Djali is a supporting character in Disney's 1996 film The Hunchback of Notre Dame and its sequel. He is the goat who is constantly assisting Esmeralda and dances along with her to earn coins because of poverty. Djali also has a craving for wooden carvings and hates heights. He is voiced by Frank Welker.
Djali is a young goat with short black horns, white-grey fur, and a golden ring on his left ear.
Djali's first appearance was in the 1996 movie The Hunchback of Notre Dame. He's Esmeralda's sidekick and helps her escape many times throughout the film. During the Festival of Fools Quasimodo was being tortured by the crowd which was started by Frollo's thugs he and Esmeralda put it to a stop and free Quasimodo and an enraged Esmeralda calls for justice. After Esmeralda singing "God Help the Outcast" he witnesses Quasimodo being scolded by the Parishioner who mistook him causing trouble on the Cathedral's nave, not realizing he was being tortured at the festival and he and Esmeralda follow him and the Parishioner is scolded by the Archdeacon for scolding Quasimodo and attempting to stop the two. When they find Quasimodo in the bell tower he is then pestered by Hugo while Esmeralda apologizes to Quasimodo for what happened at the Festival and he shows them around the bell tower. Despite his low appearance, he is well-loved by fans. He seems to be shy as Esmeralda says he "does not take kindly to strangers".
Djali reappears in the sequel and is still being harassed by Hugo (the gargoyle one with the horns), who is in love with the goat. At the end of the film, during the festival of love, Hugo gives Djali a flower. Djali wholeheartedly eats the flower, and licks Hugo's cheek and flutters his eye lashes, implying that he has finally accepted Hugo.
- In the novel, Djali is female and can do tricks (such as telling time and doing impressions of public figures) for money, in addition to dancing with Esmeralda.
- Despite being male in the movie, ("He doesn't take too kindly to strangers" -Esmeralda) Djali is shown returning Hugo's romantic affections at the end of the second film, implying a subtle hint at homosexuality.