Akonting

The "akonting" (or "ekonting" in French transliteration) is the folk lute of the Jola people, found in Senegal, Gambia, and Guinea-Bissau in West Africa. It is a banjo-like instrument with a skin-headed gourd body, two long melody strings, and one short drone string, akin to the short fifth "thumb string" on the [http://www.shlomomusic.com/Banjo.htm 5-string banjo] .

Jola oral tradition places the birthplace of the "akonting" in the village of Kanjanka in Lower Casamance (Senegal), near the banks of the Casamance River. The name of the instrument's home village is recalled in the most common tuning pattern for the akonting's three open strings (from the 3rd short "thumb" string to the 1st long melody string): "kan" (the 5th note of the scale, tuned an octave higher), "jan" (root note), "ka" (flatted 7th note). Like in the traditional old-time/folk styles of playing the 5-string banjo, the akonting is tuned in different tunings. Using the "kanjanka" tuning pattern of 5/1/-7, a common tuning in Casamance is dGF. In Gambia, for another variant the 1st long melody is raised a semitone (half-step) higher to make a natural 7th note, as in cFE.

Gambian Jola scholar/musician Daniel Laemouahuma Jatta, who pioneered the research and documentation of the akonting in the mid-1980s, describes the music of his people's folk lute as follows:

:"The music of the akonting is short sustained notes that are played over and over again. Usually they are between two to three notes. The mechanics involved in playing the akonting is the regular sounding of the short string (drone string) when playing any melody. It acts as a drum to add beauty to the melody. The middle string is also sometimes used as drone string. All the noting is done on the long string." :"The music of the akonting has been and still is folk music. Akonting players do not play music to confer status to their patrons. They play their music, usually in the evenings after work to relax and have a nice time before going to bed. Also when in their rice field bars (Hu Waa in Jola) they play the Akonting in the evening after working in their rice fields and drink their palm wine that they are expert in tapping from the palm tree. The music of the Akonting deals with all matters of life and does not need to be augmented by any other instrument to be danceable. It is rhythmic enough to enable one to dance."

The akonting is practically identical to the "buchundu" of the related Manjago people (also "Man'yago", "Manjaku", "Manjaco" and "Manjaca") of Gambia and Guinea-Bissau, as well as the "busunde" of the Papel people and the "kisinta" of the Balanta people, both of Guinea-Bissau.

Recent findings presented by researchers Daniel Laemouahuma Jatta, [http://www.shlomomusic.com/banjoancestors_jatta.htm Ulf Jägfors] , and [http://www.shlomomusic.com/Bio.htm Shlomo Pestcoe] at The 8th Annual Banjo Collectors Gathering (December, 2005)-- an annual international conference of the foremost collectors and scholars of 19th and early 20th century banjos, which also serves as the principal forum for presentations of new research on the banjo's history and organology-- indicate that the banjo is probably descended from the many different types of [http://www.shlomomusic.com/banjoancestors_folklutes.htm "gourd-bodied folk/artisan plucked lutes"] found throughout West Africa, like the akonting and its aforementioned Senegambian siblings. Other varieties include the Frafra "koliko" (Ghana), The Kotokoli (also "Tem" or "Temba") "lawa" (Togo, Benin and Ghana), the Gwari "kaburu" (Nigeria), and the Hausa "gurmi", "komo", "komsa" and "wase" (Nigeria, Niger, Ghana), to name but a few. The earliest forms of the banjo were, in fact, very similar gourd-bodied lutes, which enslaved West Africans in the Caribbean began making and playing sometime in the early 17th century.

Missing link to the banjo?

Of all the myriad variety of West African plucked lutes, the Jola akonting stands out as the one instrument today that bears the strongest resemblance to early North American gourd banjos. This is seen not just in its physiology but also in the traditional technique used to play the akonting, called "o'teck" (literally, "to stroke"), which is basically the same as the stroke, or frailing style, considered to be the oldest extant technique for playing the banjo.

Both the akonting o'teck and the banjo stroke style are forms of down-picking, a technique in which the fingernail of a single finger -- either the index or middle finger -- is used to strike the individual melody strings in a downward motion, like a plectrum. This action is immediately followed by the player's thumb catching on the top short "thumb string" to create a rhythmic back-beat accompaniment.

It was the stroke style of banjo that European American performers, who came to be known as blackface minstrels (see minstrel show), initially learned from African American musicians in the early 19th century.(The blackface minstrels popularized the banjo in the 1830s and 40s. Prior to that the banjo was a folk instrument exclusive to African American and African Caribbean musicians.) This was the prevalent form of playing the 5-string banjo until the advent of the guitar style of up-picking in the late 1860s, also referred to as finger-picking. The stroke style of down-picking has survived to this very day in the folk traditions of both the black and white communities of the rural South, where it's commonly referred to as frailing, clawhammer, thumping, among other terms.

Remarkably, the Jola o'teck technique of playing the akonting is the only extant down-picking style of lute playing found in all of West Africa thus far. Even more pertinent to the ongoing search for [http://www.shlomomusic.com/banjoancestors.htm the banjo's ancestors] , it's the only West African lute with a banjo-like short "thumb string" which is played in this manner.

