Explore Afromanding on Josplay Music The music features a blend of traditional rhythms, call-and-response vocals, and intricate instrumental melodies. It emphasizes improvisation, particularly on instruments like the kora, balafon, and ngoni.
A genre that fuses the historic griot tradition, traditional Gambian music tradition with modern influences.
Historically, music of the Manding people was passed down through griots (also called Jelis), who were professional oral historians, musicians, and praise-singers. This history custodians performed at social gatherings, weddings, and ceremonies, often playing instruments like the kora, balafon (a wooden xylophone), ngoni (a plucked lute), and drums (Djembe and Dundun).
The emergence of Afro-Manding music in the modern era began in the mid-20th century, as these traditional sounds were adapted to urban settings and new audiences. The story of the rise of Afromanding starts in Guinea, with Ahmed Sékou Touré, the nation’s first President. After assuming the position of General Secretary of the Parti Démocratique de Guinée (PDG) in 1951 and gaining independence in 2nd of October 1958, Sekou disbanded all the groups that played imported dance styles and banned the playing of Western music on radios, with the aim to rejuvenate the nations art and stripping the country of all Western Influence.
He set up state owned Orchestras to perform all over the country and this policy was adpted by Mali. The early orchestras and bands were heavily influenced by Cuban with styles such as the rumba and merengue, common in their music till the late 60s. Some of these orchestras and bands are Bembeya Jazz, Syli Orchestre National, Keletigui et ses Tambourinis, Balla et ses Balladins, Les Amazones de Guinée, and Rail Band of Mali (members: Salif Keita, Djelimady Tounkara and Mory Kante).
He set up state owned Orchestras to perform all over the country and this policy was adpted by Mali. The early orchestras and bands were heavily influenced by Cuban with styles such as the rumba and merengue, common in their music till the late 60s. Some of these orchestras and bands are Bembeya Jazz, Syli Orchestre National, Keletigui et ses Tambourinis, Balla et ses Balladins, Les Amazones de Guinée, and Rail Band of Mali (members: Salif Keita, Djelimady Tounkara and Mory Kante).
With the bid to modernize the compositions from this groups, Toure advised the creation of new songs based of off folk traditional songs. This new implementation made bands to sort of griots or jelis to join their band. With the bulk of African music historic traditiona, it made them the most sort-after band personnel in the period.
With the dismantling of the Mande royal court where the griots were held on high esteem and the installation of the merchant class during colonialism, this policy was most beneficial to griots, as they found a new benefactor which was the government. They sand praises of the governments work and also helped propagate some of the government's new policy. For example, in the song 'Alphabetization' by The Horoya Band, they spoke about the literacy campaign of the government.
With the dismantling of the Mande royal court where the griots were held on high esteem and the installation of the merchant class during colonialism, this policy was most beneficial to griots, as they found a new benefactor which was the government. They sand praises of the governments work and also helped propagate some of the government's new policy. For example, in the song 'Alphabetization' by The Horoya Band, they spoke about the literacy campaign of the government.
This blend of griot tradition, inspiration from traditional folk music, use of traditional instruments like the kora, balafon and ngoni, fused with the guitar and modern-day production, is the foundation of what we know as Afro-manding.
This genre has continued to evolve, mixing traditional griot storytelling with contemporary genres like Afrobeat, jazz, and blues. Prominent artist like Salif Keita became international ambassadors of this genre.
In recent times, artist and band like Baba Commandant and his Mandingo Band (comprised of Baba Commandant as lead singer, Donso (n’goni player), Issouf Diabaté (lead guitar), Wendeyida Ouedraogo (bass guitar), and Abbass Kaboré (Drums).
The singing style in Afro-Manding music is marked by call-and-response patterns, with a lead vocalist (often a griot) initiating a phrase that is echoed or complemented by a chorus. Vocals are often melodic and ornamented, reflecting emotions like praise, joy, or sorrow.
The lyrics often focus on storytelling, praise, and social commentary.
The Afro-Manding genre is shaped by the cultural heritage of the Mande people, primarily from Mali, Guinea, Senegal, and The Gambia. Rooted in the ancient Mali Empire, it reflects the oral traditions upheld by griots, who preserve history through music. The music also incorporates traditional rhythms and instruments, blending these with external influences over time, such as modern jazz, blues, and Afrobeat.
The kora produces a bright, harp-like tone, while the balafon offers warm, percussive sound and the ngoni adds a dry, plucked timbre.