#Fanta Sylla

[guineedirect]

Mise en place des délégations spéciales: De nouvelles têtes pour les communes de Conakry.

 Le ministre de l’Administration du territoire et de la décentralisation le général Ibrahima Kalil Condé continue de meubler les délégations spéciales du pays. À Conakry, les communes connaissent leurs dirigeants  : 1- Commune de Matam : Badra Aliou Cheikhna Koné, Président ; Elhadj Mohamed Camara, Vice-président ; Mohamed Lamine Camara, Membre ; Fanta Fofana, Membre ; Mohamed Nfanly Sylla,…

[parkersmood]

I’ve been fascinated by the totalitarian way these writers say “brown” as an alternative for “POC” and “Black.” To me, the systematic use of this word is how their subconscious desire to erase blackness expresses itself within their language. What does this brown identity mean to a Black woman? I have personally no desire to be described or self-identify as brown. Brown is abstract, it doesn’t feel inclusive and it is not. Brown is a euphemism. Why should I accept and bow down to an identity that doesn’t describe or acknowledge my reality? I am Black. Black is specific. Black centers me. All identities are performative but claiming “brown” would be like wearing a piece of cloth that was definitely not designed for me. And that piece of cloth would likely be a cloak of invisibility. It feels more like a trap than an identity to me but, I can see why Black people might find this identity desirable. It temporarily relieves you from the burden of blackness. Indeed, why would Black women embrace WOC solidarity if that means being thrown under the bus and being violently erased in its name? What are the benefits? There are probably a select few black women who enable that appropriation (editors, friends etc.), and who are profiting off of this situation. What else? Universalism and colorblindness can be comforting ideas. They say: we are all the same, we all share the same struggles. I am you and you are me. I can therefore talk about you because I am also talking about me. And therefore Black women are not different. We can deny for a small moment that we are not the abject and deviant bodies society tells us we are. We are just like everyone else! That is not true. Not every woman of color has had their body exposed, hypersexualized and then dismembered after death to be shown in a museum for decades. Not every woman of color is subjected to police brutality the way black women are. Not every woman of color is being made fun of, caricatured, shamed and stigmatized the way black women are. No one experiences the trials and woes of black womanhood except black women. No one wants their body to experience that. So why would you be entitled to it if you’re not a black woman?

WOC vs. Black Women: Thoughts on the fallacy of solidarity & the erasure of Black women by Fanta Sylla (May 2015)

[kenotype]

[tasksweekly]

[TASK 180: MALI]

There’s a masterlist below compiled of over 460+ Malian faceclaims categorised by gender with their occupation and ethnicity denoted if there was a reliable source. If you want an extra challenge use random.org to pick a random number! Of course everything listed below are just suggestions and you can pick whichever faceclaim or whichever project you desire.

Any questions can be sent here and all tutorials have been linked below the cut for ease of access! REMEMBER to tag your resources with #TASKSWEEKLY and we will reblog them onto the main! This task can be tagged with whatever you want but if you want us to see it please be sure that our tag is the first five tags, @ mention us or send us a messaging linking us to your post!

THE TASK - scroll down for FC’s!

STEP 1: Decide on a FC you wish to create resources for! You can always do more than one but who are you starting with? There are links to masterlists you can use in order to find them and if you want help, just send us a message and we can pick one for you at random!

STEP 2: Pick what you want to create! You can obviously do more than one thing, but what do you want to start off with? Screencaps, RP icons, GIF packs, masterlists, PNG’s, fancasts, alternative FC’s - LITERALLY anything you desire!

STEP 3: Look back on tasks that we have created previously for tutorials on the thing you are creating unless you have whatever it is you are doing mastered - then of course feel free to just get on and do it. :)

STEP 4: Upload and tag with #TASKSWEEKLY! If you didn’t use your own screencaps/images make sure to credit where you got them from as we will not reblog packs which do not credit caps or original gifs from the original maker.

THINGS YOU CAN MAKE FOR THIS TASK -  examples are linked!

Stumped for ideas? Maybe make a masterlist or graphic of your favourite faceclaims. A masterlist of names. Plot ideas or screencaps from a music video preformed by an artist. Masterlist of quotes and lyrics that can be used for starters, thread titles or tags. Guides on culture and customs.

Screencaps

RP icons [of all sizes]

Gif Pack [maybe gif icons if you wish]

PNG packs

Manips

Dash Icons

Character Aesthetics

PSD’s

XCF’s

Graphic Templates - can be chara header, promo, border or background PSD’s!

FC Masterlists - underused, with resources, without resources!

FC Help - could be related, family templates, alternatives.

Written Guides.

and whatever else you can think of / make!

MASTERLIST!

F:

Nakunte Diarra (1941) Malian - artist. 

Amy Koita (1952) Malian - singer. 

Mariam Doumbia (1958) Malian - singer.

Angela Bassett (1958) African-American [including Malian, Nigerian, with small parts from Benin, Togolese, Cameroonian, Congolese, Angolan, Ivorian, Ghanaian, Senegalese, South Central hunter-gatherers], European - actress, director, and activist.

Kandia Kouyaté (1959) Malian - kora player.

Gloria Reuben (1964) Afro-Jamaican [including Malian, Nigerian, Ghanian, Ivorian, Ashkenazi Jewish, Sephardi Jewish, likely some English] - singer and actress. 

Mamani Keïta (1965) Malian - musician. 

Mah Damba / Mah Sissoko (1965) Malian - singer. 

Kimberly Elise (1967) Malian, Songhai - actress.

Babani Koné (1968) Malian - singer.

Oumou Sangaré (1968) Malian  - singer. 

Ramata Koite (1971) Malian - actress.

Youma / Youma Diakite (1971) Malian - model, actress, tv personality, and showgirl.

Aïda Touré (1973) Malian - artist. 

Julia Channel (1973) Malian / French, Italian - actress, former adult actress, singer and entrepreneur.

Viviane Ndour (1973) Malian, Mauritanian / Lebanese - singer. 

Rokia Traoré (1974) Bambara Malian - singer-songwriter and guitarist. 

Aïssa Maïga (1975) Malian / Senegalese, Gambian - actress and producer.

Jessica Pimentel (1977) Dominican [Malian, Taino, Italian, Spanish, Portuguese, Irish, Possibly Other] - actress, singer, and guitarist.

Tia Mowry (1978) Afro-Bahamian [including Malian, Ivorian, Ghanian, Cameroonian, Congolese] / English, Irish, Unspecified Iberian, Unspecified Other European - actress and model. 

Young Deenay / Fatima Napo (1979) Malian - rapper. 

Maimuna / Maimuna Amadu Murasjko (1980) Malian / Belarusian - violinist.

Fatoumata Diawara (1982) Malian - actress and singer. 

Sona Jobarteh (1983) Malian, English - musician and singer.  

Inna Modja (1984) Fula Malian - singer and model. 

Mariam Koné (1987) Malian - singer.

Binta Kam (1990) Malian - model.

Amelia Beya (1991) Malian - model.

Djess abdoulaye Diawara (1992) Malian - model.

Inaissa Keita (1992) Malian - model.

Audra Milos (1993) Malian, Romanian, Spanish, Irish - actress and model.

Sianna Dwayna (1995) Malian - rapper.

Aya Nakamura (1995) Malian - singer.

Ada Coker (1995) Malian - model.

Natalia Sylla (1996) Malian - model.

Kendal Sissoko (1999) Malian - model.

Depe Bore (1999) Malian - model.

Geneviève Traoré (2001) Malian - model.

Rhym Guisse (?) Malian / Algerian - actress and filmmaker.

Djeneba Seck (?) Malian - singer. 

Fanta Sacko (?) Malian - singer. 

Ko Kan Ko Sata (?) Malian - musician, kamelen n'goni player. 

Fatoumata Coulibaly (?) Malian - actress, director, journalist, and women's rights activist.

Oumou (?) Malian - Miss Mali USA 2016 (instagram: oumouusamake).

Namasthy (?) Malian - Instagrammer (namasthy)

Mariam Traore (?) Malian - Instagrammer (kama_tra).

Amiinata (?) Malian - model (instagram: _amycisse).

Kadiya Dsb (?) Malian - youtuber and instagrammer (kadiyadsb).

F - Athletes:

Hamchétou Maïga (1978) Malian - basketball player.

Djenebou Sissoko (1982) Malian - basketball player.

Gaëlle Niaré (1982) Malian - high jumper. 

Nare Diawara (1983) Malian - basketball player.

Maakan Tounkara (1983) Malian, Guinean - handball player.

Diana Gandega (1983) Malian - basketball player.

Nantenin Keïta (1984) Mandinka Malian - sprinter.

Meiya Tireira (1986) Malian - basketball player.

Siraba Dembélé Pavlović (1986) Malian - handball player.

Siga Tandia (1987) Malian - footballer. 

Diéné Diawara (1988) Malian - basketball player.

Estelle Johnson (1988) Malian / Cameroonian - footballer. 

Nassira Traoré (1988) Malian - basketball player.

Kani Konté (1989) Malian - footballer. 

Djénébou Danté (1989) Malian - sprinter. 

Minata Keita (1989) Malian - basketball player.

Naîgnouma Coulibaly (1989) Malian - basketball player.

Bassira Touré (1990) Malian - footballer. 

Kankou Coulibaly (1990) Malian - basketball player. 

Ramata Diakité (1991) Malian - basketball player. 

