Music of Mali

Mali's literary tradition is largely oral, mediated by jalis reciting or singing histories and stories from memory.[2][3] Amadou Hampâté Bâ, Mali's best-known historian, spent much of his life recording the oral traditions of his own Fula teachers as well as those of Bambara and other Mande neighbors.[3] The jeliw (sing. jeli, fem. jelimusow, French griot) are a caste of professional musicians and orators, sponsored by noble patrons of the horon class and part of the same caste as craftsmen (nyamakala).

They recount genealogical information and family events, laud the deeds of their patron's ancestors and praise their patrons themselves, as well as exhorting them to behave morally to ensure the honour of the family name. They also act as dispute mediators. Their position is highly respected and they are often trusted by their patrons with privileged information since the caste system does not allow them to rival nobles. The jeli class is endogamous, so certain surnames are held only by jeliw: these include Kouyaté, Kamissoko, Sissokho, Soumano, Diabaté and Koné.

A clickable map of Mali exhibiting its eight regions and capital district.

Their repertoire includes several ancient songs of which the oldest may be "Lambang", which praises music. Other songs praise ancient kings and heroes, especially Sunjata Keita ("Sunjata") and Tutu Jara ("Tut Jara"). Lyrics are composed of a scripted refrain (donkili) and an improvised section. Improvised lyrics praise ancestors, and are usually based around a surname. Each surname has an epithet used to glorify its ancient holders, and singers also praise recent and still-living family members. Proverbs are another major component of traditional songs.

These are typically accompanied by a full dance band The common instruments of the Maninka jeli ensemble are;[4]

• kora (21-24 string lute-harp, classified by the manner of playing as well as the bridge structure)
• balafon (slat xylophone with small gourd resonators)
• n'goni (4-7 string lute)
• dununba (large mallet drum hung from one shoulder and played with a curved stick, accompanied by a bell played with the opposite hand)
• n'taman (hourglass-shaped talking drum or tension drum, large and small variants)
• tabale (tall conga-shaped drum played with long, thin flexible sticks)

The Mande people, including the Mandinka, Maninka and Bamana,[5] have produced a vibrant popular music scene alongside traditional folk music and that of professional performers called jeliw (sing. jeli, French griot) The Mande people all claim descent from the legendary warrior Sunjata Keita, who founded the Mande Empire. The language of the Mande is spoken with different dialects in Mali and in parts of surrounding Burkina Faso, Ivory Coast, Guinea-Bissau, Guinea, Senegal and The Gambia.

The kora is by far the most popular traditional instrument. It is similar to both a harp and a lute and can have between 21 and 25 strings. There are two styles of playing the kora; the western style is found mostly in Senegal and The Gambia, and is more rhythmically complex than the eastern tradition, which is more vocally dominated and found throughout Mali and Guinea. Ngoni (lutes) and balafon (xylophones) are also common.

Mande percussion instruments include the tama, djembe and dunun drums. Jeli Lamine Soumano states: "If you want to learn the bala go to Guinea or Mali. If you want to learn the kora go to Gambia or Mali. If you want to learn the n'goni you have only to go to Mali." Each area has developed a speciality instrument while still recognizing that the roots of the related forms come from Mali.

The traditional djembe ensemble is most commonly attributed to the Maninka and Maraka: it basically consists of one small dunun (or konkoni) and one djembe soloist. A djembe accompanist who carries a steady pattern throughout the piece has since been added, as have the jeli dununba (also referred to as the kassonke dunun, names derived from the style of playing, not the physical instruments), and the n'tamani (small talking drum). Many ethnic groups, including the Kassonke, the Djokarame, the Kakalo, the Bobo, the Djoula, the Susu, and others, have historical connections with the djembe.

Most vocalists are female in everyday Mande culture, partially due to the fact that many traditional celebrations revolve around weddings and baptisms, mostly attended by women. Several male and female singers are world-renowned. Although it once was rare for women to play certain instruments, in the 21st century women have broadened their range.

Bamana-speaking peoples live in central Mali: the language is the most common in Mali. Music is simple and unadorned, and pentatonic. Traditional Bamana music is based on fileh (half calabash hand drum), gita (calabash bowl with seeds or cowrie shells attached to sound when rotated),the karignyen (metal scraper), the bonkolo drum (played with one open hand and a thin bamboo stick), the kunanfa (large bowl drum with cowhide head, played with the open hands, also barra or chun), the gangan (small, mallet-struck dunun, essentially the same as the konkoni or kenkeni played in the djembe ensemble).

