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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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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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Antonelli, Fabrizio. "Les marbres griottes des Pyrénées centrales françaises : pétrographie, géochimie et caractéristiques physico-mécaniques : étude archéométrique de pièces archéologiques des époques gallo-romaine et médiévale /." Orléans : Éd. BRGM, 1999. http://catalogue.bnf.fr/ark:/12148/cb37085254p.
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Antonelli, Fabrizio. "Caractérisation pétrographique et géochimique des marbres griottes (ou cipollino mandolato) des Pyrénées centrales : étude archéométrique de pièces archéologiques des époques gallo-romaine et médiévale." Tours, 1997. http://www.theses.fr/1997TOUR4021.
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Le marbre griotte ou cipollino mandolato, est une des deux pierres ornementales françaises qui furent exportées à Rome durant la période impériale. Pendant la renaissance et jusqu'à la fin du XIXe siècle le succès et la diffusion de ce matériau acquirent une dimension européenne. Malgré son large emploi, la griotte n'a pas fait l'objet de recherches pétrographiques et géochimiques détaillées ce qui a été aborde ici d'une façon systématique et avec des finalités archéométriques. Les carrières anciennes et modernes ont été identifiées dans un secteur des Pyrénées centrales dont les extrêmes, Campan (Hautes-Pyrénées) et Esplas de Serou (Ariège), sont éloignées d'environ 100 km. Tous les gisements sont datés du dévonien supérieur. Les différents lithotypes ont toujours un aspect noduleux, avec des nodules micritiques ou pseudosparitiques blancs ou rose-rougeâtres et une matrice grise, verte ou rouge-violacée, de nature phylliteuse et carbonatée, avec une fraction terrigène plus ou moins abondante (illite/mica potassique, chlorite, quartz et feldspaths). Le résidu insoluble a montré une variabilité comprise entre 3. 5 et 73%. Sa composition chimique est apparue plutôt uniforme, en ce qui concerne les éléments majeurs (Sio#2+al#2o#3 75-80%), très variable dans les cas des éléments en traces. Le traitement statistique par analyse discriminante des éléments chimiques présents dans le résidu insoluble a permis une différenciation optimale des carrières. Les compositions isotopiques ont montre des valeurs de #1#3c comprises entre 0. 1 et 3. 1& et des teneurs en #1#8o variables entre -6. 5 et -16. 0&. Les valeurs fortement négatives de #1#8o, typiques des matériaux de Campan et de Cabane de la Hosse, permettent de les séparer de ceux des autres carrières. Du point de vue archéométrique, la combinaison des informations obtenues par microscopie, par analyse discriminante et par analyse isotopique a permis d'attribuer une provenance a la plupart des échantillons archéologiques.
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Kotut, Lindah Jerop. "Amplifying the Griot: Technology for Preserving, Retelling, and Supporting Underrepresented Stories." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/103473.
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As we develop intelligent systems to handle online interactions and digital stories, how do we address those stories that are unwritten and invisible? How do ensure that communities who value oral histories are not left behind, and their voices also inform the design of these systems? How do we determine that the technology we design respect the agency and ownership of the stories, without imposing our own biases? To answer these questions, I rely on accounts from different underrepresented communities, as avenues to examine how digital technology affect their stories, and the agency they have over them. From these stories, I elicit guidelines for the design of equitable and resilient tools and technologies. I sought wisdom from griots who are master storytellers and story-keepers on the craft of handling both written and unwritten stories, which instructed the development of the Respectful Space for technology typology, a framework that informs our understanding and interaction with underrepresented stories. The framework guided the approach to understand technology use by inhabitants of rural spaces in the United States--particularly long-distance hikers who traverse these spaces. I further discuss the framework's extensibility, by considering its use for community self-reflection, and for researchers to query the ethical implications of their research, the technology they develop, and the consideration for the voices that the technology amplifies or suppresses. The intention is to highlight the vast resources that exist in domains we do not consider, and the importance of the underrepresented voices to also inform the future of technology.Doctor of Philosophy
Advances in technology do not always consider how they affect group interactions, and the resulting tensions for marginal and underrepresented groups and contexts. As more technological advances focus on these contexts and communities, it is important to consider, identify, and examine these tensions and their effect on communities. We use stories from different communities as avenues for understanding technological impact, and as guides for the design of equitable and resilient tools and technologies. Stories are accessible, universal, and powerful. They guide the design of the Respectful Space for technology typology that I describe in this dissertation. Stories also allow for a combination of different areas of research: we can use Human Computer Interaction (HCI) to understand the impact of technology on human behavior, parse human language with Natural Language Processing (NLP), understand patterns in storytelling with machine learning, and leverage theories from social sciences to understand how people think, how they organize themselves, and how this translates to online spaces. I present three studies in this dissertation whose broad aims are to elicit guidelines for designing respectful technologies, and to guide our design approach for underrepresented contexts based on stories from these spaces. Using the respectful approach as a scaffold, I then give context to other research domains: informing the design of tools to amplify other communities to tell their own stories offline and online, and, more broadly, in providing spaces to query how these techniques offer key opportunities to understand other emerging and growing areas in computer science including ethics, and fairness and accountability in algorithm design.
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Adolph, Jessie Prahlad Anand. "Time-binding in African American verbal art as a salve for post-traumatic slave syndrome." Diss., Columbia, Mo. : University of Missouri-Columbia, 2009. http://hdl.handle.net/10355/6711.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 26, 2010) Thesis advisor: Dr. Anand Prahlad. Includes bibliographical references.
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Duburch, Arnaud. "L'information sur la coopération et l'éducation au développement en France : 1960-1981 caractères généraux : "griots et millénaristes"." Bordeaux 1, 1986. http://www.theses.fr/1986BOR1D315.
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Dans le cadre de la france et de la periode 1960-1981, ce travail se veut un bilan critique des actions de sensibilisation de l'opinion publique a la cooperation internationale. L'inventaire est dresse acteur par acteur : organisation internationales (systeme des nations-unies, communaute economique europeenne, ocde), pouvoirs publics francais (presidents de la republique, ministeres, universites et monde scolaire), eglise et organisations non gouvernementales, presse enfin. Il revele que non seulement chaque intervenant dans cette entreprise de persuasion sociale a diffuse un message a la fois incomplet et ambigu, mais encore que tous ces messages se sont souvent juxtaposes et non completes, traduisant des luttes d'influence et des visions differentes du monde plus qu'une reelle volonte de faire converger l'opinion vers un but commun. Pourtant, vingt-cinq ans apres les debuts de la cooperation, les francais, heritiers d'un passe imperial, ne semblent plus remettre en cause le principe meme de cette politique qui est devenue aujourd'hui une donnee fondamentale des relations internationalesThe aim of this thesis is to review in a critical way, action taken in france through 1960-1981, with the objective of developing public concern for cooperation and problems of the third world. An in-depth analysis is conducted organization by organization, starting with the international ones (united nations, eec, oecd), french government and related institutions (state president, ministries, universities, schools, etc. . . ), church and ngo, and, to finish with, the written media. It brings into light how active each of the above mentionned is, in trying to impact public opinion; however, in many cases, this is done incompletely and ambiguously. Furthermore, the abundance of different viewpoints being expressed has stirred perplexity, in so far, it revealed conflicting interest and philosophies amongst organizations, and the lack of a common goal. Despite this rather confusing situation and given the imperial past of france, cooperation which started 25 years ago, is a widely and well accepted idea, in the french public opinion, as a basis for international relations
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Cherif, Alhassane. "Les Manding de Guinée sont structurés par la parole : - Vie, maladie et philosophie de la mort - paroles de fondation et paroles de guérison." Paris 7, 2001. http://www.theses.fr/2001PA070088.
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Les griots de Guinée énoncent : "Au début de la création du monde, il y avait la parole ; au milieu de la création, il y a encore la parole et à la fin il y aura toujours la parole". Nous nous apercevons donc que de tout temps, la parole a été le réceptacle de l'homme mandingue. Dès sa naissance, il s'est nourri de la parole. Elle l'a rempli et a assisté ses pas initiatiques. Elle l'a structurée pour sa maturation et a guidé sa vie sociale. A la mort de l'homme mandingue, la parole contribuera à l'élaboration du travail de deuil à faire auprès du groupe familial et social. La parole s'inscrit par conséquent dans le code ethnique pour l'aider à exister et à faire exister les autresGuinean griots state: "In the beginning of the world creation there was the word and the end there will always be the word". Thus we notice that all times, the word has been the Manding man's receptacle. From his birth, he has been nourished by the word. He has been filled by the word and his initiatory paths have been marked by it. He has been structured by it during his maturation and it has lead his social life. At the Manding man's death, the word contributes to elaborate the social and kinship group's morning work. Consequently the word supports the ethnic code to exist and so to make the others exist
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Öryd, Helena. "Traditional Music in the Gambia : the role of traditional musicians in a society of change." Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-3075.
