New Ancient Strings: the incredible heritage of Malian kora
The region of West Africa has historically been responsible for some of the greatest musical exports from across the entire continent. Seminal albums produced by the likes of Fela Kuti from Nigeria, Francis Bebey of Cameroon and Akofa Akoussah from Togo helped to place the region firmly on the musical map. Encapsulating the entirety of such a diverse land within the confines of one single album is no easy feat, but Toumani Diabaté and Ballaké Sissoko managed to capture the zeitgeist of the Malian music scene on the groundbreaking album New Ancient Strings back in 1999.
Mali has a particularly interesting musical heritage within the context of West Africa. The region is incredibly diverse and made up of a variety of ethnic groups, each with its own unique history and musical traditions. Following the independence of Mali from French colonial rule, the country’s musical landscape saw a vibrant resurgence, characterised by a mix of traditional Mande style, in addition to modern influences. Perhaps the most important aspect of this cultural resurgence was the surge in popularity for kora music.
If you can imagine a lovechild of a lute and a harp, covered in cow skin, you can get somewhat close to what a kora is. The traditional stringed instrument is used across West Africa, but it has been found particularly favoured within Mali. The instrument arguably witnessed its high point in 1970 with the release of the trailblazing record New Ancient Strings. Composed by Sidiki Diabaté and Djelimadi Sissoko, the album helped to define the sounds of modern Malian kora music.
Despite its incredible content, New Ancient Strings failed to witness the same global impact as other West African releases of the same period. It would take another couple of decades before kora was introduced to audiences worldwide. It was delivered by the sons of Sidiki Diabaté and Djelimadi Sissoko, who released Ancient Strings in 1970. By the mid-1990s, their sons, Toumani Diabaté and Ballaké Sissoko, were prominent kora musicians in their own right, so they chose to pay tribute to their fathers.
With the help of the British record label Hannibal Records, Diabaté and Sissoko recorded eight instrumental tracks, each in a single take. Recorded on the anniversary of Mali’s independence, the tracks are awash with nationalistic joy and complex kora compositions. Borrowing an album title from their father’s work, the pair released this revamped New Ancient Strings in 1999, and it quickly found favour with audiences across the world.
The 1999 release capsulated all the vibrancy and diverse styles of Malian music, in addition to pushing the scene forward into new, interesting avenues. For the most part, the pair were faithful to the original album recorded by their fathers, but they also incorporated new styles, often hinting at flamenco guitars and other non-Malian genres. The resulting album is unlike anything heard before, finding popularity both in Mali and the wider world.
The popularity of New Ancient Strings helped to establish Toumani Diabaté, Ballaké Sissoko and kora music as a whole on the global scene. Both musicians soon went on to work with the likes of Björk and Gorillaz off the back of the trailblazing release of New Ancient Strings. Even today, the album still provides a vital influence on musicians across the world, speaking to the timeless quality of kora music and the Mande tradition.
