The kora is a stringed instrument traditionally played in West Africa, more precisely among the Manding peoples (Mandinka, Mandé, Malinké) of Senegal, Gambia, Guinea-Bissau, Guinea, Mali, and Côte d’Ivoire. It is a 21-string harp-lute that combines the characteristics of both a harp and a lute.
Construction
The kora is constructed from a large gourd split in two and covered with cowhide. A long hardwood neck passes through the gourd, and 21 stretched strings are attached to a rectangular bridge. The strings were traditionally made of fine strips of skin (cow or antelope), but today nylon is often used. The strings are arranged in two rows: eleven for the left hand and ten for the right hand. The kora is played by plucking the strings with the thumb and index finger of both hands, which allows several notes to be played simultaneously.
An important accessory for the kora is the nyenmyemo, a tin or brass plaque shaped like a leaf with wire loops around the edge, which produces a drone during play.
History
The kora has existed since the 13th-14th century, during the time of the Mali Empire. The Moroccan adventurer and traveler Ibn Battûta reported his visit to the court of Mansa Souré Dièata (1352-1353) and mentioned stringed instruments in the hands of musicians. The kora is one of the main instruments of the jali (griots) — hereditary historians, genealogists, and storytellers who transmit their knowledge from generation to generation. The instrument is also mentioned in the Senegalese national anthem « Pincez tous vos koras, frappez les balafons ».
The kora has exerted a notable influence on American music: the banjo is probably derived from these African string instruments brought by slaves during the Atlantic trade.
Notable Players
Among the great masters of the kora, we cite: Toumani Diabaté (Mali), Ballaké Sissoko (Mali, in duo with DJeli Moussa Diabaté), Sona Jobarteh (Gambia, first female jali to be recognized internationally), Seckou Keita (Senegal, pioneer of the double-neck and kora/jazz fusion), Foday Musa Suso (Senegal/Mali, collaborations with Philip Glass and Bill Laswell), Mory Kanté (Guinea, popularized the kora in 1980s-90s world music), and Ali Farka Touré (Mali, whose kora sound profoundly influences his music).
Usage in West Africa
The kora is at the heart of jali tradition, these Manding griots who accompany ceremonies (weddings, births, circumcisions), recount the history of lineages, and celebrate the glory of chiefs. It can be played solo or in an ensemble, notably with the balafon and the ngoni. In contemporary music, artists like Youssou N’Dour sometimes integrate the kora into their arrangements.
Links to styles
This instrument is found in Malian and Senegalese traditions.