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The aim of this research is to find out more about traditional music in Gambian society, to get a wider view of the tradition and what is happening to traditional music in a modern society. Furthermore, I want to find out if the informers consider that the traditional music is fading away from the society and if, in that case, any actions are being taken to preserve the tradition. The research question is: How do the traditional masters in the Gambia consider the role of traditional musicians in a modern society?
The research method consists of making observations at Maali’s Music School and in the E.C.C.O cultural camps in Njawara and Berefet, and interviews with traditional masters of different tribes.
The results of the interviews show that the informers consider that the traditional music is ‘fading away’ from the society, that the role of traditional music in the society is changing and that there is no great support or protection for traditional music in the Gambia. Documentation of the music and interviews made by researchers from abroad often ends up in Europe and is seldom returned back to the informers. With regard to things that could be done to keep traditional music alive, the informers give the examples of building schools for teaching the tradition, teaching traditional songs in the ordinary schools and finding places for traditional masters to gather, where they can discuss, teach and play together.
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Soares, Tânia Cristina de Sousa. "As múltiplas vozes de Ananse: reflexões sobre a voz no processo criativo de uma atriz inspirada nos griots." Escola de Teatro, 2012. http://repositorio.ufba.br/ri/handle/ri/27302.
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Esta pesquisa teórico-prática traz reflexões acerca do uso da voz do ator a partir do processo criativo do monólogo “Na Teia de Ananse” inspirado nos contadores de história de matriz africana, os griots, onde inventa-se uma contadora de histórias a partir de procedimentos de criação e de encenação. A dissertação que resultou num exercício de encenação, aborda os meios e modos de atuação utilizados pela atriz Tânia Soares para compor personagens a partir das múltiplas vozes do contador de histórias da tradição oral. Os procedimentos apontados, dialogam intensamente com a pesquisa de Rafael Morais de Souza, intitulado “Na Teia de Ananse: Um Griot no Teatro e sua Trama de Narrativas de Matriz Africana”, do Mestrado em Artes Cênicas da UFBA. O uso expressivo da voz, as experiências vividas, a utilização de improvisação, emoção e memória, a interação com o público, corroboram para o processo criativo e a escrita do texto, revelando a importância do trabalho vocal do intérprete como mobilizador para a construção dramática. As referências bibliográficas destacam diversos autores que abordam as áreas de teatro, cultura e mitologias africanas e afro-brasileiras, memória, improvisação teatral e técnica vocal.
This research provides theoretical and practical reflections on the use of voice actor from the creative process of the monologue "The Web of Ananse" inspired by the storytellers of African origin, the griots, the invention where a storyteller from procedures creation and staging. The dissertation which resulted in a scenario exercise, discusses the ways and means of action used by actress Tânia Soares to compose characters from the multiple voices of the storyteller's oral tradition. The procedures mentioned, intense dialogue with the research of Rafael Morais de Souza, entitled "The Web of Ananse: A Griot Theatre and its Plot Narratives of African Matrix", the Master of Performing Arts of the university. The expressive use of voice, the experiences, the use of improvisation, emotion and memory, the interaction with the public, serve to support the creative process and writing the text, revealing the importance of the vocal work of the interpreter as a mobilizer for dramatic construction. The references highlight several authors that address the areas of theater, culture and mythology african and African-Brazilian, memory, theatrical improvisation and vocal technique.
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Rodrigues, Ricardo Alexandre Ribeiro [UNESP]. "Busca de princípios para uma atuação a partir de estudos sobre o griots africanos e os jograis medievais europeus." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/86874.
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rodrigues_rar_me_ia.pdf: 2525904 bytes, checksum: c078657582925e381eb600de7d6abc9e (MD5)Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Esta pesquisa parte de algumas experiências cênicas no trabalho com canções, poemas e histórias, que despertaram questionamentos sobre um tipo de atuação que integra aspectos do ofício do ator, do músico, do contador ou cantador de histórias e do recitador de poemas. Tais questionamentos levaram-me a pesquisar determinados princípios éticos e estéticos presentes na atuação dos griots africanos e dos jograis medievais europeus, dentre os quais destaco: um fazer artístico mais autônomo e menos fragmentado em funções como as de dramaturgo, intérprete e encenador; a integração entre teatro, música e literatura; o trabalho sobre memórias e imaginários a partir de repertórios poéticos, narrativos e musicais; a itinerância; a intervenção em espaços públicos e de convívio comunitário; e a possibilidade de um diálogo mais próximo, direto, com o público. Os princípios destacados desse estudo teórico foram vivenciados em duas etapas práticas, resultando em criações e intervenções cênicas apresentadas de forma itinerante em São Paulo, Minas Gerais e no Chile. Essas experiências foram registradas por meio de um diário de bordo e de recursos audiovisuais, e posteriormente sistematizadas. A relação entre teoria e prática mostrou-se extremamente dinâmica: por um lado, a teoria ofereceu princípios para a prática, contribuindo também para sua sistematização; por sua vez, a prática possibilitou uma elaboração teórica que integra aspectos racionais, sensoriais e afetivos, ou seja, preenchida pelas marcas da experiência. Nesse processo, o sentido do termo “atuação” foi sendo ampliado para além de uma presença cênica, referindo-se à presença do artista na sociedade, ao conjunto de interações que estabelece em seus caminhos, à sua intervenção no mundo
Esta investigación se inició a partir de algunos experimentos escénicos con canciones, poemas y historias, que han levantado algunas preguntas acerca de un tipo de actuación que incorpora aspectos del oficio del actor, del músico, del cuenta cuentos o cantante de historias y el recitador de poemas. Estas preguntas despertaran mi interés acerca de ciertos aspectos éticos y estéticos en la actuación de los griots africanos y de los juglares de la Europa medieval, entre los que subrayo: una manera de trabajar más autónoma y menos fragmentada en funciones tales como dramaturgo, actor y director; la integración entre teatro, música y literatura; el trabajo con memorias y imaginarios, a partir de repertorios narrativos, poéticos y musicales; la itinerancia; la intervención en espacios públicos y de la vida comunitaria; y la posibilidad de un diálogo más estrecho y directo con el público. Los principios subrayados en este estudio teórico se experimentaron en dos etapas prácticas, generando creaciones e intervenciones presentadas en una gira escénica por Sao Paulo, Minas Gerais y Chile. Estas experiencias fueron registradas a través de un libro de registro y recursos audiovisuales, y sistematizadas más adelante. La relación entre la teoría y la práctica fue extremamente dinámica: por un lado, la teoría ofreció principios a la práctica y contribuyó a su sistematización; a su vez, la práctica permitió una elaboración teórica que integra aspectos racionales, sensoriales y afectivos, es decir, completada por las marcas de la experiencia. En este proceso, el sentido del término actuación se amplía más allá de una presencia escénica, refiriéndose a la presencia del artista en la sociedad, el conjunto de interacciones que establece en sus caminos, su intervención en el mundo
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Rodrigues, Ricardo Alexandre Ribeiro. "Busca de princípios para uma atuação a partir de estudos sobre o griots africanos e os jograis medievais europeus /." São Paulo : [s.n.], 2011. http://hdl.handle.net/11449/86874.
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Orientador: Berenice Albuquerque Raulino de OliveiraBanca: Marcos Aurélio Bulhões Martins
Banca: José Manuel L. de Ortecho Ramirez
Resumo: Esta pesquisa parte de algumas experiências cênicas no trabalho com canções, poemas e histórias, que despertaram questionamentos sobre um tipo de atuação que integra aspectos do ofício do ator, do músico, do contador ou cantador de histórias e do recitador de poemas. Tais questionamentos levaram-me a pesquisar determinados princípios éticos e estéticos presentes na atuação dos griots africanos e dos jograis medievais europeus, dentre os quais destaco: um fazer artístico mais autônomo e menos fragmentado em funções como as de dramaturgo, intérprete e encenador; a integração entre teatro, música e literatura; o trabalho sobre memórias e imaginários a partir de repertórios poéticos, narrativos e musicais; a itinerância; a intervenção em espaços públicos e de convívio comunitário; e a possibilidade de um diálogo mais próximo, direto, com o público. Os princípios destacados desse estudo teórico foram vivenciados em duas etapas práticas, resultando em criações e intervenções cênicas apresentadas de forma itinerante em São Paulo, Minas Gerais e no Chile. Essas experiências foram registradas por meio de um diário de bordo e de recursos audiovisuais, e posteriormente sistematizadas. A relação entre teoria e prática mostrou-se extremamente dinâmica: por um lado, a teoria ofereceu princípios para a prática, contribuindo também para sua sistematização; por sua vez, a prática possibilitou uma elaboração teórica que integra aspectos racionais, sensoriais e afetivos, ou seja, preenchida pelas marcas da experiência. Nesse processo, o sentido do termo "atuação" foi sendo ampliado para além de uma presença cênica, referindo-se à presença do artista na sociedade, ao conjunto de interações que estabelece em seus caminhos, à sua intervenção no mundo
Resumen: Esta investigación se inició a partir de algunos experimentos escénicos con canciones, poemas y historias, que han levantado algunas preguntas acerca de un tipo de actuación que incorpora aspectos del oficio del actor, del músico, del cuenta cuentos o cantante de historias y el recitador de poemas. Estas preguntas despertaran mi interés acerca de ciertos aspectos éticos y estéticos en la actuación de los griots africanos y de los juglares de la Europa medieval, entre los que subrayo: una manera de trabajar más autónoma y menos fragmentada en funciones tales como dramaturgo, actor y director; la integración entre teatro, música y literatura; el trabajo con memorias y imaginarios, a partir de repertorios narrativos, poéticos y musicales; la itinerancia; la intervención en espacios públicos y de la vida comunitaria; y la posibilidad de un diálogo más estrecho y directo con el público. Los principios subrayados en este estudio teórico se experimentaron en dos etapas prácticas, generando creaciones e intervenciones presentadas en una gira escénica por Sao Paulo, Minas Gerais y Chile. Estas experiencias fueron registradas a través de un libro de registro y recursos audiovisuales, y sistematizadas más adelante. La relación entre la teoría y la práctica fue extremamente dinámica: por un lado, la teoría ofreció principios a la práctica y contribuyó a su sistematización; a su vez, la práctica permitió una elaboración teórica que integra aspectos racionales, sensoriales y afectivos, es decir, completada por las marcas de la experiencia. En este proceso, el sentido del término "actuación" se amplía más allá de una presencia escénica, refiriéndose a la presencia del artista en la sociedad, el conjunto de interacciones que establece en sus caminos, su intervención en el mundo
Mestre
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Pacini, Henrique Ferreira. "O silêncio de griot: as representações da escravidão africana nas aulas de história no ensino fundamental." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-30032017-160359/.