Touty Gandega (1991) Malian - basketball player. 

Astan Dabo (1992) Malian - basketball player. 

Hawa Tangara (1993) Malian - footballer. 

Sebe Coulibaly (1994) Malian - footballer. 

Adoudou Konaté (1994) Malian - footballer. 

Aïssatou Tounkara (1995) Malian - footballer. 

Bintou Koité (1995) Malian - footballer. 

Madelen Janogy (1995) Malian / Swedish - footballer. 

Kadidiatou Diani (1994) Malian - footballer. 

Aissata Traoré (1997) Malian - footballer. 

Goundo Diallo (1997) Malian - basketball player

Yakaré Niakaté (1997) Malian - footballer. 

Kadidia Maiga (1997) Malian - basketball player

Mariam Coulibaly (1997) Malian - basketball player

Adama Coulibaly (1998) Malian - basketball player. 

Rokia Doumbia (1999) Malian - basketball player.

M:

Boubacar Traoré (1942) Malian - singer and musician.

Salif Keita (1949) Mandinka Malian - singer-songwriter.

Abdoulaye Ascofare (1949) Malian - actor, filmmaker, and poet.

Mory Kanté (1950) Malian / Guinean - singer and kora player. 

Cheick Tidiane Seck (1953) Malian - singer and musician.

Amadou Bagayoko (1954) Malian - singer and guitarist.

Assane Kouyaté (1954) Malian - actor and director.

Afel Bocoum (1955) Songhai Malian - singer, guitarist, and actor.

Abdoulaye Diabaté (1956) Malian - singer and guitarist. 

Moussa Kouyate (1956) Malian - kora player. 

Sidi Touré (1959) Malian - singer. 

Abderrahmane Sissako (1961) Malian / Mauritanian - film director and producer. 

Ibi Maiga / Ibrahim Maiga (1963) Malian - actor, singer, and comedian.

Baba Sissoko (1963) Malian - musician.

Toumani Diabaté (1965) Malian - kora player.

Bassekou Kouyate (1966) Malian - musician.  

Ballaké Sissoko (1968) Malian - kora player. 

Samba Touré (1968) Malian - guitarist.

Neba Solo (1969) Malian - musician.

Doudou Masta (1971) Malian - rapper and actor. 

Mohamed Dia (1973) Malian - clothing designer. 

Oxmo Puccino (1974) Malian - rapper. 

Mamadou Diabaté (1975) Malian - kora player. 

Black Thought / Tariq Luqmaan Trotter (1975) Malian - rapper.

Mokobé / Mokobé Traoré (1975) Malian - rapper.

Ben Zabo (1976) Malian - musician.

Noom Diawara (1978) Malian - actor. 

Seckou Keita (1978) Malian - kora player and drummer.

Diouc Koma / Dioucounda Koma (1980) Malian - actor and writer. 

Ladj Ly (1980) Malian - actor and director.

Vieux Farka Touré (1981) Malian - singer and guitarist.

Vieux Farka Touré (1981) Malian - singer and guitarist.

Bakary Sereme (1981) Malian - model and swimmer.

Salif / Salif Fofana / Salif Wonka (1981) Malian, Guadeloupean - rapper.

Tahj Mowry (1986) Afro-Bahamian [including Malian, Ivorian, Ghanian, Cameroonian, Congolese] / English, Irish, Unspecified Iberian, Unspecified Other European - actor and singer. 

Keith Carlos (1987) African-American [including Malian, Beninese, Togolese], some Spanish - model and American footballer. 

Young Pô (1992) Malian - rapper and singer.

Sidiki Diabaté (1992) Malian - rapper, kora player, and producer.

Sidiki Diabaté (1992) Malian - rapper and kora player.

Iba Montana (1994) Malian - rapper.

Fatoumata Sissoko (1996) Malian - model.

Twochainz Diakité (1996) Malian - model.

Cheick oumar Haidara (1997) Malian - model.

Sidibe Vincent Depaul (1997) Malian - model.

Touré Moussa (1997) Malian - model.

Sidi Diop (1998) Malian - model.

Pvpii Swiigg (1999) Malian - model.

Dembélé Abdramane (2000) Malian - model.

Master Soumy / Ismael Doukouré (?) Malian - rapper.  

Balla Tounkara (?) Malian - kora player. 

Aliou Haidara (?) Malian - model.

Djelimady Tounkara (?) Malian - guitarist. 

Cheick Hamala Diabaté (?) Malian - musician. 

Bocar Ba (?) Malian - actor.

M - Athletes:

Karounga Keïta (1941) Malian - footballer. 

Jean Tigana (1955) Malian - footballer.

José Touré (1961) Malian - footballer.

Habib Sissoko (1971) Malian - footballer.

Fernand Coulibaly (1971) Malian - footballer.

Brahim Thiam (1974) Malian - footballer.

Yaya Dissa (1975) Malian - footballer. 

Bassala Touré (1976) Malian - footballer.

Sammy Traoré (1976) Malian - footballer.

Sékou Berthé (1977) Malian - footballer.

Éric Chelle (1977) Malian - footballer.

Vincent Doukantié (1977) Malian - footballer. 

Frédéric Kanouté (1977) Malian / French - footballer. 

Soumaila Coulibaly (1978) Malian - footballer.

Samba Diawara (1978) Malian - footballer.

Dramane Coulibaly (1978) Malian - footballer. 

Alioune Touré (1978) Malian - footballer. 

Naman Keïta (1978) Malian / Alergian - hurdler. 

Soumaila Samake (1978) Malian - basketball player.

Mahamadou Sidibé (1978) Malian - footballer.

Moussa Konaté (1978) Malian - Muay Thai kickboxer.

Sambou Traoré (1979) Malian - basketball player.

Mahamadou Dissa (1979) Malian - footballer.

Zoumana Camara (1979) Malian - footballer.

Bah Mamadou (1979) Singaporean [Malian] - footballer.

Mamady Sidibé (1979) Malian - footballer.

Cédric Kanté (1979) Malian - footballer. 

Nouha Diakité (1980) Malian - basketball player. 

Adama Coulibaly (1980) Malian - footballer.

Bakary Diakité (1980) Malian - footballer.

Djimi Traoré (1980) Malian - footballer.

Mamoutou Diarra (1980) Malian - basketball player. 

Mamary Traoré (1980) Malian - footballer.

Fousseni Diawara (1980) Malian - footballer. 

Seydou Keita (1980) Malian - footballer. 

Seydou Keita (1980) Malian - footballer.

Amara Sy (1981) Malian - basketball player. 

Sadio Sankharé (1981) Malian - footballer.

Tenema N'Diaye (1981) Malian - footballer.

Amadou Konte (1981) Malian - footballer.

Adamo Coulibaly (1981) Malian - footballer.

Morike Sako (1981) Malian - footballer.

Alou Diarra (1981) Malian - footballer.

Ibrahim Kante (1981) Malian - footballer.

Cheick Oumar Dabo (1981) Malian - footballer.

Mamadou Diarra (1981) Malian - footballer. 

Moussa Sidibé (1981) Malian - footballer. 

Ousmane Cisse (1982) Malian - basketball player. 

Djibril Sidibé (1982) Malian - footballer.

Dramane Traoré (1982) Malian - footballer.

Ayouba Traoré (1982) Malian - judoka.

Koly Kanté (1982) Malian - footballer. 

Noé Sissoko (1983) Malian - footballer.

Biagui Kamissoko (1983) Malian - footballer.

Souleymane Diamouténé (1983) Malian - footballer.

Ludovic Chelle (1983) Malian - basketball player. 

Ladji Doucouré (1983) Malian, Senegalese - decathlete.

Moké Diarra (1983) Malian - footballer. 

Abdoulaye Diawara (1983) Malian - footballer. 

Mahamet Diagouraga (1984) Malian - footballer.

Diego Yesso (1984) Malian - footballer.

Mohamed Tangara (1984) Malian - basketball player. 

Soumbeïla Diakité (1984) Malian - footballer.

Kalifa Cissé (1984) Malian - footballer.

Sigamary Diarra (1984) Malian - footballer. 

Jimmy Kébé (1984) Malian - footballer. 

Mamoutou Coulibaly (1984) Malian - footballer.

Mamadou Chérif Dia (1984) Malian - long jumper and triple jumper. 

Bano Traoré (1985) Malian - hurdler.

Boubacar Coulibaly (1985) Malian - footballer.

Drissa Diakité (1985) Malian - footballer.

Mamadou Diakité (1985) Malian - footballer.

Abdarhmane Coulibaly (1985) Malian - Muay Thai kickboxer.

Mohamed Sissoko (1985) Malian - footballer.

Bakary Soumaré (1985) Malian - footballer.

Bakaye Traoré (1985) Malian - footballer.

Adama Tamboura (1985) Malian - footballer.

Bakary Soumare (1985) Malian - footballer.

Sidi Yaya Keita (1985) Malian - footballer. 

Drissa Diarra (1985) Malian - footballer. 

Alphousseyni Keita (1985) Malian - footballer. 

Mohamed Fofana (1985) Malian - footballer. 

Yahia Kébé (1985) Malian - footballer. 

Mamadou Diarra (1986) Malian - basketball player.

Garra Dembélé (1986) Malian - footballer.

Gary Coulibaly (1986) Malian - footballer.

Mustapha Yatabaré (1986) Malian - footballer.

Mamadou Samassa (1986) Malian - footballer.

