On Monday, October 16, 2024, Mahamar Dicko—also known by his traditional name “Mayguida”—opened a new chapter at CFAIT (Vocational Training Center for Arts and Crafts) in Diré, northern Mali. He led a workshop on crafting the Djourkel, a traditional one-stringed instrument deeply rooted in Fulani and Songhai musical heritage.
Instrument Composition
Mayguida began by presenting the natural materials used in making the Djourkel:
A dried wild gourd, used as a resonating body
Goat or cowhide to cover the sound hole
A dried balazan root (a local tree) for the neck
A single nylon string for the melody
Small nails and fragments of calabash to anchor the string
The students started by hollowing and smoothing the gourds. Then, they stretched and stitched the hide over the opening using strips of skin. Two holes were drilled to insert the neck made of balazan wood.
Hands-On Learning After watching the master craftsman’s demonstration, the students reproduced the process on two more gourds. The drying stage took two days. They then learned how to shave and prepare the hide, string the instrument, and tune it by adjusting the string’s tension. A broken calabash piece was affixed at the back to help hold the string in place, while the other end was tied to the top of the neck.
In total, three Djourkels were built during the workshop.
A Two-Part Workshop The crafting of the traditional Malian guitar, locally known as the Koubour, took place in two complementary phases at CFAIT between October 20 and 24, 2024. The session brought together 18 young participants under the guidance of two master artisans:
Amadoune Sidi, a specialist in carving resonator bodies
Aguissa Kouyaté, responsible for final assembly, tuning, and musical instruction
Phase 1: Woodworking with Amadoune Sidi
On the first day, Amadoune arrived with a large piece of wild date palm wood—valued for its heat resistance and excellent acoustic properties. In front of the students, he demonstrated how to carve two resonator bodies:
Rough shaping with a mid-sized axe
Hollowing out the interior with a smaller axe
Smoothing the cavity using a hand plane
On the second day, students practiced the same steps under Amadoune’s supervision, crafting a third resonator using the techniques they had just learned.
Phase 2: Assembly and Finishing with Aguissa Kouyaté
On October 22, Aguissa took over the second phase of the workshop.
He introduced the materials needed to complete the instrument:
Soaked cowhide
Nylon strings
Three rings made of dried hide (locally called Garreau)
Two 50 cm carved wooden necks
A calabash piece used for anchoring
A knife for fitting adjustments
After stretching the cowhide over the wooden body, he inserted the neck underneath the skin and locked it in place with a sculpted calabash wedge. He then cut small notches into the neck to secure the Garreau rings at three positions—top, middle, and base. Each student was guided through the assembly of their own instrument.
Tuning and First Notes
By October 24, students completed stringing their instruments. The tuning system is entirely handmade: the Garreau rings slide along the neck, functioning like tuning pegs on a modern guitar.
Aguissa wrapped up the workshop with a hands-on introduction to tuning and playing. Using simple melodies and exercises, he helped the students produce their first sounds on the Koubour.
Participants: 18 youth Instructors: Masters Amadoune Sidi & Aguissa Kouyaté Dates: October 20–24, 2024 Location: CFAIT, Diré, Mali Instruments built: 15 traditional Koubour guitars Materials used: wild date palm wood, cowhide, nylon strings, calabash, hide rings (Garreau).
On Wednesday, October 18, 2024, CFAIT welcomed Master Sankaré, one of the last remaining guardians of the traditional knowledge of the Koullou flute. Native to the Godja region, north of Diré, this little-known instrument holds a significant place in local musical heritage.
For two days, 19 students aged 16 to 19 took part in a workshop focused on both the crafting and playing of the Koullou. This session formed part of CFAIT’s broader program dedicated to preserving endangered traditional instruments.
Materials and Crafting Techniques
Before beginning the construction, Master Sankaré introduced the materials required:
Straight bamboo stalks with evenly spaced nodes (40–50 cm in length)
A handsaw blade for cutting
Large nails and an iron rod, both heated over fire for piercing holes
Gum arabic for sealing air leaks
Pieces of calabash used to handle hot tools and secure the ends
Each student was guided step by step through the process: cutting between bamboo nodes, drilling the main air entry hole, then piercing four smaller tone holes, each spaced about 5 cm apart along the bottom of the flute.
