Hello weaver (what's your real name again?)!
In general I don't respect the versions of Mamady's book very much. There are no or nearly no original musical pieces in it, but versions that Mamady told Uschi (and others) from what he remembered of mixtures of what several people from different regions in Guinea (and IC) have told him over the years.... So don't worry, if you find versions there that you've never heard anywhere else. The version you know is what I know as the typical (and only) basic line for the dundunba in Hamana. At the same time, the version in MK's book could very well appear as a variation. I don't remember such a situation, but it's in the musical line of that piece.
This leads us to the deeper problem of your class: "Donaba" (it's just the Famoudou disc name, in Hamana and Gberedu: "Sankaranba") is the most untypical dundunba rhythm of all. As you have discovered yourself, it has parts that are quite close to Sökö, that's to say the bell lines are not the bell lines of a rhythm from the dundunba/mendiani... group. I would put it in the Soli group (because of the phrazing that is like for dundunbas), but the bell lines are even closer to the dya group than we see it with soli. You see, it's a very special thing. The Kensedeni is a real dundunba kensedeni. And it's one of the hardest Sangban line to play this Kensedeni along.
So if you want to introduce your pupils to dundunba rhythms, it's reaaly not the best rhythm: first it's quite hard, second it won't help much for the following pieces, because of it's musical singularity.
So I would say: play Sökö (with a downbeat kensedeni) and later play Kudabadon (kurabadon) or denmousonin (denmusoni) or something like that with your pupils to get the real dundunba feeling.
Sorry, I think I say quite often what is NOT easy, or NO good idea, what does NOT exist in my opinion what WON'T work and so on. At least I try to tell you why d;-)
Have a nice time,
PS: Dundunba of my own band: http://youtu.be/BTF1NQzrurI