Sona Jobarteh
Photo. Leo Ahmed
Sona Jobarteh is a pioneering female kora player from The Gambia, inheriting a legacy of musical excellence from her family, who uses her art to celebrate cultural heritage and advocate for education and empowerment in Africa.
Sona Jobarteh is indeed a groundbreaking artist in the world of West African music, particularly in her role as the first female professional kora player from the renowned Jobarteh griot family of The Gambia. Her family has a long lineage of master kora players, with the instrument traditionally passed down from father to son, making her achievement even more significant in a male-dominated musical tradition.
Born in London to a prominent griot family, Sona Jobarteh was exposed to the kora and the rich musical heritage of the Mandinka people from a young age. The kora, a 21-stringed harp-lute, is central to the griot tradition, which is deeply tied to oral history, storytelling, and the preservation of cultural knowledge. Griots, often regarded as the keepers of history and culture in West Africa, have been instrumental in passing down songs, stories, and genealogies for generations.
Sona Jobarteh’s rise to prominence is not only a significant achievement as a female kora player but also an important step in breaking gender barriers in a traditionally male-dominated field. Her style incorporates both traditional sounds and modern influences, blending African rhythms with other musical genres to create a unique and contemporary fusion. Through her music, Sona Jobarteh continues to celebrate the legacy of the griot tradition while also pushing its boundaries, using the kora to tell stories of personal, cultural, and social significance. She is also an advocate for education and empowerment, especially for young girls in Africa, and has worked to elevate the role of women in music and the arts.
Sona Jobarteh’s story is a fascinating example of musical heritage passed down through generations. As a descendant of the griot family, a lineage deeply rooted in the oral tradition and musical culture of West Africa, Sona was naturally immersed in music from an early age. The kora, a traditional 21-stringed instrument, is central to the griot tradition, and having her grandfather play the instrument gave her firsthand exposure to its rich history and sound.
Her brother, Tunde Jagede, played a significant role in introducing her to the kora. It’s inspiring to hear that, at just eleven years old, Sona was already traveling to the Gambia to connect with her ancestral roots, which likely deepened her understanding of the cultural context surrounding the instrument.
In an interview with us, (AI-TV Network) Sona mentions that being born into a musical family made the transition into music feel like a natural progression. This idea of music being an intrinsic part of her life emphasizes how deeply cultural and familial influences shaped her path. She didn’t have to actively choose music; it was simply part of who she was and who she was meant to be. Sona Jobarteh is a modern example of how traditional music and instruments like the kora can continue to thrive across generations while still evolving in the contemporary world.
Her journey shows the power of cultural legacy, personal dedication, and the natural flow of talent in a musical family.
Sona Jobarteh’s journey into becoming a kora player is a remarkable reflection of the intersection of tradition, gender, and personal determination in the griot culture of West Africa. In the griot tradition, music and storytelling are deeply embedded in the social fabric, passed down through generations within specific families. Traditionally, it’s men who play the kora, an intricate and symbolic stringed instrument that is central to this culture. However, Sona's story breaks these boundaries, both in terms of gender and her deep personal connection to the music.
From left to right, Ralph Tafon (PhD), Sona Jorbateh and Ojie Tambe
Her grandmother played a pivotal role in her journey by encouraging Sona to engage with the kora, even though it was traditionally a male-dominated instrument in their family. This was not just an act of familial support but also one that demonstrated a deeper understanding of the importance of breaking cultural expectations. The act of pushing Sona toward learning the kora, an instrument usually reserved for male griots, exemplifies the progressive shift in attitudes within some parts of African society. It also reflects how matriarchal figures—often overlooked in male-centric narratives—hold power in guiding the next generation.
Sona’s desire to be present when her grandfather played the kora speaks to her longing for connection with the musical heritage of her family. The fact that she wanted to be there, actively witnessing and participating, shows how important it was for her to be a part of the lineage that shaped her identity. Despite the fact that griot women are often esteemed for their vocal powers, the kora’s association with men created an added layer of complexity. When Sona made her public decision to take up the kora, it was more than just an act of defiance; it was a commitment to her roots, her family, and her culture. The support she received from home, especially from the Gambia, was crucial. It not only affirmed her path but also gave her the strength to continue despite the challenges she might have faced, both as a woman and as someone defying cultural norms.
Sona’s reflection on the responsibility that comes with being seen and heard is incredibly poignant. In her case, the public's belief in her as an artist and a carrier of tradition comes with a profound sense of duty. To be regarded as someone whose voice can carry weight means understanding that music isn’t just an art form—it's a means of communication, a way of delivering messages, and, in Sona's case, a way to preserve and reinterpret cultural heritage.
