Relevant bibliographies by topics / Griotte

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Academic literature on the topic 'Griotte'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Griotte"

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Pernia, Marjorie Evasco. "Griotte." Iowa Review 33, no. 2 (October 2003): 118. http://dx.doi.org/10.17077/0021-065x.5648.

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Bulnes, M., J. Poblet, Á. De Ana, and M. Masini. "Comportamiento de las calizas «griotte» carboníferas frente a deformaciones compresivas en dos localidades de la Zona Cantábrica (NO de la Península Ibérica): resultados preliminares Behaviour of the Carboniferous «griotte» limestones under compressive deformation in two localities of the Cantabrian Zone (NW Iberian Peninsula): preliminary results." Trabajos de Geología 36, no. 36 (September 12, 2018): 61. http://dx.doi.org/10.17811/tdg.36.2016.61-80.

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Resumen: Se han analizado y comparado las características y posible evolución de las estructuras desarrolladas en la Fm. Alba, o caliza «griotte» carbonífera, en dos afloramientos ubicados en unidades estructurales distintas de la Zona Cantábrica, uno situado en los alrededores de San Emiliano y el otro en las playas de La Ballota y de Andrín. En ambos, la Fm. Alba acomoda deformación en distintos grados mediante el desarrollo de varios tipos de mesoestructuras. Se ha encontrado una serie de similitudes y diferencias entre los afloramientos tanto desde el punto de vista estratigráfico, como estructural. Aparentemente, las características estratigráficas distintas podrían haber sido el factor que ha ejercido una mayor influencia en el comportamiento mecánico a nivel mesoestructural dentro de la Fm. Alba.Palabras clave: calizas «griotte» carboníferas, Zona Cantábrica, pliegues, cabalgamientos.Abstract: We have analysed and compared the features and possible evolution of the structures developed within the Alba Fm., or Carboniferous «griotte» limestone, in two outcrops located in different structural units of the Cantabrian Zone: around San Emiliano and on La Ballota and Andrín beaches. In both outcrops the Alba Fm. accommodates deformation in various degrees by developing different types of mesostructures. We found a number of similarities and differences between the outcrops from the stratigraphic and structural point of view. Apparently, the different stratigraphic features might have been the factor that had exerted a greater influence on the mechanical behaviour at mesostructural scale within the Alba Fm.Keywords: Carboniferous «griotte» limestones, Cantabrian Zone, folds, thrusts.
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Sangaré, Fatou. "Mah Damba, djelimusso nyuma, la sublime griotte." Africultures 61, no. 4 (2004): 69. http://dx.doi.org/10.3917/afcul.061.0069.

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Korn, D., and R. Feist. "Early Carboniferous ammonoid faunas and stratigraphy of the Montagne Noire (France)." Fossil Record 10, no. 2 (August 1, 2007): 99–124. http://dx.doi.org/10.1002/mmng.200700002.

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Abstract. The early Carboniferous (Mississippian) sedimentary succession of the Montagne Noire is subdivided into three major lithostratigraphic units, in ascending order the Montagne Noire Griotte Group (Devonian to Early Tournaisian), the Tournaisian to Viséan Saint-Nazaire Group (with the Lydiennes, Faugères, Colonnes, and Puech Capel Formations, the latter new), and the Laurens Flysch Group (late Viséan). The ammonoid assemblages in these rock units are reviewed. A total of 29 Early Carboniferous ammonoid taxa at species level are determined. The new genus Nigrocyclus n. gen., and the new species Gattendorfia nazairensis n. sp., Globimitoceras albaillei n. sp., and Neogoniatites canovasi n. sp. are described. Die unterkarbonische Abfolge von Sedimentgesteinen in der Montagne Noire wird in drei lithostratigraphische Einheiten untergliedert, von unten nach oben die Montagne Noire Griotte Gruppe (Oberdevon bis Untertournai), die Saint-Nazaire Gruppe des Tournaisium und Viséum (mit den Lydiennes Faugères, Colonnes und Puech Capel Formationen, von denen die letzte neu ist), und der Laurens Flysch Gruppe (Oberviséum). Die Ammonoideen-Vergesellschaftungen in diesen Gesteinen werden revidiert. Insgesamt werden 29 unterkarbonische Ammonoideen-Taxa auf Artebene aufgeführt; neu beschrieben werden die Gattung Nigrocyclus n. gen. sowie die Arten Gattendorfia nazairensis n. sp., Globimitoceras albaillei n. sp. und Neogoniatites canovasi n. sp. doi:10.1002/mmng.200700002
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Onyemelukwe, Ifeoma Mabel, Abubakar Dauda Adamu, and Chukwunonso Hyacinth Muotoo. "Le Griot Dans La Litterature Postcoloniale: Une Etude De Guelwaar De Sembene Ousmane." UJAH: Unizik Journal of Arts and Humanities 22, no. 1 (July 8, 2021): 55–77. http://dx.doi.org/10.4314/ujah.v22i1.3.

