Seckou Keita: Kora is a living memory – a bridge between past and future

To explore its rich heritage, the skill behind its delicate sound, and what it means to be a kora player in the modern world, Music In Africa sat down with Seckou Keita, one of the world’s greatest kora virtuosos.

Born in Ziguinchorin in the Casamance region of Senegal, Seckou Keita is a descendant of the Keïta royal lineage of Mali and the Cissokho griots – West African praise singers. Raised in his mother’s family, the Cissokhos, he was introduced to percussion, singing, and the kora at the age of seven by his uncle, Solo Cissokho.

His international career began in 1996 when he performed at the Førde Traditional and World Music Festival in Norway alongside Cuban and Scandinavian musicians. This led to a collaboration with Indian violinist L. Subramaniam, culminating in a tour of India the following year.

Since moving to the UK in 1999, Seckou Keita has established himself as a leading figure in kora music. He first gained prominence performing with the Afro-Celtic group Baka Beyond and played a key role in establishing the UK’s first kora examination course at the School of Oriental and African Studies in London.

In July 2023, he was awarded an Honorary Doctorate of Music from Nottingham Trent University in the UK. Among his many accolades are three Songlines Music Awards and several BBC Radio 2 Folk Awards, including Musician of the Year.

In his words, discover how this ancestral instrument embodies the musical memory and soul of West Africa.

MUSIC IN AFRICA: You are recognised as one of today’s greatest kora virtuosos. Could you start by telling us what the kora means to you?

SECKOU KEITA: The kora is much more than just an instrument – it’s my heritage. It carries the history and values of my people, the Mandinka. Each string resonates with epic tales, the wisdom of elders, and the knowledge passed down through generations. When I play, I feel like a messenger between the past and the present.

Let’s discuss the history of the kora. We know it is an iconic instrument of West Africa, but where exactly does it originate?

Its origins date back several centuries, mainly to the Mandinka Empire, which spanned Mali, Guinea, Senegal, and The Gambia. The elders say that the first kora belonged to a female djéli (griot), which is quite unique, as the instrument is traditionally played by men. Originally, the kora had fewer strings, but over time, it evolved into the 21-string instrument we know today.

Let’s talk about the technical aspects. What makes the kora different from other string instruments?

The kora is fascinating both in its construction and in the way it is played. It is made from a halved calabash, covered with cowhide, with a wooden neck running through it. The strings, once made of gut but now commonly nylon, are arranged in two parallel rows, giving it a unique polyphonic sound. Playing the kora is like playing both the harp and the guitar at the same time. It has a crystalline tone that can be both melancholic and joyful.

The kora is now being used in a wide range of musical styles. How do you see it evolving in modern music?

It’s essential for me that the kora continues to evolve. I have integrated it into collaborations with musicians worldwide, from jazz to electronic music. This allows it to exist beyond its traditional context and reach new audiences. However, I always tell younger generations: innovate, but don’t lose your soul. Innovation must respect tradition.

Another crucial topic is transmission. Many young people are interested in learning the kora, but how can we ensure this art form is preserved?

Passing on the art of the kora is central to my mission. Traditionally, only griot families could learn the instrument. Today, I teach students from all over the world, particularly in Europe and Africa. Music schools are also beginning to include the kora in their programmes. But beyond technique, we must pass on its essence: patience, listening, and respect for tradition.

Finally, what message would you like to share with the new generation of artists who want to play the kora?

Playing the kora means embracing a history and bringing it to life. I always tell young people: respect the instrument, understand its past, but also dare to explore. The kora must continue to resonate in the modern world without losing its soul. That is how it will remain eternal.