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Sunjata
Sunjata Keita was the founder of one of the greatest empires of Western Africa. These two epic accounts of his life portray a greedy, slow-witted child - said to have crawled until the age of seven - who grew up as prophecy foretold to become a mighty warrior, renowned for his bravery and superhuman strength. They describe how, with the help of his sister, who seduced their arch-enemy Sumanguru into revealing his secret powers, Sunjata defeated the Susu overlords and created the Mali Empire which would last for two centuries. Based on events from the early thirteenth century, these tales of heroism and magic are still celebrated across West Africa as part of a living epic oral tradition.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
160 pages, Paperback
First published February 28, 1975
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July 13, 2022
Probably the most fascinating book I’ve read in 2022, and the one with the best introduction and notes. Gordon Innes, Bakari Sidibe, Lucy Durán and Graham Furniss did an amazing job with making this culturally complex and specific story accessible to Western readers. Highly recommend getting this Penguin black classics edition! I slightly prefer Bamba Suso’s version of the tale but both are excellent, thrilling stories, that, from a modern perspective, have almost an epic fantasy feel to them.
***
During the years between the Norman conquest of England and the reign of Henry VIII (c. 1066-1547), the world saw many empires rise and fall. Europe’s high Middle Ages saw the rise and decline of the Holy Roman Empire, the establishment of the Spanish Christian kingdoms of Castile, Leon, Aragorn and Navarre, the Crusades, and the rise across Europe of a nascent bourgeoisie alongside the feudal nobility and the peasants.
In West Africa meanwhile, three great empires rose and fell, the empires of Ghana, Mali and Songhai. The story of Sunjata is about the beginnings of the empire of Mali in the early 13th century. It concerns the struggle by Mande-speaking people for independence from rule by a Susu king. At its peak, Mali was the largest empire in West Africa, profoundly and widely influencing the culture of the region through the spread of its language, laws and customs.
The Susu/Sosso people had been subjects of the Ghana empire until, in alliance with other groups, they were able to assert their independence. Early in the 13th century, the greatest king of the Susu, Sumanguru Kante, found himself confronted by a revolt of the Mande-speaking peoples under his control led by Sunjata. The victory of Sunjata over Sumanguru put an end to the Susu kingdom and began the establishment of the great Mali empire over a large part of the West African savanna.
The subtlety of Bamba Suso’s version stands in contrast with the directness of that of Banna Kanute. The contrast between the two versions highlights the way in which oral traditions contain with them not only the potential for infinite variety in rendering character and plot, but also the potential to accommodate the differing interests of the reciters, reflecting their own personalities and predilections. In Bamba Suso we see the hinting at subtleties in human interaction expressed through dialogue, and in Banna Kanute we see a fascination with the supernatural, the excitement of action, and the accumulation of power in all its form, natural and supernatural.
Traditionally, the jalis accompany their songs on instruments in which they specialise: the balafon, and the kora. The accompaniment plays a vital role in several ways. First, it acts as a reference point for the narration. The jail paces his or her singing or spoken recitation to fit into a certain point in the tune. Second, each tune in the Mande repertoire is associated with a particular episode or character. As they are played over and over again, most Mande listeners are familiar with these tunes, which have strong historical associations. For example, janjungo is considered a serious, almost dangerous song in praise of the greatest warriors. The jalis believe that only elder musicians have the right to play this piece.
In Kita and other centres of the Maninka tradition, senior male jalis – of 50 years or older – are no longer supposed to sing. The spoken voice is considered the most prestigious and effective ‘mode’ of performance. When Bamba Suso spoke out his version of Sunjata for Gordon Innes, it was not because he could not sing, it was because he was obeying the Maninka dictates of how a jail of his status – a ngara, or ‘master musician’ – should perform.
The story goes as follows: Sunjata was the son of Naré Maghann Konaté and Sogolon Condé (the daughter of the “buffalo woman”, so-called because of her ugliness and hunchback). Sunjata was crippled from childhood and his mother was the subject of ridicule among her co-wives. She was constantly teased and ridiculed openly for her son’s disability. This significantly affected Sunjata and he was determined to do everything he possibly could in order to walk like his peers. Through this determination, he one day miraculously got up and walked.
Among his peers, he became a leader. His paternal half-brother, Dankaran Touman, and Dankaran's mother were cruel and resentful of Sunjata and his mother. Their cruelty escalated after the death of Sunjata’s father. To escape persecution and threats on her son’s life, Sogolon took her children, Sunjata and his sisters, into exile. This exile lasted for many years and took them to different countries within the Ghana Empire and eventually to Mema, where the king of Mema granted them asylum.