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Le griot dans la société traditionnelle africaine de l’ère précoloniale est un personnage complexe chargé d’une myriade de fonctions. Il est bien respecté et honoré. La présente étude se donne l’objectif d’examiner profondément la peinture du griot dans la littérature africaine postcoloniale utilisant Guelwaar de Sembène Ousmane comme texte de base tout en établissant ses fonctions et ses portraits. L’étude privilégie quelques théories critiques comme le postcolonialisme, les théories marxiste et féministe. De plus, l’examen s’effectue à la lumière de l’image du griot d’antan et des sept catégories de nouveaux griots postulés par Ifeoma Mabel Onyemelukwe. Nous découvrons deux types de griot dépeints par Ousmane dans Guelwaar : le griot personnage littéraire nommé Guelwaar et le griot écrivain contemporain africain, Sembène Ousmane lui-même. Ces deux griots entretiennent des rapports de similitude et de divergence avec le vrai griot. Mais le griot écrivain contemporain africain ressemble beaucoup plus au griot d’antan en dépit des points de divergence. Nous finissons par déceler dix-huit fonctions du griot et par-là arriver aux dix-huit portraits du griot dans Guelwaar dont le griot bibliothèque publique bien documentée et le griot détenteur de la littérature écrite africaine postcoloniale. Nous parvenons à la conclusion que la littérature postcoloniale, comme l’atteste Guelwaar de Sembène Ousmane, se caractérise par une revalorisation des valeurs authentiques, honorables et louables du griot de caste. Ceci est symbolisé par l’apparition du griot personnage littéraire dans certaines oeuvres de la littérature écrite postcoloniale africaine comme Guelwaar et surtout la prééminence accordée aux griots écrivains contemporains africains tel Sembène Ousmane. The griot, in the traditional African society is a complex personality charged with multiple functions. He is well respected and honoured. The objective of the present research is to make an in-depth study of the depiction of the griot in post-colonial literature using Guelwaar as study text while establishing his functions and portraits. Postcolonialism, Marxist and Feminist theories constitute the theoretical framework. Furthermore, the examination is carried out in the light of the image of the real griot and the seven categories of new griots promulgated by Ifeoma Mabel Onyemelukwe. It is found that Sembène Ousmane depicts two types of griots in Guelwaar, namely: the griot as literary character named Guelwaar and the griot as contemporary African writer, Sembène Ousmane, himself. These two griots have certain similarities and differences with the real griot. But the findings show that the griot as contemporary African writer resembles more the real griot, their points of disparity notwithstanding. Eighteen functions and eighteen portraits of the griot are established, among which are: the griot as well documented library and the griot as custodian of written postcolonial African Literature. A firm conclusion is reached, that postcolonial literature, as reflected in Sembène Ousmane’s Guelwaar, is characterized by the revalorization of the real griot’s authentic, honorable and praise-worthy values. This is symbolized in the projection of the griot as literary character in some literary works like Guelwaar and in particular, the preeminence given to griots as Contemporary African writers as typified by Sembène Ousmane.
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Mouflard, Claire. "The Digital Griotte: Bessora’s Para/Textual Discourses on Identity Politics and Neocolonialism in Contemporary France." Humanities 8, no. 1 (January 1, 2019): 2. http://dx.doi.org/10.3390/h8010002.

