A griot (pronounced /ˈɡriːoʊ/; French: [ɡʁi.o]; Manding: jali or jeli; also spelled Djali; Serer: paar or kevel or kewel/okawul; Wolof: gewel) is a West African historian, storyteller, praise singer, poet, and/or musician. Griots are skilled at sharing stories and history through spoken words, a tradition in many African cultures.

Instead of writing history books, oral historians share stories they have memorized. Sometimes, families of historians pass these stories from one generation to the next. Telling stories aloud allows the speaker to use poetic and musical styles that entertain an audience. This has helped many oral histories last for hundreds of years without being written down.

Through their storytelling, griots keep the values of a tribe or people, such as the Senegalese, alive. The Wolof people in Senegal, many of whom cannot read or write, rely on griots to learn about their culture.

A griot is a keeper of oral tradition and is often seen as a leader because they serve as advisors to members of the royal family. Because of this role, they are sometimes called bards. They also help resolve conflicts between people.

Etymology and terminology

The word "griot" may come from the French word "guiriot," which is based on the Portuguese word "criado," meaning "servant" in a male form. Griots are more common in the northern parts of West Africa.

Although griots play an important role in African culture, the exact origin of the word is unclear, which is why many different names for griots exist in African languages. Some of these names include: ߖߋ߬ߟߌ jèli in northern Mande areas, jali in southern Mande areas, guewel in Wolof, paar or kevel or kewel or okawul in Serer, gawlo 𞤺𞤢𞤱𞤤𞤮 in Pulaar (Fula), iggawen in Hassaniyan, arokin in Yoruba, and diari or gesere in Soninke. Some of these names may come from the Arabic word "qawl," meaning "a saying or statement."

The Manding word ߖߋߟߌߦߊ jeliya (meaning "musicianhood") sometimes describes the knowledge of griots, showing that this role is passed down through families. The word "jali" comes from the root word ߖߊߟߌ jali or djali, meaning "blood." This is also the name used for griots in areas that were part of the former Mali Empire. While the term "griot" is often used in English, some people, like poet Bakari Sumano, prefer the term "jeli."

Today, the term "djali" is often chosen instead, as noted by American poet Amiri Baraka and Congolese filmmaker Balufu Bakupa-Kanyinda.

Role

Griots are a group of people who have historically been part of a special family tradition. Most griots marry other griots and teach their children to tell stories as part of their family heritage. In the past, griots often worked for kings or emperors, who had higher social status. Every king had griots, and every griot worked for a king. Many villages also had their own griot, who shared stories about important events like births, deaths, marriages, battles, and other events in people’s lives.

Griots are responsible for keeping the stories of tribes and families alive through spoken words, often using musical instruments. They play an important role in events such as weddings, where they sing and share the history of the bride and groom’s families. Griots also help resolve conflicts by acting as mediators. Because people respected griots, they could speak to both sides of a disagreement without being harmed and help make peace between groups.

Francis Bebey, in African Music, A People's Art, explains that griots had the special role of being neutral mediators. This allowed them to criticize people of higher social status openly. Their position gave them the power to speak honestly to nobles, leaders, and wealthy families. Their words were thought to be strong enough to change a person’s social standing, either helping someone rise in rank or reducing the power of a noble.

Griots use their skills in communication to influence society. They are known for carefully choosing their words in important situations. Skilled griots structure their speech so that the same message can have multiple meanings. This practice, called heteroglossia, allows them to control how their words are understood. Being able to balance different perspectives through speech is seen as a sign of expertise for both male and female griots.

Women griotes (Griottes)

Women griots, also called griottes or Jelimusow in Mande languages, are important in West African oral traditions. Like men, they are often born into families that have passed down the griot role for generations. They are trained from a young age to share stories and traditions through music and performance. However, most research about griots has focused on men, and less is known about the roles of women griottes.