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A presente dissertação tem como objetivo analisar de que maneira a escravidão africana é representada nas aulas e materiais didáticos utilizados no Ensino Fundamental. O enfoque do trabalho parte da hipótese de que as aulas de História, estruturadas a partir de uma concepção ocidental de viés liberal da periodização histórica, dificultam a introdução de enfoques narrativos alternativos que valorizem a cultura e a população afro-brasileira, mantendo uma visão negativa sobre a população negra, principalmente por meio da forma como ocorre o ensino sobre a escravidão africana. A pesquisa teve sua fundamentação teórica baseada no conceito gramsciano de hegemonia - da maneira que foi apropriado pelos Estudos Culturais britânicos - e pelo conceito de consciência histórica formulado pela Teoria da História, de Jörn Rüsen. Os dados empíricos foram coletados em duas escolas públicas da cidade de São Paulo - uma da rede estadual e outra da rede municipal por meio de pesquisa etnográfica nas salas de aula, questionários e entrevistas. Também foram analisados as diretrizes disciplinares de História das duas redes de ensino e os materiais didáticos utilizados por professores e estudantes. Após a pesquisa, concluiu-se que a narrativa histórica sobre a escravidão ensinada nas escolas, dentro de uma periodização ocidental com viés liberal, implica na construção de uma identidade afro-brasileira carregada de negatividade, fator que dificulta a ressignificação das relações étnico-raciais dentro das estratégias propostas pela Lei Federal 10.639/2003.This dissertation aims to analyze in what manner African slavery is represented in classes and teaching materials used in elementary school. The work focus rests on the assumption that History classes, structured on a liberal bias Western conception of historical periodization, hinder the introduction of alternative narrative approaches that value the culture and africanBrazilian population, maintaining a negative outlook on the black population, specially by the manner of teaching African slavery. The research had its theoretical foundation based in the Gramscian concept of hegemony in the way it was adopted by the British Cultural Studies - and in the concept of historical consciousness formulated in the Theory of History, by Jörn Rüsen. Empirical data were collected in two public schools in the city of São Paulo - one of the state government and the other of the municipal network - through ethnographic research in classrooms, questionnaires and interviews. Guidelines for History teaching and class materials used by teachers and students of both school systems were also analyzed. After research it was concluded that the historical narrative about slavery taught in schools, within a Western periodization with liberal bias, implies the construction of an african-Brazilian identity laden with negativity, which hampers the reframing of ethnic-racial relations within the strategies proposed by federal law 10.639 / 2003.
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Souza, Rafael Morais de. "Na Teia de Ananse: um griot no teatro e sua trama de narrativas de matriz africana." reponame:Repositório Institucional da UFBA, 2013. http://www.repositorio.ufba.br/ri/handle/ri/9435.
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Discute-se o processo criativo do ator na construção de uma trama de narrativas de matriz africana inspirada em referências dos griots – narradores tradicionais da África Sub-Saariana. A pesquisa qualitativa, analítico-descritiva, aborda determinados procedimentos técnico-metodológicos do ofício do ator, aliados às competências do palhaço, da improvisação teatral, e alguns elementos e princípios da tradição oral africana que me mobilizaram a elaborar uma teia dramática constituída de contos e mitos afro-brasileiros. Apresenta-se, então, o estudo das relações entre determinados cronistas tradicionais da África: os griots ou dielis da tradição bambara, com a atitude de reinvenção das histórias de matriz africana na Bahia, e, com os narradores afrobaianos, comumente identificados como griôs na Bahia e no Brasil; para, a partir daí, elaborar um processo de criação de um tecido narrativo inspirado em referências dos narradores africanos, denominado Teia de Ananse. Portanto, o personagem narrador abordado no exercício de criação integrante da presente pesquisa, responsável pela constituição de uma trama de narrativas da tradição oral de origem africana e afrobrasileira, é uma recriação, no campo teatral, dos narradores tradicionais africanos – griots. Assim, apesar de permitir aproximações, revelam-se características distintas entre o ofício do griot tradicional e o do ator no presente processo criativo. Considera, também, a função do griot de alinhavar poeticamente os diversos elementos que constituem a cena, a partir de seu poder de impulsionar e mobilizar variados rudimentos convergentes para uma concepção cênica organizada e coordenada pelo próprio ator. Trata-se, portanto, de uma metodologia em constante desenvolvimento por mim em processos de encenação de narrativas, de composição de desempenho - na qual o personagem narrador assimila características do próprio ator que o cria -, bem como, de criação de tramas narrativas a partir de histórias tradicionais e experiências de vida deste ator, o qual pode ainda desempenhar os diversos personagens das narrativas, como por exemplo, o personagem que protagoniza a teia de narrativas resultante do estudo em questão: o lendário Ananse.
Universidade Federal da Bahia. Escola de Dança/ Escola de Teatro. Salvador-Ba, 2011.
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Niang, Hadja. "Littérature et cinéma africains dans le champ de création de Sembene Ousmane : la source des adaptations." Thesis, Paris Est, 2009. http://www.theses.fr/2009PEST0007.
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Guelwaar, à l’opposé des autres œuvres de Sembène Ousmane – dont les films sont tirés de nouvelles et de romans- a suivi le sens inverse du schéma classique de l’adaptation en ce qu’il est un film devenu roman. Une telle particularité fait que notre travail suit deux parcours : de l’écrit à l’écran et de l’écran à l’écrit. La fonction narrative de Sembène qui représente dans l’écriture l’art du conte africain constitue le point commun entre un bon nombre de travaux sur l’œuvre littéraire et filmique de Sembène Ousmane. A partant du narratif pris en charge par le « griot-conteur », notre étude tient à montrer que le langage de l’œuvre de Sembène n’est pas seulement narratif, il est aussi « monstratif » et surtout visuel, lequel langage occupe une part importante dans la lecture du livre et du film de Sembène OusmaneGuelwaar, contrary to other works of Sembène Ousmane - Films of which are pulled by news and by novels, followed the inverse sense of the classic plan of the adaptation in the fact that it is a film become novel. Such a peculiarity makes that our work follows two courses: of the paper in the screen and the screen to the paper.The narrative function of Sembène which represents in the writing the art of the African tale constitutes the common point enter a good many of works on the literary and cinematic work of Sembène Ousmane. In leaving of narrative taken care by the "griot-storyteller", our study is anxious to show that the language of the work of Sembène is not only narrative,He is also " monstratif " and especially visual, who language occupies an important part in the reading of the book and the film of Sembène Ousmane
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Ayibatin, Alphadio Modesto. "L'influence du griot et des médias dans le processus démocratique : le cas du Bénin et de la Guinée." Thesis, Paris 2, 2015. http://www.theses.fr/2015PA020068.
