KEITA: THE HERITAGE OF THE GRIOT (1995, Burkina Faso, 94 min.), directed by Dani Kouyaté, screenplay by Dani Kouyaté, cinematography by Robert Millié, music by Sotigui Kouyaté; with Sotisgui Kouyaté, Hamed Kicko, Seydou Boro, Abdoulaye Koumboudri, Mamadou Sarr, Clair Sanon, Blandine Yaméogo, Awa Sow, Souleymane Koulibaly, Maghan Kouyaté, Seriman Sidibé, Adama Kouyaté. In Jula, Bambara, and French, with English subtitles.

Jot down responses to each of the following. Do detailed responses to 3.

1. The title of this film has two parts: "Keita" and "The Heritage of the Griot." Why the juxtaposition of these two? After all, "Keita" is the family name of the royal kings of Mali, whereas "Heritage of the Griot" refers to the bard who tells stories and teaches. Why wasn't the subtitle something like "King of Mali" or "Son of Sudjata"? What's the connection?

2. Notice how the film opens. What kind of atmosphere is created by this opening? How does it prepare us for the film to come?

3. Notice the transition from village to city in the beginning. What do you notice about the transition, and about the contrast between the two locales?

4. Describe Djeliba, the old griot. What does he look like? What is his voice like? His manner? Does this actor seem appropriate for the role that he is playing?

5. The modern segment of this story follows an elemental story pattern: "The stranger comes to town." In the type of story, someone arrives (or returns, or steps out of someone's past) and disrupts the status quo, often bringing to the surface some of the previously hidden or suppressed tensions and conflicts underpinning that status quo. Discuss Keita in these terms. What are some of the conflicts that arise, and how are they dealt with?

6. What do you think of young Mabo? Discuss him as a character, and trace his growing fascination with his heritage.

7. Discuss mother and father. Similar? Different? How does each respond to Djeliba, and how do their responses change over the course of the film? What do you think of these changes?

8. Here is another film with a wedding scene! What do you notice about this one? Why is it in the film?

9. The narrative of the epic as recounted here opens with the arrival of a hunter to the royal court of Mandé (Mali). You will see that the hunter disrupts the status quo of that story-within-a-story. He also appears in the main story of the film. When does he appear, and what does he come to represent?

10. What are some of the ways in which the film's rendition of the Sundjata story feels like an oral tale? Think in terms of plot, characters, and narrative style. Also, do you see any differences in the way that these scenes are filmed vs. the modern sections?

11. Do you detect points at which the Sundjata scenes parallel events in the main plot of the film? Any similarities between Mabo and Sundjata?

12. The film ends before the entire Sundjata epic is played out. In fact, we only get to see a small portion of the story of the future king. Obviously, time constraints were a factor in this decision. Still, why did the director choose to break it when he did?

13. How do you feel about the interventions by the teacher and the mother? In your opinion, were they acting correctly? How do you think the filmmaker feels about this?

14. What do you think of the film's ending? How are we supposed to feel about Mabo's future?

15. Discuss the film's use of music. Any scenes that stand out for you?

16. So what is the message of this film? What are the lessons being imparted by this film's griot, Dani Kouyaté?

Return to ENG197 Page.