Existing research shows that while men often tell the main stories of epics, women griottes also play a key role. They sing praise songs and use gestures and movements to bring stories to life. Griottes take part in many community events, such as weddings, naming ceremonies, and celebrations. At weddings, they help dress the bride, join her during rituals, and sing songs that highlight the connection between families. These songs often teach brides about their responsibilities in marriage, helping to pass down traditions from one generation to the next.

Although griottes are known for their singing and performance, some have gained respect as skilled storytellers. A title called "ngara" (or naaraa) is given to griots who show great knowledge and skill in storytelling. While this title is usually given to men, women have also received it when their abilities are recognized.

Women griots show their importance through their performances. In many African societies, women are often seen as quiet or reserved, but during performances, they become powerful and expressive. Their voices grow louder, and they use strong movements to show their role. This change in appearance represents their connection to their caste and a special power called "Ama," which is linked to griot status. Their clothing, such as bright colors and jewelry, also helps them stand out and show their different social role.

Today, there are differences in how griottes are treated in different regions. In Mali, women griottes have taken on more public roles and are often seen on stages worldwide. In parts of Senegambia, men still lead in mixed-gender performances, and women often have smaller roles. Sometimes, the money from performances is not shared equally between men and women, showing how society views men and women differently in these areas.

Apprenticeship and training systems

Griot traditions are passed down from parents to children through family learning. In jeli families, children are taught storytelling, music, and genealogy from a young age. In these families, musical skills are seen as something inherited rather than learned, showing how important family heritage is to the griot role.

Griot children learn by watching, repeating, and joining in performances, not through formal lessons. In Mande culture, music training differs from Western conservatories because students practice short parts of real songs instead of practicing exercises or technical drills. These short pieces are used to teach larger songs, and they are repeated and changed to increase complexity and variety. Oral learning includes not only memorizing but also understanding how to change and adapt stories and music for different audiences and situations.

In some jeli families, playing certain instruments may be passed down through generations and may depend on a person's gender. Males are often taught to play instruments like the kora, balafon, or ngoni, while females are often taught to sing and perform praise songs. Access to special knowledge may also depend on relationships with patrons, as some oral histories are seen as special or sacred and not shared freely.

In the Mali Empire

The Mali Empire, also known as the Malinke Empire, reached its greatest size around the 1300s. It covered areas in central Africa (modern-day Chad and Niger) and western Africa (modern-day Mali, Burkina Faso, and Senegal). The empire was created by Sundiata Keita, whose achievements are still remembered in Mali today. In the story called the Epic of Sundiata, Naré Maghann Konaté gave his son, Sundiata Keita, a griot named Balla Fasséké to help him rule. Balla Fasséké is believed to be the founder of the Kouyaté line of griots, which continues to exist today.

Each family of griots, who were storytellers and historians, was linked to a more powerful family of warrior-kings or emperors, called jatigi. In traditional culture, griots and jatigi depended on each other. However, a jatigi could lend their griot to another jatigi.

In Mande society

In many Mande societies, the jeli was a historian, advisor, person who settled disputes, praise singer, and storyteller. They acted like living history books, keeping ancient stories and traditions alive through songs. These traditions were passed from one generation to the next. The word "jeli" means "blood" in the Manika language. People believed jeli had strong links to spiritual, social, or political power. It was thought that speech could help remember history and relationships.

Although griots held important roles and their songs were powerful, they were not always respected in West Africa. Thomas A. Hale wrote, "Another reason for mixed feelings about griots is an old tradition that viewed them as a separate group, often called a 'caste,' a term now seen as a misunderstanding of the region’s social structure. In some places, this belief led to griots being buried in trees instead of the ground to avoid polluting the earth (Conrad and Frank 1995:4-7)." While these traditions are changing, griots and those with griot heritage historically faced pressure to marry within their family lines to keep their traditions alive. These rules helped keep their identity and social roles clear. Even today, some communities still have rules about marriage and face challenges related to these traditions.