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Tout au long de notre recherche, nous avons prouvé que le griot est celui qui parvient à remonter le cours du temps par la parole. Ce qui permet aux historiens de refaire l’histoire du continent africain restée longtemps dans l’oralité. Cette communication orale portée par le griot requiert un manque d’objectivité mais a tout de même une importance capitale dans la société africaine. Tout comme les médias rapportent des faits, le griot, grâce à sa maîtrise de la parole et par le truchement des éléments expressifs et les instruments de musique publie lui aussi les faits marquants sa cité et parvient ainsi à participer au processus démocratique de la Guinée. Prenant de plus en plus en charge le commentaire politique, le griot marie l’histoire pour produire de l’idéologie, en établissant une continuité historique conforme au présent. Le griot n’hésite pas à s’inclure dans la peau des personnages, à louanger les promesses du chef pour lequel il travaille. Exactement comme le font les médias africains qui ont eux aussi tendance à louanger les acteurs politiques. L’humour du griot dans les critiques faites contre les politiques, contribue au processus démocratique. Mais la conception de la liberté des médias, est un objectif à atteindre en Afrique, pour aider son développement durable. Force est de reconnaître que le concept de la liberté des médias est constitutionnalisé en Guinée et au Bénin, dans le but d’une perspective de volonté de changement de la culture des médias mais n’est pas totalement garantie. Au Bénin comme en Guinée, la crainte est toujours palpable chez les citoyens qui veulent faire valoir leurs droits. Surtout le Bénin qui se veut un modèle et qui avait suscité l’admiration des grandes démocraties entre 1990 et 2006 et fait des émules partout en Afrique est tombé de son piédestal. Malgré une relative longue pratique de la démocratie libérale et pluraliste, des inquiétudes pèsent sur l’évolution de la vie politique et des médias dans ces pays. Les manifestations pacifiques organisées pour dénoncer les dérives du pouvoir et exiger le respect des libertés démocratiques, sont violemment dispersées par les forces de l’ordre. Sur des dossiers sensibles, les citoyens ont peur de s’exprimer. Même rassurés, ils craignent des représailles des forces de l’ordreThroughout our research, we proved that the griot is the one who manages to travel back in time through speech. This allows historians to rewrite the history of the African continent remained long in orality. This oral communication carried by the griot requires a lack of objectivity but still has major importance in African society. Just as the media report the facts, the griot, thanks to his mastery of speech and through expressive elements and musical instruments published also highlights his city and thus able to participate in the democratic process in Guinea. Taking more care of political commentary, the griot marries history to produce ideology, establishing a historical continuity in conformity with this. The griot does not hesitate to include in the skin of the characters, to praise the chef's promises for which he works. Exactly as do African media also tend to praise the political actors. The humor of the griot in criticism against the policies, contributes to the democratic process. But the concept of media freedom is a goal in Africa, to help its sustainable development. We must recognize that the concept of media freedom is constitutionalized in Guinea and Benin, to a change of perspective of the culture of media will but is not completely guaranteed. In Benin, as in Guinea, the fear is still palpable among citizens who want to exercise their rights. Especially the Benin which wants a model and had the admiration of the great democracies between 1990 and 2006 is emulated across Africa has fallen from its pedestal. Despite relative long practice of liberal and pluralist democracy, concerns weigh on the evolution of politics and media in those countries. The peaceful demonstrations to denounce the abuses of power and demand respect for democratic freedoms were violently dispersed by security forces. On sensitive issues, citizens are afraid to express themselves. Even reassured, they fear reprisals from security forces
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Pereira, Patrícia da Silva. "Griot-educador : a pedagogia ancestral negro-africana e as infâncias, em um espaço de cultura afro-gaúcha." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/134701.
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A pesquisa apresentada nesta Dissertação de Mestrado investiga o modo de produção de novos Griot’s, a partir de atividades afrocentradas, realizadas com crianças participantes das Oficinas “Semeando a História”, na ONG AfroSul/Òḍ óṃ ọdé, na cidade de Porto Alegre/RS. Através da perspectiva com uma inspiração pós-estruturalista e da metodologia de pesquisas com crianças, concebi-as como parceiras nesta pesquisa, buscando seus aceites expressos em palavras e atitudes, bem como dos Griot’s e demais participantes do local. Investigo como os modos de ser Griot influi diretamente nas atividades, nos discursos, nas relações entre as crianças, e destas com os adultos, subjetivando-as num modo de ser criança e de viver suas infâncias diferenciado e afrocentrado. Discuto os diferentes modos de ser criança ao longo da história e como a formação étnico-cultural da população brasileira fundamenta tais diferenças e as caracteriza. Constituo o modo de ser afro-gaúcho, um afrobrasileiro produzido a partir da convivência e das relações instituídas no espaço geográfico do estado do Rio Grande do Sul, a partir das diferentes etnias historicamente aqui residentes Evidencio as diversas atividades propostas às crianças, a partir das conversas, de uma oralidade basilar, que entremeia as propostas, e materializa as aprendizagens em outras formas de representações. Nestas infâncias múltiplas, e suas contribuições na produção destes novos sujeitos, crianças que percebem o mundo em sua diversidade e multiplicidade cultural e étnicorracial, encerra-se o desejo de ampliação das ações pensadas e planejadas para a manutenção das culturas ancestrais negro-africanas, afrobrasileiras e afro-gaúchas, potencializando a continuidade das tradições, em especial, da tradição dos Mestres dos Saberes e da Pedagogia Griot. Relato esta experiência vivida a partir de minhas experiências em família afrocentrada, num modo de ser partícipe da aprendizagem neste espaço de Pesquisa, num processo holístico da construção deste relato de si e do outro que estes Mestres dos Saberes utilizam para ensinar.The research presented in this Master's Dissertation investigates the Griot's new mode of production, from african-centred activities carried out with children participated in the workshops "Sowing History" in AfroSul/Ọdọmọdé NGO in the city of Porto Alegre / RS. Through the perspective with a poststructuralist inspiration and research methodology with children, conceived them as partners in this research, seeking their accepted expressed in words and actions, as well as the Griot's and other participants of the site. Investigate how the ways of being Griot directly influences the activities, in speeches, in relations between the children, and those with adults, subjectively them in a way to be a child and to live their differentiated and african-centred childhoods. Discuss the different ways of being child throughout history and how the ethnic and cultural background of the population bases such differences and features Consisting how to be african-gaucho, one Afro-Brazilian produced from living and relationships established in the geographical area of the Rio Grande do Sul state, from different ethnic groups historically living here. Made evident the various activities proposed to children from the conversation, a basic orality, which intersperses the proposals, and the learning embodied in other forms of representations. These multiple childhoods, and their contributions to the production of these new subjects, children who perceive the world in its diversity and cultural and étnicorracial multiplicity, closes the desire for expansion of thought and planned actions for the maintenance of black-African ancestral cultures, Afrobrazilian and african-gaucho, enhancing the continuity of traditions, in particular the tradition of the Masters of Knowledge and Griot Education. Report this lived experience from my experiences in afrocentrada family, a way of being a participant of learning in this search space, a holistic process of building this story of self and other that these Masters of Knowledge use to teach.
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Diop, Samba. "The oral history and literature of the Wolof people of Waalo, Northern Senegal : the master of the word (Griot) in the Wolof tradition /." Lewiston (N.Y.) ; Queenston (Ont.) ; Lampeter (G.B.) : E. Mellen press, 1995. http://catalogue.bnf.fr/ark:/12148/cb377512560.
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Amoa, Urbain. "Poétique de la poésie des tambours /." Paris ; Budapest ; Torino : l'Harmattan, 2002. http://catalogue.bnf.fr/ark:/12148/cb38937590h.
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Extr. de: Th. État--Lett.--Ouagadougou--Université de Ouagadougou, 1999. Titre de soutenance : Texanalyse du discours poétique du Moyen âge aux temps modernes : le cas du langage tambouriné (pour une didactique de la lecture du texte poétique).Bibliogr. p. 335-349.
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Grosskreutz, Béatrice. "Le personnage de l'ancien dans le roman sénégalais et malien de l'époque coloniale : un élément de continuité culturelle dans un univers ébranlé /." Frankfurt : Verl. für interkulturelle Kommunication, 1993. http://catalogue.bnf.fr/ark:/12148/cb376681015.
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Pambo, Pambo N'diaye Ange Gaël. "Le réalisme magique dans les romans de Toni Morrison." Paris 8, 2009. http://octaviana.fr/document/176303057#?c=0&m=0&s=0&cv=0.
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La thèse a pour but d’explorer, dans l’œuvre de Toni Morrison, le réalisme magique en tant que mode d’expression de l’africanité. La présente étude tente faire le lien entre le régime narratif choisi et ce qu’il propose comme modes de représentation du monde africain. Ainsi, tout en mettant en question la vraisemblance d’un point de vue théorique on aborde la spécificité du style. Dans les formes d’expression orales, la présence des animaux, des ancêtres et des fantômes laisse transparaître un système de perception fondé sur le totem. Cette image rappelle l’origine et nourrit l’imaginaire. Les représentations de la danse ou les expressions du corps s’associent au culte du vaudou. Les guérisseurs et les oracles attachés à l’univers forestier, lieu de sacrifice et d’initiation, permettent de comprendre la signification des certaines représentations, telles que les infanticides. Ces figures donnent également une lecture de l’image de l’arbre comme étant la métaphore de la palabre, du pouvoir portée par le griot. En effet, établir l'africanité comme l'expression même du réalisme magique dans les romans de Toni Morrison reviendrait à rendre compte d'une conscience à la fois historique, culturelle et politiqueThe aim of this dissertation is to examine magic realism in Toni Morrison’s novels as the expression of africanity. Showing the link between the chosen narrative mode and the representations of the African world, the questioning of the concept of likelihood from a theoretical standpoint reveals the specificity of a style. Through oral forms of expression, the presence of animals, ancestors, and ghosts unveils a cultural system of perception in which totems bring back to the memory of the origin enriching the imagery. Dances or the expressions of the body are associated with the cult of voodoo. Through the description of traditional healers and oracles in forests, places of sacrifice and initiation, comes the significance or the motivation of characters committing infanticides. It also leads to the apprehension of the image of a tree as the metaphor of the power of speech epitomized by the griot. In fact, establishing africanity as the expression of magic realism in Toni Morrison’s novels would finally lead to deal with the historical, cultural and political consciousness
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Fall, Moussa Balla. "Histoire coloniale et postcoloniale de l’Afrique de l’Ouest à travers les figures du griot dans les films d’Ousmane Sembène." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/799.
