Angelia Segletes
Music 434--Section 1
Dr. Janet Sturman
November 3, 1997
Project 8, Option 1
[for a printed submission, the rest of this report would be double-spaced]
A great way to understand the relationship between music and culture is to consult the literature of the people. In West Africa, the Mandinka people used oral tradition to pass on histories and literature of their culture. The jalolu were professional "sound artisans" and played an important function in this cultural tradition. The jali acts as the poet, musician, historian, and advisor of a particular culture, in this case, the Mandinke culture.
In learning about patronage, there is a fundamental illustration of this element in the ancient epic of Sundiata, the warrior hero of the old kingdom of Mali. Sundiata was the father of the Bright Country and as the legendary hero of Mali, he brought honor and status to his ancestors. He had a griot, which shared a special patronage relationship with him.
A griot was one who "conserves historical tradition and teaches it" (vii, Niane). He was a master of the art of historical oratory and circumlocutions, and spoke in archaic formulas. Griots were masters in the art of eloquence and "by the spoken word [they] bring to life the deeds and exploits of kings for younger generations" (1, Niane). If it weren't for the griot, the patron would not know much about their ancestors or historical past.
Apparently, in this epic, Sundiata could not walk as a child. With a little help from his griot, Balla Fasséké, Sundiata is able to walk. There is a special supporting and friendly relationship between the patron and his griot as Balla retrieves a rod to help with the walking and encourages him to go on by singing "Hymn to the Bow". Once Sundiata is up and walking, Balla Fasséké follows him wherever he goes. He gives him an education and instructs him on the Mandigo rules of conduct. "Thus, between his mother and the griot, the child got to know all that needed to be known" (23, Niane). To me, Balla seemed like the guardian angel to Sundiata.
The griot remains very faithful to his patron, even when he is taken away and made to work for Soumaoro, a mighty ruler. Like modern people of patronage, there was a musical background in Balla. According to the epic, "the griot always has a weakness for music, for music is the griot's soul" (39, Niane). In one instance, Balla Fasséké is caught playing Soumaoro's sacred instrument. He escapes the punishment by singing praises unto him. He gives patronage to his new master, while secretly remaining faithful to Sundiata. He and Sundiata's sister, Nana Triban, are able to conspire with one another and to escape from the bondage of Soumaoro and they go back to the griot's master. This is very important for Sundiata because "he now [has] the singer who would perpetuate his memory by his words" (58, Niane).
The relationship between the griot and his patron is very special. Balla is constantly reminding Sundiata of his history. The other griots in society at that time apparently did the same. In a meeting to discuss the fate of their country, the question was asked whether they, "the griots of Mali, [were] condemned to pass on to future generations the humiliations which the king of Sosso cares to inflict on [their] country" (62, Niane). All in all, they constantly cared about how the consequences would affect their patrons. They cared for them and would do anything for them. In fact, in the end of this epic, Balla Fasséké leads Sundiata into Soumaoro's tower in battle. This shows his love for his patron.
At the same time, we see how much the patron needed his griot. He was needed to counsel him, teach and instruct him, and be his guardian angel. Not only did the patron need his griot, but the griot needed his patron to bring him honor and status.
Just as there were griots in this epic, jalolu are present in modern-day Mande in West Africa. The jalolu's duty is to serve the array of wealthy patrons. They hold the genealogy records and history and are the only ones who know and can perform the music called for on important occasions in Mande. For example, in the song "Lambango", the Mande jalolu tells of a historical legend of the empire's founder to make sure their patrons do not forget the past. In other songs, they tell of more recent heroes. However, these songs are not just for anyone. They are sung by the jalolu for their patrons.
Just as music was important to the griot, it is also very essential to the jalolu. Some specialize in the kora, while others play the balo (xylophone), kontingo or ngoni (plucked, long-necked lutes), or the guitar. According to the Worlds of Music text, "their performances entail rousing artistry designed to elicit the respect and gratitude of an audience" (105). They do this to bring honor to their patron also.
The West African culture is not the only ones who practice patronage. In music from the courts of India, patronage is a social relationship that shapes music. It provides support; grants power, status, and privilege; and exerts some control over the recipient.
While the master may be supporting their patron musical singers in India and Mali, the musician gives status back to the master in many different ways. Each musician is associated with a ruler and a court that provides patronage. Each griot/jali is associated with a particular instrument. For example, in the Kanouteh family of West Africa, the instrument representative of their lineage was the kontingo. It was the jali's job to support and give status to their patron by playing their family instrument.
In providing status and privilege, we relate those giving patronage as associated with the wealthy. The beautiful instruments played are elaborate and expensive, being owned by the most wealthy. Those in patronage must be privileged enough to play in the aristocratic courts of India.
Just as the famous court musicians of ancient India, such as Tan-Sen
and Ustad Imaad Khan, paid patronage to their masters and rulers, there
are still those today who hold that special relationship. Ali Farka Touré
is just one example of a present-day jali who creates a musical heritage
for his culture. He uses the electric guitar and treats it like the kora.
He has a special bond to the patrons of West Africa. Music is at the heart
of this relationship, making the patron aware of his past while creating
elaborate traditions. Music and culture share a special relationship and
I have been able to discover this through the Mali literature and through
present-day stories of patronage relationships.