Skinner Critical Review

            In Skinner’s dissertation, he describes the emergence of an urban popular culture during the post-colonial era, the mobilization of this popular culture in political campaigns, and the institutionalization of these artists into state sponsored musical groups.  He describes each of these points in conjunction with a type of “ethic” that stems from the Malian word “mogoya,” which is a person’s ethic or code.  Urban popular culture grew out of the post-colonial era in response to the stagnant traditions and expectations.  It created what Skinner refers to as an “ethics of urban modernity.”  This ethic wasn’t about disdain for tradition, but instead a move toward progression that empowered movements such as the Kayiraton, which advocated individual rights and more liberal ideas.  During this time, Soudan was in battle between two political groups, the conservative PSP, who favored French involvement in the country and the US-RDA, who championed decolonization.  Both parties saw the value in this popular culture and the griots that sang for them and actively sought out members to sponsor and have perform in their names.  This led to musical groups having an active role in the government and assuming a diplomatic stance in the future of their country, which created the “aesthetics of decolonization.”  Eventually with the victory of the US-RDA and the independence of Soudan, the US-RDA vilified the griots and other musical groups that carried their party to the top.  To combat the growing unrest among this culture, the US-RDA created state sponsored organization such as orchestras that played more traditional pieces with themes approved by the US-RDA.  These artists received no salaries, no pensions, and told their work was an expression of nation building.  This created an ethics of state craft, an “ethic of postcolonial modernity.”  Eventually, the members of such orchestras demanded that they be compensated and that their work be professionalized and paid for.

            In this section of Skinner’s work, he describes the change of ethics among griots and other musical groups and how they evolved through time and through changing circumstances.  He starts with the urban popular culture during the 1940s, where music was played for a sense of “ambiance.”  Music was played to escape the strict traditions of an older generation and experiment with life.  In the 1950 to 1960, the role of these musicians changed to become the voice of the government and the nation.  From the 1960s till the fall of the First Mali Republic, griots and other musicians were being exploited by the US-RDA, and disputed that they receive compensation for their work.  In this instance, the griots, whose music is regarded as a social responsibility to the nation, validated their work as a legitimate profession. 

So far, the role of the griot has changed dramatically in just the course of 20 so years.  How has their role changed past the First Malian Republic, to even now?