Construction of the Kora
The Kora is classified as a double-bridge harp-lute because it is constructed from a specific gourd called a calabash cut in half and enclosed within a cowhide skin to form a resonating chamber. It typically has 21 strings which originate in two rows at staggered lengths from a neck attached to the gourd, and end at a bridge jutting from the front. Two handles are placed on either side of the neck, which the player holds with his/her back three fingers while plucking the strings with his/her index fingers and thumbs. Over time, the construction of the kora has not remained stagnant (much like the music it makes). It has constantly shifted with to accommodate different playing styles, technological advancements, and globalization.
Traditional Jali music is highly connected with storytelling and record-keeping, but owing to post-colonial cultural diffusion (mostly from Western music) its place in music has reached a far wider scope. It also used to be an instrument that was solely passed down from parent to child within the rigid caste system of the Mandinka peoples, but because of the advancement of technology of tuning systems and again because of Western influence, knowledge of the Kora has found a wider following. There are simply more uses for it in music today, in addition to record keeping. While there are still Jalis whose primary purpose is to report on local events and family lineages, there are a great many nowadays that are merely musicians with either instrumental or vocal concentrations, depending on their inclinations. But in addition to shaping the music, this shift towards Kora music for entertainment's sake has also shaped the physical instrument itself.
Dennis Havlena is Kora luthier from upstate Michigan. This picture from his website shows various measurements necessary for his most successful Kora construction. In the full text he provides complete step by step instructions detailing his entire process for making one, as well as various models for how to modify them.
Traditional Jali music is highly connected with storytelling and record-keeping, but owing to post-colonial cultural diffusion (mostly from Western music) its place in music has reached a far wider scope. It also used to be an instrument that was solely passed down from parent to child within the rigid caste system of the Mandinka peoples, but because of the advancement of technology of tuning systems and again because of Western influence, knowledge of the Kora has found a wider following. There are simply more uses for it in music today, in addition to record keeping. While there are still Jalis whose primary purpose is to report on local events and family lineages, there are a great many nowadays that are merely musicians with either instrumental or vocal concentrations, depending on their inclinations. But in addition to shaping the music, this shift towards Kora music for entertainment's sake has also shaped the physical instrument itself.
Dennis Havlena is Kora luthier from upstate Michigan. This picture from his website shows various measurements necessary for his most successful Kora construction. In the full text he provides complete step by step instructions detailing his entire process for making one, as well as various models for how to modify them.
Dennis Havlena has also developed several Kora-like instruments which are very portable and amplifiable. They are little more than boxes with strings on either side, but he asserts they sound good especially when electrified.