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My thesis examines the figure of the griot in five films of the Senegalese writer and film director, Ousmane Sembène, widely considered to be the "Father of African Cinema." I reevaluate the figure of the griot in Sembène‟s works from the vital place played by history. I focus on the use of the griot by Sembène to rewrite sub-Saharan African history. I compare Sembène‟s representation of history with the modern historical criteria laid out by Paul Ricoeur, Michel de Certeau and Pierre Nora. The central claim of my dissertation is that the griot should be contextualized as a historical figure that interprets memory and influences the perception of the past rather than as a mere literary and cinematic device. Current scholarship on Sembène privileges the Western interpretation of the griot, that is, the narrative aspect-the storyteller-over the more nuanced position the griot traditionally holds in West African societies.
In an oral traditional culture, the griot holds a place of honor and power because of his role as a chronicler, storyteller, educator, advisor, spokesperson, historian, genealogist and guardian of traditions, history and culture. The griot knew the history of the kingdom, its foundation and the various ethnicities and communities which constituted it, as well as the history of each group. As the living receptacle of history, he had the ability to shape and influence the memories of his community, and its perception of the past. The historical aspect of the griot figure provides an unparalleled opportunity to free Sembène works from classical themes such as Marxism, Panafricanism and the father of African cinemas as well as to contribute to the debate between history and memory from a West African perspective. In order to analyze the representation of history through the figure of the griot in Sembene‟s films, I have chosen to study five films of Sembène: Black Girl (1966), Emitai (1971), Ceddo (1977), Guelwaar (1992), and Camp de Thiaroye (1987) which depict distinct periods (pre-colonial, colonial, and post-colonial) in West African history.
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Kouyaté, Mamadou. "La variabilité dans quatre versions de l’épopée mandingue." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30003/document.
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Cette thèse a pour objet la variabilité dans la réécriture de quatre versions de l’épopée mandingue. En se référant à la comparaison différentielle initiée par Ute Heidmann (2005) qui défend une approche des textes non-hiérarchisant, cette thèse se propose de mettre en évidence les indices de variabilité dans la diversité de leurs formes textuelles. Ceux-ci sont générés par différentes sources énonciatives dont notamment la figure du griot qui représente différemment les personnages, la description de certains faits historiques et de la nature, mettant en scène selon son gré des joutes oratoires. Enfin, les indices de variabilité concernent les différentes éditions du même texte patrimonial de la littérature mandingue. Sur la base du corpus, cette étude explore les variables qui constituent des lieux de mouvance du texte induisant des glissements de sens dus parfois à la rivalité entre griots, auteurs des performancesThis thesis is to variability in rewriting four versions of the Mandingo epic. By referring to comparison differential initiated by Ute Heidmann (2005) who defend an approach to no-hierachizing texts, this thesis proposes to put an evidence variability indices in the diversity of their textual forms. These are generated by different enunciative sources including the figure of the griot representing different characters, the description of some historical facts and nature, featuring as it sees fit cut and thrust. Finally, the variability indices refer to the different editions of the same text of the Mandinka heritage literature. Based on the corpus, this study explores the variables that represent editorial movement places inducing shifts in meaning sometimes due the rivalry between the griots, authors of the performance
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Diawara, Mamadou. "L'empire du verbe et l'éloquence du silence : vers une anthropologie du discours dans les groupes dits dominés au Sahel /." Köln : R. Köppe, 2003. http://catalogue.bnf.fr/ark:/12148/cb41077747b.
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Marques, Nara Eliza. "De Chocolat : um Griot à brasileira: o mais puro cacau da Bahia contando histórias na República do Café com Leite /." Araraquara, 2020. http://hdl.handle.net/11449/192553.
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Orientador: Dagoberto José FonsecaResumo: O final do século XIX e o começo do século XX é um período de intensa e diversa produção cultural decorrente das sucessivas mudanças que aconteciam não só no Brasil, mas em todo o mundo. Havia um processo de construção e afirmação de identidades e de reconstrução de hierarquias sociais que haviam ruído com a abolição do escravismo. Muitos desses movimentos culturais, principalmente os de agência de negros libertos, sofreram sucessivas tentativas de apagamento por terem caráter popular, ou seja, não se enquadrarem em um modelo europeu-ocidental reformador de costumes. É de um desses movimentos, mais especificamente de uma figura atuante na cena cultural do início do século XX que essa pesquisa irá erguer a voz. O nome artístico dele era De Chocolat, fundador da primeira companhia de teatro do Brasil composta apenas por negros, a Companhia Negra de Revista. Ele produz um teatro com uma importante função social. Utiliza-se de ferramentas populares como a música, a oralidade, a dança, os improvisos, os chistes, as anedotas para fazer críticas à sociedade da época. Essa dissertação terá como elemento central o fac-símile da primeira peça encenada por De Chocolat e sua companhia, intitulada “Tudo Preto”. É através desse material que será visto, que assim como um griot africano – que são intermediadores sociais e guardadores das histórias de seu povo – De Chocolat usará as populares Revistas Teatrais para contar a história da construção da identidade negra no Brasil tangenciando ass... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The end of the nineteenth century and the beginning of the twentieth century is a period of intense and diverse cultural production resulting from successive changes that took place not only in Brazil, but also around the world. There was a process of building and affirming identities and rebuilding social hierarchies that had broken with the abolition of slavery. Many of these cultural movements, especially those of freed black agencies, have suffered successive attempts to erase because they are popular in nature that is not fitting into a Western-European customs reformer. It is from one of these movements, more specifically of an active figure in the cultural scene of the early twentieth century that this research will raise the voice. His stage name was De Chocolat, founder of Brazil's first black theater company, Black Company of Magazines. He produces a theater with an important social function. It uses popular tools such as music, orality, dance, improvisations, jokes, anecdotes to criticize the society of the time. This dissertation will have as its central element the facsimile of the first play staged by De Chocolat and his company, entitled "All black". It is through this material that he will be seen, as well as an African griot – who are social mediators and keepers of the stories of his people – De Chocolat will use the popular Theatre of Magazines to tell the story of the construction of black identity in Brazil such as black women, racism, religiosity, Brazil... (Complete abstract click electronic access below)
Mestre
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Ashworth, Robin Rison. ""New Media, Oral Histories and the Expansion and Modification of West African Griot Culture: A Case Study of Alhaji Papa Susso"." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/434.
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This dissertation takes the approach of a qualitative case study whose primary subject is Alhaji Papa Susso, a distinct and compelling representative of griot culture, who was born in The Gambia, but who now resides in the U.S., yet maintains his griot identity. The findings from this research provide evidence that the griot, in his quest to support himself abroad while honoring the traditions of his heritage, is actively participating in the purposeful dissemination of griot culture in the U.S. and beyond. Though he may be cultivating genuine interest in his skills and in the oral canon of histories and epic tales that he maintains, he cannot control reception and appropriation of his culture. Further, the findings suggest there is a crosscutting backlash where the influence of technology is concerned, in that, while it provides a means for recording and preserving the griot’s performative art, it also distracts West African youth and diminishes their interest in acquiring and maintaining the tools and instrumentation of their caste-born heritage. The main conclusions drawn from this study suggest the griot feels compelled in many ways to spread his culture beyond the limits of his original, regional seat in order to preserve and promote it, but in doing so, he is changing his culture, and exposing it to audiences who are not sufficiently encultured to apprehend fully its depth and meaning. Furthermore, technology may be a useful tool in preserving the griot’s art in West Africa and abroad, but the static nature of recording robs the griot’s performance of its dynamic, flexible and culturally reflective power. Ultimately, it is the goal of this dissertation to actualize Stake’s (1995) assertion that “the function of research is not necessarily to map and conquer the world but to sophisticate the beholding of it” (p. 43); it is the goal of this dissertation to illuminate and understand, to bear careful witness to a facet of cultural expansion, to a contemporary phenomenon, to a particular, unique and valuable human experience.
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Houlbert, Caroline. "État de la jeliya malinké au Mali et en France et ses conditions modernes d'exercice." Paris 4, 2006. http://www.theses.fr/2005PA040178.