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This article examines Bessora’s literary and digital criticism of postcolonial France, particularly in her first novel, 53 cm, and on her website, Tendre peau de vache. Bessora’s use of digital media in particular allows her to chronicle unofficial discourses on immigration, migration, and identity politics in France as alternative textual productions to her printed novels. Since there is a gap in academic studies regarding author websites and their contents, this study aims to start a conversation on the discursive function of an author’s digital textual productions. Following Jean Baudrillard’s theory in The Spirit of Terrorism according to which a terrorist act is successful when it distances itself from the real and exalts itself in the realm of the symbolic, this article argues that Bessora’s digital discourses on the post-Charlie Hebdo terrorist attack effectively denounce the disappearance of the real in French culture in favor of ideals such as the #jesuischarlie movement. From the publication of 53 cm in 1999 to her commentaries on France’s alienation of the lowest socio-economic class in Le Testament de Nicolas (2016), the self-proclaimed griotte’s print and digital productions complement each other and bring the reader closer to an understanding of institutional neocolonialist practices in France.
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Coudray, J., P. F. Edinger, D. Michel, and A. E. M. Nairn. "Tectonic interpretation of paleomagnetic results from the Upper Devonian griotte of the Montagne Noire, southern France." Tectonophysics 126, no. 2-4 (June 1986): 137–51. http://dx.doi.org/10.1016/0040-1951(86)90224-6.

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Sangaré, Fatou. "Griots et griottes : de Bamako à Paris." Africultures 61, no. 4 (2004): 62. http://dx.doi.org/10.3917/afcul.061.0062.

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Brand, Uwe, Marie Legrand-Blain, and Maurice Streel. "Biochemostratigraphy of the Devonian−Carboniferous boundary global stratotype section and point, Griotte Formation, La Serre, Montagne Noire, France." Palaeogeography, Palaeoclimatology, Palaeoecology 205, no. 3-4 (March 2004): 337–57. http://dx.doi.org/10.1016/j.palaeo.2003.12.015.

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Jansen, Jan, and Thomas A. Hale. "Griots and Griottes: Masters of Words and Music." International Journal of African Historical Studies 31, no. 3 (1998): 631. http://dx.doi.org/10.2307/221481.

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Dissertations / Theses on the topic "Griotte"

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Santini, Filippo. "Biostratigrafia a conodonti del Famenniano superiore nella sezione di La Serre Trench C, Montagne Noire (Francia)." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/15826/.

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La tesi ha avuto come oggetto l'analisi di alcuni campioni provenienti dalla sezione stratigrafica di La Serre Trench C (Montagne Noire, Francia meridionale), situata nel sud – ovest della Francia, in particolare nella porzione sud – orientale della catena montuosa delle Montagne Noire, al limite sud del Massiccio Centrale. Scopo del lavoro è quello di tentare di correlare i dati raccolti in campagna con quelli già presenti in letteratura, al fine di verificare l'applicabilità della biozonazione proposta da Spalletta et al. (2017), l'analisi permetterà inoltre di individuare la presenza di eventuale materiale rimaneggiato. Grazie allo studio dei conodonti rinvenuti è stato possibile datare i campioni al Famenniano superiore, in particolare è stato possibile attribuirli alla biozona Bispathodus ultimus di Spalletta et al. (2017); inoltre è stato verificato che nella sezione di La Serre Trench C non è presente materiale rimaneggiato di conodonti di tutto il Devoniano Superiore.
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Daniel, Latson Trudie I. "A GRIOT’S YARN." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1310406150.

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Carter, Tracey Lynn. "The historical role of griots in Gambian politics." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1971495761&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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James, Abby. "Democratic discourse and the oral practices of griots." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394119.

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Khan, Fazli Rabbi. "Les conodontes des calcaires griottes du dévonien supérieur de la Montagne Noire (Inventaire, biostratigraphie et paléoenvironnements)." Lyon 1, 1993. http://www.theses.fr/1993LYO19001.

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L'etude entreprise dans deux secteurs de la montagne noire (col des tribes et tourriere) a conduit a identifier trois membres lithostratigraphiques distincts: 1) les calcaires gris-vert a gris-sombre essentiellement micritiques, parfois argileux; 2) les calcaires noduleux lie de vin appeles communement griottes; 3) les calcaires micritiques gris-vert reposant sans aucune discontinuite sedimentaire sur les facies precedents. L'etude paleontologique et biostratigraphique a abouti aux resultats suivants: 1) sur le plan paleontologique: 18 genres regroupant 54 especes ont ete decrits. Les genres palmatolepis et polygnathus sont dominants par rapport aux autres; 2) sur le plan biostratigraphique, 6 zones ont ete definies: zone a rhenana (frasnien sommital), zone a triangularis (probable), zone a crepida, zone a rhomboidea, zone a marginifera et zone a velifer pars (famennien). Ces resultats biostratigraphiqes confirment les biozonations recentes etablies dans la montagne noire. Les zones superieures (crepida a velifer) sont pour la premiere fois mises en evidence. Les coupures lithologiques ne coincident pas avec les limites stratigraphiques ainsi etablies mais elles ont servi de base pour la definition des sequences; 3) sur le plan paleoenvironnemental, les statistiques portees sur la repartition des genres au sein des sequences definies, mettent en evidence trois types de biofacies (biofacies i, ii et iii). Ces derniers traduisent deux milieux de depot differents. Sur cette base, les fluctuations du niveau marin, sont alors mises en evidence
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Toure, Abu Jaraad. "Towards A ‘Griotic’ Methodology: African Historiography, Identity Politics and Educational Implications." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1320631211.

