The ngoni is a traditional West African spike lute with a 38.1 cm – 45.7 cm (15-18 inches) long body crafted from hand-carved hardwood or a calabash gourd, covered by dried animal skin, commonly goat. Other essential components are a wooden stick that forms the neck and three strings (or more), typically made from fishing line. The ngoni has been used for centuries as a secondary orchestral instrument and ceremonial device. Interestingly, it has capacity to produce rapid melodies and has been turned into a solo instrument in past decades..
The ngoni’s historical roots trace back to at least 1352, as documented by North African traveler Ibn Battuta, who observed it in the court of Mansa Musa.
The ngoni shares close affinities with other West African stringed instruments, such as the akonting and the xalam. Referred to as a jali ngoni, it is adeptly played by jalis (musician storytellers and culture bearers, also known as griots) during celebrations.
One of the finest jali ngoni players is renowned musician Bassekou Kouyaté from Mali, along with his band, Ngoni Ba. They exemplify the ngoni’s versatility and beauty through albums that seamlessly combine traditional Malian sounds with contemporary influences.
Bassekou has significantly elevated the profile of the ngoni, propelling it into the musical spotlight through innovative measures. By introducing additional strings, pioneering new playing techniques, and challenging conventions by incorporating elements like the wah-wah pedal, he has transformed the traditional perception of this instrument. Today, the ngoni takes center stage in the repertoire of many Malian bands touring globally.
Under Bassekou’s skillful guidance, this seemingly limited instrument has undergone a remarkable evolution, expanding its melodic range and embracing a newfound versatility. The influence of Western styles, including jazz, blues, and rock, is evident in his musical expression. This diverse musical palette solidifies Kouyate’s standing as both a virtuoso and a visionary, credited for pioneering the electric ngoni.
In modern music, the ngoni has found a place in various genres, as musicians worldwide integrate it into their compositions, forging unique fusions of traditional African sounds with contemporary influences.
In addition to Bassekou Kouyate, other significant ngoni players include Cheick Hamala Diabaté, Abdoulaye ‘Kandiafa’ Koné, Andra Kouyaté, Mamadou Kouyaté (son of Bassekou Kouyaté), Omar Barou Kouyaté, Moussa Bah, Moustafa Kouyaté, Abou Sissoko, Makan Badje Tounkara, and Bina Diabaté.
Donso ngoni
Another iteration, the donso ngoni, associated with the donso, a hunter and storyteller caste of the Wassulu region, is larger and reserved for ceremonial purposes. This “hunter’s harp” is more of a harp than a lute and looks somewhat like a small kora with a large gourd for a belly at the bottom of a long neck. It features six strings and is often accompanied by singing and the karagnan, a serrated metal tube scraped with a metal stick.
Sibiri Samaké is one of the top donso ngoni players along with his son Boubacar Samaké.
Kamale ngoni
Meanwhile, the kamale ngoni (also spelled kamele), a smaller version of the donso, or “young man’s harp,” emerged in Mali around the 1950s and 1960s, credited to musician Alata Brulaye. Gaining popularity in the Wassulu region, it played a pivotal role in the rise of Wassulu music in the 1970s and 1990s.
Leading kamale ngoni players include the late Issa Bagayogo, Mamadou Sidibe, and Vieux Kante.
Other variations of the ngoni include the bass ngoni used by Ngoni Ba and the double ngoni used by Andra Kouyaté.
(headline image: Ngoni played by Bassekou Kouyate – Photo by John Bosch)
Ngoni books
Learn To Play Ngoni: A Beginniners Guide to Learning the N’goni by Ramon Goose. Feb 8, 2018
Ngoni Recordings
Bassekou Kouyaté:
Segu Blue (Out Here Records, 2007)
I Speak Fula (Out Here Records, 2009)/(Sub Pop/Next Ambiance, 2010)
Afrocubism (World Circuit Records, 2010)
Jama Ko (Out Here Records, 2013)
Ba Power‘ (Glitterbeat Records, 2015)
Miri (Outhere Records, 2019)
Makan Badje Tounkara
Dava – Ngoni of the Extreme (2017)
Issa Bagayogo
Sya (Six Degrees Records, 1999)
Timbuktu (Six Degrees Records, 2002)
Tassoumakan (Six Degrees Records, 2004)
Mali Koura (Six Degrees Records, 2008)
Author: Angel Romero
Angel Romero y Ruiz has dedicated his life to musical exploration. His efforts included the creation of two online portals, worldmusiccentral.org and musicasdelmundo.com. In addition, Angel is the co-founder of the Transglobal World Music Chart, a panel of world music DJs and writers that celebrates global sounds. Furthermore, he delved into the record business, producing world music studio albums and compilations. His works have appeared on Alula Records, Ellipsis Arts, Indígena Records and Music of the World.