Circa 1230s-1600s, the MaliEmpire was created in Western Africa along the Niger River. Often associated with being founded by Sunjata Keita, the history of Mali is extremely based on oral history. The story of the founder of Mali, Sunjata Keita, is largely based on oral history. Oral history may be defined as the preservation and interpretation of historical, cultural or personal experiences by way of a speaker. In Mali, such a speaker can be described as a poet, a storyteller, a praise singer or a musician. A large amount of Mali's history is transferred via oral historians. Such oral historians in Mali are known as griots, Jalis, and Jelis. The origins of oral history in Mali may be traced back to the story of Sunjata Keita. Modern-day oral history in Mali has transformed from the history based griots to a more contemporary musical and negotiator based griots. The current state of oral history in Mali has travelled to other realms like popular culture and politics.
One cannot become a Griot; one must be born into a family of griots to hold that position. Sometimes, a key aspect to signify who is a griot can be found in the last name. Jeliyas are similar to griots but are not born into a griot family. Jeliya described as the "art of the griot" refers to a type of "musical and verbal artist".[1] Jelis have an "exclusive right to play the kora".[1] Jelis are similar to griots because they also recount history but the jelis role is to "Sing and recount Mande social and political life".[1] In reference to a griot, griots are only supposed to marry other griots. Like jelis, griots in Mali often use instruments and music to recite history which ultimately renders the history a performance and not just a story.[2]
Oral history in the Mali Empire
In the Mali Empire, an evident example of oral history is the Sunjata Keita or Sundiata Keita story. The Sunjata Keita story remains a strong representation of oral history. Because there are a plethora of versions of the Sunjata story, this exemplifies how oral history can change slightly depending on the griot reciting the history. Also, oral history can be traced back to Sunjata because in the story Sunjata's griots play a major part to his success. Bamba Suso in his version of Sunjata writes:
After that had happened they went into the circumcision shed. After they had come out of there, It was not long before his father died. Sunjata announced, ‘As for myself, However extensive my father’s property may be, I want no part of it except the griots.’ They asked him, ‘Do you want the griots?’ They said, Leave it; A person who has nothing will not have griots for long.’ The griots said, ‘Since he has let all his inheritance go, And says that it is only us that he wants, We will not abandon him. If he does not die, we shall not desert him.’
Suso's story of Sunjata shows how griots often remain within the family lineage. When Sunjata's father died, like other parts of his father's estate, Sunjata was able to choose griots from his father's estate as well. The Sunjata story shows that in the Mali Empire, noble families needed griots in order to spread family history. Sunjata states, “I want no part of it [father’s property] except the griots”.[4] Sunjata's need for a griot emphasizes how noble families and griots were often seen as undividable. In the Mali Empire, griots were associated with noble families because such families needed oral historians to accompany them in order to tell the history of their life. Emperors and great warriors often had griots and with such griots, oral history in Mali spreads. The oral historians who were “assigned” to or rather “chosen” for a family were set to remain loyal to that family for life. Loyalty was an important quality a griot must have. In Suso's version of the Sunjata story says: “We [griots] will not abandon him”.[5] In the Mali Empire, the bond between griots and the emperor, warrior-king, or family they served was meant to be a lifelong bond. In Sunjata, Sunjata's griot, Bala Faaseega Kuyate acted as both the oral historian for Sunjata and his advisor at times. Throughout Suso's version of Sunjata, Bala Faaseega Kuyate accompanies Sunjata. Suso writes:
"A day will come When bush fowls will lay their eggs on the site of your deserted town. He says here is your gold.’ When he had done that, Sunjata buried his mother; Then he and Nyakhaleng Juma Suukho, And his younger brother, And Bala Faaseega Kuyate Rose up and went. When he and Bala Faaseega Kuyate were on their way, They had gone far into the bush, And they had been travelling for a long time when Bala said, ‘I Am terribly hungry.’ Sunjata said, ‘Wait here.’ He went into a clump of thick bush, He examined the calf of his leg where there was plenty of flesh and he cut some off. When he had cut it into thin strips, he cooked it, Then he pounded the leaves of a medicinal shrub and then tied up his leg, He came back, And he said to Bala, ‘Here is some meat’".[6]
The relationship between Sunjata and Bala Faaseega Kuyate describes the relationship between oral historians and emperors or aristocrats in the Mali Empire. Sunjata was very protective of Kuyate, in turn; Kuyate was extremely loyal to Sunjata. It is the job of the griots to be loyal to the family or person they “work” for. Griots did not merely work for the nobility, griots in the Mali Empire also worked for villages. Such griots were used to recite history of births and deaths, battles and marriages in the village.