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Depuis le choc de la colonisation, le "triomphe" des valeurs occidentales oblige les griots malinké d'Afrique de l'ouest à se repositionner vis-à-vis d'une société fragmentée qui tend à contester l'utilité des repères traditionnels! Dès lors, se pose la question de leur statut et de leur légitimité. Structurée en deux grands points, cette thèse se propose de déterminer ce qu'il reste aujourd'hui du rôle des griots, non seulement au sein de leur contexte socio-culturel mais également en situation de migration, dans un contexte urbain, changeant et multiculturel. Le premier volet, attentif à saisir les griots dans leur "quotidien" ou "réseau" social traditionnel, est exclusivement réservé à l'étude des griots malinké vivant et "exerçant" au Mali! Le deuxième volet traite quant à lui, de ces griots déracinés, qui, désireux de "tenter leur chance", sont partis à la conquête du monde en général et parisien en particulier!The triumph of occidental values since the shock of colonisation has obliged the Malinke griots of West Africa to reposition themselves in front of a fragmented society that tends to contest the usefulness of traditional values. Thus, the question of their status and legitimacy needs to be raised. This thesis is organised in two main parts and aims to determine the present role of griots today, not only among their original socio-cultural environment but also as migrants, in a changing and multicultural urban environment. The first part intends to analyse Malinke griots who live and "practice" in Mali, in order to understand them in their everyday traditional environment. The second part discusses the "uprooted" griots of Paris in particular who have decided to conquest the world
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Baumgardt, Ursula. "Représentations de la femme dans la société précoloniale de l'Aadamaawa (Nord-Cameroun) : analyse du répertoire d'une conteuse peule de Garoua." Paris, INALCO, 1993. http://www.theses.fr/1993INAL0003.
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Moya, Ismaël. "De l'argent aux valeurs : femmes, économie, parenté et Islam à Thiaroye-sur-Mer, Dakar, Sénégal." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0450.
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A partir d'une analyse de la circulation de l'argent à Thiaroye-sur-Mer, une commune de la banlieue de Dakar, cette thèse montre tout d'abord que l'économie est subordonnée aux systèmes cérémoniel lié à la parenté: à la différence du commerce, les cérémonies féminines de maraiage et de naissance permettent de mobiliser et de synchroniser l'ensemble des relations financières pour honorer les relations de parenté par des prestations et rassemblent ainsi des sommes impossibles à obtenir autrement. Elle établit ensuite, dans ce contexte urbain en apprence atomisé, le rôle structurant de ce système cérémoniel lié au mariage et à la naissance, qui articule la parenté, les cérémonies d'échanges féminins et les rituels musulmans, médiatisés par les griots. Elle démontre ainsi, que la relation hiérarchique entre l'islam et l'action cérémonielle des femmes, bien qu'inexprimée par les acteurs, est un fait de premier ordre qui structure les valeurs de cette société et auquel l'économie est subordonnéeDrawing on an analysis of the circulation of money in Thiaroye-sur-Mer,a popular suburb of Dakar, this thesis shows in the first place that economy is encompassed by the ceremonial system based on kinship relations. Contrary to economic activities, women's ceremonies permit to mobilise simultaneously the entire financial networks in order to honour kinship relations through various prestations, thereby gathering funds that are impossible to raise for any another purpose. For this urban context with its seemingly social atomization, the thesis further reveals the structuring role of the ceremonial system organising marriage and birth, articulating kinship relations, women's exchange ceremonies and Muslim rituals through the mediating agency of the griots. The analysis thus shows that the hierarchical relation between Islam and the ceremonial agency of wiomen, athough not made explicit by the social actors, structures the values of this society and subordinates economy
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PINHEIRO, Cristiano Guedes. "Narrativas de educação e resistência : a prática popular griô." Universidade Federal de Pelotas, 2013. http://repositorio.ufpel.edu.br/handle/ri/1654.
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Previous issue date: 2013-03-27The dissertation Narratives of Education and Resistance: The Griot Popular Practice of Mrs Sirley, addresses the problem of a popular narrative as a process of education and resistance in our days. Based on the methodological assumptions of the case study, participant observation and narrative interview, the research deals with the following issue: can the practice of popular narratives, by means of a specific subject, be perceived as an educational and resistance process? In the context of this discussion, authors like Walter Benjamin, Homi Bhabha and Pedrinho Guareschi are used and read from the perspective of the Critical Pedagogy by Peter McLaren and Henry Giroux. At the end, the practice of storytelling griot is proposed as a process of education and resistance in the framework of a border pedagogy.
A dissertação Narrativas de Educação e Resistência: A Prática Popular Griô de Dona Sirley, problematiza uma prática narrativa popular enquanto processo educativo e de resistência na atualidade. Partindo dos pressupostos metodológicos do estudo de caso, da observação participante e da entrevista narrativa, a pesquisa trabalha com a seguinte questão: a prática das narrativas populares, através de um sujeito específico, pode ser apreendida como processo educativo e de resistência? No contexto dessa discussão são utilizados autores como Walter Benjamin, Homi Bhabha e Pedrinho Guareschi, aproximando-os da perspectiva da Pedagogia Crítica de Peter McLaren e de Henry Giroux. Por fim, propomos a prática da contação de histórias griô, como processo educativo e de resistência nos marcos de uma pedagogia da fronteira.
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Lower, Jonathan Scott. "The American Blues: Men, Myths, and Motifs." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1340154289.
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Diabang, Mamadou. "L’Epopée de Bakari II : approche littéraire de la chronique historique du "Roi perdu" de l’empire médiéval du Mali." Thesis, Limoges, 2015. http://www.theses.fr/2015LIMO0039.
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Cette thèse s’est assigné, comme modalités de recherches de définir les modes spécifiques d’apparition et de fonctionnement de l’épique dans la chronique historique et les chants d’exaltation en l’honneur de l’empereur Bakari II, représenté comme le « découvreur » de l’Amérique avant Colomb. Le texte est une version bilingue composée d’une transcription en langue Mandenka et d’une traduction française. En chantant ses hauts faits, le griot fait l’éloge des qualités héroïques du personnage et la nature des émotions que son audace d’aller à l’assaut des vagues de l’océan Atlantique suscite. A un texte qui se présente sous une apparence simple, une intonation épique est de la sorte attribuée même si on peut le qualifier de « néo épopée ». Certes l’épique s’imposait au regard du choix d’une esthétique d’oralité qui permet de nouer « sans artifice » l’historique, l’héroïque et le merveilleux. On retrouve là, la définition du registre épique et du style noble qui lui est associé dans la rhétorique, et qu’emprunte effectivement l’œuvre. Tout d’abord, nous avons tenté de jeter un regard sur la fondation du Mande, des origines à l’avènement de Soundjata Keïta, fondateur de l’empire et sur la composition sociale et l’organisation politique de l’empire du Mali. Cette thèse confirme, à l’instar d’autres études ethnographiques, que la société mandingue médiévale est organisée autour de trois pôles fortement hiérarchisés, endogamiques et spécialisés: les horon, les nyamakala et les jon. Avant de transcrire en langue malinké, puis les traduire en français les chants-rythmes d’éloge de Fa Bukari, nous avons revisité le cycle épique de Maghan Soundjata qui s’accompagne de la chronique de l’empereur du Mali Aboubakari II. Pour conclure, nous avons abordé les propriétés stylistiques et sémantiques qui s’articulent autour de la figure du poète épique, de la poésie formulaire, de la parole épique, de la rythmique particulière de la parole épique, sans occulter les perspectives de recherches nombreuses qui s’ouvrent dans le champ de la littérature orale, en général et sur l’épopée de Bakari II, en particulier qui contient un pan entier de domaines à explorerThis thesis is assigned, as the terms and conditions of research to define specific modes of appearance and operation of the epic in the historical Chronicle and the songs of exaltation in honour of Emperor Bakari II, represented as the "discoverer" of America before Columbus. The text is a bilingual version consisting of a transcript in Mandinka language and a French translation. Singing its achievements, the griot is the praise of the heroic qualities of the character and nature of the emotions aroused by his daring to go to the onslaught of the waves of the Atlantic Ocean. A text that presents itself as a simple appearance, epic intonation is assigned to it even though it can be called 'neo epic’. Certainly the epic was necessary with regard to the choice of an aesthetic of orality that allows to establish 'unadorned' history, the heroic and wonderful deeds. We have here, the definition of epic registry and noble style associated with it in the rhetoric, which is followed by the work. First of all, we have tried to look on the Foundation of the Mande, from the origins to the advent of Sundiata Keita, founder of the empire and the social composition and the political organization of the Mali Empire. This thesis confirms, along with other ethnographic studies, that medieval Mandingo society is organized around three poles strongly hierarchical, endogamous and specialised: the horon, the nyamakala and the jon. Before transcribing malinke language, then translate them into French songs-rhythms of praise of Fa Bukari, we revisited Maghan Sundiata epic cycle which is accompanied by the Chronicle of the Emperor of Mali, Aboubakari II. To conclude, we discussed stylistic and semantic properties that revolve around the figure of the epic poet, poetry form, epic speech, the special rhythmic of epic speech, without concealing the prospects of many research that open in the field of oral literature, in general and the epic of Bakari II, in particular that contains an entire domain to explore
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Camara, Samba. "Recording Postcolonial Nationhood: Islam and Popular Music in Senegal." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1510780384221502.
