Toumani Diabaté: The Maestro of the Kora

Toumani Diabaté and the rich musical heritage of Mali are synonymous. With the enchanting sounds of the kora, a 21-string harp-lute native to West Africa, this Malian legend of the kora, who delighted in performing with musicians from other traditions and countries, has upheld the culture of his native land on the face of the earth. Diabaté hails from a long line of griots, or jail, who are traditional storytellers, historians, and musicians in West African culture. His mastery of the kora has earned him international acclaim, making him one of his generation's most influential African musicians. The London-based newspaper "The Independent" named him "one of the fifty best African artists" in 2006. This article explores Diabaté’s life, musical contributions, and his role in preserving and modernizing West African tradition

On August 10, 1965, in Bamako, Mali, Toumani Diabaté was born into the Diabaté family which boasted a lineage of griots that dates back over 70 generations. This family had an unusually large number of members who had a high aptitude for music. His father, Sidiki Diabaté, was a kora virtuoso and celebrated as one of the first to record the instrument in the 70s. His mother was a singer and his younger brother was a kora player as well. 

Growing up in a family with a history of nearly two centuries-long oral tradition, the griot culture made it impossible for him not to become fascinated with music. Diabaté learned from watching his father and grandfather play, but his father's style left a deeper impression. By thirteen, was performing on stage with other prominent griot artists. 

The kora itself is a unique instrument, and its history goes way back. The earliest known reference to this instrument can be found in the 1300s by the famous traveler Ibn Battuta. Kora combines elements of a harp and a lute. It consists of a large calabash gourd covered with cowhide, a long hardwood neck, and 21 strings that are plucked with the fingers. The instrument is significant in West African culture, often used to accompany oral histories, praise songs, and spiritual rituals. The kora is not just an instrument for the people of this region, for them, it serves as a bridge between the past and the present. In the late 20th century, an electric model of kora called the "gravikord" was invented.

The Malian government had always supported the local traditions. In 1987, Diabaté made his first appearance with a group from Koulikoro at the age of 13, before joining the group backing the singer Kandia Kouyaté when he was 19. But, when the broadcaster and music academic Lucy Durán visited Bamako to find musicians for a festival of 1987 Music of the Royal Courts, Diabaté saw his breakthrough coming.

His first album, a timeless classic, Kaira (1988) introduced Toumani, and, of course, the kora, to a Western audience. It was produced by Durán and recorded in one afternoon during his visit to London where he stayed seven months.

What sets apart Diabaté’s music, or works as his hallmark, is how he was able to blend traditional Malian melodies with contemporary influences. This aspect of him made his collaborations with musicians as diverse as it could get. For instance, take a look at his partnership with Spanish flamenco guitarist Ballaké Sissoko on the album Djelika (1995). It is often claimed to be a masterpiece of cross-cultural collaboration.

Diabaté collaborated with the American bluesman Taj Mahal on Kulanjan in 1999. This album was praised by President Barack Obama as well. He released The Mandé Variations (2007), a solo kora instrumental and a proper follow-up to Kaira. All of his collaborations underscore Diabaté’s technical prowess for sure. However, what is also highlighted is his commitment to creating a global dialogue between all the people of this world.

Diabaté’s national and international fame and generational talent changed the fate of Kora. Its image and popularity successfully convey the message that people recognize the connection between ancient and modern music that Kora creates. Diabaté has played a crucial role in realizing this future in the face of globalization and modernization. Cultural preservation has always been a driving force for his music.

Arguably, his most notable project is the group called Symmetric Orchestra. The orchestra fuses traditional Malian instruments with modern ones. This project is both rooted in tradition and forward-looking. The group’s long-awaited album Boulevard de l’Indépendance (2006) is a testament to Diabaté’s vision of a united Africa.

For a visionary musician like Diabaté who dreamed of unifying the globe through music, he had surely put out myriads of remarkable albums. Now, we are going to take a look at some of them 

Kaira(1987) is Diabaté’s debut solo album and also the first-ever solo kora recording in history. It was a fitting album to introduce his extraordinary musicianship.

In the Heart of the Moon(2005),  with Ali Farka Touré, won a Grammy Award for Best Traditional World Music Album in 2006. The interplay between bluesy guitar and kora is both earthy and transcendent.  

The Mandé Variations (2008) is considered one of Diabaté’s most ambitious works. This solo album features improvisations on traditional Mandé themes. It is a modern classic in terms of skill and creativity.  

"In the Heart of the Moon" and "The Mandé Variations" both won a Grammy for   Diabaté’s innovative approach to the kora. But, the Grammy was not the only award he has bagged in his career. Diabaté has been honored with the prestigious Chevalier de l’Ordre National du Mali, one of Mali’s highest civilian awards. This recognition nothing but reflects his immense contributions to Malian culture. 

While striving to erase the line between the past and future, he has inadvertently begun to remove the cultural exclusion. He showed that it is possible to share the spirit and essence of one's culture without sacrificing authenticity. This would be passed down to the coming generations as his legacy.

Toumani Diabaté led a life that is tantamount to that of a prophesied hero. His mastery of the kora and his dedication to preserve and bring in a revolution in West African traditions has reshaped the face of world music before, and will continue to do so. This is a textbook example of the unfathomable power of music.