 Up until that point, the conventional wisdom was that the wooden-bodied plucked lutes exclusive to the West African griots, such as the Mande "ngoni" and the Wolof "xalam", were the archetypes for the earliest forms of the banjo, first made and played by enslaved West Africans in the New World, from the 17th century on.Jatta's proposition that gourd-bodied non-griot folk and artisan lutes - like the Jola "akonting" (Senegal, Gambia, Guinea-Bissau), the Manjago "buchundu" (Gambia, Guinea-Bissau), the Gwari "kaburu" (Nigeria), and the Frafra "koliko" (Ghana), to name but a few - were the more likely candidates was revolutionary.Since then, many museums around the world have updated their collections to include the "akonting" and other members of the West African folk/artisan lute family, while banjo historians and ethnomusicologists have begun to broaden the range of their focus to include these instruments as well those used by griots.