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Carovani, Anne M. "Uneigentliche Differenz." Doctoral thesis, Humboldt-Universität zu Berlin, 2019. http://dx.doi.org/10.18452/19768.
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Die Arbeit untersucht Differenzdiskurse zu zwei historischen sozialen Identitäten im Manden (Westafrika) anhand mündlich und schriftlich tradierter Texte unterschiedlicher Sprachen (Bambara, Französisch, Deutsch, Englisch) und Genres (Reisebericht, Preislied (fasa), Epos (maana), Roman, Märchen (nsiirin), Lied (donkili)), die zwischen dem 14. bis 21. Jahrhundert erschienen sind.
Die Differenz von horon, dem Edlen, Freien und jeli, dem 'Handhaber des Wortes' wird dabei höchst unterschiedlich als komplexer Beziehungsmodus diskursiv und performativ hervorgebracht und gestaltet. Als uneigentliche Differenz bildet sie sich unter der Prämisse des Schamprinzips vor allem entlang der jeweils vorgenommenen Zuschreibungen von freigiebigem Renommee-Suchenden und erbittendem Panegyriker.
Die analysierten Texte, die den Zeitraum von Beginn des mittelalterlichen Mali-Reiches bis Mitte des 20. Jahrhunderts als intradiegetisches Setting haben, verhandeln die Differenz entsprechend spezifischer Wirkungsintentionen von einer Außenseiter-Perspektive, z.T. zur Legitimation kolonialer Absichten oder von einer Insider-Perspektive aus, um, teils politisch motiviert, das eigene kulturelle Erbe zu valorisieren oder auch um (historische) Mißstände anzuprangern. Dabei wird die Differenz von jeli und hↄrↄn unterschiedlich ausgestaltet, mit dem horon als Helden (ŋana, cεfarin), König (mansa, faama), Gastgeber (jatigi) und dem jeli als Meisterredner/sänger (ŋaara), Reputations-Verantwortlichen, Klienten des jatigi.
Literatur wie Differenz wird als rhetorischer Ort kreativer Verhandlungen, strategischer (Neu)schöpfungen betrachtet, durch welche die jeweiligen Akteure spezifische Interessen verfolgen und damit variabel an Diskursen und damit an Wirklichkeiten mitgestalten. Jeli und horon verändern sich als literarische Konstruktion in Abhängigkeit von ästhetischen und ideologischen Strategien.The present work examines discourses of difference about two historical social identities in Manden (West Africa) using oral and written literary texts of different languages (Bambara, French, German, English) and genres (travelogue, praise song (fasa), epic (maana), novel, fairy tale, song (dↄnkili)), published between the 14th to the 21st century. The difference between horon, the noble, the free, and jeli, the 'handler of the word', is produced and shaped in a highly differentiated way as a complex mode of relation(ship) in a discursive and performative manner. As an improper difference it is formed under the premise of the principle of shame, especially along the attributions made between the generous rewards seeker and the panegyrical requester. The analysed texts, which have the period from the beginning of the medieval Mali empire to the middle of the 20th century as an intradiegetic setting, negotiate the difference according to specific intended effects from an outsider perspective, eg. for purposes of legitimacy of colonial intentions or from an insider perspective, partly politically motivated, in order to valorise one's own cultural heritage or to denounce (historical) grievances. The difference between jeli and hↄrↄn appears in varying ways, with the horon as hero (ŋana, cεfarin), king (mansa, faama), host (jatigi) and the jeli as master-singer/-orator (ŋaara), reputational entrepreneur, client of a jatigi. Literature and Difference are considered both as a rhetorical place of creative negotiation, of strategic (re)creation, through which the respective actors pursue specific interests and thereby participate in shaping discourses and thus realities. The jeli, who is at the same time performer, narrator and protagonist of many narratives, and the horon, determined by his status and his ethos, change as a literary construction depending on aesthetic and ideological strategies.
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Avila, Alex. "THE BRONX COCKED BACK AND SMOKING MULTIFARIOUS PROSE PERFORMANCE." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/394.
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The Bronx Cocked Back And Smoking is a collection of multifarious prose performances recounting the historical, personal, social, political and cultural constructs of a city birthed by violence. This body of work is accompanied by video, audio, photography, and theatre performance texts. St. Mary’s Housing project, in the Bronx, is the foundation where most of this literary work takes place. The modern day Griot (storyteller) is a Poet, guiding his audience through the social inequalities and disparities that plague St. Mary’s community. The Poet shares personal traumatic insights while simultaneously utilizing writing as a form of survival to the conditions of the Bronx. This multi-platform performance highlights the metaphorical and physical concerns with the cycle of violence. This question is answered through the Poet’s choice by selecting the pen over the gun.
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Dunn, Rhonda Thayer. "Designing a Griotte for the Global Village: Increasing the Evidentiary Value of Oral Histories for Use in Digital Libraries." Thesis, 2011. http://hdl.handle.net/1969.1/ETD-TAMU-2011-08-9711.
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A griotte in West African culture is a female professional storyteller, responsible for preserving a tribe's history and genealogy by relaying its folklore in oral and musical recitations. Similarly, Griotte is an interdisciplinary project that seeks to foster collaboration between tradition bearers, subject experts, and computer specialists in an effort to build high quality digital oral history collections. To accomplish this objective, this project preserves the primary strength of oral history, namely its ability to disclose "our" intangible culture, and addresses its primary criticism, namely its dubious reliability due to reliance on human memory and integrity. For a theoretical foundation and a systematic model, William Moss's work on the evidentiary value of historical sources is employed. Using his work as a conceptual framework, along with Semantic Web technologies (e.g. Topic Maps and ontologies), a demonstrator system is developed to provide digital oral history tools to a "sample" of the target audience(s).
This demonstrator system is evaluated via two methods: 1) a case study conducted to employ the system in the actual building of a digital oral history collection (this step also created sample data for the following assessment), and 2) a survey which involved a task-based evaluation of the demonstrator system. The results of the survey indicate that integrating oral histories with documentary evidence increases the evidentiary value of oral histories. Furthermore, the results imply that individuals are more likely to use oral histories in their work if their evidentiary value is increased. The contributions of this research – primarily in the area of organizing metadata on the World Wide Web – and considerations for future research are also provided.
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Lillo, Kember A. "Of tradition and conversion : a comparative study of two Phuo griottes." Thèse, 2011. http://hdl.handle.net/1866/7106.
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La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).Cette recherche apporte deux contributions importantes à l’étude ethnomusicologique: l’étude de portrait ainsi que l’analyse comparative de la vie et de la musique d’une griotte traditionnelle et d’une griotte convertie au Christianisme au sein de la société Phuo au Burkina Faso. Cette étude comparative fait l’illustration de l’adaptation d’un répertoire rencontrée dans d’autres contextes musico-culturels. Cela comprend non seulement une exploration de la vie et de la musique de la tradition féminine phuo, mais aussi la compréhension du phénomène d’adaptation de la fonction de griotte, ou le rôle de Phuo ‘ƴuo,’ au milieu de l’église Chrétienne évangélique. Nous présentons aussi une brève analyse des deux répertoires ainsi qu’un regard sur les éléments esthétiques et symboliques au cœur des pratiques vocales individuelles.
This research brings two important elements to the study of ethnomusicology: the study and comparative analysis between the life and music of a traditional griotte and a griotte converted to Christianity within the Phuo society of Burkina Faso. It is an illustration of the adaptation of a repertoire which can be comparatively encountered in other musico-cultural contexts. This incorporates not only an exploration into the life and the music of the feminine Phuo tradition, but also an attempt at a deeper understanding of the griotte, or ‘ƴuo,’ role and function within the evangelical Christian church. We also present a brief analysis of both repertoires, as well as look into the aesthetic and symbolic elements within their individual vocal practices.
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Höfs, Carolina Carret. "Griots cosmopolitas : mobilidade e performance de artistas mandingas entre Lisboa e Guiné-Bissau." Doctoral thesis, 2014. http://hdl.handle.net/10451/12136.