One story griots have shared for many years is the Epic of Sundiata, which tells of Sundiata Keita, the founder of the Mali Empire. In Mande culture, Sundiata defeats Sumanguru Kanté, who steals a magical balafon from forest spirits to rule his kingdom. Another character in the Epic of Sundiata is Kamissa, a sorceress from the land of Dô who could change into a buffalo.

Musical instruments used by griots

Griots are not only singers and people who share important stories but also skilled musicians. They use many types of musical instruments, including stringed ones like the kora, the khalam (also called xalam), the ngoni, the kontigi, and the goje (known as n'ko in the Mandinka language). Other instruments they play include the balafon and the junjung.

The kora is a long-necked instrument similar to a lute and has 21 strings. The xalam is a type of kora but usually has fewer than five strings. Both instruments have gourd-shaped bodies that help make the sound louder. The ngoni is also similar to these, with five or six strings. The balafon is a wooden instrument with bars that are struck to make music, while the goje is a stringed instrument played with a bow, like a fiddle.

According to the Encyclopædia Britannica: "West African plucked lutes such as the konting, khalam, and the nkoni (mentioned by Ibn Baṭṭūṭah in 1353) may have come from ancient Egypt. The khalam is said to be the ancestor of the banjo. Another long-necked lute is the ramkie of South Africa."

A story from Malian griot Toumani Diabaté says that the kora was created by one of his ancestors. The instrument originally had 22 strings. He was chasing his fiancée, who ran into a cave. When he came out, he had a kora, but his fiancée was gone. To honor her, he played the kora with 22 strings. After his death, one string was removed as a tribute.

• Guinea, circa 1910. A Susu griot stands with his koni (lute) behind two women.
• Guinea, circa 1905. Two griots play their instruments to announce their lord’s arrival.
• Senegal, early 20th century. A Wolof leader and his griot. The griot holds an xalam (lute).

Historical Developments

The difference between traditional and modern griots in Mande music is often described by scholars as changing rather than fixed. These terms are labels that can shift depending on the style of music, not specific time periods. "Traditional" usually describes older instruments and songs, while "modern" refers to performances that use new technologies, larger groups of musicians, and influences from around the world. However, in practice, these elements are often combined.

In cities like Dakar and Bamako, jeli musicians frequently perform using both traditional instruments and modern tools such as electric guitars and amplifiers. These mixed performances take place at events like weddings, nightclubs, and international gatherings. Musicians like Toumani Diabaté and Keletigui Diabaté keep older musical traditions alive while also including global musical influences. For example, Toumani Diabaté’s solo recordings use the traditional kora but are made in modern music studios that use current tuning systems and recording equipment. These changes show how new ideas can exist alongside older traditions in West African music as globalization grows.

During the French colonial period, griots faced more control, especially in cities. In Saint-Louis, colonial officials forced griots out of the city by giving them arrest orders and imprisoning them. Later rules limited public performances by setting times when wandering musicians could play.

In 1930, colonial officials in Saint-Louis created official rules about griots performing at weddings. These rules limited drumming, set fixed payment amounts, banned performances in private homes without permission, and imposed heavy fines for breaking the rules. Because of this, traditional royal supporters became less common as old systems weakened. With the decline of kings, many griots began working with modern politicians. In countries like The Gambia, Senegal, Guinea, and Mali, politicians formed close relationships with musicians, especially those involved in recorded music. The role of griots in society changed significantly due to colonial rule.

After colonial rule ended, griots performed in more places, such as concert halls and recording studios, because fewer people hired them for private shows. This shift away from personal patronage, along with new technology, changed how performances were done. The use of microphones, amplifiers, and special instrument parts allowed griots to reach larger audiences. These changes show a shift from music centered around family or caste traditions to performances linked to politics and global audiences. While some old traditions and values remained, colonial rules and new technologies changed how griots were supported socially and economically.