In addition to the Jola "akonting", the Manjago "buchundu", the Papel "busunde", the Balanta "kisinta", and all the various kinds of wooden-bodied lutes that are exclusive to the [http://www.shlomomusic.com/banjoancestors_griotlutes.htm griots] (for example, the Mande "ngoni", the Wolof "xalam", the Fula "hoddu", and the Soninke "gambare") have a short "thumb string" drone. The "thumb string" seems to be a feature unique to lutes of Senegambian origin which have three or more strings and are played with the fingers, regardless of playing style. Conversely, 1-string lutes (e.g. the gourd-bodied "gambra" of the Haratin of Mauritania) and 2-string lutes (e.g. the gourd-bodied "koliko" of the Frafra of Ghana and the wooden-bodied "garaya" of the Hausa of Nigeria, Niger, and Ghana) are played with flat-pick type "plectrums", so a drone string is useless on these instruments.

The standard griot playing technique is a 2-finger up-picking pattern: the player's index finger plucks up on a melody string, followed by the thumb plucking the short drone string, and culminating with the index finger brushing down all the strings. While the griot technique is strikingly similar to some styles of old-time 2-finger up-picking found in various regions of rural southern United States, it is distinctly different from down-picking and not related to the early "stroke style" of playing the 5-string banjo or its descendants, the various old-time Southern down-picking styles.

The word for the proto-banjo that is used here "Akonting," is not a Jóola (Jola, Diola) word. For them the word is Ekonting, and with a definite article, Ekontingey.

Jóola is a noun class language (as are the Bantu languages) where every noun is assigned to a class and each class is marked by a prefix. There are usually singular/plural matches - e/si, a/ku, bu/u etc.

The class pair a/ku goes with humans, and only humans. Thus asek/kusek, "woman/women", anifan/kunifan, "elder/elders"

The class pair e/si goes with many objects and some animals. Imported items usually are assigned to this class pair (ewator, auto from voiture). This is where the --konting is:

SG. ekonting/ PL. sikonting

For a Jóola the word akonting would sound most strange. A banjo is not a person.

The Akonting today

In the mid-1980s, when Gambian Jola scholar/musician [http://www.shlomomusic.com/banjoancestors_jatta.htm Daniel Laemouahuma Jatta] first began to research and document his people's folk lute, the [http://www.shlomomusic.com/banjoancestors_akonting.htm "akonting"] , the tradition of making and playing the instrument was relatively unknown outside of the rural Jola villages found throughout Senegambia. Even within these Jola communities, there were very few young people interested in carrying on the "akonting" tradition. Recognizing this fact, Daniel's father, a traditional "akonting" player originally from the instrument's birthplace, the Casamance region of Senegal, implored him to take up the "akonting" and help perpetuate this vital element of their people's cultural heritage.

Today, there is a burgeoning revival of interest in the "akonting" within its home region of Senegambia. Young akonting players like Bouba Diedhiou, a teenage radio performer from a rural Casamance village is carrying on the traditional style; also, Sana Ndiaye, best known for his work with the Dakar-based hip hop group Gokh-Bi System, is introducing the instrument to broader audiences.

Thanks to the work of Daniel Jatta, as well as the vital efforts of Swedish banjologist/researcher [http://www.shlomomusic.com/banjoancestors_jatta.htm Ulf Jägfors] , British banjo historian [http://www.zither-banjo.org/ Nick Bamber] , American old-time country musician/scholar [http://www2.davidson.edu/common/templates/news/news_tmp01.asp?newsid=4213 Ben Nelson] , banjoist/ gourd musical instrument expert/builder [http://www.gourddidgeridoo.com/index.htm Paul Sedgwick] , and others, there is growing global awareness of the akonting and its siblings in the large diverse family of West African [http://www.shlomomusic.com/banjoancestors_folklutes.htm folk/artisan lutes] , which have been hitherto overlooked. These instruments are just now beginning to get the international recognition and attention they deserve as living ancestors of the [http://www.shlomomusic.com/banjoancestors_earlybanjos.htm banjo] . Many museums around the world have updated their collections to include the "akonting" and other members of the West African [http://www.shlomomusic.com/banjoancestors_folklutes.htm folk/artisan lute] family, while banjo historians and ethnomusicologists have begun to broaden the range of their focus to include these instruments.

External links

* [http://www.myspace.com/akonting "Akonting: a West African Ancestor of the Banjo"] , the official site of The Friends of The Akonting Center, The North American support group of the Gambian cultural institution.
* " [http://www.shlomomusic.com/banjoancestors_akonting.htm Banjo Ancestors: The Akonting & Buchundu Folk Lutes] "
* " [http://www.oldtimeherald.org/akonting/index.html The African Akonting & The Origins of the Banjo] "
* To learn more about the many different kinds of lutes found throughout West Africa and their connection to the banjo, please visit: [http://www.shlomomusic.com/banjoancestors.htm "Banjo Ancestors: the Lutes of West Africa"]
* For more on the early banjo and its West African roots, please visit: [http://www.shlomomusic.com/banjoancestors_earlybanjos.htm "The Early Banjo in the New World"]

Video

* [http://www.youtube.com/watch?v=DMXofL7mdX8 Akonting video] (beginning)
* [http://www.youtube.com/watch?v=b1zC4SSbdmU Akonting video] (advanced)

Listening

* [http://www.downhomeradioshow.com/2008/04/the-akonting-african-roots-of-the-banjo-a-direct-connection-between-african-african-american-music/ Internet Radio Interview w/ Daniel Jatta + Field Recordings of Akonting] Researcher and musician Daniel Jatta plays the akonting, explains the songs and discusses his work. Also features a direct comparison of akonting with African-American banjo music.

ee also

*Xalam