Ismaël Traoré (1986) Malian - footballer.

Mohammadou Al Hadji (1986) Malian, Cameroonian - footballer.

Manuel Kanté (1986) Malian - footballer. 

Souleymane Keïta (1986) Malian - footballer. 

Demba Barry (1987) Malian - footballer.

Idrissa Coulibaly (1987) Malian - footballer.

Djibril Coulibaly (1987) Malian - footballer.

Mory Sidibé (1987) Malian - volleyball player.

Lassana Fané (1987) Malian - footballer. 

Boubacar Kébé (1987) Malian - footballer. 

Modibo Maïga (1987) Malian - footballer.

Modibo Diakité (1987) Malian - footballer.

Mousa Dembélé (1987) Malian / Flemish - footballer.

Oumar Sissoko (1987) Malian - footballer.

Kalilou Traoré (1987) Malian - footballer.

Ousmane Berthé (1987) Malian - footballer.

Toumani Diagouraga (1987) Malian - footballer.

Bira Dembélé (1988) Malian - footballer.

Moussa Camara (1988) Malian - middle-distance runner. 

Mamoudou Hanne (1988) Malian - sprinter. 

Mana Dembélé (1988) Malian - footballer.

Salif Coulibaly (1988) Malian - footballer.

Cheick Diabaté (1988) Malian - footballer.

Mahamane Traoré (1988) Malian - footballer.

Mohamed Traoré (1988) Malian - footballer.

Wesley Fofana (1988) Malian - American footballer.

Bakary Sako (1988) Malian - footballer.

Mahamadou Sissoko (1988) Malian - footballer.

Alliou Dembélé (1988) Malian - footballer.

Lassana Doucouré (1988) Malian - footballer.

Abdou Traoré (1988) Malian - footballer.

Russell Wilson (1988) African-American [including Malian, Cameroonian, Congolese, Nigerian, Beninese, Togolese, Unspecified North Africa, Senegalese, Africa South-Central Hunter Gatherers], English, Unspecified West Asian and Central Asian - American footballer. 

Moussa Sissoko (1989) Malian - footballer. 

Maka Mary (1989) Malian - footballer. 

Lassana Diarra (1989) Malian - footballer.  

Tongo Doumbia (1989) Malian - footballer. 

Souleymane Konaté (1989) Malian - footballer. 

Bakaye Dibassy (1989) Malian - footballer. 

Hamady Tamboura (1989) Malian - footballer. 

Ousmane Coulibaly (1989) Malian - footballer.

Diaranké Fofana (1989) Malian - footballer.

Samba Diakité (1989) Malian - footballer.

Samba Sow (1989) Malian - footballer.

Massiré Kanté (1989) Malian - footballer.

Sambou Yatabaré (1989) Malian - footballer.

Bassirou Dembélé (1990) Malian - footballer.

Nama Fofana (1990) Malian - footballer.

Morimakan Koïta (1990) Malian - footballer. 

Ismaël Keïta (1990) Malian - footballer. 

Bradley Diallo (1990) Malian - footballer. 

Kassim Doumbia (1990) Malian - footballer. 

Oumare Tounkara (1990) Malian - footballer. 

Boubacar Bangoura (1990) Malian - footballer.

Abdou Doumbia (1990) Malian - footballer.

Mahamadou N'Diaye (1990) Malian - footballer.

Mamoutou N'Diaye (1990) Malian - footballer.

Abdoul Sissoko (1990) Malian - footballer.

Mamadou Samassa (1990) Malian - footballer.

Ahmed Soukouna (1990) Malian - footballer.

Yacouba Sylla (1990) Malian - footballer.

Baboye Traoré (1990) Malian - footballer.

Mamadou Samassa (1990) Malian - footballer.

Cheibane Traoré (1990) Malian - footballer.

Mamadou Wagué (1990) Malian - footballer.

Oumar Diaby (1990) Malian - footballer.

Bandja Sy (1990) Malian - basketball player. 

Cheick Chérif Doumbia (1991) Malian - footballer. 

Makan Konaté (1991) Malian - footballer. 

Gueïda Fofana (1991) Malian - footballer. 

Adama Touré (1991) Malian - footballer.

Souleymane Diabate (1991) Malian - footballer.

Abdoulay Diaby (1991) Malian - footballer.

Slimane Sissoko (1991) Malian - footballer.

Moussa Guindo (1991) Malian - footballer.

Sirina Camara (1991) Malian - footballer.

Kalifa Coulibaly (1991) Malian - footballer.

Boubacar Sylla (1991) Malian - footballer.

N'Golo Kanté (1991) Malian - footballer.

Kalifa Traoré (1991) Malian - footballer.

Moussa Marega (1991) Malian - footballer.

Molla Wagué (1991) Malian - footballer.

Ousseynou Cissé (1991) Malian / Senegalese - footballer. 

Souleymane Demba (1991) Malian / Zambian - footballer. 

Amadou Soukouna (1992) Malian - footballer.

Adama Soumaoro (1992) Malian - footballer.

Ismaël Coulibaly (1992) Malian - taekwondo practitioner.

Sadio Doucouré (1992) Malian - basketball player. 

Ulysse Diallo (1992) Malian - footballer.

Samba Camara (1992) Malian - footballer.

Nouha Dicko (1992) Malian - footballer. 

Guessouma Fofana (1992) Malian - footballer. 

Baba Traoré (1992) Malian - footballer. 

Ousmane Dramé (1992) Malian - footballer. 

Mamadou Kansaye (1992) Malian - footballer. 

Mohamed Konaté (1992) Malian - footballer. 

Sidy Koné (1992) Malian - footballer.

Hamari Traoré (1992) Malian - footballer.

Alassane També (1992) Malian - footballer.

Lassana Samaké (1992) Malian - footballer.

Charles Traoré (1992) Malian - footballer.

Abdoulaye Sissoko (1992) Malian - footballer.

Youssouf Niakaté (1992) Malian - footballer.

Bryan Dabo (1992) Malian - footballer.

Soumaila Sidibe (1992) Malian - footballer.

Sadio Tounkara (1992) Malian - footballer.

Birama Touré (1992) Malian - footballer.

Ismaïla Diarra (1992) Malian - footballer. 

Massadio Haïdara (1992) Malian - footballer. 

Cheick Fantamady Diarra (1992) Malian - footballer. 

Kissada Nilsawai (1992) Malian / Thai - footballer.

Moussa Coulibaly (1993) Malian - footballer.

Alassane Pléa (1993) Malian - footballer.

Adama Ba (1993) Malian - footballer.

Yarouba Cissako (1993) Malian - footballer.

Modibo Dembélé (1993) Malian - footballer.

Boubakary Diarra (1993) Malian - footballer.

Adama Niane (1993) Malian - footballer.

Mamadou Kamissoko (1993) Malian - footballer.

Ibrahima Tandia (1993) Malian - footballer.

Teddy Thomas (1993) Malian / French - rugby player. 

Oumaro Coulibaly (1993) Malian - footballer.

Nianta Diarra (1994) Malian - basketball player. 

Moussa Doumbia (1994) Malian - footballer. 

Abdoulaye Keita (1994) Malian - footballer. 

Ousmane Keita (1994) Malian - footballer. 

Senou Coulibaly (1994) Malian - footballer. 

Yacouba Camara (1994) Malian - footballer. 

Tiécoro Keita (1994) Malian - footballer. 

Boubacar Diarra (1994) Malian - footballer.

Famoussa Koné (1994) Malian - footballer.

Moha Traoré (1994) Malian - footballer.

Kevin Tapoko (1994) Malian, Cameroonian, Burkinabé - footballer.

Hadi Sacko (1994) Malian - footballer.

Aboubacar Ibrahim Toungara (1994) Malian - footballer.

Aly Yirango (1994) Malian - footballer.

Bakary Nimaga (1994) Malian - footballer.

Diacko Fofana (1994) Malian - footballer.

Kafoumba Touré (1994) Malian - footballer.

Boubacar Moungoro (1994) Malian - basketball player. 

Fousseni Diabaté (1995) Malian - footballer.

Alassane Diaby (1995) Malian - footballer.

Alassane Diallo (1995) Malian - footballer.

Djigui Diarra (1995) Malian - footballer. 

Dieudonné Gbakle (1995) Malian - footballer. 

Souleymane Diarra (1995) Malian - footballer. 

Aboubacar Doumbia (1995) Malian - footballer. 

Issa Baradji (1995) Malian - footballer.

Ibrahim Sissoko (1995) Malian - footballer.

Falaye Sacko (1995) Malian - footballer.

Youssouf Koné (1995) Malian - footballer.

Cheick Traoré (1995) Malian - footballer.

Jean-Luc Dompé (1995) Malian - footballer.

Adama Traoré (1995) Malian - footballer.

Sékou Baradji (1995) Malian - footballer.

Raphaël Diarra (1995) Malian - footballer.

Séga Coulibaly (1996) Malian - footballer.

Brahim Konaté (1996) Malian - footballer.

Ibrahim Diallo (1996) Malian - footballer.

Yves Bissouma (1996) Malian - footballer.

Lassana Coulibaly (1996) Malian - footballer.

Tidiane Keita (1996) Malian - footballer.

Namakoro Diallo (1996) Malian - footballer.

Cheick Diallo (1996) Malian - basketball player. 

Mohamed Guilavogui (1996) Malian - footballer.

Djibril Dianessy (1996) Malian - footballer.