Sunjata was admired by the King of Mema for his courage and tenacity. As such, he was given a senior position within the kingdom. When King Sumanguru Kante of Suso/Sosso conquered the Mandinka people, messengers were sent to go and look for Sogolon and her children, as Sunjata was destined to be a great leader according to prophecy. Upon finding him in Mema, they persuaded him to come back in order to liberate the Mandinkas and their homeland, which Sunjata did successfully, defeating Sumanguru in an epic battle full of witchcraft.
***
During the years between the Norman conquest of England and the reign of Henry VIII (c. 1066-1547), the world saw many empires rise and fall. Europe’s high Middle Ages saw the rise and decline of the Holy Roman Empire, the establishment of the Spanish Christian kingdoms of Castile, Leon, Aragorn and Navarre, the Crusades, and the rise across Europe of a nascent bourgeoisie alongside the feudal nobility and the peasants.
In West Africa meanwhile, three great empires rose and fell, the empires of Ghana, Mali and Songhai. The story of Sunjata is about the beginnings of the empire of Mali in the early 13th century. It concerns the struggle by Mande-speaking people for independence from rule by a Susu king. At its peak, Mali was the largest empire in West Africa, profoundly and widely influencing the culture of the region through the spread of its language, laws and customs.
The Susu/Sosso people had been subjects of the Ghana empire until, in alliance with other groups, they were able to assert their independence. Early in the 13th century, the greatest king of the Susu, Sumanguru Kante, found himself confronted by a revolt of the Mande-speaking peoples under his control led by Sunjata. The victory of Sunjata over Sumanguru put an end to the Susu kingdom and began the establishment of the great Mali empire over a large part of the West African savanna.
All right,The story of Sunjata Keita has become one of the world’s greatest living epic oral traditions. The figure of Sunjata is an important cultural symbol for Mande peoples (comparable in some ways to Richard the Lionheart for the English). But the Sunjata story is not some quaint relic of a bygone era: it forms part of an extensive and vibrant oral tradition of Mande epic stirs and praise songs that are constantly being regenerated through new performance. This tradition has been kept alive by highly skilled professional musicians who are known by the Mandinka term ‘jali’, often translated as griot, bard or ‘master of the word’. The texts in this volume were recited by Bamba Suso and Banna Kanute, two master jalis in the Mandinka cultural tradition of the Gambia, for Gordon Innes, a British researcher with a focus on Mande languages and oral literatures, in the 1970s.
I am going to tell you the story of Sunjata,
And you must pay attention
The subtlety of Bamba Suso’s version stands in contrast with the directness of that of Banna Kanute. The contrast between the two versions highlights the way in which oral traditions contain with them not only the potential for infinite variety in rendering character and plot, but also the potential to accommodate the differing interests of the reciters, reflecting their own personalities and predilections. In Bamba Suso we see the hinting at subtleties in human interaction expressed through dialogue, and in Banna Kanute we see a fascination with the supernatural, the excitement of action, and the accumulation of power in all its form, natural and supernatural.
Traditionally, the jalis accompany their songs on instruments in which they specialise: the balafon, and the kora. The accompaniment plays a vital role in several ways. First, it acts as a reference point for the narration. The jail paces his or her singing or spoken recitation to fit into a certain point in the tune. Second, each tune in the Mande repertoire is associated with a particular episode or character. As they are played over and over again, most Mande listeners are familiar with these tunes, which have strong historical associations. For example, janjungo is considered a serious, almost dangerous song in praise of the greatest warriors. The jalis believe that only elder musicians have the right to play this piece.
In Kita and other centres of the Maninka tradition, senior male jalis – of 50 years or older – are no longer supposed to sing. The spoken voice is considered the most prestigious and effective ‘mode’ of performance. When Bamba Suso spoke out his version of Sunjata for Gordon Innes, it was not because he could not sing, it was because he was obeying the Maninka dictates of how a jail of his status – a ngara, or ‘master musician’ – should perform.
The story goes as follows: Sunjata was the son of Naré Maghann Konaté and Sogolon Condé (the daughter of the “buffalo woman”, so-called because of her ugliness and hunchback). Sunjata was crippled from childhood and his mother was the subject of ridicule among her co-wives. She was constantly teased and ridiculed openly for her son’s disability. This significantly affected Sunjata and he was determined to do everything he possibly could in order to walk like his peers. Through this determination, he one day miraculously got up and walked.