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SANTANA, Adrine Motley. "Memória e narrativa na voz de contadoras itinerantes e griots." Universidade Federal do Pará, 2015. http://repositorio.ufpa.br/jspui/handle/2011/8811.

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Submitted by Nathalya Silva (nathyjf033@gmail.com) on 2017-07-07T19:47:02Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_MemoriaNarrativaVoz.pdf: 2153462 bytes, checksum: 7b189d73f7831366ef35707d57e4c91d (MD5)
Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-07-10T15:08:31Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_MemoriaNarrativaVoz.pdf: 2153462 bytes, checksum: 7b189d73f7831366ef35707d57e4c91d (MD5)
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Antigamente a arte de contar histórias ocorria em meio a grupos sentados ao redor de uma fogueira e, dentre eles, um contador de histórias aquecendo o povo ali presente com seu hálito vivo, narrando as histórias que passavam de geração em geração. Eram chamados de xamãs, griots. No século XXI, esta prática transformou-se e os espaços onde atuam são diferenciados como escolas, hospitais, praças públicas, universidades, entre outros. São denominados narradores contemporâneos ou urbanos, por assumirem uma nova identidade e profissionalizarem esta prática. Desse modo, esta pesquisa propõe estudar o início do movimento de formação desses contadores de histórias, na voz de mulheres egressas de duas instituições públicas de ensino superior: a Universidade do Estado do Pará (UEPA) e a Universidade Federal do Pará, no período de 2000 a 2005, momento em que fizeram parte dos grupos de extensão: Griot(UEPA) e Contadores Itinerantes(UFPA). As mulheres envolvidas nesses grupos, do qual fiz parte do Griot, buscavam por meio do corpo e da voz, propagar as narrativas estudadas e ouvidas, tanto em verso como em prosa, nos projetos de extensão acima mencionados. Sendo assim, este trabalho tem como fio condutor a memória pautada nos pressupostos de Maurice Halbawchs (2006), Michael Pollak (1992), Pierre Nora (1993), entremeados aos estudos das Poéticas Orais, de Paul Zumthor (2010), para relatar a narrativa “embarcada”, conceito apresentado por Karl Eric Schollhammer (2012), e assim poder contar como tudo começou.
Previously storytelling occurred amid sitting groups around a campfire and, among them, a storyteller heating the people present there with their living breath, telling the stories passed from generation to generation. They were called shamans, griots. In the twenty-first century, this practice has become and the places where they operate are differentiated as schools, hospitals, public squares, universities, among others. They are called urban contemporary or narrators, for assuming a new identity and professionalize this practice. Thus, this research proposes to study the early formation of movement of these storytellers, in the voice of women formed in two public institutions of higher education: in the Pará State University (UEPA) and the Federal University of Pará (UFPA), from 2000 to 2005, at which were part of the Griot groups (UEPA) and Itinerant meters (UFPA). The women involved in these groups, which I was part of the Griot, sought in his body and voice, propagate studied and heard stories both in verse and in prose, in the extension project already mentioned. Thus, this work is to thread the memory guided the assumptions of Maurice Halbawchs (2006), Michael Pollak (1992), Pierre Nora (1993), interspersed with study of Oral Poetry of Paul Zumthor (2010) to report narrative "embedded" concept presented by Karl Eric Schollhammer (2012), and thus be able to tell how it all began.
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Keller, Candace M. "Visual Griots social, political, and cultural histories in Mali through the photographer's lens /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3330812.

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Thesis (Ph.D.)--Indiana University, Dept. of History of Art, 2008.
Title from PDF t.p. (viewed on Jul 22, 2009). Source: Dissertation Abstracts International, Volume: 69-10, Section: A, page: 3781. Adviser: Patrick R. McNaughton.
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Ross, Lucinda. "Gold Griot : Jean-Michel Basquiat telling (his) story in art." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11135.