Rominigue Kouamé (1996) Malian - footballer.

Hamidou Traoré (1996) Malian - footballer.

Assim Madibo (1996) Malian, Sudanese - footballer.

Diadie Samassékou (1996)  Malian - footballer.

Almamy Touré (1996) Malian - footballer. 

Mahamé Siby (1996) Malian - footballer. 

Cheick Keita (1996) Malian - footballer. 

Moussa Niakhaté (1996) Malian - footballer. 

Alimami Gory (1996) Malian - footballer. 

Moussa Dembélé (1996) Malian - footballer. 

Saliou Guindo (1996) Malian - footballer. 

Ibou Cissé (1996) Malian - footballer. 

Alpha Sissoko (1997) Malian - footballer.

Amadou Konaté (1997) Malian - footballer.

Ibrahima Sissoko (1997) Malian - footballer.

Sagaba Konate (1997) Malian - basketball player. 

Malaly Dembélé (1997) Malian - footballer.

Ihsan Sacko (1997) Malian - footballer.

Ousmane Dembélé (1997) Malian - footballer.

Boubakar Kouyaté (1997) Malian - footballer.

Fodé Ballo-Touré (1997) Malian - footballer.

Gouné Niangadou (1997) Malian - footballer.

Moussa Soumaré (1997) Malian - footballer.

Sebastien Kouma (1997) Malian  - swimmer. 

Aliou Dieng (1997) Malian - footballer.

Issa Marega (1998) Malian - footballer.

Bakary Sissoko (1998) Malian - footballer.

Siaka Bagayoko (1998) Malian - footballer.

Lamine Fomba (1998) Malian - footballer.

Abdoul Karim Danté (1998) Malian - footballer.

Nojo / Mamadou Fofana (1998) Malian - footballer. 

Amadou Haidara (1998) Malian - footballer. 

Mohamed Bayo (1998) Malian - footballer. 

Mahdi Camara (1998) Malian - footballer. 

Mohamed Bamba (1998) Malian - basketball player. 

Youba Diarra (1998) Malian - footballer. 

Abdoulaye Sissako (1998) Malian - footballer. 

Djibril Diani (1998) Malian - footballer. 

Moussa Djenepo (1998) Malian - footballer. 

Boubacar Fofana (1998) Malian - footballer. 

Aly Mallé (1998) Malian - footballer.

Brahima Doukansy (1999) Malian - footballer. 

Kalidou Sidibé (1999) Malian - footballer. 

Djegui Koita (1999) Malian - footballer. 

Moussa Diaby (1999) Malian - footballer. 

Sikou Niakaté (1999) Malian - footballer. 

Sékou Koïta (1999) Malian - footballer. 

Gaoussou Traoré (1999) Malian - footballer. 

Modibo Sagnan (1999) Malian - footballer. 

Moussa Sylla (1999) Malian - footballer. 

Sanasi Sy (1999) Malian - footballer. 

Youssouf Fofana (1999) Malian - footballer. 

Sambou Sissoko (1999) Malian - footballer. 

Ibrahima Konaté (1999) Malian - footballer. 

Mahamadou Dembélé (1999) Malian - footballer. 

Ibrahima Koné (1999) Malian - footballer.

Abdoulaye Diaby (2000) Malian - footballer.

Aldom Deuro (2000) Malian - footballer.

Cheick Doucouré (2000) Malian - footballer. 

Ibrahim Kane (2000) Malian - footballer. 

Ali Samake (2000) Malian - footballer.

Demba van Leeuwen (2000) Malian / Dutch - footballer.

Ousmane Diakité (2000) Malian - footballer.

Wesley Fofana (2000) Malian - footballer.

Moussa Diarra (2000) Malian - footballer.

Mohamed Camar (2000) Malian - footballer.

Sameer Alassane (2000 or 2001) Malian - footballer.

Siriman Kanouté (2001) Malian - basketball player. 

N'Faly Dante (2001) Malian - basketball player. 

Sibiry Keita (2001) Malian - footballer.

Problematic:

Nas / Nasir bin Olu Dara Jones (1973) Nigerian, Beninese, Togolese, Malian, Ivorian, Ghanaian, Cameroonian, Congo, Senegalese - rapper-songwriter. - Physical and emotional violence allegations.

Tamera Mowry (1978) Afro-Bahamian [including Malian, Ivorian, Ghanian, Cameroonian, Congolese] / English, Irish, Unspecified Iberian, Unspecified Other European - actress, model, singer, tv host, and author. - Sexist/slut-shaming comments and believes one can be racist to white people.

ROES / Angel Haze / Raykeea Raeen-Roes Wilson (1991) African-American [including Malian], Blackfoot, Cherokee, Creole - Agender (Xe/Xem/Xer’s, She/Her/Her’s, He/Him/His, They/Them/Their’s) - rapper-songwriter and singer. - Use of the g-slur.

[robertogreco]

In my meandering path toward a better adulthood, I kept reading books but stopped thinking the theories found therein were going to answer the question of how to live in the world. I’ve come instead to the inelegant belief that pretty much the most important thing you can do with your day is make dinner, for your family or friends if you have them or for yourself if you don’t. Do that, and the other stuff mostly falls into place.

Valerie Stivers (via Fanta Sylla)

[rimadadenji]

Rima Dadenji, you know when beauty breaks your heart? when the seer, the seen, the light, the people, the movements, the colours, the sounds around and within form this perfect rhythm? it was this moment—ways of seeing: Fanta Sylla seen by Malick Sidibé re-seen by me, at Mali Twist — the largest-ever exhibition of Malick Sidibé’s work, Fondation Cartier pour l’art contemporain, Paris, 2017

[misterbitches]

Art is never apolitical! Theres a piece by fanta sylla about this i cant link it rn but if u google! Thats the point of it i think wholeheartedly. Otherwise whats the point. We exist in the world it always boggles my mind that the promotion of separating art from the artist is the antithesis of what art is supposed to be.

idk i just never got behind the idea that art can be apolitical like it's just not realistic to me because i think that sth that is inescapable about art is that it belongs reality and it represents an aspect of reality, to affirm it for oneself or others and as such, representing reality is always sth quite subjective because we never interpret the same things in the what we see and so if those interpretations, instead adding to each other, clash, well, it becomes political most of the time, because art makes a statement about what someone sees in the world is what im trying to say so it's just very difficult to not step on someone's ideas of the world idk

[detonating-renegade]

Gladstone Taylor and Kokab in Jamaica in Cecile Emeke’s Strolling Series

There is a clear class distinction, financially, as affected by race and skin tone, and by means of education. Kokab mentions that, “most of our upper class is light skinned or white,” and that the lower class speaks patois but are unable to really learn in their own language and be tested in it, or Gladstone highlights the missing pieces of history in attempting to read about it. And at the same time, while the majority of Jamaicans are considered lesser because of their language and culture, “uptown people aren’t participating in that culture they’re just benefiting off it. . . they’re taking it abroad and selling it.” Culture has become a commodity, one that the people it originated from aren’t allowed the same ability to practice it, at least not on their own--its a sense of amusement for the tourists, for foreigners. And as Jamaica Kincaid points out in explaining the relationship between the tourist and the native and why the native detests the tourist, she says  “but some natives-most natives in the world-cannot go anywhere. . . when the natives see you, the tourist, they envy you, they envy your ability to leave your own banality and boredom, they envy your ability to turn their own banality and boredom into a source of pleasure for yourself” (Kincaid 18-19). Meanwhile, they talk about discrimination in traveling; Gladstone asks, “if i wanted to go to your country do you know how much i would have to go through just to go to your country?” Kincaid discusses this concept in A Small Place, the inability of natives to escape their lives because of financial circumstances, and the generational poverty as caused by cyclical oppression and colorism.

In discussing mental health, Gladstone says that humor,  “that’s the saving grace of Jamaican people, cos we’re so funny,” after Kokab mentions that there is a stigma around mental health--but for native Jamaicans, they say, its depressing. It’s not only banality and boredom that Kincaid writes about, but survival in a society that may be predominately black, but is still clearly affected by its history of colonization and slavery, as well as the Western media. In considering the importance of language, the lack of resources for the native Jamaicans to learn how to read and write the language they know best, Patois, and the prevalence of the European and American books and movies still contribute to the concept of self-otherization, especially asserted by the class structures. In discussing the tourism culture, Gladstone says that “they come here, they don’t get a genuine Jamaican experience, because they’re locked up in their hotel rooms the whole time.” The culture of Jamaicans has become a tourist attraction, but one that the natives are unable to gain monetary benefit from.

“A lot of people think slavery was gone or passed, i’m not a slave anymore, so I’m free,” Kokab says. This is a really interesting point--the language with which we discuss issues is very important. Or, as Fanta Sylla mentions in the flaner, the lack of language with which to discuss these with is very important as well. Though it may not be slavery in the sense that people aren’t directly working on no salary to a white master, they are still slaves to the system of their economy, tourism, in the self-otherization imposed by Western hegemony. Jamaica Kincaid discusses that, “[In Antigua] people cannot see a relationship between their obsession with slavery and emancipation and the fact that they are governed by corrupt men, or that these corrupt men have given their country away to corrupt foreigners. . . In accounts of the capture and enslavement of black people almost no slave ever mentions who captured and delivered him to the European master (Kincaid 55).” Apart from the lateral oppression Kincaid mentions, the corruption and consistent control of foreigners over Antigua even after the supposed end of slavery and colonization, there is still reason to understand the sentiment that, like Kokab says, “I don’t believe slavery has ended.”