Among his peers, he became a leader. His paternal half-brother, Dankaran Touman, and Dankaran's mother were cruel and resentful of Sunjata and his mother. Their cruelty escalated after the death of Sunjata’s father. To escape persecution and threats on her son’s life, Sogolon took her children, Sunjata and his sisters, into exile. This exile lasted for many years and took them to different countries within the Ghana Empire and eventually to Mema, where the king of Mema granted them asylum.
Sunjata was admired by the King of Mema for his courage and tenacity. As such, he was given a senior position within the kingdom. When King Sumanguru Kante of Suso/Sosso conquered the Mandinka people, messengers were sent to go and look for Sogolon and her children, as Sunjata was destined to be a great leader according to prophecy. Upon finding him in Mema, they persuaded him to come back in order to liberate the Mandinkas and their homeland, which Sunjata did successfully, defeating Sumanguru in an epic battle full of witchcraft.
Now, white man, the account of Sunjata's career as far as I know it,The story of Sunjata is an integral part of a Mande world view. It serves to remind Mande peoples why they are who they are, and what behaviour is expected of them. On the broadest level, the name of Sunjata is a symbol of Mande cultural identity, and the name alone conjures up images of a glorious past, heroic behaviour, and moral values, that serve as a cultural matrix for Mande peoples. This is why, still today, every jali first learns to sing Sunjata's praise names, evoking his special relationship with his griots: “Cat on the shoulder / The hunter and the lion are at Naarena.”
As I heard it from my parents,
And my teachers,
Ends here.
January 21, 2014
So, Sunjata is basically the story about the beginnings of the Malian empire in the early 1300s, as founded by the great warrior Sunjata.
Bamba Suso & Banna Kanute were both griots (or jalis); griots are West African storytellers. Both griots (Bamba Suso & Banna Kanute) were studied in 1970 by Gordon Innes, who watched/transcribed/tried to translate the oral story into a printed form. Apparently, Bamba Suso's style was more straightforward & direct storytelling, while Banna Kanute was more of a performer using varied music & song styles with each retelling.
From the back of the book:
I got sidetracked looking up some info, trying to understand the griot style & how well (or not) the book translation was going to cover the usual way of the story being told.
Here is a little bit about griots. Here is a piece of the Sunjata story as it was performed in the 1980s. Perhaps this would be a style similar to either Bamba Suso or Banna Kanute (though I really don't know). And, here is a recording of a griot telling the Sunjata story. (Just a picture w/ the recording, no video.)
Loved this book & found it magnificent as all epic tales tend to be. I completely enjoyed reading all the notes & info about griots, the oral traditions of West Africa, heading down rabbit trails, & reading two different versions of the Sunjata story as presented in this book. Well worth your time.
Drawing of griots (as found on wikipedia):
Bamba Suso & Banna Kanute were both griots (or jalis); griots are West African storytellers. Both griots (Bamba Suso & Banna Kanute) were studied in 1970 by Gordon Innes, who watched/transcribed/tried to translate the oral story into a printed form. Apparently, Bamba Suso's style was more straightforward & direct storytelling, while Banna Kanute was more of a performer using varied music & song styles with each retelling.
From the back of the book:
"These stories remain central to the culture of the Mande-speaking peoples. This book brings together translations of live performances by two leading Gambian jalis (or bards). Where Banna Kanute's version is all about violent action, supernatural forces and the struggle for mastery, Bamba Suso uses far more dialogue to reveal his insight into human relationships."
I got sidetracked looking up some info, trying to understand the griot style & how well (or not) the book translation was going to cover the usual way of the story being told.
Here is a little bit about griots. Here is a piece of the Sunjata story as it was performed in the 1980s. Perhaps this would be a style similar to either Bamba Suso or Banna Kanute (though I really don't know). And, here is a recording of a griot telling the Sunjata story. (Just a picture w/ the recording, no video.)
Loved this book & found it magnificent as all epic tales tend to be. I completely enjoyed reading all the notes & info about griots, the oral traditions of West Africa, heading down rabbit trails, & reading two different versions of the Sunjata story as presented in this book. Well worth your time.