The melodic instruments of the Bamana are typically built around a pentatonic structure. The slat idiophone bala, the 6-string doson n'goni (hunter's lute-harp) and its popular version the 6-12 string kamel n'goni, the soku (gourd/lizard skin/horse hair violin adopted from the Songhai, soku literally means "horse tail"), and the modern guitar are all instruments commonly found in the Bamana repertoire. Bamana culture is centered around Segou, Sikasso, the Wassalou region and eastern Senegal near the border of Mali's Kayes region.

Well-known Bamana performers include Mali's first female musical celebrity, Fanta Damba. Damba and other Bamana (and Maninka) musicians in cities like Bamako are known throughout the country for a style of guitar music called Bajourou (named after an 18th-century song glorifying ancient king Tutu Jara). Bamana djembe ("djembe" is a French approximation of the Maninka word, with correct English phonetic approximation: jenbe) drumming has become popular since the mid-1990s throughout the world. It is a traditional instrument of the Bamana people from Mali (This is incorrect, the instrument is a Maninka/Maraka instrument adopted by the Bamana).

The Mandinka live in Mali, The Gambia and Senegal and their music is influenced by their neighbors, especially the Wolof and Jola, two of the largest ethnic groups in the Senegambian region. The kora is the most popular instrument.

Maninka music is the most complex of the three Mande cultures. It is highly ornamented and heptatonic, dominated by female vocalists and dance-oriented rhythms. The ngoni lute is the most popular traditional instrument. Most of the best-known Maninka musicians are from eastern Guinea and play a type of guitar music that adapts balafon-playing (traditional xylophone) to the imported instrument.

Maninka music traces its legend back more than eight centuries to the time of Mansa Sunjata. In the time of Mali Empire and his semi-mythic rivalry with the great sorcerer-ruler Soumaoro Kante Mansa of the Susu people, Sunjata sent his jeli Diakouma Doua to learn the secrets of his rival. He finds a magical balafon, the "Soso Bala", the source of Soumaoro's power. When Soumaoro heard Diakouma Doua play on the bala he named him Bala Fasseke Kwate (Master of the bala). The Soso Bala still rests with the descendants of the Kouyate lineage in Niaggasola, Guinea, just across the modern border from Mali.

Both the Rail Band and Les Ambassadeurs left for Abidjan at the end of the 1970s due to a poor economic climate in Mali. There, Les Ambassadeurs recorded Mandjou, an album which featured their most popular song, "Mandjou". The song helped make Salif Keita a solo star. Many of the biggest musicians of the period also emigrated—to Abidjan, Dakar, Paris (Salif Keita, Mory Kanté), London, New York or Chicago. Their recordings remained widely available, and these exiles helped bring international attention to Mande music.

Les Ambassadeurs and Rail Band continued recording and performing under a variety of names. In 1982 Salif Keita, who had recorded with Les Ambassadeurs' Kanté Manfila, left the band and recorded an influential fusion album, Soro, with Ibrahima Sylla and French keyboardist Jean-Philippe Rykiel. The album revolutionized Malian pop, eliminating all Cuban traces and incorporating influences from rock and pop. By the middle of the decade, Paris had become the new capital of Mande dance music. Mory Kanté saw major mainstream success with techno-influenced Mande music, becoming a #1 hit on several European charts.

Another roots revival began in the mid-1980s. Guinean singer and kora player Jali Musa Jawara's 1983 Yasimika is said to have begun this trend, followed by a series of acoustic releases from Kanté Manfila and Kasse Mady. Ali Farka Touré also gained international popularity during this period; his music is less in the jeli tradition and resembles American blues.

The region of Wassoulou, south of Bamako, became the centre of a new wave of dance music also referred to as wassoulou. Wassoulou had been developing since at least the mid-70s. Jeliw had never played a large part in the music scene there, and music was more democratic.

