Warriors of the Bright Country
Posted by Milton Davis on May 23, 2011 in News | 18 commentsIn the West African bulge is a land known in pre-colonial history as the Sudan. This Sudan is not to be confused with the modern nation that bears the same name. It is a moniker which translates from Arabic to mean ‘The Land of the Blacks.’ This pre-colonial Sudan covered an area that stretched from the West African coasts to the borders of the Nile, running north along a border of grasslands known as the Sahel–‘the shore’–and south along the beginning of the African forests region. Between these natural borders a wide variety of kingdoms and empires rose and fell, each one fueled by the Trans-Saharan trade with channeled forest gold to the north and desert salt to the south. This land was known to many of its inhabitants as ‘The Bright Country,’ and the blueprint of these mighty kingdoms was drawn by a people known as the Soninke.
So what do these folks have to do with heroic deeds? The Soninke warrior society possessed many similarities of warrior societies that developed in other areas throughout the world, from the chivalry of Northern Europe to the Bushido codes of feudal Japan. It was the Soninke who established the first of a line of great Sudanese kingdoms that began Ghana and continued to Kanem and Bornu.
It is here where we find the root of the Sudanese warrior culture. A strict hierarchy ruled the Soninke, one that drew distinct lines between members of society. The horro, or nobles, were the highest of this society. A horro protected the virtue of his women and he was generous to the poor and weak. His entire life was dedicated to upholding the reputation of his family and proving himself by accomplishing brave and honorable deeds. A young horro was trained in the arts of war and tradition from a young age. Once his training was complete he was given a horse, weapons and, most importantly, his own diaru. The diaru was in many ways equivalent to the bards of Europe, but was also much more. The diaru was always at the horro’s side as his counselor, friend and praise singer. Soninke society did not allow the ‘knight’ to boast or speak of his own accomplishments. That duty fell upon the diaru. A perfect story which explains the Soninke warrior culture is “Gassire’s Lute.” Alta Jablow gives a good explanation of the role of the diaru in Soninke society while the epic itself describes the valor of the horro.
Soninke culture extended beyond the confines of its own kingdom. Ghana had a significant influence on the kingdoms that followed it. Like Rome, those who stepped into its place emulated its customs. Much of what we know of Soninke chivalry survives in the tales passed on through storytellers. “Sundiata,” the story of the first king of the Mali Empire, also reflects the Soninke tradition of honorable battle. Mali was a vassal of Ghana until its fall. The void left by the empire’s collapse was filled by Mali.
The tales that gives many clear descriptions of this brand of honorable conflict come from the Bambara and their kingdom of Segu. Many of their stories ring with the same voice of the Soninke. In their culture the ever present Diaru is called djeli. Many of the rituals of combat are described in detail in these stories. For instance, magic preparation was just as important as marital preparation. A warrior’s magic was considered stronger than his armor. If a warrior could demonstrate a stronger magic a duel would not take place. It was common for a warrior to allow his opponent to take the first ‘shot,’ either with an arrow or a gun. Surviving the shot proved strong magic. Only if two warriors demonstrated equal magic would they resort to weapons. It was also dishonorable to fight an opponent who has admitted publicly that he is afraid; there was no honor in fighting a man who has expressed his inferiority.
The culture of the warrior seems not to be confined to one particular culture or continent. Wherever the social conditions provide the means of development, this society seem to be the natural result. Just as the knights of old sang of the glories of Camelot, the horros of Ghana sang of the glory of Wagadu.
‘The fifth Wagadu will arise from discord to endure as the rains of the South,
As the rocks of the Sahara,
Every man will bear Wagadu in his heart.
Every woman will have Wagadu in her sons.
Hoooh! Dierra, Agada, Gana, Silla!
Hoooh! Fasa!’
Really interesting article. I’ve found myself both puzzled and frustrated by the difficulty in finding information on African history in general, beyond the very basics; I was rather flabergasted that The New Penguin History of the World contained nothing on non-Egyptian Africa or pre-European North and South America. Besides Gassire’s Lute and Sundiata, do you have any other suggestions?
By the by, I just recently read the first book of Meji, and I haven’t enjoyed a fantasy novel as much in quite some time.
Thanks Luke and I’m glad you enjoyed Meji Book One. I’ve found most of my information in various books and internet sites. Many of the books are out of print but you can find them through used books dealears online. I’ll post a list below.
Milton,
Fascinating post. Where I can learn more about these empires?
Keith
See below.
Excellent read. Like Keith and Luke, I’m interested in learning more about these cultures.
Great read! Brings to light the rich history that can be used to create more diversified fantasy realms. Well done.
Harold Courlander’s collection of legends and fables has a version of “Gassire’s Lute” in it,also including stories of the various cultures of that era, including an ultra snnoty princess, beneficent, oracular dragon, warriors so bold they ride into a battle using their riding quirts, rather than lance or sword on foes they deem beneath their blades kiss, and a powerful old woman it’s best Not to help across the street!
That’s true, Melvin. Harold Courlander’s book, A Treasury of African Folklore was and still is a valuable source for me.
Excellent, M.D., Thanks.
Thank you, Milton, for demonstrating that a “Bright Country” existed in the so-called “Dark Continent.”
You’re welcome, Charles.
Here’s a list of books:
Sundiata: An Epic of Old Mali by D.T. Niane
Gassire’s Lute, A West African Epic by Alta Jablow
The Heart of the Ngoni by Harold Courlander
Precolonial Black Africa by Cheikh Anto Diop
A History of West Africa by J.D. Fage
Warfare and Diplomacy in Precolonial West Africa by Robert S. Smith
The Bamana Empire by the Niger by Sundiata A. Djata
People and Empires of West Africa by G.T. Stride and C. Ifeka
The Diwan Revisited by Augustin F.C. Holl
There is also the Tarik al Sudan by Abd al Sali and Ibn Battuta’s books which I accessed online. I hope this helps.
I’m definitely not the expert here – so thank you for the expanded history, very interesting – and a few years ago, for a college course, I wrote a brief analysis (which you commented on back then, Milton) on some of the cross cultural points of contact between the Sundiata story and other heroic epics. Here’s the link, fyi: http://blogginoutloud.blogspot.com/2009/09/cross-cultural-symbolism-in-sunjata.html
…and I can’t forget Basil Davidson. He has a number books on Afrcan History and kingdoms.
Those guys had it made. Once they completed their training they were given a horse, a weapon, and a diaru! I’d love to have somebody following me around singing my praises. The only people following me around are bill collectors. Interesting article, Milton.
LOL! Thanks, John.
Excellent article Brother Milton! Well researched and intriguing. I throughly enjoyed Meji I & II, and I’m looking forward to Changa’s Safari. I’m also pleasantly surprised to discover your writing prowess isn’t limited to fiction. But I would love to read more about “the bright country” in another novel. *Hint, hint*
Thanks, Valjeanne. You know that’s where this is heading. The title is ‘Kora.’ Look out for it.