Drawing of griots (as found on wikipedia):
January 27, 2025
This book found me at a time when I’m disenchanted with empires, Western, Eastern, African, in whatever part of the world they were and are in, modern or ancient. So quite frankly I perhaps wasn’t taken in by it in the way I might have when I was younger. The story of Sunjata, founder of the ancient Mali empire, is like most other legends: extraordinary and mystical circumstances that surround the conception and birth of the hero; the prophetic messages of his arrival; the trials and tribulations in the path toward victory and domination; the superhuman abilities of the hero; the fighting and warring; the legitimacy upon which empire’s dominion over its subjects then becomes founded on after the victory. This tale, through the miraculous effort of generations of West African griots, has survived for centuries and is one of the few relics of Africa’s past that wasn’t snuffed out with the advent of Christianity and Islam on the continent as well as oblivion itself. A good deal of imagining and reimagining of the African empire has been taken up by Hollywood in recent years (Wakanda, Dahomey, an upcoming film based on Mansa Musa etc, and everyday I am grateful that some project idolizing Tegbesu isn’t being filmed) and there are some who believe this to be progress although I disagree. But it’s a part of human nature to revere and idolize the dominant and powerful, and what with a lack of popular narratives that don’t surround Black trauma I can’t say that I blame the people that love these films. This digression aside, this was a fascinating tale, it is important and it is a great fortune that it still exists.
The story of Sunjata in this book is really two different performances by two different griots, the first being by Bamba Suso, and the second by Banna Kanute which is a longer account of the two. The former is mostly rooted in traditional African religion and the latter has elements of Islamic influence (most scholars seem to agree that Sunjata wasn’t Muslim though, and perhaps that account was influenced by Islam’s spread in West Africa). It’s difficult to rate a transcribed and translated version of live performances of a tale set seven centuries prior, but this was entertaining in parts, dull in others. An interesting tale that I’m glad still exists. Here’s a YouTube clip of a modern telling/performance of Sunjata’s story:
https://www.youtube.com/watch?v=yOS78...
The story of Sunjata in this book is really two different performances by two different griots, the first being by Bamba Suso, and the second by Banna Kanute which is a longer account of the two. The former is mostly rooted in traditional African religion and the latter has elements of Islamic influence (most scholars seem to agree that Sunjata wasn’t Muslim though, and perhaps that account was influenced by Islam’s spread in West Africa). It’s difficult to rate a transcribed and translated version of live performances of a tale set seven centuries prior, but this was entertaining in parts, dull in others. An interesting tale that I’m glad still exists. Here’s a YouTube clip of a modern telling/performance of Sunjata’s story:
https://www.youtube.com/watch?v=yOS78...
Read
October 21, 2017This is the same epic as Sundiata: An Epic of Old Mali. Some gr=Librarian work needs to be done on this. The only unifying way to recognize this diversity is via the title which itself is variously spelled. There is no author. There are reciters. And filing it as 'anonymous' is a really stupid idea.
So in this volume we have two recitations of this ancient African Epic. One by Bamba Suso and one by Banna Kanute. Sunjata has never been set down in writing. It's been recited now for centuries.
And because pretty much every epic--let's use the word correctly (fantasy genre is not epic, not by a long shot)--is an oral entity. This is how Homer existed for centuries before being set down in ink. This is how Beowulf existed for centuries. This is how Sunjata still exists.
Really should be read right next to and along with Gilgamesh. And still living and breathing epic.
So in this volume we have two recitations of this ancient African Epic. One by Bamba Suso and one by Banna Kanute. Sunjata has never been set down in writing. It's been recited now for centuries.
And because pretty much every epic--let's use the word correctly (fantasy genre is not epic, not by a long shot)--is an oral entity. This is how Homer existed for centuries before being set down in ink. This is how Beowulf existed for centuries. This is how Sunjata still exists.
Really should be read right next to and along with Gilgamesh. And still living and breathing epic.
Read
July 19, 2016Oh how I love this story, let me count the ways. First off let me start this review by stating that this particular post is a prequel to a more elaborate review that I'll be putting together at some point in the future. Reason being is that this story is one that requires patience because there are so many different versions and interpretations of it. I'll begin with the version that I read first. This story to me is sort of similar to "The Count Of Monte Cristo" by Alexadre Dumas(review coming soon), I thought that was cool. Sundiata (Sunjata) Keita was the son of Magon Konfara, his father, and Sogolon, his mother. Sundiata was born in the early 12th century. Sologon was the least favored among her co wives and constantly ridiculed and criticized, mainly about her son Sundiata's disability. Sundiata was physically impaired and barely able to walk. Now in the version I read and fell in love with 13 years ago, warriors from Ghana were envious of Mali's community and natural beauty, and decided to invade the land and overthrow the leadership that was set in place at the time, while simultaneous pillaging and plundering all of the land's beautiful contents in the process. After subduing all of Sundiata's people, they looked upon Sundiata and decided to spare him, and grant him leniency due to his weak and feeble condition. This infuriated Sundiata, and he became more determined than ever to rise and avenge his people, the land, and the legacy thereof. Sundiata arose with a superhuman strength and begin to walk triumphantly for the first time . He eventually became an extremely strong leader, and he lead the campaign that overtook the treacherous, corrupt dictatorship and restored order to his homeland, eventually making it more prosperous than it had ever been. I read this story and fell in love with it immediately afterwards.