The modern form of wassoulou is a combination of hunter's songs with sogoninkun, a type of elaborate masked dance, and the music is largely based on the kamalengoni harp invented in the late 1950s by Allata Brulaye Sidibí. Most singers are women. Oumou Sangaré was the first major wassoulou star; she achieved fame suddenly in 1989 with the release of Moussoulou, both within Mali and internationally. Wasulu region of southwest Mali. The soku is a traditional Wassoulou single string fiddle, corresponding to the Songhai n'diaraka or njarka, that doubles the vocal melody.

Since the 1990s, although the majority of Malian popular singers are still jelimusow, wassoulou's popularity has continued to grow. Wassoulou music is especially popular among youth. Although western audiences categorise wassoulou performers like Oumou Sangaré as feminists for criticizing practices like polygamy and arranged marriage, within Mali they are not viewed in that light because their messages, when they do not support the status quo of gender roles, are subtly expressed and ambiguously worded, thus keeping them open to a variety of interpretations and avoiding direct censure from Malian society.

Music was outlawed in August 2012 by MUJAO as a direct result of the Malian Coup d’état.[9] Most musicians in the North fled the country alongside an estimated 500,000 fellow Malians.[10] An announcement from MUJAO spokesman, Osama Ould Abdel Kaderjustified the ban stating that “We do not want Satan’s music. In its place there will be Quranic verse. Shari’a demands this”.[11] Islam is a fundamental part of Malian society, which is intertwined with music. Music which was deemed “Un Islamic” has been at the centre of religious life in Mali which arguably connected national and religious identity.[11] Music has been an effective means of socialisation and cohesion in Malian society. Due to the imposition of the Salafist doctrine by Ansar Dine, which was incongruous with traditional Malikite Sunni Islam which makes up most of the majority if the Islamic population in Mali. The doctrine of Mali questioned morality, religion, and everyday life for Malians. The more radical form of Salafism in Mali was seen on May 5, 2012, when Ansar al-Din attacked the tomb of Islamic saints in Timbuktu which was highly condemned by the government who issued a statement on national television describing the act as “unspeakable in the name of Islam”.[12] Islamists proceeded to violently enforce the ban of music on Malian musicians. Ahmed Ag Kaedi, a famed Tuareg guitarist received a threat that he would lose his fingers if he ever played guitar again. Islamists further destroyed his guitars, microphones, and amps by dousing them in petrol and setting them alight.[13]

As a result of the conflict, Malian artists gained widespread attention to its music scene with artists such as the Songhoy Blues, gaining recognition from Julian Casablancas and Iggy Pop. The band as a direct result of the Coup d’etat had to go into exile however they continued to create music. The band collaborated with Iggy pop on the song ‘Sahara’ which featured on their critically acclaimed album ‘Résistance’.[14] Featured on their album “Optimisme’, the song ‘Barre’ provides optimistic lyrics such as ‘Youth! Let’s rise or this change!”.[15] Songhoy Blues Guitarist Aliou Touré stated that the track was about change and how it must be implemented in Mali and that the older generation must give space to the new generation.[16] The Songhoy blues affirmed that the bands’ goal was to spread Malian culture in the form of music and to promote peace and unity.

Referring to North Mali, Vieux Farka Touré, son of the critically acclaimed guitarist Ali Farka Touré, stated “There's no music up there anymore. You can't switch on a radio or a TV, even at home."[10] Malian Guitarist Anansy Cissé’s album ‘Anoura’ reached number 1 for May 2021 at the World Music charts for 2021. The album includes issues such as poverty, righteous conduct, and an indirect commentary on Mali’s parlous political situation. Anansy’s music implements Malian culture with the use of traditional instruments such as the ‘ngoni’ and ‘calabash’.[17] In 2018 Cissé was toplay at peace festival in his hometown of Diré, Timbuktu when he and his band were held captive and their musical instruments destroyed by an armed gang.[18] The aftermath of 2012 is present in contemporary Malian music as musicians aim for artistic freedom and the promotion of peace and unity in Mali. Vieux Farka Touré has been quoted as saying that “Without music, Mali will cease to exist”.[19] Musicians in Mali continue to create music even in the face of persecution and violence. Mali traditionally has been renowned for its musical roots especially by the “Desert blues” guitarist Ali Farka Touré. Post-2012, the musical prohibition of Mali has indirectly promoted Malian music by its exposure to western mainstream music.