For Sona Jobarteh, this isn’t just about becoming a kora player—it’s about fulfilling a duty to her people and her history, using music to bridge the past with the future. Sona’s influence is significant because she embodies both continuity and change. Through her, we see how one can embrace tradition while challenging the limitations imposed by it. She is not only reinterpreting the griot role but also expanding it, making the art form accessible and relevant to new generations and a global audience.
Sona Jobarteh's presence on stage is a powerful representation of African beauty, tradition, and strength. As a virtuoso kora player and one of the most prominent female figures in traditional West African music, she combines musical excellence with cultural pride in a way that is both captivating and inspiring. Her choice of colourful, vibrant African fabrics, often in intricate patterns, reflects the rich and diverse heritage of the continent. Her braided hair is another nod to African traditions, symbolizing identity, culture, and personal expression.
Sona Jobarteh's visual aesthetics on stage aren't just about fashion; they speak to a deeper cultural significance. They embody the grace, dignity, and power of African women, showcasing them not only as musicians but also as cultural ambassadors. Through her art, she helps to redefine the narrative of African women in global contexts, celebrating both their beauty and their intellectual and creative contributions.
Sona Jobarteh's approach to her performances and her connection with the Gambian audience is truly heartwarming. With her popular song titled "Gambia" which is an emotional tribute to her homeland, reflecting on the culture, history, and beauty of the Gambia, as well as the challenges the country has faced. The enthusiasm and pride that Gambians feel when they see one of their own representing their culture on a global stage is something deeply emotional. The Gambia, being a small country, may not have as many international figures in the spotlight, so when someone like Sona Jobarteh, a talented and respected griot (a traditional West African storyteller and musician), brings their culture to the world, it's a moment of pride for the entire nation.
Her willingness to invite people onto the stage and interact with her audience, especially those from The Gambia, shows how much she values this connection. It's not just about the music; it's about creating a shared cultural moment. When Sona allows fans to dance with her, it's as if she is breaking down barriers, not just between herself and the audience, but also between cultures. It's an invitation for everyone, whether Gambian or not, to feel part of something larger, a celebration of culture that transcends borders.
Sidiki Jobarteh, the son of Sona Jobarteh is fully involved in the legacy. His involvement in his mother's performances and his skill with percussion and other instruments highlights the deep connection between the generations and the importance of musical heritage.
The shared performances between them (mother and son) must be powerful, as it combines the wisdom and experience of the mother with the energy and fresh perspectives of the son. This type of collaboration not only keeps the musical traditions alive but also allows them to evolve and stay relevant.
As Sona mentioned in an interview with us (AI-TV Network) that having the chance to celebrate something of your own culture in front of others is important. It's a way for people to reclaim and honour their traditions in a space that is often global and diverse. In that moment, it’s not just about the performance—it’s about community, connection, and cultural pride. By allowing her fans to participate in that moment with her, Sona Jobarteh is creating a unique, shared experience that celebrates both her heritage and the power of music to unite people from different walks of life.
ona Jobarteh's first performance in Stockholm took place at Fashing, one of Stockholm's most iconic jazz clubs. While Fashing is a renowned venue for jazz, it does have a relatively intimate capacity, offering a more personal experience for the audience. But given her immense talent and growing global popularity, it seems that the demand for her music quickly outgrew such a venue.
Her second performance in Stockholm was at a much larger venue, Nalen, in an occasion marking the end of Stockholm Jazz Festival 2024. The larger stage allowed her to reach even more fans, who were able to enjoy the rich rhythms and melodies of her music, as well as the infectious energy that she brings to her live performances. Sona Jobarteh's shows are a celebration of the African griot tradition, and she often encourages her audience to not just listen, but to also engage and dance with her, which is part of the magic of her live experience.
Her ability to blend the traditional kora with elements of jazz, blues, and other genres resonates with a wide variety of music lovers, making her an exceptional global ambassador for African music.
Sona Jobarteh's commitment to using her success for social good is truly inspiring. The Gambia Academy, which combines music, culture, and mainstream education, sounds like a brilliant initiative. By focusing on children between the ages of eight and eighteen, the academy is providing an opportunity for young people to develop both creatively and academically.
By incorporating Gambia’s rich musical heritage, as well as history, into the curriculum, the school will likely nurture a generation that is not only educated in Western subjects but also connected to their cultural roots. It’s also great that she’s focusing on subjects like couture, which could provide students with valuable skills in fashion design and craftsmanship.
It’s fantastic to see someone of her stature giving back in such a meaningful way, offering young people the chance to thrive in multiple disciplines.
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