Other versions suggest that a family quarrel or something to that effect forced Sundiata and his family into exile when King Narehann died. This exile lasted for many years, years in which Sundiata and family traveled a great distance until they reached Mena, where the king gave them refuge. The king of Mena admired Sundiata for his courage and tenacity, and Sundiata was given a senior position in the kingdom. When King Sousomaoro of Sosso conquered the Mandinka People, messengers were sent to look for Sundiata because he was destined to be a great leader according to prophecy. After persuading Sundiata to come back and liberate the Mandinka people, a brotherhood was formed, that included Tabon Wana, Kamadia Kamara, and Tiramakhan Traore, all names that you seldom hear anywhere, ever. Other names that you seldom hear about that are also worthy of learning about are Donsa Mogo Diarra, Tenen Mansa, Kani Simbon, Faran Tunkara and Soso Bali Sumaworo, all leaders who were undefeated in battle. At the battle of Karina, Sundiata and his allies defeated the Sosso king and liberated the Mandinka people. Sundiata became the first emperor of the Mali Empire. Sundiata became the first of the Mandinka line of kings to adapt the royal title Mansa. The First portion of Sundiata's name, sun(or son) derives from his mother's name, and jata means lion. Sundiata was known as "the lion king". Legend has it that the enormously popular Disney movie "The Lion King" is an animated adaptation of his story, and is actually based on Sundiata's life, but I don't know if that theory has been validated yet. What is widely accepted as factual is that Sundiata was a strong leader of the Mandinka people , and a huge contributor to the success of the Mali Empire during his reign. Under Sundiata's leadership, Mali became a very notable entity, not only in terms of the establishing of community but economically also. Sundiata made Mansa Musa's success possible, seeing as in how Sundiata was the person who oversaw and controlled the region's trade routes and gold fields. Sundiata also established many of the social and political policies that still abound in modern day Mali. Another thing about Mandinka culture that I found to be fascinating is one aspect of their dialect. I'm from Louisiana, and anytime you're talking to someone who is from where I'm from, and they end pretty much every sentence with the phrase "ya heard me", which means "can you understand me"?... you know that person is deeply embedded in our culture and is truly from the boot shaped state. The same as in the case of people from Tennessee, who tend to end their sentences with the phrase " ya hurr (hear)me". When I hear that, there's a distinction there that pretty much makes it obvious where that person is from. In Mandinka culture, the natives end their sentences with the phrase "ya hear it" which has the same meaning and is used in the exact same context as the two phrases listed above that we often use today in our era. I thought that was super cool.
I recommend this story, whatever version you choose to read(there are many), some come across as mythical and like folklore, and others come across as more modest and based on extensive research, to anyone seeking a different take on black or African history. I think this story is very different from what's considered to be the norm and is also very compelling, if you can find a good version of it. I still haven't found the book with the version I originally read since I lost it yet, it's been over a decade.
