In The Banjo: America’s African Instrument (Harvard Univ. Press, 2016), Laurent Dubois weaves a narrative of how this instrument was created by enslaved Africans in the midst of bondage in the Caribbean and Americas. He documents its journey from 17th- and 18th-century plantations to 19th-century minstrel shows to the bluegrass of Appalachia to the folk revival of the mid-20th century. In the process, Dubois documents how the banjo came to symbolize community, slavery, resistance, and ultimately America itself. A historian of the Caribbean and a banjo player himself, Dubois relied on the work of academic historians as well as insights from musicians, collectors, and banjo makers to tell this story.
On the surface, bluegrass music is a style of country music heavily influenced by Appalachian folk music. As with almost all Appalachian folk music, the typical ensemble is a four- to seven-piece band made up of non-electrified string instruments. Many bluegrass songs are taken directly from the Appalachian folk repertoire and those that are original compositions show many of the melodic and rhythmic trademarks of the tradition. Bluegrass musicians, perhaps more so than in any other style of country music, are in constant contact with the communities of Appalachia and most of the musicians are from the region and frequently play there. These musicians and their audience are almost exclusively white, and it is undeniable that bluegrass music owes a great deal to the musical traditions of white Appalachians.
While typically associated with traditional bluegrass, country and even jazz, the banjo has roots that stretch all the way back to West Africa. Musician Jayme Stone made that journey in search of the ancestors of his own banjo. Along the way, he met kora player Mansa Sissoko. The two have collaborated on a new album called Africa to Appalachia, and recently spoke about their musical partnership from the studios of Minnesota Public Radio in St. Paul.
Jim Carrier - My Appalachian Music Fellowship study in June 2009 was in furtherance of developing a film documentary dealing with the extinction of the Black Banjo that occurred in the United States during the period 1900-1930.