Music of Mali
The music of Mali is, like that of most West 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, Gur-speakers 12%, Songhai people, Tuareg and Moors.
Salif Keita, a noble-born Malian who became a singer, brought Mande-based Afro-pop to the world, adopting traditional garb and styles. The kora players Sidiki Diabaté and Toumani Diabaté have also achieved some international prominence, as have the late Songhai/Fula guitarist Ali Farka Touré and his successors Afel Bocoum and Vieux Farka Touré, the Tuareg band Tinariwen, the duo Amadou et Mariam and Oumou Sangare. Mory Kanté saw major mainstream success with techno-influenced Mande music.
While internationally Malian popular music has been known more for its male artists, there are some exceptions: Fatoumata Diawara, prominent Malian singer and guitarist, has even been nominated to two Grammy Awards. Domestically, since at least the 1980s, female singers such as Kandia Kouyaté are ubiquitous on radio and television, in markets and on street-corner stalls. Fans follow them for the moralizing nature of their lyrics, the perception that they embody tradition and their role as fashion trend-setters.
National music
The national anthem of Mali is "Le Mali". After independence under President Modibo Keita orchestras were state-sponsored and the government created regional orchestras for all seven then regions. From 1962 the orchestras competed in the annual "Semaines Nationale de la Jeunesse" held in Bamako. Keita was ousted by a coup d'état in 1968 organized by General Moussa Traoré.Most of Keita's support for the arts was cancelled, but the "Semaines Nationale de la Jeunesse" festival, renamed the "Biennale Artistique et Culturelle de la Jeunesse", was held every 2 years starting in 1970. Notable and influential bands from the period included the first electric dance band, Orchestre Nationale A, and the Ensemble Instrumental National du Mali, comprising 40 traditional musicians from around the country and still in operation today.
Mali's second president, Moussa Traoré, discouraged Cuban music in favor of Malian traditional music. The annual arts festivals were held biannually and were known as the Biennales. At the end of the 1980s public support for the Malian government declined and praise-singing's support for the status quo and its political leaders became unfashionable. The ethnomusicologist Ryan Skinner has done work on the relationship of music and politics in contemporary Mali.
Traditional music
The Malinké, Soninke - Sarakole, Dyula and Bambara peoples form the core of Malian culture, but the region of the Mali Empire has been extended far to the north in present-day Mali, where Tuareg and Maure peoples continue a largely nomadic desert culture. In the east Songhay, Bozo and Dogon people predominate, while the Fula people, formerly nomadic cattle-herders, have settled in patches across the nation and are now as often village and city dwelling, as they are over much of West Africa.Historical interethnic relations were facilitated by the Niger River and the country's vast savannahs. The Bambara, Malinké, Sarakole, Dogon and Songhay are traditionally farmers, the Fula, Maur, and Tuareg herders and the Bozo are fishers. In recent years, this linkage has shifted considerably, as ethnic groups seek diverse, nontraditional sources of income.
Praise-singers
Mali's literary tradition is largely oral, mediated by jalis reciting or singing histories and stories from memory. 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. The jeliw are a caste of professional musicians and orators, sponsored by noble patrons of the horon class and part of the same caste as craftsmen.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.
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 and Tutu Jara. Lyrics are composed of a scripted refrain 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;
- kora
- balafon
- n'goni
- dununba
- n'taman
- tabale
Mande music
Instruments
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 and balafon 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.
Djembe
The traditional djembe ensemble is most commonly attributed to the Maninka and Maraka: it basically consists of one small dunun and one djembe soloist. A djembe accompanist who carries a steady pattern throughout the piece has since been added, as have the jeli dununba, and the n'tamani. 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
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, gita,the karignyen, the bonkolo drum, the kunanfa, the gangan.The melodic instruments of the Bamana are typically built around a pentatonic structure. The slat idiophone bala, the 6-string doson n'goni and its popular version the 6-12 string kamel n'goni, the soku, 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 musicians in cities like Bamako are known throughout the country for a style of guitar music called Bajourou. Bamana djembe drumming has become popular since the mid-1990s throughout the world. It is a traditional instrument of the Bamana people from Mali.
Mandinka
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
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 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. The Soso Bala still rests with the descendants of the Kouyate lineage in Niaggasola, Guinea, just across the modern border from Mali.