For centuries, the history of the West African kingdom of Kaabu has been told mainly by word of mouth.
Kaabu existed from the mid-1500s to the 1800s. At its peak, it encompassed Guinea-Bissau and reached into what are now Senegal and Gambia.
Sometimes Kaabu’s story passed from father to son. Often it was passed by griots — or West African oral historians — who sang about the kingdom’s rulers.
“The griots have already sung it, but now we know it’s real,” is what Nino Galissa recounts in a recent song commissioned by archaeologists from their recent dig in Kansala — a site that was once the wealthy capital of the West African kingdom.
Galissa is a direct descendent of the griots who sang for the last emperor of Kaabu.
The song performed by Galissa is being shared along with a report of the archaeological findings, Sirio Canos-Donnay from the Spanish National Research Council, which was a lead institution of the dig, told VOA.
“He’s combined all of the ways and methods and phrases that are the trade of the griot with the archaeological information and, hence, using that we’ll be able to transmit what we’ve done to the local population in a much more effective manner.”
In Kansala, griots have long been the way history lessons were passed between generations. They often sing the history accompanied by the kora, a string instrument that resembles both a harp and a guitar.
‘The puzzle you cannot miss’
Antonio Queba Banjai, a descendant of the last emperors of Kaabu, remembers listening as a young boy to the griots sing about his ancestors.
“Griots are not just important,” he said. “They are the puzzle you cannot miss in African history, because to know what we know now is because of griots. I am from the tree of the last emperor of Kaabu. We were educated by the music of kora. The storytellers tell us where we come from.”
Banjai is also president of Guinea-Lanta, an NGO that worked with the archaeologists.
When team members began the project, they knew they wanted griots and oral history to play an important role in what is the biggest archaeological dig to ever take place in Guinea-Bissau.
Canos-Donnay said she hoped that including oral storytelling in this report would show the academic world that things can be done differently and more inclusively.
“We should pay and need to pay respect to local ways of producing and consuming history. And the collaboration and the knowledge that can come from that dialogue from these two disciplines is something that is quite extraordinary.”
Canos-Donnay and others worked closely to verify that many events griots had sung about for generations actually occurred.
One such event was the explosive ending of the kingdom.
“Kansala had a fairly spectacular end in the 1860s, when the town was sieged by an enemy kingdom, and the local king realized he was going to lose the battle,” she said. “The legend is he set fire to the gunpowder house and blew the whole site up. So, this particular point of the site is where the elders said it happened. And one of the fun things is we proved that’s where it properly did.”
The dig also produced evidence of residents’ extensive trading with Europeans – Venetian beads, Dutch gin and more.
Joao Paulo Pinto is the former director of Guinea-Bissau’s National Institute of Study and Research. He says West African ways of recording history should be taken as seriously as European techniques.
“In our system, when you talk about the ritual of passage – everything has a process, everything has a code of conduct,” he said. “All our oral history systems have a commitment to the truth. I have a commitment to the truth as I speak, just the same as a book has a commitment to the truth.”
As for Banjai, he hopes the project will allow others to learn about the histories and kingdoms of West Africa that he says are too often neglected in school.