Not only were griots used to recite history of births and deaths, battles and marriages in the villages, but oral historians and griots are also an important cultural facet in Mali in terms of language. Because oral history, is exactly as the name describes, a means of passing history verbally, language is also passed on by oral historians.
Skills of oral historians in modern Mali
In present-day Mali, oral historians / griots are sometimes seen as “intermediaries” between two parties. Oral historians in modern Mali often act as mediators between those from different political parties. Jan Jansen in The Griot’s Craft: An Essay on Oral Tradition and Diplomacy discusses the role and skills of oral historians in modern-day Mali:
"‘Being sent’ is a strategy that is used often in Mande. It is a way to create a space for negotiation. Griots are conscious of their role as intermediaries, a role which necessitates contact with both parties for whom they act as negotiators. They deliberately keep the parties apart so that they do not encounter each other, unless
He writes about “being sent” as a strategy for modern-day griots. Similarly to griots during the Mali Empire, modern-day griots must also pass messages between different parties. The skill of “being sent” allows for “negotiation” to occur between parties that may not have negotiated without the help of griots. The oral historians understand that their role does not merely rest on capturing and narrating history, but their role goes as far as encompassing negotiator between two different parties with distinct ideals. Oral historians in modern-day Mali provide a source of communication between such parties. Not only do oral historians chronicle history but they also create a means to communicate. Once the “negotiator” / oral historian completes his goal of mediating tensions between the different parties, the parties are able to have a “reconciliation festivity,” the griots position as both a negotiator and historian are exemplified. Throughout Western Africa and Africa as a continent, oral historians act as mediators between conflicting parties. Oral historians are often essential to solve certain problems. Jansen's work provides a detailed account of other skills that oral historians / griots need in modern-day Mali. Jansen describes a griot's skills as a means to “master and manipulate the processes of ‘heating’ and ‘cooling down’ social situations”.[8] Some of the skills that Jansen describes are:
Don't [initially] let the parties meet
Don't [initially] allow parties to talk directly to each other
Repetitive talking
Slowing down of negotiations
Because oral historians in modern Mali are often used as negotiators, the above stated skills ease the process of solving problems between the different political parties. Oral historians in modern Mali acting as negotiators do not allow the parties to meet until the problem at hand is solved. The reasoning behind not allowing the parties to initially meet acts as a way to ease the anger members of the conflicting parties may feel toward each other. Jansen writes: “[a member of a conflicting party] must never express his opinions to the person he is in conflict with since this person will die of anger”.[9] It is the job of the griot to keep both parties separate to eliminate the chance of this anger occurring. Similarly to the reason why the griot does not allow both parties to meet initially, the griot does not allow both parties to meet as a means to eliminate tensions that can occur if both parties were to meet. The skill of repetitive talking that Jansen lists is used for “serious matters”.[10] Jansen writes: "Serious matters are not left to only one person to communicate. A small group is created in order to communicate the message. The messenger asks a member of the group to transmit a certain message to the person to whom the message is directed. The message is then transmitted from person to person until it reaches its destination."[10]
The repetitive talking of oral history transforms the message being passed into a “supra-personal phenomenon” and allows the message to “gain a semblance of authority”.[10] Likewise, the repetitive nature of oral history transforms messages and creates similar yet slightly different versions of historical events. Jansen describes “slowing down negotiations” as essential to appease both sides of conflicting parties.[11] Jansen's presentation of griots in modern Mali as messengers depicts the transformation of oral historians over time. During the Mali Empire, oral historians often were limited to working with a specific family or emperor but in current Mali, oral historians are no longer limited but can act as messengers between various political parties or other groups.
