title: Brikama Jali Kunda: Griot of Yesterday and Today
metadata.name: dc.contributor.author
metadata.value: Sagna, Karim
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2020-04-28T12:25:52Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2020-04-28T12:25:52Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2020-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Karim Sagna. Brikama Jali Kunda: Griot of Yesterday and Today. Vestnik of Saint Petersburg University. Asian and African Studies, 2020, vol. 12, issue 1, pp. 113–122.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu13.2020.108
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/17408
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: Serving as educators, genealogists, historians, musicians, and storytellers, griots play a fundamental
  role in Mandinka society. Following Mandinka tradition, Jaliba Kouyaté (or simply
  Jaliba, as he is commonly known), the celebrated griot from Brikama who is at the center of
  this study, is a well-known guardian of Mandinka cultural heritage in Gambia and Senegal
  (Senegambia). This griot-composer who is also a kora virtuoso and the lead vocalist for his
  Koumaré Band, shines not only within the music scene in Senegambia, but also in other influential
  Mandinka areas such as Guinea Bissau. Since the 1980s his art has stood out due to
  its combination of classic and contemporary kora, the Mandinka twenty-one string harp-lute,
  and its emphasis on the education and awakening of consciousness of Senegambians. Whether
  with noble genres or their reinvention in various musical forms, Jaliba Kouyaté continues to
  renew the art of the Mandinka griot without losing sight of his primary mission: to contribute
  to the enhancement of the individual and collective development of Senegambians who are his
  patrons, or jatiyo. This paper explores jaliya — the art of griot — in the work of Jaliba. In addition
  to examining the directions and techniques of his music and his use of musical poetry
  and dialogue to describe contemporary events, it analyzes his capacity to create worlds that
  reconstruct the Mandinka culture and civilization and to evoke through his kora new pages
  of Mandinka history.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: en
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Asian and African Studies;Volume 12; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: Mandinka
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Senegambia
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: griot
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: oral tradition
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Brikama Jali Kunda: Griot of Yesterday and Today
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 113-122.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/17408/1/113-122.pdf
resources.format: Adobe PDF
resources.size: 1,12 MB