Another theme discussed affecting lifestyle in Jamaica is the concept of masculinity. In speaking about homophobia, Gladstone says that “when you think about [your masculinity] as something people can take from you, that’s when the fear develops and all the ugliness starts to face up around it because you’re afraid of losing it.” This is a theme introduced in Chinua Achebe’s Things Fall Apart with his character Okonkwo equating weakness (and really any undesirable traits) to femininity because of his father’s life and death. But concepts of masculinity, or even of humanity, are strongly influenced by race as well. In his text “Learning to Curse: Linguistic Colonialism in The Tempest,” Stephen J. Greenblatt highlights, “The Tempest utterly rejects the uniformitarian view of the human race, the view that would later triumph in the Enlightenment and prevail in the West to this day. All men, the play seems to suggest, are not alike; strip away the adornments of culture and you will not reach a single human essence (67).” This concept manifests itself in many texts--because characters that aren’t even considered human can’t be considered men either. Caliban is not even concretely described as human, but as something between a man and a fish. Historically, black people have been put in zoos--because race seems to be a determining factor in humanity in terms of colonialism, as “civilization” is defined by the Occident.

[manufactoriel]

I am claiming my experience as mine. I am asking for black women to claim their experiences as their own. In an antiblack and misogynistic context there isn’t such a thing as being a capricious or territorial black woman. Our experience is the territory on which we should be sovereign. The loneliness that comes with being a black woman and the apathy the rest of the world has for our existence make us the only witnesses to our lives and it should afford us the right to be the only authorities on our experiences.

Thoughts on the fallacy of solidarity & the erasure of black women, by Fanta Sylla 

This is such a brillant essay and definitely a must read.

[tasksweekly]

[TASK 138: SENEGAL]

In celebration of Senegalese Independence Day on April 4th, there’s a masterlist below compiled of over 190+ Senegalese faceclaims categorised by gender with their occupation and ethnicity denoted if there was a reliable source. If you want an extra challenge use random.org to pick a random number! Of course everything listed below are just suggestions and you can pick whichever character or whichever project you desire.

Any questions can be sent here and all tutorials have been linked below the cut for ease of access! REMEMBER to tag your resources with #TASKSWEEKLY and we will reblog them onto the main! This task can be tagged with whatever you want but if you want us to see it please be sure that our tag is the first five tags, @ mention us or send us a messaging linking us to your post!

THE TASK - scroll down for FC’s!

STEP 1: Decide on a FC you wish to create resources for! You can always do more than one but who are you starting with? There are links to masterlists you can use in order to find them and if you want help, just send us a message and we can pick one for you at random!

STEP 2: Pick what you want to create! You can obviously do more than one thing, but what do you want to start off with? Screencaps, RP icons, GIF packs, masterlists, PNG’s, fancasts, alternative FC’s - LITERALLY anything you desire!

STEP 3: Look back on tasks that we have created previously for tutorials on the thing you are creating unless you have whatever it is you are doing mastered - then of course feel free to just get on and do it. :)

STEP 4: Upload and tag with #TASKSWEEKLY! If you didn’t use your own screencaps/images make sure to credit where you got them from as we will not reblog packs which do not credit caps or original gifs from the original maker.

THINGS YOU CAN MAKE FOR THIS TASK -  examples are linked!

Stumped for ideas? Maybe make a masterlist or graphic of your favourite faceclaims. A masterlist of names. Plot ideas or screencaps from a music video preformed by an artist. Masterlist of quotes and lyrics that can be used for starters, thread titles or tags. Guides on culture and customs.

Screencaps

RP icons [of all sizes]

Gif Pack [maybe gif icons if you wish]

PNG packs

Manips

Dash Icons

Character Aesthetics

PSD’s

XCF’s

Graphic Templates - can be chara header, promo, border or background PSD’s!

FC Masterlists - underused, with resources, without resources!

FC Help - could be related, family templates, alternatives.

Written Guides.

and whatever else you can think of / make!

MASTERLIST!

F:

Germaine Acogny (1944) 3/4 Senegalese, 1/4 Yoruba Nigerian - dancer and choreographer.

Marie-Madeleine Diallo (1948) Senegalese - actress and radio host.

M’Bissine T. Diop / Mbissine Thérèse Diop (1949) Senegalese - actress.

Anna Deavere Smith (1950) African-American [including Angolan, Cameroonian, Congolese, Ghanaian, Igbo Nigerian, Ivorian, Senegalese], British, remote Scandinavian, Finnish, Russian, Italian, Greek - actress and playwright.

Angela Bassett (1958) African-American [including Bantu Angolan, Beninese, Cameroonian, Congolese, Ghanaian, Ivorian, Malian, Nigerian, Senegalese, Togolese] - actress.

Karine Silla (1965) Senegalese / Breton - actress and filmmaker.

Toni Braxton (1967) African-American [including Beninese, Cameroonian, Congolese, Ghanaian, Ivorian, Nigerian, Senegalese, Togolese] - singer-songwriter, pianist, actress, tv personality, and producer.

Julia Sarr (1970) Serer Senegalese - singer.

Coumba Gawlo Seck (1972) Senegalese - singer.

Coumba Gawlo (1972) Senegalese - singer-songwriter, dancer, and composer.

Jenny B / Giovanna Bersola (1972) Senegalese / Sicilian - singer.

Nadège Beausson-Diagne (1972) Senegalese / Ivorian - actress, singer, and columnist.

Viviane Chidid (1973) Senegalese / Mauritanian, Malian - singer.

Jessica / Jessica Folcker (1975) Senegalese, Swedish - actress.

Aïssa Maïga (1975) Senegalese / Malian - actress and producer.

Fatou N'Diaye (1980) Senegalese - actress.

Estelle / Estelle Fanta Swaray (1980) Senegalese / Grenadian - singer, songwriter, record producer, and actress.

Penda Diouf (1981) Senegalese - actress and playwright.

Sister Fa / Fatou Diatta (1982) Senegalese - rapper.

Moona / Awa Mounaya Yanni (1983) Senegalese - rapper.

Safia Flowers / Jazz Schmahl / Safietou Schmahl (1983) Senegalese / German - singer.

Gabourey Sidibe (1983) Senegalese / African-American - actress.

Amina Pankey / Amina Buddafly / Amina Schmahl / Aminata Schmahl (1983) Senegalese / German - singer.

Aminata Niaria (1985) Senegalese - model.

Issa Rae (1985) Senegalese / African-American - actress, writer, director, and producer.

Marie Fuema (1987) Senegalese / Congolese - model.

Lorena Cesarini (1987) Senegalese - actress.

Anna Diop (1988) Senegalese - actress.

Maréma / Marième Fall (1988) Senegalese - singer.

Nianga Niang (1988) Senegalese - model.

Jessi M'Bengue (1989) Senegalese, Ivorian / Algerian - actress, model, and songwriter.

Jillian Hervey (1989) African-American [including Beninese, Cameroonian, Ghanaian, Togolese, Senegalese], English, Welsh, Irish, Finnish, Portuguese - singer and dancer.

Elizabeth Lejonhjärta (1990) Senegalese, Sierra Leonean, Gambian / Sami, Tornedalian, Swedish - model, blogger, social media personality, and writer.

Bruna N'Diaye (1990) Senegalese - mode.

Jenna Thiam (1990) Senegalese, English, French / Armenian, Belgian - musician.

Victoria Lejonhjärta (1990) Senegalese, Sierra Leonean, Gambian / Sami, Tornedalian, Swedish - model, blogger, social media personality, and writer.

Penda Ly (1991) Senegalese - model and Miss Senegal 2012.

Lea Soukeyna (1992) Senegalese - Instagrammer (leasndiaye).

Nar Codou Diouf (1993 or 1994) Senegalese - model and Miss Senegal 2017.

Fatou Jobe (1994) Senegalese - model.

Rose Bertram / Stephanie Bertram-Rose (1994) Senegalese, Angolan, Portuguese / Belgian [possibly Flemish] - model.

Mame Thiane Camara (1995) Senegalese - model.

Lily Maroune (1995) Senegalese, Mauritanian, Lebanese, French - Instagrammer (africancountess).

Aissatou Filly (1996) Senegalese - model and Miss Senegal 2018.

Khoudia Diop (1996) Senegalese - actress and model.

Awa Santesson-Sey (1997) Senegalese / Swedish - singer.

Ndeye Astou Thiam (1998) Senegalese, Malian - actress and model (Instagram: nastou_thiam)

Diarra Sylla (2001) Senegalese - singer, dancer and YouTuber.

Diarra Bae (2001) Senegalese - singer.

Mouna N’Diaye / Maimouna N'Diaye (?) Senegalese - actress and comedian.

Amy Mbengue (?) Senegalese - singer.

Candee Zarah Rue (?) Senegalese, Nigerian, Ethiopian, Onondaga, Cherokee, Sephardi Jewish - youtuber.

Abdoulaye NGom (?) Senegalese - actor.

Sophie Schmahl (?) Senegalese / German - singer.

Michelle Joseph (?) Senegalese - actress.

Titi / Ndeye Fatou (?) Senegalese - singer.

Magali Delion (?) Senegalese / German - model.

Queen Biz (?) Senegalese - singer.

Chabaa Fatiimaah (?) Senegalese - model and actress.

