The Mandinka Empire

The members of the West African ethnic group known as the Mandinka (Mandingo or Manlike) define themselves as the genetic or cultural descendants of the protohistoric Kingdom of Mali (“Culture Mandinka”). The Mandika Empire has undergone many changes in their extensive history, while keeping adequately accurate records using oral traditions instead of written language.
In the early thirteenth century, they expanded from the Niger River basin, into what is known today as the West African coast, to obtain better land for agriculture and conquest. (“Culture Mandinka”; "Mandinka Gambia"). Their religious beliefs were dominantly animist until a 99% conversion to Islam during the 18th Century ("Mandinka Gambia").
The stratification of this

culture was that of a class-caste society (Gambia Information Site). The first class, nobles, were royals and great war leaders and the second class, known as commoners, were those such as farmers, traders and religious leaders (Gambia Information Site). The first and second classes were considered to be free-born (Gambia Information Site). In the third class were the caste members (Gambia Information Site). These were the craftspeople and included blacksmiths, leatherworkers, carpenters and griots (Gambia Information Site). At the bottom of the social scale were the slaves, which had even further division (Gambia Information Site). Household and agricultural slaves were taken into the family setting and treated better than the prisoners of war from raids on local villages (Gambia Information Site). For the remainder of this paper, we will focus on the caste members of griots.
Griots
Accompanying their long rich history, the Mandinka had a unique method of recording and teaching that history throughout the generations.

Although a caste member, griots or jalis were well regarded because of their function in society. “To be a griot, you had to be born a griot” (Uprising by Imiuswi Aborigine). They were, as still are today, historians, genealogists, praise singers, professional musicians and deliverers of social and diplomatic messages (Gambia Information Site). It seems that history would be easily lost with this oral method of documentation. If the griot’s linage dies out, the history that family is responsible for maintaining also dies and is forever lost. Just as if a library burns (Uprising by Imiuswi Aborigine). Modern day griot, Prince Diabate, tells us that if a family member had the opportunity to pay the griot, the griot would then compose a song of that family’s linage and it would always stay in the family name so that even great-great-grandchildren could learn of their history (Uprising by Imiuswi Aborigine). The music was passed between griots; from father to son or mother to daughter, to maintain the record (Uprising by Imiuswi Aborigine). Typically, the were two kinds of griots; one who sings and one who plays their signature instrument, the Kora (Fig. 1)(Gilden). I have contemplated the reasoning behind the two types. In my thinking, perhaps some of this caste were not talented both in vocals and instrument. In order for them to fulfill their born tasks, they might have had to perform in this

fashion.
The Kora
The first known reference to the kora, “dating back to 1799”, described it as a large harp with 18 strings (Gilden). A traditional kora has 21 strings and is made from half of a calabash (a large gourd) partially covered with cowhide (Gilden). The player tuned his instrument by moving the leather rings to adjust the desired tension and it was plucked by with the thumb and forefinger as it sat in the lap of the musician (Gilden).
Today, the griot’s kora uses different thicknesses of fishing line obtained easily at the local market (Gilden). The role of the griots have changed somewhat as well.
In the 19th century, wars and colonial influences caused the break-up of ruling noble families (Gambia Information Site). Further divisions caused even more break-down and noble patrons could no longer care for their griots (Gambia Information Site). Some were forced to adopt several patrons while others became more wondering freelance musicians and less historians and genealogists, although much about their function in Gambia remains consistent with the traditional role. (Gambia Information Site).
In any culture, change is eminent. To keep such a longstanding tradition alive and prominent in a culture is admirable. Connection to origins sometimes guide future perspectives. The Mandinka griots of Gambia have proven that their method of recording history and linage is comparable to more modern means over and over. They have carried accurate records over centuries without writing down a single word. In the late 1960’s an African-American descendant of the Kinte clan was able to trace his family lineage through these traditional means and, in turn, change a nation’s perspective of U.S. slavery in the decade following his research (Gambia Information Site).
The Griot Who Sang of Kinte
In an effort to authenticate family stories of an ancestor called the African, Alex Haley researched extensively and finally found himself in Juffure in 1967 (Gambia Information Site). There he found his history. Guided to the griot “Kebbe Kanji Fofana”, he received the history and confirmation he had been in search of (Gambia Information Site). Haley went on to write down his history in a Pulitzer Prize winning novel which spawn a TV Mini-series airing in 1977 ("Roots"). The series is still celebrated as having one of the largest national audiences in television history. The Museum of Broadcast Communication is quoted as saying “For eight consecutive nights it riveted the country. ABC executives initially feared that the historical saga about slavery would be a ratings disaster. Instead, Roots scored higher ratings than any previous entertainment program in history. It averaged a 44.9 rating and a 66 audience share for the length of its run. The seven episodes that followed the opener earned the top seven spots in the ratings for their week. The final night held the single-episode ratings record until 1983, when the finale of M*A*S*H aired on CBS” ("Roots").
According to author and historian Steven Mintz, “many Americans, mistakenly believed that most slaves were captured by Europeans who landed on the African coast and captured or ambushed people” (Mintz, p.8-9). Mintz also stated that “most people who were free before the enslavement were enslaved through wars and raids in Africa” (Mintz, p.8-9). “While European slave merchants staged raids on villages, most of the slave merchants did set up trade bases in West Africa” (Mintz, p.8-9). “The majority of people who were transported to the Americas were enslaved by other Africans and bought in exchange for firearms and other goods by the slave merchants” (Mintz, p.8-9). “While slavery existed before, the massive slave demand of merchants drastically enhanced slavery and wars for slaves in Africa” (Mintz, p.8-9). From the 16th to 18th century through a series of conflicts, as many as a third of the Mandinka were sold into slavery to the Americas (“Mandinka Gambia”; Mintz, p.8-9).
It is difficult to imagine the impact that the life of a single person can have on a society, not to mention the world. If just one person had been out of place in the Kinte story, views and perceptions of history may look very different. It started with Kunta Kinte, Haley’s African ancestor, refusing to fade quietly into the background of slavery and loose his identity as a Mandinka Warrior. If he had, his decedents may never have known where to look for their heritage. What of the griot linage Fofana? Had that family gone the way of wondering freelance musicians, there may have been no history for Haley to find in Juffure. If Haley had not taken up his great-great-great-great grandfather’s cross, misconceptions about slavery may still be prevalent today. The Mandinka griot method of passing down history, stories and family lineage in this oral form has proven to expand centuries and even cultural boundaries. It was in practice long before modern technological advances gave us virtual storage and, in my opinion, if the tradition is kept, it will last far beyond any modern method of recording history.