Modern-day relations between griots and nobles in Mali
The relationship between griots and nobles may appear to be a difficult one to understand. As seen through the relationship described between Sunjata and Bala Faaseega Kuyate, the noble and griot relationship is sometimes represented as a partnership. Dr. Barbara G. Hoffman, an associate professor of anthropology at Cleveland State University, discusses in her book Griots at War: Conflict, Conciliation, and Caste in Mande the relationship between griots and nobles. She writes that “tension is often expressed through nobles’ criticism of griots’ “empty speech” or griots’ disdain for nobles lack of self-knowledge”.[12] While griots take pride in understanding themselves and life around them, nobles are often more focused on worldly aspects. Despite the relationship that is suggested in Sunjata, the relationship between nobles and griots can be seen as extremely different from that of loyalty and partnership. Hoffman views the relationship between griots and nobles as showing a sharp distinction between castes. Hoffman writes, “This [the caste system] was a central issue for the griots and nobles present at this Kita celebration. They generated social difference and the reinforcement of social boundaries through a repertoire of strategies for recreating old social structures as well as for creating new ones”.[12] In modern Mali, griots are often seen as being a part of a lower caste then nobles despite the help and history they provide to nobles and society. In Hoffman's work addresses the position of oral historians in castes "Mande-style".[13] Hoffman writes, "Living up to one's caste ideals is a source of pride in Mande; violating them a cause for disgrace." The position of griots in the Mande caste system was that of extremely lower stature then the nobles griots and oral historians have a tendency to work for. Oral historians molded their way into the caste system and although they are of a lower caste then nobles, they are extremely influential in Mali. In Status and Identity in West Africa: Nyamakalaw of Mande, David C. Conrad also discusses the relationship between nobles and griots, writing: "Another revealing aspect of the relationship between nobles and griots is the asymmetry of their mutual accountability. For example, nobles almost never blame individual griots for the general character of the group".[14] Conrad then goes on to describe how griots "openly criticize nobles in public as well as in private".[14] Although griots are seen as being inferior to nobles, griots have no issue criticizing the faults of the family they work for. Such a willingness to criticize emphasizes the fact that griots do have in Mali despite their position in the caste system. Also included in Conrad's book is Cherif Keita's essay "Jaliya in the Modern World: A Tribute to Banzumana Sissoko and Massa Makan Diabate", in which Cherif Keita presents a "tribute to contemporary bards".[15] Keita praises the griots and claims that griots "have contributed positively to toward the building of a modern nation-state".[15] Contrary to beliefs that griots were seen as a part of a lower class, Keita presents an "aristocratic view of contemporary griots".[15] Keita's perspective on griots provides a different outlook on the position of griots in modern Mali. Although griots are looked at as being a part of a low caste, griots have added to cultural and historical modern Mali society.
Popular modern-day griots in Mali
In modern-day Mali, griots are often singers or musicians. For example, Abdoulaye Diabaté, a singer from Mali, was born into a family of griots in 1956. Diabaté has a plethora of experience in contemporary and popular music. Baba Sissoko is also considered a Malian griot because he was born into a family of griots. Another griot from Mali, Toumani Diabaté, also has a plethora of experience in other forms of performing. Toumani Diabaté has experience in flamenco, blues and jazz.
The kora is a stringed instrument used extensively in West Africa. A kora typically has 21 strings, which are played by plucking with the fingers. It combines features of the lute and harp.
The Mali Empire was an empire in West Africa from c. 1226 to 1670. The empire was founded by Sundiata Keita and became renowned for the wealth of its rulers, especially Mansa Musa. The Manding languages were spoken in the empire. At its peak, Mali was the largest empire in West Africa, widely influencing the culture of the region through the spread of its language, laws and customs. Much of the recorded information about the Mali Empire comes from 14th-century Tunisian historian Ibn Khaldun, 14th-century Moroccan traveller Ibn Battuta and 16th-century Andalusian traveller Leo Africanus. The other major source of information comes from Mandinka oral tradition, as recorded by storytellers known as griots.
The balafon is a gourd-resonated xylophone, a type of struck idiophone. It is closely associated with the neighbouring Mandé, Senoufo and Gur peoples of West Africa, particularly the Guinean branch of the Mandinka ethnic group, but is now found across West Africa from Guinea to Mali. Its common name, balafon, is likely a European coinage combining its Mandinka name ߓߟߊ bala with the word ߝߐ߲ fôn 'to speak' or the Greek root phono.
The music of Mali is, like that of most African nations, ethnically diverse, but one influence predominates: that of the ancient Mali Empire of the Mandinka. Mande people make up around 50% of Mali's population; other ethnic groups include the Fula (17%), Gur-speakers 12%, Songhai people (6%), Tuareg and Moors (10%).
A griot is a West African historian, storyteller, praise singer, poet, and/or musician.
The Mandinka or Malinke are a West African ethnic group primarily found in southern Mali, the Gambia and eastern Guinea. Numbering about 11 million, they are the largest subgroup of the Mandé peoples and one of the largest ethnic-linguistic groups in Africa. They speak the Manding languages in the Mande language family and a lingua franca in much of West Africa. Over 99% of Mandinka adhere to Islam. They are predominantly subsistence farmers and live in rural villages. Their largest urban center is Bamako, the capital of Mali.
Sundiata Keita was a prince and founder of the Mali Empire. He is also the great-uncle of the Malian ruler Mansa Musa, known for being the wealthiest person of all time.
