Akonting Cmdt

The ''akonting'' (, or ''ekonting'' in French transliteration) is the folk lute of the Jola people, found in Senegal, Gambia, and Guinea-Bissau in West Africa. It is a banjo-like instrument with a skin-headed gourd body, two long melody strings, and one short drone string, akin to the short fifth "thumb string" on the five-string banjo.

Jola oral tradition places the birthplace of the ''akonting'' in the village of Kanjanka in Lower Casamance (Senegal), near the banks of the Casamance River. The name of the instrument's home village is recalled in the most common tuning pattern for the akonting's three open strings (from the 3rd short "thumb" string to the 1st long melody string): ''kan'' (the 5th note of the scale, tuned an octave higher), ''jan'' (root note), ''ka'' (flatted 7th note). Like in the traditional old-time/folk styles of playing the 5-string banjo, the akonting is tuned in different tunings. Using the ''kanjanka'' tuning pattern of 5/1/-7, a common tuning in Casamance is dGF. In Gambia, for another variant the 1st long melody is raised a semitone (half-step) higher to make a natural 7th note, as in cFE.

Gambian Jola scholar/musician Daniel Laemouahuma Jatta, who pioneered the research and documentation of the akonting in the mid-1980s, describes the music of his people's folk lute as follows:

The akonting is practically identical to the ''buchundu'' of the related Manjago people (also ''Man'yago'', ''Manjaku'', ''Manjaco'' and ''Manjaca'') of Gambia and Guinea-Bissau, as well as the ''busunde'' of the Papel people and the ''kisinta'' of the Balanta people, both of Guinea-Bissau.

Recent findings presented by researchers Daniel Laemouahuma Jatta
Ulf Jägfors
an

at The 8th Annual Banjo Collectors Gathering (December, 2005) â€“ an annual international conference of the foremost collectors and scholars of 19th and early 20th century banjos, which also serves as the principal forum for presentations of new research on the banjo's history and organology â€“ indicate that the banjo is probably descended from the many different types o
''gourd-bodied folk/artisan plucked lutes''
found throughout West Africa, like the akonting and its aforementioned Senegambian siblings. Other varieties include the Frafra ''koliko'' (Ghana), The Kotokoli (also ''Tem'' or ''Temba'') ''lawa'' (Togo, Benin and Ghana), the Gwari ''kaburu'' (Nigeria), and the Hausa ''gurmi'', ''komo'', ''komsa'' and ''wase'' (Nigeria, Niger, Ghana), to name but a few. The earliest forms of the banjo were, in fact, very similar gourd-bodied lutes, which enslaved West Africans in the Caribbean began making and playing sometime in the early 17th century.

Missing link to the banjo?

Of all the myriad variety of West African plucked lutes, the Jola akonting stands out as the one instrument today that bears the strongest resemblance to early North American gourd banjos. This is seen not just in its physiology but also in the traditional technique used to play the akonting, called ''o'teck'' (literally, "to stroke"), which is basically the same as the stroke, or frailing style, considered to be the oldest extant technique for playing the banjo.

Both the akonting o'teck and the banjo stroke style are forms of down-picking, a technique in which the fingernail of a single finger â€“ either the index or middle finger â€“ is used to strike the individual melody strings in a downward motion, like a plectrum. This action is immediately followed by the player's thumb catching on the top short "thumb string" to create a rhythmic back-beat accompaniment.

It was the stroke style of banjo that European American performers, who came to be known as blackface minstrels (see minstrel show), initially learned from African American musicians in the early 19th century. (The blackface minstrels popularized the banjo in the 1830s and 40s. Prior to that the banjo was a folk instrument exclusive to African American and African Caribbean musicians.) This was the prevalent form of playing the 5-string banjo until the advent of the guitar style of up-picking in the late 1860s, also referred to as finger-picking. The stroke style of down-picking has survived to this very day in the folk traditions of both the black and white communities of the rural South, where it is commonly referred to as frailing, clawhammer, thumping, among other terms.

Remarkably, the Jola o'teck technique of playing the akonting is the only extant
down-picking style of lute playing found in all of West Africa thus far. Even more pertinent to the ongoing search for the banjo's ancestors, it is the only West African lute with a banjo-like short "thumb string" which is played in this manner.

In addition to the Jola ''akonting'', the Manjago ''buchundu'', the Papel ''busunde'', the Balanta ''kisinta'', and all the various kinds of wooden-bodied lutes that are exclusive to th
griots
(for example, the Mande ''ngoni'', the Wolof ''xalam'', the Fula ''hoddu'', and the Soninke ''gambare'') have a short "thumb string" drone. The "thumb string" seems to be a feature unique to lutes of Senegambian origin which have three or more strings and are played with the fingers, regardless of playing style. Conversely, 1-string lutes (e.g. the gourd-bodied ''gambra'' of the Haratin of Mauritania) and 2-string lutes (e.g. the gourd-bodied ''koliko'' of the Frafra of Ghana and the wooden-bodied ''garaya'' of the Hausa of Nigeria, Niger

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