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        {
            "type": "catalogue description",
            "value": "24-stringed Casamance style kora. The triangular-shaped motifs on the resonator are symbols of the Konteh family, of which the maker and player Kausu Kouyat\u00e9 is a member.",
            "primary": true
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            "value": "The harp lute, kora, was originally an instrument of griots or court bards, principally of the Mandinka people of Gambia and Senegal. In the 1970s the kora player Alhaji Bai Konteh (died 1986) toured the USA, and the instrument now has a worldwide audience."
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            "value": "kora"
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            "date": [
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                    "value": "2008-08-13",
                    "latest": 2008,
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                "source": "SCC box lists"
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            "value": "[as arch file description with the addition of]: \nMaker: Kausu Kuyateh, Bung Kiling, Casamance, Senegal (Kausu Kouwate is the brother-in-law of Membo Kouwate) \nDate of manufacture: June 1992. \nM57a-1992 Loyo-skewer-shaped iron needle for repairing the kora. \nLength: 174mm. \nM57b-1992: Additional bridge for kora, carved with Kausu Kuyateh's initials. This item is broken. Overall length: 195mm. \nThis type of kora is played in Casamance, using the Southern tuning. It is basically the 21-stringed kora with tomora tuning, as described in the NGDoMI, but with three extra strings: two green stings at the top of the bridge on the left-hand and right hand side, and a blue string which runs through the middle of the bridge. In the Casamance instrument the very thick blue string on the left hand side is tuned to e flat, i.e. an octave down from the left hand green string which is second from the top of the bridge, giving two tonics, the usual one based around g and a secondary tonic based around e flat. The normal tonic on this instrument used to be around c, but with the introduction of nylon strings the tonic has risen to f-g. Jali Mare Sissokh (d. around 1984 aged 70) from Casamance is credited with adding the extrra strings to the instrument. This instrument was used in the \"Storytelling from the Gambia\" presentation in the Purcell Room during the South Bank's  Spirit of the Earth Festival in July 1992. There is a recording of Kausu Kuyateh playing a Casamance kora on the vinyl album \"Tanante\", track \"Yeyengo\", recorded by Rouge Records which is Ian Anderson (editor of Folk Roots)'s record label. (The instrument which features on this track has 23 strings, while the HM example has 24). \"Yeyengo\" is the best-known tune for the Casamance kora, and it has many variations. The above information was provided in August 1992 by Lucy Duran, Curator of the International Collections at the National Sound Archive, who arranged the sale of the instrument."
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        {
            "date": [
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                    "value": "2008-06-04",
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            "sort": "03",
            "type": "description",
            "value": "24-stringed Casamance-style kora. Cowhide table extending over the sides of the large gourd resonator, both decorated with patterns in metal studs; the triangular-shaped motifs are symbols of the Konteh family. The wooden components are of African rosewood (keno), which is imported from Mali. Height: 1385 mm. Width: 475 mm. Depth: 452 mm."
        },
        {
            "attribution": {
                "attributor": "curator"
            },
            "sort": "04",
            "type": "description (online)",
            "value": "24-stringed Casamance style kora, harp-lute. The body is a large hemispherical gourd. The sound-table is of white cowhide that has been stretched over the gourd and secured to the sides with metal studs. The triangular-shaped motifs of studs decorating the resonator are symbols of the Konteh family to which the maker belongs. Two vertical rods of African rosewood (keno) pass under the hide either side of the tall bridge; the tops of these rods act as handles. The neck is a thick, round length of African rosewood, which passes through the gourd. The strings are secured to the neck, the longest bass strings at the top, graduating down to the shortest treble strings at the base. The strings pass over grooves in the the sides of a tall bridge, so that the plane of the strings is at right angles to the sound table. Below the bridge the strings are tethered to thick black nylon strings; these are tied around an iron ring which is attached to the spike and secured with a peg. The plucked strings are made of nylon fishing line of various gauges: the shorter strings are of transparent colourless nylon; the longer string strings are of blue and green nylon."
        },
        {
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            "value": "The harp lute, kora, was originally an instrument of griots or court bards, principally of the Mandinka people of Gambia and Senegal. In the 1970s the kora player Alhaji Bai Konteh (died 1986) toured the USA, and the instrument now has a worldwide audience. The Casamance kora is basically the 21-stringed kora with tomora tuning, as described in the New Grove Dictionary of Musical Instruments (ed. S. Sadie, London:Macmillan, 1984) vol. 2, p. 486, but with three additional strings.  Jali Mari Sissoko (d. circa 1984) is credited with adding these extra strings to the instrument."
        },
        {
            "type": "commentary (online)",
            "value": "The harp lute, kora, was originally an instrument of griots or court bards, principally of the Mandinka people of Gambia and Senegal. In the 1970s the kora player Alhaji Bai Konteh (died 1986) toured the USA, and the instrument now has a worldwide audience.  The Casamance kora is basically the 21-stringed kora with tomora tuning, as described in the New Grove Dictionary of Musical Instruments (ed. S.Sadie, London:Macmillan, 1984)  vol 2. p.462, but with three extra strings. Koras were originally built with leather strings, with a tonic note around c, but since the introduction of nylon strings this has risen to f-g."
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                "summary_title": "323.2 Spike harps with pressure bridges (bridge harps or harp-lutes)",
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