Adama Yalomba Transforms an Ancient Harp: Bringing the N’dan Back from the Brink of Extinction to the Vanguard of 21st Century Malian Music.

Adama Yalomba is the undisputed king of the Malian n'dan, pronounced as ‘dahn’, a six-string harp descended from the pluriarc (many bows), one of the world's oldest string instruments. In contrast to the kora, West Africa's renowned classical harp, the n’dan is not played by griots (jeli), it exists in a very different musical universe and is associated with a
vanishing way of life.

Traditionally, the n'dan, known as the traveler's harp, was played in public spaces to celebrate stories of adventurers who had left to explore other regions, and returned triumphantly to their home villages.

"Yalomba’s doubling of the n’dan’s strings to 12, adding tuning keys and animal skin over the instrument’s half-gourd body to serve as a soundboard is bold and bracing, proving you can super-charge the instrument while still sounding thrillingly authentic."

Songlines Review, March 2024

In the realm of the kora, the tradition is upheld by luminaries such as Ballaké Sissoko and Toumani Diabaté. The subsequent generation features innovators like Madou Diabaté, Sekou Keita and Cherif Soumano, who are building upon this rich legacy with their own unique contributions. Meanwhile, the vibrant youth scene is buzzing with rising super stars
like Sidiki Diabaté, younger brother Balla, Kandia Kouyaté, and young women like Wassa Kouyaté and Sona Jobarteh, who are not only embracing the traditional aspects of the kora but also infusing it with contemporary flair, signaling a dynamic future for this beloved
instrument. But in the sphere of the n'dan, Adama Yalomba stands alone. As a luminary, innovator, and contemporary force, he is the undisputed king, heir to the throne, and prince of one of West Africa’s most ancient stringed instruments. His vocal virtuosity is as remarkable as his
instrumental prowess. Yet despite his commitment, the n'dan teeters on the brink of extinction.

Yalomba attributes the n’dan's diminishing popularity to its demanding nature, which requires significant patience and endurance to play. As a rare and sensitive instrument, it necessitates a distinct plucking style and a meticulous tuning process, often proving challenging to keep in tune during performances. Yalomba views these challenges as metaphors for the perseverance needed to achieve life goals. Initially trained on the n'dan by his father, he shifted to the more performance friendly Kamele n’goni after moving to Bamako from his rural birthplace in Ké Macina, in the region of Segou, adapting to the practical realities of the modern music world.

Adama Yalomba's latest album Tanou is a pivotal development in the evolution of the n’dan, showcasing its adaptability across various music genres through Yalomba's vibrant and beautiful compositions, his technical mastery, exceptional production, and saged and soulful
vocals. This work goes beyond mere performance; it's a transformative movement, breathing new life into one of Africa's oldest stringed instruments and preventing its obscurity. As the unparalleled virtuoso of the n’dan, Yalomba's expertise places him at the forefront of
West African music, alongside luminaries like Ballaké, Toumani, and Bassekou Kouyaté.

Tanou represents more than just an album; it's a revival, making this venerable African string instrument resonate with contemporary African youth. Adam received a six-string n’dan from his father Samandji, who honed his skills on this instrument in Ghana before bringing it back to Mali. Yalomba contends that the n’dan is the forebear of most of the African chordophones, including the donso ngoni (hunter's harp), its modern antecedent the Kamele ngoni (youth harp), the classical kora, and even the
njurkele, a one-string herder’s lute. While the origins and lineage of these instruments are subject to further research and debate, the n’dan remains an undeniably ancient and significant instrument in African musical heritage, and Yalomba can play them all. Traditionally, this instrument was played for kings and travelers venturing afar. In times before the advent of phones, individuals preparing for a journey would sit beside the king in his court or next to the chief in the public square, where the n’dan would be played for them. This musical ritual was meant to instill courage for their upcoming adventures, reinforce the importance of their mission, and impart blessings for a safe return. In more contemporary times, this tradition adapted to technology: cassette recordings of the n’dan
were made, allowing travelers to carry these melodies and messages with them, serving as a continual reminder of their journey's purpose. Upon their return, another performance would honor them, and they would share their experiences. These stories, carrying messages for the entire community, enriched it with knowledge of the outside world.

Tanou is a firestorm of strings and soul, burning bright enough to light up the future, reminding us that sometimes, the oldest magic makes the freshest fire.

Yalomba highlights the importance of revamping traditional items, adding new significance and versatility to them. His redesigned n’dan, now with 12 strings, symbolizes Mali's 12 main ethnic groups. This enhancement not only increases its versatility, allowing him to skillfully play both heptatonic and pentatonic repertoires, but also enables him to create music that harmonizes with the diverse languages and musical styles of Mali. Furthermore, this updated, stable design makes the n’dan more apt for performances with modern orchestras while preserving its unique tonal quality.

More In-Depth Insights

The Malian n’dan is a descendant of one of the world’s oldest string instruments. Organologists (museum curators of musical instruments) classify it by the term pluriarc, meaning, ‘many bows’. It derives from the musical bow, which in turn developed from the hunters’ bow. As the
name suggests, the pluriarc has several bows (flexible curved sticks or pieces of bamboo), mounted on a resonator. Each bow has its own individual string, that produces its own single note. As an instrument type, the pluriarc is now very rare, found primarily in Central and Southern Africa, while in Mali, it is almost unknown. But the work of one creative and virtuoso musician, Adama Yalomba, who inherited the n’dan from his late father, Samandji, is likely to change the fortune of this ancient instrument, bringing it to new audiences at home and abroad
in the 21st century. The traditional n’dan has six wire strings. Each of the six strings is attached to its own flexible bamboo stick. The strings converge at the instrument’s bridge on the round side of the half calabash resonator, with its open side facing away from the musician. Unlike the
kora, the n’dan is not played by griots. It exists in a very different musical universe and is associated with a vanishing way of life. Traditionally, the n'dan was played in public spaces in the Malian countryside, to celebrate stories of adventurers, who had left to explore other regions, and returned triumphantly to their home villages. Adama Yalomba’s mission is to revive and recreate this instrument by constructing it in different ways and in various sizes that can made into ensembles. For his new album, he has
added extra features that give it more flexibility, with the potential to bring the n’dan to wider worlds. Adama's new adaptation of the n’dan includes an extra six strings so that this new version of the pluriarc now has a total of twelve strings. He has also introduced, tuning keys, and an animal skin stretched over the gourd's open half facing outwards, serving as the
soundboard. He composes new repertoire, while remaining faithful to the original spirit of this ancient instrument.

By Lucy Duran & Paul Chandler
December 2023
Song Descriptions