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Book review

TITLE: Mande Music : by Eric Charry (2000) Traditional and Modern Music of the Maninka and Mandinka of Western Africa (Chicago Studies in Ethnomusicology)

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     Eric Charry's new book MANDE MUSIC (University of Chicago Press, 2000) is a great resource for anyone interested in the origins of the Djembe (also Jembe), a goblet-shaped drum originating in Western Africa.  The book, however, is much, much more.   Specifically, this book describes in well-written detail the music culture of the Maninka and Mandinka peoples living today primarily in Mali, Guinea, Senegal, The Gambia, and Guinea-Bissau.  Dr. Charry traces these cultures from their origins in the 13th century, focusing on a class of "hereditary professional artisans called nyamakala".   These artisans include blacksmith-sculptors, leatherworkers and potters, and musical-verbal professionals.  The realm of music professionals is divided into four main categories: (1) Music related to the Hunters' Societies, played on a Simbi, a 7-stringed calabash gourd harp; (2) Jeli or Griot Music, played on the bala (xylophone), koni (lute), and kora (harp); (3) drumming that is associated with life-cycle events such as births, weddings, funerals, etc; and (4) modern groups referred to as orchestras, playing electric guitars and other instruments that are influenced by the other three categories. 

     In addition to describing these interwoven musical practices, each of which is a remarkable undertaking, Dr. Charry goes a step further when he discusses the terminology used by the African musicians themselves to describe what they do.  This is the human element relating to the musical tradition.   For myself, this is the aperitif that follows a good meal, particularly his section on "The Many Uses of Ben".   This chapter speaks to the heart of what is valuable in terms of understanding Mande  culture.  Ben is a term associated with the kora, the bala and koni, and can be translated variously as "to meet", "to agree", or "to harmonize".  The word Ben linguistically implies collaborative exchange among peers verses the individual espousing of technique.  The idea of mutual agreement is key to understanding Mande musical culture.  Dr. Charry has done an excellent job of guiding the reader toward this idea by providing an integrated approach to the music and the musical life in Western Africa.

     In the Appendices, Section A includes References Related to Mande Music in Historical Sources from the 11th to the mid-19th Century; Section B is devoted to Musicians and Vocalists according to their country and instruments; Section C lists Recordings of Traditional and Modern Pieces in Mande Repertories, and Section D lists Syliphone Recordings.  There is also a lengthy Bibliography and the comprehensive Discography and Videography sections are organized by country.

     In the same way various courses of a gourmet meal are designed to compliment one another, the chapters of MANDE MUSIC blend into a savory repast that can be enjoyed by the reader either one at a time, or synergistically as a fully satisfying experience.  I enthusiastically recommend this book to anyone seriously interested in the Djembe for its historical and cultural significance.

reviewed by

Ed Mikenas 12/20/00

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