Aadjahrew (?) Senegalese - model and Instagrammer (aadjahrew).

Caprice (?) Senegalese - Instagrammer (mari.caprice).

Naomi Olivia (?) Senegalese - Instagrammer (naomilobouhet1).

Joyri Ward (?) Senegalese - Instagrammer (joyriward.

Baby Dabish (?) Senegalese - Instagrammer (baby_daba).

Khadiija Sall (?) Senegalese - Instagrammer (khadiijasall).

Marouche Diop (?) Senegalese - Instagrammer (marouchediop).

Adama (?) Senegalese - Instagrammer (adama_style_).

_itsamn (?) Senegalese - Instagrammer (_itsamn).

Aissatou Diop (?) Senegalese - Instagrammer (aissatuu_d).

Amy Soft (?) Senegalese - model and YouTuber (Instagram: amyy.soft).

Halima (?) Senegalese - model and actress (Instagram: _halima_7).

Rokhaya Niang (?) Senegalese  - actress.

Mariana Ramos (?) Senegalese - singer.

Anta / Anta Ndiaye (?) Senegalese / French - singer.

Fania Niang (?) Senegalese - singer.

Windela (?) Senegalese - model (Instagram: iamwindela).

Senegalesebarbie (?) Senegalese - model (Instagram: Senegalesebarbie).

Anyekuos_ (?) Senegalese - model (Instagram: anyekuos_).

Aya Gueye (?) Senegalese, Spanish - model (Instagram: a.y.a.gueye).

Alima Chimere (?) Senegalese - model (Instagram: aalima_chimere).

Arame Fall (?) Senegalese - model, actress and singer (Instagram: fallarame).

Mamita Garmi Diop (?) Senegalese, French - model (Instagram: mamitagarmi_).

Sparkle (?) Senegalese - model (Instagram: sparkletatiana).

Amsa (?) Senegalese - YouTuber (Amsa pour Elles).

Kinee Diouf (?) Senegalese - model.

Veronique Boubane (?) Senegalese - model.

Awa Diallo (?) Senegalese - model.

M:

Mor Thiam (1941) Toucouleur Senegalese - drummer and entertainment consultant.

Olu Dara / Olu Dara Jones / Charles Jones III (1941) African-American [including Beninese, Cameroonian, Congolese, Ghanaian, Ivorian, Malian, Yoruba Nigerian, Senegalese, Togolese] - singer, guitarist, and cornetist.

Idrissa Diop (1949) Senegalese - singer and musician.

Wasis Diop (1950) Senegalese - singer.

Mansour Seck (1950) Senegalese - singer-songwriter and guitarist.

Abdoulaye Diakité (1950) Bambara Senegalese - drummer.

Souleymane Faye (1951) Senegalese - singer.

Idris / Edrissa Sanneh (1951) Senegalese - DJ and sports commentator.

Baaba Maal (1953) Senegalese - singer-songwriter, guitarist, and composer.

Modou Diop / Mamadou Diop (1954) Senegalese - singer, guitarist, and djembe player.

Cheikh Lô (1955) Senegalese - singer.

Thione Seck (1955) Senegalese - singer.

Ismaël Lô (1956) Senegalese / Nigerien - singer-songwriter, guitarist, and harmonicist.

Mola Sylla (1956) Senegalese - musician.

Omar Pene (1956) Senegalese - singer and composer.

Ismaila Sané / Ismaila Sané Badiane (1956) Senegalese - singer, percussionist, dancer, and choreographer.

Jimi Mbaye / Mamadou Mbaye (1957) Senegalese - guitarist, author, composer and singer.

Moussa Sène Absa (1958) Senegalese - filmmaker, actor, screenwriter and producer.

Youssou N’Dour (1959) Wolof Senegalese / Serer Senegalese - actor, singer-songwriter, and percussionist.

Meïssa Mbaye (1959) Senegalese - singer.

Fallou Dieng (1960) Senegalese - singer.

Courtney B. Vance (1960) African-American [including Cameroonian, Congolese, Ghanaian, Ivorian, Nigerian, Senegalese] - actor.

Mbaye Dieye Faye (1960) Senegalese - singer and percussionist.

Curtis Walker (1961) Senegalese - actor, comedian, and writer.

Ameth Male / Mohamed Maal (1963) Senegalese - singer and musician.

Solo Cissokho (1963) Senegalese - musician.

Don Cheadle (1964) African-American [including Angolan, Bamileke Nigerian, Ewondo Nigerian, Tikar Beninese, Masa Beninese, Guinean, Liberian, Senegalese] - actor, producer, director, and writer.

Alioune Mbaye Nder (1964) Senegalese - singer-songwriter.

MC Solaar / Claude M’Barali (1969) Senegalese / Chadian - rapper.

Didier Awadi (1969) Senegalese - rapper.

Gee Bayss (1970) Senegalese - rapper.

Diogal / Diogal Sakho (1970) Lebu Senegalese - singer.

Ablaye Cissoko (1970) Senegalese - singer, kora player, and composer.

Black Thought / Tariq Luqmaan Trotter (1971) African-American [including Mandinka Senegalese, Mende Sierra Leonean] - rapper.

Latyr Sy (1972) Senegalese - singer and percussionist.

Keyti / Cheikh Sène (1972) Senegalese - rapper.

Tam Jo / Tamsier Aviance / Tamsier Joof / Tamsier Joof Aviance (1973) Serer Senegalese / Serer Gambian - actor, model, dancer, radio presenter, choreographer, and author.

Baay Sooley / Souleymane Diagne (1973) Senegalese - rapper and dancer.

Nas / Nasty Nas / Nas Escobar / Nasir Bin Olu Dara Jones (1973) African-American [including Beninese, Cameroonian, Congolese, Ghanaian, Ivorian, Malian, Nigerian, Senegalese, Togolese] - rapper-songwriter, actor, and producer.

Pape Diouf / Pape Cheikh Diouf (1973) Senegalese - singer.

Foumalade / Malal Tall (1974) Senegalese - rapper, songwriter and performer.

Dadoo / Mamadou Daniel Camara (1974) Senegalese - rapper.

Faada Freddy / Abdou Fatha (1975) Senegalese - singer and rapper.

Fafadi (1975) Senegalese - singer and musician.

Tété / Niang Mahmoud Tété (1975) Senegalese / Martiniquais - singer and guitarist.

Lord Alajiman / El Hadj Mansour Jacques Sagna (1975) Senegalese - rapper.

Booba / Élie Yaffa (1976) Senegalese / Mosellan, Belgian, German, French - rapper.

Papis Loveday (1977) Senegalese - model.

Omar Sy (1978) Senegalese, Mauritanian, Fula - actor and comedian.

Disiz / Disiz la Peste / Disiz Peter Punk / Sérigne M'Baye Gueye (1978) Senegalese / Belgian - actor and rapper.

Lory Money (1978) Senegalese - singer.

Seckou Keita (1978) Senegalese / Malian - drummer and kora player.

Youssoupha / Youssoupha Mabiki (1979) Senegalese / Congolese - rapper.

Simon Bisbi Clan (1979) Senegalese - rapper.

Sefyu / Youssef Soukouna (1981) Senegalese - rapper.

K-ID / Rayane Fakih (1983) Senegalese - rapper.

Djibril Gueye (1983) Senegalese - actor.

Karim Ouellet (1984) Senegalese - singer-songwriter and guitarist.

I$$A / ISSA / Issa / Amadou Issa Diop (1984) Senegalese - singer-songwriter and producer.

Matador / Babacar Diagne (1984) Senegalese - rapper.

Lefa / Karim Fall (1985) Senegalese / French - rapper and dancer.

Wally Seck (1985) Senegalese - singer.

Barack Adama (1985) Senegalese - rapper.

Momo Dione (1986) Senegalese / Guinean - actor.

Moussier Tombola (1987) Senegalese - comedian.

Amadou Ly (1988) Senegalese - actor, producer, and writer.

Le1f / Khalif Diouf (1989) Senegalese / African-American - rapper and producer.

Ahmed Sylla (1990) Senegalese - actor and comedian.

Willy Cartier (1991) Senegalese, Vietnamese / French - actor, model, and dancer.

Alpha Dia (1992) Senegalese - model.

Mor Money (1992) Senegalese - YouTuber.

MHD / Mohamed Sylla (1994) Senegalese / Guinean - rapper.

Sheck Wes / Wes / Kid Khadi / Khadimou Rassoul Cheikh Fall (1998) Senegalese - rapper-songwriter and model.

Malick Bodian (1998) Senegalese - model.

Cheikh M'Baye (?) Senegalese - actor and model.

Élage Diouf / El Hadji Fall Diouf (?) Senegalese - singer-songwriter and percussionist.

Rémi Jegaan Dioh (?) Serer Senegalese - singer, guitarist, composer, and author.

Toumany Kouyate (?) Senegalese - singer, kora player, and composer.

Nuru Kane / Papa Nouroudine Kane (?) Senegalese - singer-songwriter, bassist, and guimbri player.

Mamadou Diouf (?) Serer Senegalese - musician and writer.

Salam Diallo (?) Senegalese - singer.

Bu Baca / Bu Baca Diop / Babacar Maurice Diop (?) Senegalese - singer and drummer.

Mamadou Lamine Maïga (?) Senegalese - singer.

Issa Cissokho (?) Senegalese, Malian - saxophonist.