Other versions suggest that a family quarrel or something to that effect forced Sundiata and his family into exile when King Narehann died. This exile lasted for many years, years in which Sundiata and family traveled a great distance until they reached Mena, where the king gave them refuge. The king of Mena admired Sundiata for his courage and tenacity, and Sundiata was given a senior position in the kingdom. When King Sousomaoro of Sosso conquered the Mandinka People, messengers were sent to look for Sundiata because he was destined to be a great leader according to prophecy. After persuading Sundiata to come back and liberate the Mandinka people, a brotherhood was formed, that included Tabon Wana, Kamadia Kamara, and Tiramakhan Traore, all names that you seldom hear anywhere, ever. Other names that you seldom hear about that are also worthy of learning about are Donsa Mogo Diarra, Tenen Mansa, Kani Simbon, Faran Tunkara and Soso Bali Sumaworo, all leaders who were undefeated in battle. At the battle of Karina, Sundiata and his allies defeated the Sosso king and liberated the Mandinka people. Sundiata became the first emperor of the Mali Empire. Sundiata became the first of the Mandinka line of kings to adapt the royal title Mansa. The First portion of Sundiata's name, sun(or son) derives from his mother's name, and jata means lion. Sundiata was known as "the lion king". Legend has it that the enormously popular Disney movie "The Lion King" is an animated adaptation of his story, and is actually based on Sundiata's life, but I don't know if that theory has been validated yet. What is widely accepted as factual is that Sundiata was a strong leader of the Mandinka people , and a huge contributor to the success of the Mali Empire during his reign. Under Sundiata's leadership, Mali became a very notable entity, not only in terms of the establishing of community but economically also. Sundiata made Mansa Musa's success possible, seeing as in how Sundiata was the person who oversaw and controlled the region's trade routes and gold fields. Sundiata also established many of the social and political policies that still abound in modern day Mali. Another thing about Mandinka culture that I found to be fascinating is one aspect of their dialect. I'm from Louisiana, and anytime you're talking to someone who is from where I'm from, and they end pretty much every sentence with the phrase "ya heard me", which means "can you understand me"?... you know that person is deeply embedded in our culture and is truly from the boot shaped state. The same as in the case of people from Tennessee, who tend to end their sentences with the phrase " ya hurr (hear)me". When I hear that, there's a distinction there that pretty much makes it obvious where that person is from. In Mandinka culture, the natives end their sentences with the phrase "ya hear it" which has the same meaning and is used in the exact same context as the two phrases listed above that we often use today in our era. I thought that was super cool.
I recommend this story, whatever version you choose to read(there are many), some come across as mythical and like folklore, and others come across as more modest and based on extensive research, to anyone seeking a different take on black or African history. I think this story is very different from what's considered to be the norm and is also very compelling, if you can find a good version of it. I still haven't found the book with the version I originally read since I lost it yet, it's been over a decade.
July 23, 2019
This collection includes two different versions of the Sunjata epic (the story of Sundiata Keita, the hero who founded the Mali Empire in the 13th century). Each griot has their own interpretation of the events of the story and well as their own unique storytelling style, so I loved that two were included here. As cool as it was to learn this story, it is definitely meant to be experienced as a musical performance, not a written text. Thankfully there are a decent amount of videos available on Youtube to supplement the reading.
August 8, 2025
not sure how you can rate a foundational tale of a country, but I was gripped by the story. Enjoyed penguin classic’s detailed introduction and having the tale told from the perspective of two different griots - made for a fascinating contrast of storytelling and audience and meaning
September 21, 2023
Read this book for fun but I kinda studied it a bit. Took lots of notes and learned a lot in the end. nice glimpse into African oral tradition.
5/5 stars
5/5 stars
December 8, 2020
A transcription of two oral retellings of the Sunjata story - one of the main mythological stories of West Africa chronicling the founding of the Mali empire. You can think of this retellings as being in the same category of stories as other such oral epics - Norse sagas, Roland and King Arthur myths, Ramayana, Mahabharata, Homer, etc.
The Sunjata story itself is excellent. It has many of the archetype as of oral stories that make them so compelling - a propulsive rhythm, a sketch of a story that captures most of the types of human conflicts so can be told again and again to highlight different aspects of our experiences. It is as nuanced and interesting as any of the oral epics we have passed down to us.
I really liked that this text compiled two different oral renditions. The two renditions have different audiences and so feel very different. The first, told to schoolchildren, emphasizes the traditional story structure of Childhood, Exile, Return and emphasizes Sunjata’s character growth from child to man - a bildungsroman. The second is a virtuoso private performance for a private patron, emphasizing the theatrical skill of the performer rather than the core story. I preferred the first telling, but understand that varying the story to your audience is precisely the skill that the jalis who recite this myth are trained for.
I highly recommend reading the story aloud. This lets you get a feel for the rhythm of the story, lets you understand the purpose of the repetition and its structure, lets you substitute words that you feel more natural for your telling, etc. It also makes the reading much more fun.
The Sunjata story itself is excellent. It has many of the archetype as of oral stories that make them so compelling - a propulsive rhythm, a sketch of a story that captures most of the types of human conflicts so can be told again and again to highlight different aspects of our experiences. It is as nuanced and interesting as any of the oral epics we have passed down to us.
I really liked that this text compiled two different oral renditions. The two renditions have different audiences and so feel very different. The first, told to schoolchildren, emphasizes the traditional story structure of Childhood, Exile, Return and emphasizes Sunjata’s character growth from child to man - a bildungsroman. The second is a virtuoso private performance for a private patron, emphasizing the theatrical skill of the performer rather than the core story. I preferred the first telling, but understand that varying the story to your audience is precisely the skill that the jalis who recite this myth are trained for.
