Griot

A griot (; ; Manding: jali or jeli ("djeli" or "djéli" in French spelling); Serer: kevel or kewel / okawul; Wolof: gewel) is a West African historian, storyteller, praise singer, poet, or musician. The griot is a repository of oral tradition and is often seen as a leader due to their position as an advisor to royal personages. As a result of the former of these two functions, they are sometimes called a bard.
Role of griots.
Griots today live in many parts of West Africa and are present among the Mande peoples (Mandinka or Malinké, Bambara, etc.), Fulɓe (Fula), Hausa, Songhai, Tukulóor, Wolof, Serer, Mossi, Dagomba, Mauritanian Arabs, and many other smaller groups. The word may derive from the French transliteration "guiriot" of the Portuguese word "criado", or the masculine singular term for "servant." Griots are more predominant in the northern portions of West Africa.
In African languages, griots are referred to by a number of names: jeli in northern Mande areas, jali in southern Mande areas, guewel in Wolof, kevel or kewel or okawul in Serer, gawlo in Pulaar (Fula), iggawen in Hassaniyan, arokin in Yoruba, and diari or gesere in Soninke. Griots form an endogamous caste, meaning that most of them only marry fellow griots and those who are not griots do not typically perform the same functions that griots perform.
Francis Bebey writes about the griot in "African Music, A People's Art":
"The West African griot is a troubadour, the counterpart of the medieval European minstrel... The griot knows everything that is going on... He is a living archive of the people's traditions... The virtuoso talents of the griots command universal admiration. This virtuosity is the culmination of long years of study and hard work under the tuition of a teacher who is often a father or uncle. The profession is by no means a male prerogative. There are many women griots whose talents as singers and musicians are equally remarkable."
Terms: "griot" and "jali".
The Manding term "jeliya" (meaning "musicianhood") sometimes refers to the knowledge of griots, indicating the hereditary nature of the class. "Jali" comes from the root word "jali" or "djali" (blood). This is also the title given to griots in regions within the former Mali Empire. Though the term "griot" is more common in English, some, such as poet Bakari Sumano, prefer the term "jeli".
In the Mali Empire.
The Mali Empire (Malinke Empire), at its height in the middle of the 14th century, extended from central Africa (today's Chad and Niger) to West Africa (today's Mali and Senegal). The empire was founded by Sundiata Keita, whose exploits remain celebrated in Mali today. In the "Epic of Sundiata", Naré Maghann Konaté offered his son Sundiata Keita a griot, Balla Fasséké, to advise him in his reign. Balla Fasséké is considered the founder of the Kouyaté line of griots that exists to this day.
Each aristocratic family of griots accompanied a higher-ranked family of warrior-kings or emperors, called "jatigi". In traditional culture, no griot can be without a "jatigi", and no "jatigi" can be without a griot. However, the "jatigi" can loan his griot to another jatigi.
Most villages also had their own griot, who told tales of births, deaths, marriages, battles, hunts, affairs, and many other things.
In Mande society.
In many Mande societies, the "jeli" was an historian, advisor, arbitrator, praise singer (patronage), and storyteller. They essentially served as history books, preserving ancient stories and traditions through song. Their tradition was passed down through generations. The name "jeli" means "blood" in Manika language. They were believed to have deep connections to spiritual, social, or political powers. Speech was believed to have power in its capacity to recreate history and relationships.
Despite the authority of griots and the perceived power of their songs, griots are not treated as positively in West Africa as we may imagine. Thomas A. Hale wrote, "Another [reason for ambivalence towards griots] is an ancient tradition that marks them as a separate people categorized all too simplistically as members of a 'caste', a term that has come under increasing attack as a distortion of the social structure in the region. In the worst case, that difference meant burial for griots in trees rather than in the ground in order to avoid polluting the earth (Conrad and Frank 1995:4-7). Although these traditions are changing, griots and people of griot heritage still find it difficult to marry outside of their social group." This discrimination is now deemed illegal.
Musical instruments used by griots.
In addition to being singers and social commentators, griots are often skilled instrumentalists. Their instruments include the kora, the khalam (or xalam), the goje (or n'ko in the Mandinka language), the balafon, the junjung, and the ngoni.
The kora is a long-necked lute-like instrument with 21 strings. The xalam is a variation of the kora, and usually consists of fewer than five strings. Both have gourd bodies that act as resonator. The ngoni is also similar to these two instruments, with five or six strings. The balafon is a wooden xylophone, while the goje is a stringed instrument played with a bow, much like a fiddle.
According to the Encyclopædia Britannica: "West African plucked lutes such as the "konting", "khalam", and the "nkoni" (which was noted by Ibn Baṭṭūṭah in 1353) may have originated in ancient Egypt. The "khalam" is claimed to be the ancestor of the banjo. Another long-necked lute is the "ramkie" of South Africa."
Griots also wrote stories that children enjoyed listening to. These stories were passed down to their children.
Griots in present day.
Today, performing is one of the most common functions of a griot. Their range of exposure has widened, and many griots now travel internationally to sing and play the kora or other instruments. 
Bakari Sumano, head of the Association of Bamako Griots in Mali from 1994 to 2003, was an internationally known advocate for the significance of the griot in West African society.