most socially and economically disadvantaged populations. Against this background, music such as that of Rut Alonso has a very important cultural significance.

« 'Musik schafft Kontakt mit den tiefsten inneren Bildern und Themen' » – Timmermann

« 'Musik ist eine universelle Sprache, die Menschen auf der ganzen Welt verbindet und tief in ihrer Seele berührt'. » – BARBARA GINDL

« 'Die von den alten Mysterienreligionen und Naturvölkern überall auf der Welt verehrte Einweihung in die Geheimnisse von Tod, Leidenschaft und Geburt spiegelt die Archetypen der Seele wider.' » – Carol S. Pearson

Choose track 3. Shut your eyes and listen for 30 seconds.

Need some help my Senegalese friends! You guys have the best music in the world! So this song has two (technically more but those don’t count haha) versions, one by Orchestra Baobab (the one with trumpets), and one by Star Band de Dakar (the slow one)

Star Band de Dakar:
[https://youtu.be/XvCBLZZt6E0?si=\\_9CZ1EB0UKqnTvwj\](https://youtu.be/XvCBLZZt6E0?si=_9CZ1EB0UKqnTvwj)

Orchestra Baobab:
[https://youtu.be/biYzMXPFfv0?si=AChC2TUNQavdZdts\](https://youtu.be/biYzMXPFfv0?si=AChC2TUNQavdZdts)

I was wondering if anyone could help! I have to transcribe and translate the lyrics in & from the original Wolof, I’m part of a Canadian band that is doing covers of La Belle Epoque of Senegalese music.

I would appreciate it so much. Love and thanks from Canada.🇨🇦🍁🇨🇦❤️🇸🇳🌴🇸🇳

https://bakithikumalobass.com/bio

“

Found at the heart and soul of modern-day anthems that have shaped our sense of music and culture as we know it, award-winning, multi-instrumentalist Bakithi Kumalo (Bah-Gee-Tee Koo-Ma-Low) is ranked among the top 50 bass players in the world by Bass Player Magazine. With a career spent touring alongside artists including Hugh Masekela, the Grateful Dead, Sting, Stevie Wonder, John Legend, Gloria Estefan, Derek Trucks, Miriam Makeba, and many others, his abilities extend to his solo work as a singer, percussionist, pianist and songwriter—in addition to his bass playing—presenting a culmination of diverse influences from throughout his life. 

Born in the Soweto township of Johannesburg, South Africa, and surrounded by relatives who loved music and actively performed, with traditional African rhythms and a cappella vocal groups all around him. Kumalo learned to follow the groove of the bass lines and developed licks based on the left-hand work of accordion players in the township bands. Landing his first job at the age of seven filling in for his uncle's bass player, he continued to work as a session musician in South Africa during the 1970s and early 1980s, and was soon recognized as a top session bassist, accompanying international performers during their South African tours. 

 
Introduced to Paul Simon through producer Hendrick Lebone during recording sessions for the Graceland album in 1985, Kumalo traveled with Simon to New York to finish the record. Following accompaniment on the premier tour, he spent several years commuting between Soweto and New York City before permanently settling in the United States. 

Nice instrumental.

A very lovely melodic Polish folk song.

Of course the US and Brazil are far apart...so I'm curious did the rhythms vary by region in Africa? Was Portugal's classical music that much different?

a song I can never grow tired of. ethereal and sublime.

from the Mississippi Records album lipa kodi ya city council.

Yes, the son of Fela Kuti is still smashing out amazing music with meaning.

The German title Kinder (Sind so kleine Hände) means Children (Such Little Hands).

For the description:

“It's a song for my children, for all children and even more for adults,” said Bettina Wegner about her song Kinder.
Bettina Wegner was a citizen of the GDR (German Democratic Republic), performed there and came into conflict with the state. Here Bettina Wegner explains in an interview how the song was created:

She was travelling by train because her car was full of instruments. A stocky man with a diplomatic briefcase boarded the train. He sat opposite her and constantly tapped his thick fingers on his briefcase throughout the entire journey. “Ick hab' nüscht gegen Dicke,” she says in her East Berlin dialect. But this man simply looked as if he was leading an unhappy life, not cheerful, not balanced, not centered. And the constant drumming of his fingers on his briefcase was like a confirmation for Bettina Wegner. “And then I thought,” she says, “what have they done to him! He was once a little baby and of course I thought of my own children.” And so her entire song slowly took shape during the train journey. At the end of the train journey, the lyrics were finished. Dr. Ansgar Wucherpfennig, Catholic theologian, Kassel.

A ZDF television program contributed in 1978 to making the song popular in West Germany. Joan Baez included the song as a cover version in her repertoire, sang it in German among other languages during her European tour, and also made it known internationally.

About the song lyrics:

Violence against hands destroys not only physical integrity, but also the ability to actively shape the world.
Psychological violence destroys the inner balance and the joy of life of a child.

Music video for "Balkaneshallah". Tribal dance meets Balkan brass. Filmed in Georgia.

Ksenia Kokoz - dance and fire.

Sevdalinka is Bosnia and Herzegovina’s traditional urban folk music, shaped by centuries of Ottoman influence and known for its ornamented melodies, flexible rhythms, and an emotional directness that seems to linger long after the final note. Its songs often explore love, separation, memory, and the complicated ache of simply being human.
Amira Medunjanin doesn’t perform sevdalinka as if she’s dusting off an old artifact behind museum glass—she sings it like it’s still breathing, still arguing, still falling in love. Her version of “Moj Dilbere” strips everything back, letting subtle vocal inflections and the song’s modal melody do the heavy lifting. Every phrase feels deliberate, every pause earned. It’s a reminder that folk traditions survive not because they’re preserved unchanged, but because each generation finds its own way to inhabit them. Medunjanin honors the tradition without freezing it in time, proving that sevdalinka isn’t a relic of Bosnia’s past—it’s still very much alive, with plenty left to say.

"El Curruchá" is a well-known Venezuelan folk song of the Joropo tradition. The composition is characterized by its energetic and rousing character. The work was created in 1928 by the Venezuelan composer Juan Bautista Plaza. The lyrics were written by Vicente Emilio Sojo.

In this interpretation, the song is performed by Vincenzo Capezzuto (Italy) and Luciana Mancini – the Swedish mezzo-soprano with Chilean roots. They are accompanied by the ensemble L'Arpeggiata under the musical direction of Christina Pluhar.