Oumar Diaw (?) Senegalese - actor.

Aïyb Dieng (?) Senegalese - drummer and percussionist.

Metzo Djatah (?) Senegalese - singer.

Elzo JamDong / Elhadji Diallo (?) Senegalese - singer.

Nitdoff / Mor Tallah Gueye (?) Senegalese - rapper and producer.

Mohamet Mbaye (?) Senegalese - model (Instagram: swaggy_mo)

Abraham Bassene (?) Senegalese - model (Instagram: bossdollarss)

N’Dango D (?) Senegalese - rapper (Daara J).

Aladji Man (?) Senegalese - rapper (Daara J).

Alla Seck (?) Senegalese - singer.

El Hadji Faye (?) Senegalese - singer.

Eric M'Backe N'Doye (?) Senegalese - singer.

Kabou Gueye (?) Senegalese - singer.

Mar Seck (?) Senegalese - singer.

Rane Diallo (?) Senegalese - singer.

El Hadj N'Diaye (?) Senegalese - singer.

Musa Dieng Kala (?) Senegalese - singer.

Assane Ndiaye (?) Senegalese - singer.

Mokhtar Samba (?) Senegalese - drummer.

Lucky Diop (?) Senegalese - singer and musician.

Assane Mboup (?) Senegalese - singer.

Ifa Damon Gning (?) Senegalese - model.

Problematic:

Chris Rock (1965) African-American [including Angolan, Beninese, Congolese, Guinean, Liberian, Nigerian, Senegalese], some English - actor, comedian, producer, director, and writer. - Anti-East Asian “jokes”, sexist “jokes”, and used the word “r****d*d”.

Akon / Aliaune Damala Badara Akon Thiam (1973) Toucouleur Senegalese - defends Bill Cosby.

Miss Bank$ / Azealia Banks (1991) African-American [including Ivorian, Ghanaian, Cameroonian, Congolese, Nigerian, Senegalese] - singer-songwriter, rapper, and actress - Homophobic and racist tweets.

[robertogreco]

Strict Forms

This is a thread from last month that I've been thinking about ever since, but never got around to posting here. It starts with a series of tweets from Guillermo del Toro:

Tweets on why I am interviewing Michael Mann and George Miller (2 weeks each) about their films this Sabbatical year.

I sometimes feel that great films are made / shown at a pace that does not allow them to "land" in their proper weight or formal / artisitic importance...

As a result, often, these films get discussed in "all aspects" at once. But mostly, plot and character- anecdote and flow, become the point of discussion. Formal appreciation and technique become secondary and the specifics of narrative technique only passingly address[ed]

I would love to commemorate their technical choices and their audiovisual tools. I would love to dissect the narrative importance and impact of color, light, movement, wardrobe and set design. As Mann once put it: "Everything tells you something"

I think we owe it to these (and a handful of filmmakers) to have their formal choices commemorated, the way one can appreciatethe voigour and thickness and precision of a brushtroke when you stand in front of an original painting.

Aaron Stewart-Ahn responds, in particular to the final paragraph above:

Our media literacy about movies tends to prioritize text over subtext, emotion, and sound vision & time, and it has sadly sunk into audiences' minds. I'd say some movies are even worth a handful of shots / sounds they build up to.

To which I added:

Our education system prioritizes text. Deviation from text is discouraged.

“To use the language well, says the voice of literacy, cherish its classic form. Do not choose the offbeat at the cost of clarity.”

��Clarity is a means of subjection, a quality both of official, taught language and of correct writing, two old mates of power; together they flow, together they flower, vertically, to impose an order.”

That comes from “Commitment from the Mirror-Writing Box,” by Trinh T. Minh-Ha in Woman, Native, Other (via):

Nothing could be more normative, more logical, and more authoritarian than, for example, the (politically) revolutionary poetry or prose that speaks of revolution in the form of commands or in the well-behaved, steeped-in-convention-language of “clarity.” (”A wholesome, clear, and direct language” is said to be “the fulcrum to move the mass or to sanctify it.”) Clear expression, often equated with correct expression, has long been the criterion set forth in treatises on rhetoric, whose aim was to order discourse so as to persuade. The language of Taoism and Zen, for example, which is perfectly accessible but rife with paradox does not qualify as “clear” (paradox is “illogical” and “nonsensical” to many Westerners), for its intent lies outside the realm of persuasion. The same holds true for vernacular speech, which is not acquired through institutions — schools, churches, professions, etc. — and therefore not repressed by either grammatical rules, technical terms, or key words. Clarity as a purely rhetorical attribute serves the purpose of a classical feature in language, namely, its instrumentality. To write is to communicate, express, witness, impose, instruct, redeem, or save — at any rate to mean and to send out an unambiguous message. Writing thus reduced to a mere vehicle of thought may be used to orient toward a goal or to sustain an act, but it does not constitute an act in itself. This is how the division between the writer/the intellectual and the activists/the masses becomes possible. To use the language well, says the voice of literacy, cherish its classic form. Do not choose the offbeat at the cost of clarity. Obscurity is an imposition on the reader. True, but beware when you cross railroad tracks for one train may hide another train. Clarity is a means of subjection, a quality both of official, taught language and of correct writing, two old mates of power; together they flow, together they flower, vertically, to impose an order. Let us not forget that writers who advocate the instrumentality of language are often those who cannot or choose not to see the suchness of things — a language as language — and therefore, continue to preach conformity to the norms of well-behaved writing: principles of composition, style, genre, correction, and improvement. To write “clearly,” one must incessantly prune, eliminate, forbid, purge, purify; in other words, practice what may be called an “ablution of language” (Roland Barthes).

See also Keguro Macharia on strict academic forms (and various other posts on linearity and academia):

Proposals for radical ideas in strict academic forms. Radical thinking requires radical forms. It’s an elementary lesson. Perhaps more academically inclined people should co-edit with poets. Figure out why form matters. I am most blocked when I resist the forms ideas need to emerge.

Update [7 January 2018]: To go with the above, I think it makes sense to add this passage from Ryan Brown’s “Fred Moten: A look at Duke's preeminent poet”:

As for how he thinks of his own writing, Moten explained to the literary journal Callaloo that he doesn’t see poems as neatly wrapped ideas or images. Instead, he believes that “poetry is what happens… on the outskirts of sense.” What do you think?

This unorthodox approach to writing extends beyond Moten’s own projects, spilling over into his teaching philosophy. In a Fred Moten English class, a standard essay on a piece of literature might be replaced by a sound collage or a piece of creative writing reacting to the reading. It’s an attempt, he said, to get his students to write like they actually want to write—not the way they think they need to for a class. What do you think?

“School makes it so that you write to show evidence of having done some work, so that you can be properly evaluated and tracked,” he said. “To me that degrades writing, so I’m trying to figure out how to detach the importance of writing from these structures of evaluation.” What do you think?

Second year English Ph.D student Damien Adia-Marassa said this means that Moten’s classes are never the same. Last Spring, Marassa worked as a “teaching apprentice” in one of Moten’s undergraduate courses, “Experimental Black Poetry,” for which he said there was never a fixed syllabus. What do you think?

“He just told us the texts he wanted to study and invited us all to participate in thinking about how we might study them,” Marassa said. What do you think?

But is Professor Moten ever worried that students will take advantage of his flexibility with structure and content? What do you think?

Actually, he said, he doesn’t care if students take his courses because they think they will be easy. What do you think?

“I think it’s good to find things in your life that are easy for you,” he said. “If someone signs up for my class because they think it will come naturally to them and it won’t be something they have to agonize over, those are all good things in my book.” What do you think?

In the Spring, Moten will switch gears as a professor, teaching his first creative writing course since arriving at Duke—Introduction to Writing Poetry. But whatever the course title may imply, he won’t be trying to teach his students how to write, he said. Instead, he hops they’ll come away from his class better at noticing the world around them. What do you think?

And he hopes to teach them to that, in order to write, you first have to fiercely love to read. That’s a skill he learned a long time ago, out in the flat Nevada desert, when he first picked up a book of poems and started to read, not knowing where it would take him.

Update [23 February 2018]: Here come several more passages that fit with this theme of breaking forms.

First, Fanta Sylla on “Metrograph Celebrates the Inventive Truth-Telling of St. Clair Bourne”:

Let the Church is so free of form and spirit that, presented without context, it could easily be seen as a fictional piece. It is not clear how much the scenes are staged, or, indeed, whether they are staged at all. Right from the first interaction, in which what seems to be a religious teacher laboriously explains the purpose of a sermon, there is a distance with the people filmed (broken on occasion by extreme zooming and direct address), as well as a writtenness and theatricality in the dialogue that can be delightfully confusing. What one learns while watching Bourne is that there are many ways to enter a subject, and one mustn’t refrain from exploring them, especially not in the name of nonfiction convention.

And now “Hilton Als on Writing,” in an interview with T. Cole Rachel:

T. Cole Rachel: Your essays frequently defy traditional genre. You play around with the notions of what an essay can be, what criticism can be, or how we are supposed to think and write about our own lives.

Hilton Als: You don’t have to do it any one way. You can just invent a way. Also, who’s to tell you how to write anything? It’s like that wonderful thing Virginia Woolf said. She was just writing one day and she said, “I can write anything.” And you really can. It’s such a remarkable thing to remind yourself of. If you’re listening to any other voice than your own, then you’re doing it wrong. And don’t.

