Diaspora of Jaliya and the Music that Follows
In previous sections we have learned about the physical nature of the kora, the natural materials used to construct it and the history of the area in which it made its debut. But what is to become of the kora and the people who prize it today? How has globalization effected the construction and playing of the kora? How has it effected the learning and mastery of the instrument and the meaning behind its use? This has certainly changed in modernity, by-and-large jali are clinging to some aspects of their cultural practices and knowledge sharing. Finally, how does this influence other types of music and how has kora music become a part of “world music?”
David Christian describes in Maps of Time a Modern Revolution that brought about interconnectivity to people on earth on a scale never before seen. The kora and Mande language and culture fit into this category quite nicely. In Max’s section, he discusses the colonization of West Africa by Europeans and how that influenced and still influences the kora and the people surrounding that instrument. I argue that the instrument itself and the culture that it represents belongs to something much bigger, namely, it transcends temporal, spatial, and cultural boundaries to become a global influence on “world” music as a whole.
So, how did jali music even get here from West Africa? The honest answer is, at least in part, that West African music in the Western Hemisphere finds its roots in something much more sinister: namely, the Atlantic slave trade. We discussed at length the implications of the Columbian exchange on globalization. Certainly, the exchange of goods between continents, and in this case the forced capture and redistribution of humans from their homeland moved cultures around the world, influencing aspects of everyday life.
So, how did jali music even get here from West Africa? The honest answer is, at least in part, that West African music in the Western Hemisphere finds its roots in something much more sinister: namely, the Atlantic slave trade. We discussed at length the implications of the Columbian exchange on globalization. Certainly, the exchange of goods between continents, and in this case the forced capture and redistribution of humans from their homeland moved cultures around the world, influencing aspects of everyday life.
This narrative is a harrowing one, and maybe the scope of that story is too large to fit into our small history of an instrument. For our purposes, it is also necessary to look at the modern spread of West African music and culture.
Beginning in the late 1980's Mande griots began a mass diaspora, first to France and Western Europe, and later to North America. This was fueled, in part, by economic prospects (Racanelli). But this movement caused far more than originally intended. Traditional life ways of Mande people are changing. Where traditionally jali were considered diplomats and court musicians, now they have begun to become a popular addition to "world music" and while in the past only some could learn the secrets of the kora, this cultural knowledge is beginning to open, change, and grow in new environments.
Beginning in the late 1980's Mande griots began a mass diaspora, first to France and Western Europe, and later to North America. This was fueled, in part, by economic prospects (Racanelli). But this movement caused far more than originally intended. Traditional life ways of Mande people are changing. Where traditionally jali were considered diplomats and court musicians, now they have begun to become a popular addition to "world music" and while in the past only some could learn the secrets of the kora, this cultural knowledge is beginning to open, change, and grow in new environments.
Knowledge Sharing and Learning
Here is a child beginning his music education on the kora. His teacher takes great care to show him what he knows. But this lesson is not taking place in Ghana, Senegal, or Guinea Bissau, rather this video was taken in Glasgow, Scotland, where this boy’s teacher Gameli Tordzro is a PhD student in Social Anthropology. This is an example of continuity and change of culture and music. Traditionally, boys are taught at a young age to take on the role of jali. They are taught by their father, uncle, or recognized master of the kora (Knight, 24).
Still, this example fits within at least a traditional passing of knowledge. Papa Susso, a prominent international Griot musician outlines some of the traditions in this video:
As Papa Susso points out “…You have to be born into it to call [yourself] Griot or Jali…” Not everyone can play the kora in this interpretation of culture, because not everyone is born into the four families that Susso mentions. Furthermore, not even all of the members of those families can be griots. Traditionally, it is the men of the family who are bestowed this honor, not the women. While the wives of the men do sing with them, it is mainly the men who have this privilege. (Ampene).
But all this is changing dramatically. Not only are women beginning to fill the roles of griottes, people who traditionaly would not be learning how to construct and play this instrument are learning to do just that. Thomas Hale describes griots as "...a solely West African people..." and their music "...a truly West African experience..." While it is certain that these people represent the customs of their ancestors and of themselves, it is not solely West African today; rather, we can see that even the act of education of griot skills can be found online, making it truly a global influence.
Students who wish to learn how to play the kora, and a slew of other African instruments can do so at this website: http://www.kora-music.com/jaliya/jaliyadownload.htm.
But all this is changing dramatically. Not only are women beginning to fill the roles of griottes, people who traditionaly would not be learning how to construct and play this instrument are learning to do just that. Thomas Hale describes griots as "...a solely West African people..." and their music "...a truly West African experience..." While it is certain that these people represent the customs of their ancestors and of themselves, it is not solely West African today; rather, we can see that even the act of education of griot skills can be found online, making it truly a global influence.
Students who wish to learn how to play the kora, and a slew of other African instruments can do so at this website: http://www.kora-music.com/jaliya/jaliyadownload.htm.