Supervised Construction and Hands-On Learning
Under Master Sankaré’s supervision, students were split into small groups and repeated the steps using pre-selected bamboo stalks. The aim: for each student to build a working flute.
Once the holes were complete, diluted gum arabic was applied to the ends of the flute to ensure airtightness. The inside was rinsed with water, and the bamboo was polished with shea butter to prevent cracking.
On the second day, students practiced blowing into the instrument and covering the holes to create different notes. Master Sankaré emphasized precision:
“It’s not strength that makes the sound, but the placement of the fingers and control of the breath.”
Results and Takeaways
By the end of the workshop, 16 flutes had been completed. Most participants were able to produce clear notes, though some initially struggled with breath control. However, all showed steady improvement.
This workshop not only transmitted a precise set of technical skills but also raised awareness of the flute’s cultural role—still present in certain ceremonies and often played alongside traditional drums.
The session was very well received, particularly for its hands-on approach and the clarity of instruction provided.
A Rhythmic Opening Marked by Cultural Transmission
On Tuesday, October 10, 2024, the Center for the Fabrication and Learning of Traditional Instruments (CFAIT) officially launched its training program with a deeply symbolic opening ceremony. Immediately following the introductory speeches, 17 young participants aged 16 to 19 met their first instructor: Alassane Dicko, a master of the traditional drum, renowned in the Diré region for his ancestral craftsmanship.
This marked the beginning of a remarkable workshop, during which the students would craft—entirely by hand—the center’s very first instrument: the Toubalé, an emblematic drum of the Songhai tradition.
The Story of a Drum That Unites
More than just an instrument, the Toubalé symbolizes unity and collective voice. Historically played during major village gatherings, it provided rhythm for songs, dances, prayer calls, and ceremonies. Its methods of construction were passed down orally from master to apprentice.
Today, very few young people still know how to make it. That’s precisely why this CFAIT initiative is so vital.
From Recycled Metal to Cowhide: The Anatomy of Heritage
Under the expert guidance of Master Dicko, students explored the materials used to craft this traditional drum:
Two recycled gas canisters serving as the resonating chamber,
A cowhide soaked for 24 hours,
Strips of rawhide used for fastening,
A sharpened blade for the final shave,
And fire to heat and tune the drum.
While the Toubalé was once carved from solid wood, this modern version creatively repurposes contemporary materials while preserving its original acoustic logic.
A Hands-On Workshop, A Living Pedagogy
For four days (October 10–13), the students were involved in every stage of the process: cutting the hide, drilling, manual assembly, sun-drying, and finally shaving the skin.
“It’s the first time I’ve ever touched an instrument from our culture, let alone built one myself… It feels like uncovering a hidden treasure in my own heritage,” shared Amadou, 17, one of the participants.
After two days of drying, Master Dicko heated the drum over fire—a key step that tightens the skin and sets the tone. The resulting sound was deep, resonant, and rooted in tradition.
The First Vibration, A Shared Emotion
On October 13, the two completed drums rang out for the first time in CFAIT’s courtyard. As their sound echoed, the atmosphere was filled with applause, smiles, and discreet tears, an emotional milestone for students and mentors alike.
“This day will remain etched in our memories. We brought back a sound our grandparents knew, but that we were slowly losing,” said Kadiatou, 18, another student.
A Rooted Knowledge, A Future to Carry Forward
This workshop was more than an exercise in craftsmanship—it was a reconnection to heritage, a lesson through doing, and a powerful reminder of the richness embedded in cultural roots.
And this is only the beginning. Upcoming sessions will focus on the Koullou flute, the Djourkel, the Koubour guitar, the Ndjarka fiddle, and many more instruments from Diré’s living heritage.
Watch the video below
Participants: 17 young trainees Instructor: Master Alassane Dicko Dates: October 10–13, 2024 Location: CFAIT, Diré Instrument Built: 2 Toubalé drums Main Components: Recycled gas canisters, cowhide, rawhide cords, fire for tuning.
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