The Mandé peoples are ethnic groups who are speakers of Mande languages. Various Mandé speaking ethnic groups are found particularly toward the west of West Africa. The Mandé Speaking languages are divided into two primary groups: East Mandé and West Mandé.
The Soninke people are a West African Mande-speaking ethnic group found in Mali, Fouta Djallon, southern Mauritania, eastern Senegal, Guinea and The Gambia. They speak the Soninke language, also called the Serakhulle or Azer language, which is one of the Mande languages. Soninke people were the founders of the ancient empire of Ghana or Wagadou c. 300–1240 CE, Subgroups of Soninke include the Maraka and Wangara. When the Ghana empire was destroyed, the resulting diaspora brought Soninkes to Mali, Mauritania, Senegal, Gambia, Burkina Faso, Côte d'Ivoire, Guinée-Conakry, modern-day Republic of Ghana, and Guinea-Bissau where some of this trading diaspora was called Wangara.
Abu Bakr, known as Bata Mande Bori in oral tradition, was the fifth mansa of the Mali Empire, reigning during the late 13th century. He was a son of a daughter of Sunjata, the founder of the Mali Empire, and may have been adopted by Sunjata as a son. Abu Bakr succeeded Khalifa, a tyrant who was deposed after a brief reign. Abu Bakr was the first mansa of the Mali Empire to succeed through the female line. It remains debated whether Abu Bakr's succession marked a return to a traditional pattern of succession that had been ignored by his predecessors or if it was a break from traditional succession caused by political instability. After an unremarkable reign, Abu Bakr was succeeded by Sakura, an enslaved court official who seized power in a coup.
Sunjata [] is an epic poem of the Malinke people that tells the story of the hero Sundiata Keita, the founder of the Mali Empire. The epic is an instance of oral tradition, going back to the 13th century and narrated by generations of griot poets or jeliw (djeli). There is no single or authoritative version. Material pertaining to the epic first began to be collected during the early 20th century in French Sudan, notably by the French elite school École William Ponty, resulting in the "modern" version of the tale as considered standard today, as published in "novelistic" form in French translation by Djibril Tamsir Niane in 1960.
The culture of Mali derives from the shared experience, as a colonial and post-colonial polity, and the interaction of the numerous cultures which make up the Malian people. What is today the nation of Mali was united first in the medieval period as the Mali Empire. While the current state does not include areas in the southwest, and is expanded far to the east and northeast, the dominant roles of the Mandé people is shared by the modern Mali, and the empire from which its name originates from.
Mande Bori, also known as Mande Bakari and known in Arabic as Abu Bakr, is a heroic figure in Mande oral tradition who was involved in the founding of the Mali Empire. He was the brother and right-hand man of Sunjata, the founder of the empire, and served as the empire's kankoro-sigui, an office that has been translated as "viceroy" or "lieutenant-general". Though Mande Bori never himself reigned as mansa, his grandsons Musa and Suleyman ruled the Mali Empire at the apex of its power and prestige.
Kangaba is a town, commune, and seat of the Kangaba Cercle in the Koulikoro Region of south-western Mali.
Fadenya or “father-childness” is a word used by Mande peoples, originally to describe the tensions between half-brothers with the same father and different mothers. The concept of fadenya has been stretched and is often used to describe the political and social dynamism of the Mande world. Fadenya is often discussed in contrast to badenya, or mother-childness.
Mamadou Sidiki Diabaté is a prominent Mandé kora player and jeli from Bamako, Mali. He is the 71st generation of kora players in his family and a son to Sidiki Diabaté.
Le lieutenant de Kouta is a 1979 novel by Malian author Massa Makan Diabaté. Loosely based on the author's hometown of Kita, Mali, the novel tells the story of a recently returned lieutenant from the French Colonial Army, Siriman Keita, and his struggle to adjust to his village's changing customs. It is the first book in Diabaté's "Kouta trilogy," followed by Le coiffeur de Kouta and Le boucher de Kouta, which feature many of the same characters.
Malian literature is the literature of the modern country of Mali.
Dr. Jan Jansen of Leiden University, Netherlands, is a historian and anthropologist specialising in the oral history of sub-Saharan Africa, particularly Mali.
Trio Da Kali is a griot music group from Mali constituted of three members: Hawa Kassé Mady Diabaté (vocals), Lassana Diabaté (balafon) and Mamadou Kouyaté (ngoni). Hawa is the daughter of a griot Kassé Mady Diabaté. The latter is the son of the Ngoni master Bassekou Kouyate.
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