Present-day griots

Today, many griots live in different areas of West Africa and can be found among the Mande peoples, including the Mandinka or Malinké, Bambara, Bwaba, Bobo, Sosso, Dyula, Soninke, and others. They are also present among the Fulɓe (Fula), Hausa, Songhai, Tukulóor, Wolof, Serer, Mossi, Dagomba, Mauritanian Arabs, and many smaller groups. Some griots have moved to other countries, such as the United States or France, and continue to perform their traditional roles.

Performing is one of the most common duties of a griot today. They now perform in more places than before and often travel to other countries to sing or play instruments like the kora.

A recent archaeological discovery in Guinea-Bissau proved what many griots already knew: a powerful kingdom called Kaabu once ruled the area that includes modern-day Guinea-Bissau and Senegal. This kingdom existed from the 1600s to the 1800s.

Bakari Sumano, who led the Association of Bamako Griots in Mali from 1994 to 2003, was a well-known supporter of the griot tradition in West African society.

Pape Demba "Paco" Samb, a Senegalese griot of Wolof heritage, now lives in Delaware and performs in the United States. In 2013, he played at benefit concerts for SOS Children's Villages in Chicago. As of 2023, Paco leads the Student African Drum Ensemble at McDaniel College. His own band is called the Super Ngewel Ensemble. Paco once said:

A griot can offer praise singing, but they can also criticize wealthy or powerful people. Because of this, the respected position of griots has been damaged, and some people now see them as "parasitic and manipulative."

Malian writer Massa Makan Diabaté was a descendant and critic of the griot tradition. He believed that griots no longer exist as they once did but thought the tradition could be saved through literature. His stories and plays combine traditional Mandinka storytelling and language with Western writing styles.

Hip hop and griots

The griot tradition has had a major influence on modern hip hop. For example, the practice of speaking a song with rhythm comes directly from how griots performed. This, along with griots' tradition of storytelling, has led some people to compare modern rappers to griots, calling them "postmodern griots." However, calling rappers "modern griots" is a topic of debate among both scholars and rappers.

Sociologist Damon Sajnani says the legacy of griots in West Africa, especially in Senegal, is a subject of disagreement. Some rappers, like Fadda Freddy, believe they continue a tradition of activism started by griots. Others, such as Thiat, argue that griots historically spoke for powerful people rather than those without power. Thomas Hale supports this view, explaining that the term "griot" is seen positively by the African diaspora but negatively by some in West Africa.

Baruti Kopano believes rap continues African oral traditions by celebrating them and expanding Black oral traditions. This perspective reflects the African diaspora's view and the reclaiming of the term "griot." Historian Frederick Gooding Jr. argues that rap directly continues the griot tradition through its focus on social issues and its connection to African oral traditions.

Notable griots

• Sotigui Kouyaté
• Dani Kouyate
• Dramane Koné

• Lamin Saho
• Foday Musa Suso
• Papa Susso
• Musa Ngum
• Bai Konte
• Dembo Konte
• Jaliba Kuyateh
• Jali Nyama Suso
• Sona Jobarteh
• Alhaji Dodou Nying Koliyandeh

• Osei Korankye

• Djanka Tassey Condé
• Djeli Moussa Diawara or Jali Musa Jawara
• Mory Kante
• N'Faly Kouyate
• Prince Diabate

• Nino Galissa
• Buli Galissa

• Abdoulaye Diabaté
• Baba Sissoko
• Ballaké Sissoko
• Bako Dagnon
• Balla Tounkara
• Cheick Hamala Diabaté
• Djelimady Tounkara
• Habib Koité
• Mamadou Diabaté
• Sidiki Diabaté
• Bassekou Kouyaté
• Toumani Diabaté

• Dimi Mint Abba
• Malouma
• Noura Mint Seymali

• Dan Maraya Jos
• Muhamman Shata

• Etran Finatawa
• Yacouba Moumouni

• Ablaye Cissoko
• Soundioulou Kemo Cissoko
• Mansour Seck
• Youssou N'Dour
• Coumba Gawlo Seck
• Thione Seck
• Yande Codou Sene