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Tese de doutoramento, Antropologia (Antropologia da Etnicidade e do Político), Universidade de Lisboa, Instituto de Ciências Sociais, 2014Griots são detentores de um saber artístico complexo, conhecido como djaliá. Sua arte nasceu junto com o Império do Mande, ainda no século XIII, e desde então, vem sendo praticada por toda a África Ocidental. Os vemos actuarem em cerimónias rituais e religiosas, como baptizados, casamentos, celebrações do aniversário do Profeta e dos seus mortos e do fim do Ramadão, e, também, no que entendem como actuações modernas, realizadas em Centros Culturais, teatros, salas de concerto, bares, monumentos históricos. No trânsito entre Lisboa e lugares remotos da Guiné-Bissau, esses artistas actuam sozinhos e em grupos, obedecendo uma lógica de organização e hierarquia familiar que nos remete para a estrutura da sociedade mandinga, em que a djaliá é conhecida como um ofício especializado e seus artistas como herdeiros desse conhecimento por via de laços de parentesco e relações sociais. No transnacionalismo, casam suas aspirações ao mercado da world music e da arte com funções entendidas como parte do contexto tradicional, actuando como genealogistas, narradores, bardos, conselheiros, historiadores e mediadores. Na tensão entre o exercício de uma arte cravada na tradição e sua inclusão na chamada modernidade, a djaliá é renomeada como afro-mandinga, uma (re)apropriação da música africana criada na diáspora e recriada no seu retorno ao continente africano. É por meio dessa tensão que vemos o carácter cosmopolita desses griots, que incorporam à sua tradição aquilo que pensam necessários para a sobrevivência de sua arte. Na contemporaneidade, o afromandinga é uma enunciação de experiências e realidades que se conectam com um mundo da arte que ultrapassa as fronteiras da Guiné-Bissau ou dos seus países de destino da Europa, se fazendo reconhecível e conectado com o mundo do Mande.
Griots are the owners of the art knowledge, known as djaliá. Their art is born with the Mande Empire, in the 13th century and since then is being practiced all over West Africa. We can see them in ritual ceremonies, such as baptisms, weddings, celebrations of the Prophet birthday and of their dead and of the Ramadan ending, as well as in what they call modern performances in Cultural Centres, theatres, concert halls, bars or in the streets. In between Lisbon and Guinea-Bissau remote places, these artists perform by themselves or in groups and obey the organization and hierarchy of their family, which is connected to the structure of mandingo society that places djaliá as an specialized work and see griots as heirs of that knowledge by kinship and social relations. In transnational contexts, griots maintain what is considered part of their traditional roles (working as genealogists, narrators, bards, councillors, historian scholars and mediators) and also aspire to the world music and art market. In the tension between an art rooted in tradition and its inclusion in the so-called modernity, djaliá is named as afro-mandinga, a movement of appropriation of the African music created in the Diaspora and returned to African continent. It is by this tension that we can see those griots as cosmopolitans, who incorporate to the tradition what they think and feel necessary to their art survival. Nowadays, afro-mandinga enunciates experiences and realities connected to an art world outside Guinea-Bissau borders or of their host countries in Europe and make themselves visible and connected to Mande world.
Fundação para a Ciência e a Tecnologia (FCT)
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Marcoux, Jean-Philippe. "In The Circle : jazz Griots and the Mapping of African American Cultural Memory in Poetry." Thèse, 2009. http://hdl.handle.net/1866/3546.
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Ma thèse de doctorat, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry, étudie la façon dont les poètes afro-américains des années 1960 et 1970, Langston Hughes, David Henderson, Sonia Sanchez, et Amiri Baraka, emploient le jazz afin d’ancrer leur poésie dans la tradition de performance. Ce faisant, chacun de ces poètes démontre comment la culture noire, en conceptualisant à travers la performance des modes de résistance, fût utilisée par les peuples de descendance africaine pour contrer le racisme institutionnalisé et les discours discriminatoires. Donc, pour les fins de cette thèse, je me concentre sur quatre poètes engagés dans des dialogues poétiques avec la musicologie, l’esthétique, et la politique afro-américaines des années 1960 et 1970. Ces poètes affirment la centralité de la performativité littéraire noire afin d’assurer la survie et la continuité de la mémoire culturelle collective des afro-américains. De plus, mon argument est que la théorisation de l’art afro-américain comme engagement politique devient un élément central à l’élaboration d’une esthétique noire basée sur la performance. Ma thèse de doctorat propose donc une analyse originale des ces quatre poètes qui infusent leur poèmes avec des références au jazz et à la politique dans le but de rééduquer les générations des années 2000 en ce qui concerne leur mémoire collective.My doctoral dissertation, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry studies the ways in which African American poets of the 1960s and 1970s, Langston Hughes, David Henderson, Sonia Sanchez, and Amiri Baraka employ jazz in order to ground their poetry in the tradition of performance. In so doing, each poet illustrates how black expressive culture, by conceptualizing through performance modes of resistance, has historically been used by people of African descent to challenge institutionalized racism and discriminatory discourses. Therefore, for the purpose of this dissertation, I focus on four poets who engage in dialogues with and about black musicology, aesthetics, and politics of the 1960s and 1970s; they assert the centrality of literary rendition for the survival and continuance of the collective cultural memory of Black Americans. In turn, I suggest that their theorization of artistry as political engagement becomes a central element in the construction of a Black Aesthetic based on performance. In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry thus proposes an original analysis of how the four poets infused jazz and political references in their poetics in order to re-educate later generations about a collective black memory.
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Kaschula, Russell H. "Imbongi and griot: toward a comparative analysis of oral poetics in Southern and West Africa." 1999. http://hdl.handle.net/10962/59379.
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This article takes up the challenge of comparative research in Africa by analysing and comparing the oral art of West African griots and Southern African iimbongi or oral poets. Similarities and differences between these performers and their respective societies are highlighted through the use of an ethnographic methodology. A distinction is drawn between the more traditional performers such as Thiam Anchou and D.L.P. Yali-Manisi, and the more modern performers such as M’Bana Diop, Bongani Sitole and Zolani Mkiva. The rich use of genealogy and history in the more traditional performances is highlighted. In comparing the work of the more contemporary, urban poets such as M’bana Diop of Senegal and Zolani Mkiva from Southern Africa, similarities are found in their performances on post-independence leaders such as Senghor and Mandela. Political pressures which have been brought to bear on the performer are also discussed. This article explores the continuity between the past and the present in relation to aspects such as the following: how performers gain recognition, their continued survival, their relationship with politics and religion, the orality- literacy debate, and the stylistic techniques used by these performers. Wherever possible, examples of performers and their work are provided.
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de, Lorimier Julie. "Ruptures et disjonctions dans le cinéma de Djibril Diop Mambety : le film-griot ou l'invention d'une oralité moderne." Thèse, 2015. http://hdl.handle.net/1866/13633.
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Cette étude se penche sur le geste singulier se dégageant de l’œuvre du cinéaste sénégalais Djibril Diop Mambety. Une force de « mise en présence » y est identifiée, dont la présente recherche démontre qu’elle s’apparente à l’action médiatrice du griot des traditions orales d’Afrique de l’Ouest. Singulièrement, cette force tenant de l’oralité ne repose pas sur le récit ou la parole comme discours, mais relève au contraire de ruptures narratives et de disjonctions image-son qui mettent le récit en question, invitant le spectateur à fréquemment réviser son interprétation de ce qu’il voit et entend. C’est le film lui-même qui devient alors griot, actualisant un lien en constante transformation entre l’univers qu’il porte et son spectateur. En instaurant un rapport critique à l’égard du monde dans lequel s’inscrit le récit, les multiples ruptures dans le cinéma de Mambety sont également les brèches par lesquelles se crée un espace d’accueil pour la marginalité, qui habite tous ses films.
La tradition orale et le griot sont présentés en premier lieu, de manière à poser les bases à partir desquelles peut se développer la réflexion. La description et l’analyse des films Parlons Grand-mère et Le franc démontrent en quoi ceux-ci sont des films médiateurs, qui se comportent en griots. Cette découverte ouvre la voie à une réflexion plus large sur la médiation au cinéma, où la portée éthique du film-médiateur est explorée, ainsi que la nature des relations possibles entre médiation et récit. Finalement, l’analyse du film Hyènes, eu égard à la différence qu’il présente en déployant un récit plus linéaire, est l’occasion d’approfondir une compréhension à la fois de ce que font les films de Mambety et de ce que peut la médiation au cinéma de façon plus large.This study examines how the mediatory action of the griot in West African oral traditions is at work in the films of Senegalese filmmaker Djibril Diop Mambety. This force of orality, of mise-en-présence, emerges in Mambety’s films from narrative disruptions and sound-image disjunctions. Instead of relying on narrative or speech as a discourse, this force of orality challenges the story’s consistency, inviting the viewer to frequently revise his or her interpretation of what is being seen and heard. The film itself becomes griot, a griot which links the world borne by the film and the spectator in a dynamic and ever-changing interplay. By fostering, through these disruptions, a critical stance toward the world on which depends the narrative, Mambety’s cinema makes room for marginality and exclusion, which inhabit all his films. Oral tradition and griot are first defined, followed by an analysis of how the films Parlons Grand-mère and Le franc are mediator films, functioning as griots. This opens the way for a broader reflection on the ethical significance of film-as-mediator, as well as the possible ties between mediation and narrative. Finally, an analysis of the film Hyènes, on account of its more linear narrative exposition, provides an opportunity to deepen our understanding of Mambety’s filmmaking, and to explore the greater implications of mediation in cinema.
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Sauvé, Jean-Philippe. "La culture des griots face à la modernisation : représentations de l'évolution de leur musique et de leur rôle social à Saint-Louis du Sénégal." Mémoire, 2007. http://www.archipel.uqam.ca/4404/1/M9829.pdf.
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