I highly recommend reading the story aloud. This lets you get a feel for the rhythm of the story, lets you understand the purpose of the repetition and its structure, lets you substitute words that you feel more natural for your telling, etc. It also makes the reading much more fun.
February 15, 2022
This version is very much idiom and culture focused. The first version is for kids and the second one is this gruesome horrorfest with hypnotic songs.
I could hear drums in my ears throughout reading it which was reinforced by the cadence and repetition of the ancestry and the prophesies. It wasn't super melodic or lyrical, and didn't make use of much if any poetic devices. It doesn't rhyme. There's no metric patterns. But it is legimately a true west African myth. It has resemblemance to Abrahamic myths through the similarities of fulfilling prophecies and also being the "chosen one". I think most would argue it's of Muslim influence because of the location and time period it originated.
It's also interesting how much weird violence occurs. There's constant reminders that these people don't live according to any Christian morals. It's just shocking to me. I'm glad I watched Beast of No Nation before reading this. Feudal politics is brutal and unsympathetic. The uncompromising nature of it is somehow ancient and primal, even as it's also immediate and effective. The "bad guy" is bad, and there's no attempt to make him a redeeming character.
I could hear drums in my ears throughout reading it which was reinforced by the cadence and repetition of the ancestry and the prophesies. It wasn't super melodic or lyrical, and didn't make use of much if any poetic devices. It doesn't rhyme. There's no metric patterns. But it is legimately a true west African myth. It has resemblemance to Abrahamic myths through the similarities of fulfilling prophecies and also being the "chosen one". I think most would argue it's of Muslim influence because of the location and time period it originated.
It's also interesting how much weird violence occurs. There's constant reminders that these people don't live according to any Christian morals. It's just shocking to me. I'm glad I watched Beast of No Nation before reading this. Feudal politics is brutal and unsympathetic. The uncompromising nature of it is somehow ancient and primal, even as it's also immediate and effective. The "bad guy" is bad, and there's no attempt to make him a redeeming character.
June 18, 2020
First of all: don't skip the footnotes and introduction! They make the story much easier to follow and fill in a lot of inferred information.
This book is quite unique for a Penguin Classics title as there are two separate versions of the Sunjata epic included. Unlike other stories like Beowulf, there isn't a "definitive" version of the story of Sunjata, so over time different regions across West Africa have developed their own retellings: these share the same basic plot but otherwise differ wildly.
It's amazing how polarised the two retellings are. The first portrays Sunjata as a sort of traditional hero who defeats his rival and establishes his kingdom. The second has much more characterisation for chief Sunguru, and makes Sunjata more of an anti-hero, mutilating a griot and making him his slave. For anyone with even a passing interest in African history, I'd strongly recommend tracking a copy of Sunjata down.
This book is quite unique for a Penguin Classics title as there are two separate versions of the Sunjata epic included. Unlike other stories like Beowulf, there isn't a "definitive" version of the story of Sunjata, so over time different regions across West Africa have developed their own retellings: these share the same basic plot but otherwise differ wildly.
It's amazing how polarised the two retellings are. The first portrays Sunjata as a sort of traditional hero who defeats his rival and establishes his kingdom. The second has much more characterisation for chief Sunguru, and makes Sunjata more of an anti-hero, mutilating a griot and making him his slave. For anyone with even a passing interest in African history, I'd strongly recommend tracking a copy of Sunjata down.
December 7, 2020
I just didn't think these two versions from the Gambia were as much fun as the version by Fa-Digi Sisòkò published as The Epic of Son-Jara and translated by John William Johnson. There are so many more (and delightful) episodes in the Fa-Digi Sisòkò version. This one misses most of the Sogolon plot with the buffalo, and it misses some of the important murders that bring Sunjata power. These versions do involve letting a live crocodile loose in a village, and they also seem to focus a great deal on the fetishes possessed by Sumanguru. Either way, these are not my favorite versions of Sunjata.
August 14, 2021
I think it's awesome that we can read an English rendition of two versions of the epic poem about Sunjata Keita, the first king of Mali. Even in English, there are many metaphors and references that aren't immediately clear, but even something like 800 years after Sundiata lived, that we can understand love, jealousy, ambition, shame, deceit, etc. is a powerful testament to our common humanity. Because these are epics that are meant to be performed with music and movements, I recommend finding the Sundiata Keita movie and also looking up versions of the performance online to supplement this written, translated text.