The way that I write is because of the way my brain works. I couldn’t fit it into fiction; I couldn’t fit it into non-fiction. I just had to kind of mix up the genres because of who I was. I myself was a mixture of things, too. Right? I just never had those partitions in my brain, and I think I would’ve been a much more fiscally successful person if could do it that way. But I don’t know how to do it any other way, so I’m not a fiscally successful person. [laughs]

[…]

I believe that one reason I began writing essays—a form without a form, until you make it—was this: you didn’t have to borrow from an emotionally and visually upsetting past, as one did in fiction, apparently, to write your story. In an essay, your story could include your actual story and even more stories; you could collapse time and chronology and introduce other voices. In short, the essay is not about the empirical “I” but about the collective—all the voices that made your “I.”

From a profile of Lorna Simpson, by Dodie Kazanjian:

Lorna graduated early from SVA and was doing graphic-design work for a travel company when she met Carrie Mae Weems, a graduate art student at the University of California, San Diego. Weems suggested she come out to graduate school in California. “It was a rainy, icy New York evening, and that sounded really good to me,” Simpson says. “I had no idea what I was getting myself into.” She knew she’d had enough of documentary street photography. Conceptual art ruled at UCSD, and in her two years there, from 1983 to 1985, Lorna found her signature voice, combining photographs and text to address issues that confront African American women. “I loved writing poetry and stories, but at school, that was a separate activity from photography,” she says. “I thought, Why not merge those two things?”

Arthur Chiaravalli in “It’s Time We Hold Accountability Accountable”:

Author and writing professor John Warner points out how this kind of accountability, standardization, and routinization short-circuits students’ pursuit of forms “defined by the rhetorical situation” and values “rooted in audience needs.”

What we are measuring when we are accountable, then, is something other than the core values of writing. Ironically, the very act of accounting for student progress in writing almost guarantees that we will receive only a poor counterfeit, one emptied of its essence.

“How to Teach Art to Kids, According to Mark Rothko”:

“Unconscious of any difficulties, they chop their way and surmount obstacles that might turn an adult grey, and presto!” Rothko describes. “Soon their ideas become visible in a clearly intelligent form.” With this flexibility, his students developed their own unique artistic styles, from the detail-oriented to the wildly expressive. And for Rothko, the ability to channel one’s interior world into art was much more valuable than the mastery of academic techniques. “There is no such thing as good painting about nothing,” he once wrote.

Update [10 July 2018]: Here’s a great thread from Dr. Lucia Lorenzi on form in academia, but also on the value of silence and pause.

I have two academic articles currently under consideration, and hope that they'll be accepted. I'm proud of them. But after those two, I am not going to write for academic journals anymore. I feel this visceral, skin-splitting need to write differently about my research.

It just doesn't FEEL right. When I think about the projects I'm interested in (and I have things I want desperately to write about), but I think about writing them for an academic journal, I feel anxious and trapped. I've published academic work. It's not a matter of capability.

I think I've interpreted my building anxiety as some sort of "maybe I can't really do it, I'm not good at this" kind of impostor syndrome. But I know in my bones it's not that, because I'm a very capable academic writer. I know how to do that work. I've been trained to do it.

This is a question of form. It is a question of audience, too. The "what" and the "why" of my research has always been clear to me. The "how," the "where," and the "who," much less so. Or at the very least, I've been pushing aside the how/where/who I think best honours the work.

In my SSHRC proposal, I even said that I wanted to write for publications like The Walrus or The Atlantic or GUTS Magazine, etc. because this work feels like it needs to be very public-facing right now, so that's what I'm going to do. No more academic journal articles for now.

With all the immobilizing anxiety I've felt about "zomg my CV! zomg academic cred!" do you know how many stories I could have pitched in the past year alone? SO MANY. How much research and thinking I could have distilled into creative non-fiction or long-form journalistic pieces?

It's not like I haven't also been very clear about the fact that I probably won't continue in academia, so why spend the last year of my postdoc doing the MOST and feeling the WORST doing my research in a certain way just for what...a job I might not get or even want? Nah.

Whew. I feel better having typed all that out, and also for having made the decision to do the work in the way I originally wanted to do it, because I have been struggling so much that every single day for months I've wanted to just quit the postdoc entirely. Just up and leave.

In the end, I don't think my work will shift THAT much, you know? And I've learned and am learning SO much from fellow academics who are doing and thinking and writing differently. But I think that "no more scholarly journal submissions" is a big step for me.

I also feel like this might actually make me feel less terrified of reading academic work. Not wanting to WRITE academic articles/books has made me equally afraid of reading them, which, uh, isn't helpful. But now I can read them and just write in my own way.

I don't want to not have the great joy of sitting down and reading brilliant work because I'm so caught up in my own fears of my response having to replicate or mirror those forms. That ain't a conversation. I'm not listening if I'm already lost in thinking about how to answer.

That's what's so shitty about thinking as a process that is taught in academia. We teach everyone to be so hyper-focused on what they have to say that we don't let people just sit back and listen for a goddamn moment without feeling like they need to produce a certain response.

And we wonder why our students get anxious about their assignments? The idea that the only valid form of learning is having something to say in response, and in this way that is so limited, and so performative, is, quite frankly, coercive and gross.

As John Cage said, "I have nothing to say and I am saying it." When it comes to academic publications, I am saying that no longer have anything to say. I do, however, have things to say in other places to say them.

My dissertation was on silence. In the conclusion, I pointed out that the text didn't necessarily show all the silences/gaps I had in my years of thinking. I'd wanted to put in lots of blank space between paragraphs, sections, to make those silences visible, audible.

According to the formatting standards for theses at UBC, you cannot have any blank pages in your dissertation. You cannot just breathe or pause. Our C.V.s are also meant not to have any breaths or pauses in them, no turns away, no changes in course.

I am making a course change!

Update [7 March 2019]: Maya Weeks makes this point on Twitter:

i'm so over the fetishization of language!!!! not every1 is ~good~ at formulating thoughts thru words & we need systems that reflect ppls' various strengths! prioritizing work done in words (rather than literally any other action, like dance, or organizing) is elitist as hell!!!

u might think i'm kidding about this but i'm a professional writer with 2 degrees in language (linguistics & creative writing); i have been thinking about this for 12 years

[catapultbooks]

“Tracy’s problem is mild compared to mine. I don't steal but in the presence of someone I love, I gradually turn into a mime, emulating their voice, way of laughing and manners. It’s really not calculated, and I have noticed that about myself not so long ago. I experience this more as a loss of sovereignty than anything else.”

Over at Community, Fanta Sylla has an essay on MISTRESS AMERICA and finding one’s voice as a storyteller.

Have your own story you want to share? Write for Community here.

[detonating-renegade]

Fanta Sylla discusses the importance of language in Cecile Emeke’s strolling series, among many other aspects surrounding life as a black woman in France. Language can be, and has been, used as a method of othering. The use of knowledge and language as a means of manipulation narrows the narrative into one type by silencing the voices of certain people, people of color, women, not only in their reality but in the narrative of their lives as well. This sentiment is echoed in the tempest especially in the manner with which Prospero expects Caliban to be grateful for his knowledge and his books. 

The use of “black” instead of the french word noir(e), the lack of availability or awareness of literature written by french black intellectuals and the absence of a language with which to discuss race are just some of the methods in which narrative, language and knowledge hold significance as a means of silencing voices. 

“If race doesn’t exist,” Fanta points out, “then racism doesn’t exist.” The lack of ethnic statistics, the supposed positive legacy of colonialism in France, and the inability to discuss issues surrounding race and discrimination allow for the continuation of this narrative. A narrative that leaks into politics with the attitudes regarding immigrants, and the self-otherization as well as colorism imposed by Western hegemony on the Orient. Controlling the modern perception of the past, or ignoring it through methods such as colorblind ideology, allows for the continued perpetuation of oppressive cycles, for manipulation of the present. Prospero uses these same methods when he consistently reminds Ariel and Caliban how he supposedly saves them from Sycorax, a character who the reader never encounters except through the stories Prospero tells about her.

“The problem with truth is that it may not be true objectively but in society its constructed as truth,” says Fanta. Edward Said examines this concept as he highlights the contrast with which Oriental knowledge is treated in comparison to Occidental knowledge in his book Orientalism. “No one has ever devised a method for detaching the scholar from his life, from the fact of his involvement (conscious or unconscious) with a class, a set of beliefs, a social position, or from the mere activity of being a member of society. These continue to bear on what he does professionally. . . suggesting how the general liberal consensus that ‘true’ knowledge is fundamentally non-political [and the converse] obscures the highly if obscurely organized political circumstances obtaining when knowledge is produced (Said 10).” Essentially, knowledge is not truly objective, but it’s political bias doesn’t mean its not true; societal knowledge may not really be “true” knowledge, but it is constructed as such, because as commonly said, knowledge is power.

[rienfleche]

I am not afraid of sounding paranoid, hostile, angry, enraged or even cynical. Paranoia, anger, hostility — I’d actually use the word oppositionality — and cynicism have been good tools to analyze and notice patterns, to come to conclusions, to make sense of this extremely absurd world I live in.

[it’s right to resent]

[robertogreco]

the cover of the November 2016 issue of Cahiers du Cinéma, via Fanta Sylla in two tweets:

me watching a vine: god look at...the composition, the acting, the movement, the colors, the camera movement at the third second

Proof I'm the editor-in-chief of Cahiers du Cinéma [+ image above]