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Emerging from an early association with street art during the 1980s, the artist Jean-Michel Basquiat was largely regarded within the New York avant-garde, as ‘an exotic other,’ a token Black artist in the world of American modern art; a perception which forced him to examine and seek to define his sense of identity within art and within society. Drawing upon what he described as his ‘cultural memory,’ Basquiat deftly mixed together fragments of past and present, creating a unique style of painting, based upon his own experiences of contemporary American life blended with a remembering of an African past. This study will examine the work of Basquiat during the period 1978 – 1988, tracing his progression from obscure graffiti writer SAMO© to successful gallery artist. Situating my study of Basquiat’s oeuvre in relationship to Paul Gilroy’s concept of the Black Atlantic, I will analyse Basquiat’s exploration of his cultural heritage and depiction of a narrative of Black history, which confronts issues of racism and social inequality, and challenges the constraints of traditional binary oppositions. I will examine Basquiat’s representation of the icon of the griot; narrator of African history and mythical talisman, shedding new light on the artist’s reclamation of this powerful totem. Traversing the perimeters of the Black Atlantic I show how Basquiat’s work has influenced both fine art and urban cultural practice in Britain. Through analysis of Basquiat’s self-portraits I will examine his repositioning the black subject, literally and historically, within the tradition of painting, and argue that through this relocation, Basquiat’s work contributes to models of reparative histories. I will consider Basquiat’s processes of identification and his refusal to be labelled ‘a black artist,’ situating his visual construction of self identity in relation to a post-black aesthetic. Analysis of Basquiat’s paintings lies at the heart of my research, and I conclude my study with an in-depth consideration of three paintings created by the artist during the final year of his life which characterise the enduring themes within his expansive body of work. My research contributes to existing scholarship into the work of Jean-Michel Basquiat, providing original insight into the work of this important artist.
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Da, Canha Taryn. "Redefining the griot : a history of South African documentary film." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/17956.

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Includes bibliography and filmography.
The South African film industry, like the rest of the country, has gone through a very difficult and trying time over the last century and has been faced with enormous challenges since 1994. South Africa is still in a process of transition and the turbulent era of Apartheid is still vivid in our memories and our collective national identity. What is especially exciting about studying the history of the South African film industry, is that it was through film, television and the media at large, that we witnessed the evolution of this history. On a microscopic scale, the history of the film industry, is that of the country, and many of the effects of Apartheid that are being experienced in South Africa today, are likewise being experienced by the film industry. Thus by seeking to understand the historical relationship between film and politics in South Africa, we are enabled to comprehend and contextualise the circumstances that have determined film's socio-political, economic and cultural place in society today. It was with this intention that I began to investigate the documentary film industry in South Africa. My particular interest was in the development of an independent, progressive documentary film movement that tentatively originated in the late nineteen fifties and established itself in the late seventies and eighties as a major force in the resistance movement. Concentrating on organisations such as the International Defense and Aid Fund to Southern Africa (IDAF), Video News Services/ Afravision, and the Community Video Education Trust (CVET), as well as many individual anti-Apartheid filmmakers, the focus of this paper and documentary film, Redefining the Griot, is thus limited to an analysis of the history of socio-political documentary filmmaking in South Africa, in particular, the anti-Apartheid film and video movement that emerged both in reaction to the ideologically-specific and restrictive State control of media, film and eventually television, and as a cultural weapon in the liberation struggle. Understanding this history enables valuable insight into the nature of the documentary film and video-making industry today - one that is still considered emergent in terms of having a homogeneous national identity.
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Books on the topic "Griotte"

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Muurling, Nienke. Relaties smeden: De rol van een jelimuso (griotte) in Mali. Amsterdam: Aksant, 2003.

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Edwin, Smith. Cherry pre-cooling possibilities. Ottawa: [Dept. of Agriculture], 1997.

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Griots and griottes: Masters of words and music. Bloomington: Indiana University Press, 1998.

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Ondelle of Grioth. Seattle, Washington: Hydra House, 2014.

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Camille, Jean Herold. A l'ecoute des griots. [Haïti: s.n., 1995.

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Le griot migrateur. Paris: L'Harmattan, 2002.