April 26, 2022
(2.5 stars) i literally peed my pants reading abt sunjata and bala’s “special relationship”, it was special alright! sunjata literally CUT A PART OF HIS CALF OFF and COOKED IT bc bala said he was a lil hungry! go on and raise the bar for every man in the world king!!!!!!!!!!!
(also protip: if ur history professor has this as one of 3 options for u to do a book report on, don’t pick this one bc it’s short and seems interesting bc my brain starting aching while reading it and there’s no online info abt it bc there’s like 7302377282928373 versions of the story 3)
(also protip: if ur history professor has this as one of 3 options for u to do a book report on, don’t pick this one bc it’s short and seems interesting bc my brain starting aching while reading it and there’s no online info abt it bc there’s like 7302377282928373 versions of the story 3)
October 1, 2022
This book made me a little sad. The Sunjata epic seems like it has everything necessary to be a classic of world literature. I just think this wasn’t the way to handle it.
The context is insufficient, despite the massive introduction. Footnotes might have been better compared to endnotes, or AT LEAST in-text markers instead of the reader having to guess what has or hasn’t been translated or explained.
This attempt to reproduce an oral history didn’t do justice to the story or storytellers. Surely someone else has come up with a solution.
The context is insufficient, despite the massive introduction. Footnotes might have been better compared to endnotes, or AT LEAST in-text markers instead of the reader having to guess what has or hasn’t been translated or explained.
This attempt to reproduce an oral history didn’t do justice to the story or storytellers. Surely someone else has come up with a solution.
May 24, 2025
A quick read, but not necessarily an easy one. Not being familiar with the African culture associated with the griots (bards is the closest approximation) and their performance of epic oral poetry and singing makes the text difficult, but there are many universal themes in the story of the troubled youth who becomes a great hero who becomes king. It was fortunate that an ethnographer was able to record these two performances before they might have been lost to time.
December 18, 2018
Sunjata is a magnificent oral epic of West Africa, comparable to the story of Beowulf. I enjoyed reading the two distinct versions of the tale and seeing how differences emerged through different tellings. Sunjata is really meant to be performed by a jali, or West African storyteller, with musical accompaniment, however.
January 1, 2020
Like many epics Sunjata praises strength and cunning, but the real standouts from both versions make these specific interpretations unique. Bamba Suso’s telling has moments of pleading for mercy and justice, and Banna Kannute’s has humor shining through moments of confrontation and violence. Both are fascinating and worth a read.
September 16, 2020
My first African "myth". I appreciated the introduction to the musical origin of the storytelling. The story made me think of Lion King (which I wouldn't be surprised if it had an influence, along with Hamlet.) Short and interesting first dip into the culture.
October 29, 2022
A nice introduction into the founding lore of an empire most of us know little about. I bought this after viewing a fantastic exhibit on the Sahel at the Met Museum, and I definitely want to learn more.
September 10, 2024
Surprisingly good. I really enjoyed tracking the differences between the two versions of the Sunjata story. A lot of those differences reflect the anxieties that Bamba Suso and Banna Kanute probably had about the changing world around them, traditional storytelling, and remembering and claiming an ancestry.
A lot of the content and motifs, the forms and structures, etc. reminded me of other ancient material: the Iliad, Genesis in the Bible, and so on. It really shows that there are some literary elements and motifs that are shared across cultures and times, especially for societies that prioritized storytelling and oration as primary modes of remembering.
A lot of the content and motifs, the forms and structures, etc. reminded me of other ancient material: the Iliad, Genesis in the Bible, and so on. It really shows that there are some literary elements and motifs that are shared across cultures and times, especially for societies that prioritized storytelling and oration as primary modes of remembering.
December 20, 2018
Read portions for class - World Myth - Foundations of Culture 2018
January 5, 2019
Read for English Class
September 9, 2019
I know this isn't a very intellectual review, but this just wasn't my jam.
September 29, 2020
read for class
December 31, 2020
The most different book I've ever read, but a treat nonetheless. It is my fervent wish that more griot tales find their way into English, and perhaps more versions of Sunjata.
October 29, 2021
I think I like this version better than the D.T. Niane version. Its introduction and footnotes are better, and it feels like an authentic rendering of oral performances.
March 24, 2022
For an ancient text, this book was actually hilarious. I actually enjoyed it, but it was really slow at the beginning and I wish some things were better explained.
May 30, 2022
glad these two transcriptions of the Sunjata tale (fundamental to the founding of the Mali empire) are available - and the introduction provides some very useful context!
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