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Leymarie, Isabelle. Les griots wolof du Sénégal. Paris: Servedit-Maisonneuve et Larose, 1999.

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Kamanda, Kama. Les contes du griot. Paris: Présence africaine, 1988.

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Kamanda, Kama. Les contes du griot. Paris: Présence africaine, 1991.

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Les contes du griot. Paris: Présence africaine, 1996.

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Book chapters on the topic "Griotte"

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Tucker, Maurice E. "Sedimentology of Palaeozoic Pelagic Limestones: The Devonian Griotte (Southern France) and Cephalopodenkalk (Germany)." In Pelagic Sediments: On Land and under the Sea, 71–92. Oxford, UK: Blackwell Publishing Ltd., 2009. http://dx.doi.org/10.1002/9781444304855.ch4.

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Ortner, Claudia. "Pacéré-Titinga, Frédéric: La poésie des griots." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13451-1.

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Powell, Katrina M. "Zora Neale Hurston’s Craft and a Griot’s Refusal to Conform." In Performing Autobiography, 43–69. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64598-4_3.

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"Jaliya: The art of Mandinka griots and griottes." In African Theatres and Performances, 108–43. Routledge, 2013. http://dx.doi.org/10.4324/9780203945339-7.

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Okezie, Chukwunyere E., Judy Alhamisi, and Blanche Jackson Glimps. "The Promise for African American Male Students in Teacher Education at Marygrove College." In Gender and Diversity Issues in Religious-Based Institutions and Organizations, 137–58. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-8772-1.ch006.

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The recruitment of African American males into the teaching profession in the United States of America is an increasing challenge at national, state, and local levels. Gender and racial disparities between teachers in this country and the students they teach are present in classrooms. This chapter examines the Marygrove College's Griot program as an initiative established to address the underrepresentation of African American males in teaching. The philosophy and heritage from which the Griot Program was developed, along with key events and decisions throughout its life span are discussed. Model African American initiatives in K-12 and higher education that can help shape Griot's future as it tries to increase recruitment, retention, and graduation of African American men to assume positions in elementary, secondary, and post-secondary education also are presented.
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Okezie, Chukwunyere E., Judy Alhamisi, and Blanche J. Glimps. "The Promise for African American Male Students in Graduate Studies and Professional Development at Marygrove College." In #MeToo Issues in Religious-Based Institutions and Organizations, 33–55. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-5225-9195-5.ch002.

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The recruitment of African American males into chosen professions in the United States of America is an increasing challenge at national, state, and local levels. Gender and racial disparities between teachers in this country and the students they teach are present in classrooms. This chapter examines the Marygrove College's Griot program as an initiative established to address the underrepresentation of African American males in additional designated occupations. The philosophy and heritage from which the Griot Program was developed, along with key events and decisions throughout its life span are discussed. Model African American initiatives that can help shape Griot's future as it tries to increase the recruitment, retention, and success of African American men in graduate school to assume leadership roles in human resource management, in social justice, as well as in education are also presented.
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"A Griot’s Art." In A Language of Song, 1–16. Duke University Press, 2009. http://dx.doi.org/10.1215/9780822392071-002.

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Merolla, Daniela, and Felix Ameka. "Researchers as Griots?" In Oral Literature in the Digital Age, 65–90. Open Book Publishers, 2013. http://dx.doi.org/10.2307/j.ctt5vjtkq.9.

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Thomas, Lorenzo. "Neon Griot." In Close Listening, 300–320. Oxford University Press, 1998. http://dx.doi.org/10.1093/acprof:oso/9780195109924.003.0014.

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Appert, Catherine M. "Remembering the Griot." In In Hip Hop Time, 61–88. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190913489.003.0003.

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This chapter locates Senegalese hip hop at the intersection of local musical history, transatlantic Afrocentric dialogue, and the accelerated globalization of the 1980s. It traces the historical invention of the griot through colonialism, religious conversion, and postcolonial nationalist projects, while showing how griot instrumental and vocal performance practices provided a foundation for Senegal’s preeminent popular music, mbalax. It details how early international rappers, including Positive Black Soul (PBS) and Daara J, in line with a history of Afrocentric and pan-African projects in which they were well versed, traced an alternative history that routed the griot through diaspora and “back” to Africa, bypassing contemporary griot performance and mbalax in the process. It argues that this was not a literal claim to hip hop origins, but a strategic project of remembering that claimed diaspora as an alternative local history.
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