#digital griots

[themoonverse]

Ma première publication sur T

Je l’ai appelé Griot…identity and history

[gracyjain]

Best Digital Marketing Agency in India | Digital Griot

Digital Griot is a top digital marketing agency in India, providing innovative solutions to enhance your online presence. From SEO, social media management, and content marketing to website development, Digital Griot helps businesses achieve their digital goals. With expert strategies and a results-driven approach, this digital marketing agency in India is committed to delivering success for businesses of all sizes.

[killmongerskeeper]

I found these interesting but smut 16 with Angst 4 for Shuri

Smut #16: “Beg for it.”

Angst #4: “Why are you really here? To mock me?”

Fighting with Shuri is always gonna end up with you two not talking for the rest of the day, then you make up before bed. You let a sigh leave your body as you stared at the kimoyo bracelet resting on the nightstand. The clock read 11:37pm and you shook your head, wanting to end this non stop cycle. Grabbing your robe, you covered yourself up before making your way to the lab. As per usual her back was turned as she moved her hands across the screen. 

"Princess, Ms. Y/N is-"

"I'm aware Griot." She said with annoyance in her voice. You folded your arms as you stood trying to keep your composure. You sat in one of the chairs and started looking through some files on the table in silence. Waiting for her to turn and face you. Not running away to her lab whenever you two have problems. 

"This sequence is incorrect. Princess. You seem to be distracted." You told her and she slammed her notes down in front of her. She finally turned to you and a frown. 

"Thank you for your input." She grinned as she masked her irritation. She tightened her grip on the folder in her hand and you couldn't help the smile on your lips as you knew she would break soon. Tapping the pen on the table as she let out a loud groan. "Why are you really here? To mock me?" She questioned folding her arms.

"Now why would I do that? I'm just coming to check on you. It's almost midnight and you're still here." You said as you tidied up the desk. She watched your every move all the way up until you approached her. "We both know how petty we can get. It's unhealthy for both of us. So I'm coming to apologize. I shouldn't have said what I said." She let her hands fall to her sides before grabbing your waist, giving you a soft peck. 

"I'm sorry too. I should be more considerate. Especially when it comes to you." She smiled as you leaned in to kiss her lips. She tilted her head to deepen the kiss while backing you into the table. She gave you a quick lift and positioned herself in between your legs. She tilted your chin up allowing her tongue to roam your skin. You slowly untied the robe letting her eyes scan your form. She groped your breasts as you wiggled your hips to gets some friction from her. Reaching up she grabbed your throat as you lost yourself in her presence. Her free hand slid down your body and disappeared into your panties giving your folds a quick stroke causing your body to shiver. 

"So wet for me. Right princess?" She whispered into your ear and you leaned your head back. She slipped a finger inside you with ease and you started to pant as she started out slow. "Griot. Lock down the lab until I say otherwise."

"Yes princess."

Her lips latched onto your neck once more, littering small dark marks along your neck and shoulder. Her finger picked up speed and you moved your hips to meet her thrusts as she moaned at the sight. Adding another finger she pushed you to lay back on the table watching as her digits disappeared inside your folds. "Fuck. You look so pretty like this."

You squirmed under her touch as she brought her lips to your nipple. Sucking and pulling as she made a mess of you in her lab. Her thumb massaged light circles around your clit and you felt your stomach tighten. "Fuck baby keep going."

She smirked against your skin as she rubbed against your walls. "Yeah. You gonna cum for me?" She taunted and you bit your lip, moaning at the sensation building inside you. "Beg for it." She had you right where she wanted you. You weren't gonna leave if she denied you your orgasm. You both knew that. You wanted her to make you cum. To have you come undone by her hands. "I don't hear anything from you sthandwa. Maybe I'll stop-"

"No! Please Shuri. Please let me cum!" You moaned out as she became relentless. 

"You can be louder than that." She grinned before her mouth was on you. You bucked into her as her tongue flicked your clit while she held you down. "Come on usana. Let go." As if on command you came on her tongue and she slurped up every drop. Your body went limp and she stood to her full height to take in the sight. You lying there post orgasmic bliss while she wiped her mouth. 

"Let me help you my love." She held her hand for you to take before pulling your robe closed. Your legs twitched and she stopped you up to her chest. "Griot. Take the lab off of lockdown. I'll be back tomorrow evening to complete the leftover sequences." 

"Of course princess." She carried you to your shared room where the two of you decided on another round of bliss.

[thecryptkeeper]

The History of Video Art 

readings listed below:

A History of Video Art (2nd Edition) - Chris Meigh-Andrews

Television: Technology and Cultural Form - Raymond Williams

Video: The Distinctive Features Of The Medium - David Antin

Video: From Technology to Medium - Yvonne Spielmann

Video: The Aesthetics of Narcissism - Rosalind Krauss

The Autobiography of Video: Outline for a Revisionist Account of Early Video Art - Ina Blom

Performance, Video, and the Rhetoric of Presence - Anne M. Wagner

The Evolution of Film Language - André Bazin

Image after Image: The Video Art of Bill Viola - Chris Keith

Video Haptics and Erotics - Laura U. Marks

The Temporalities of Video: Extendedness Revisited - Christine Ross

Video/Media Culture of the Late Twentieth Century - John G. Hanhardt and Maria Christina Villaseñor

Analog Circuit Palettes, Cathode Ray Canvases: Digital’s Analog, Experimental Past - Gregory Zinman

The Unifications of the Senses: Intermediality in Video Art-Music - Holly Rogers

The Modernist Event - Hayden White

Ken Jacobs: Digital Revelationist - Malcolm Turvey

Reverse Shot (Dialogues with Sky Hopinka, Tiffany Sia and Emma Wolukau-Waanambwa) - Emily Watlington

From Nostalgia to Anachrnoy: Omer Fast, Michael Robinson, and Home Video Appropriation - James Hansen

Gillian Wearing, Private I - Nancy Princenthal

Like Life (Review of Cao Fei) - Eleanor Heartney

John Smith: Everyday Disruptions - Mark Prince

Ulysses Jenkins: A Griot for the Electronic Age - Paul Von Blum

From Narcissism to the Dialogic: Identity in Art after the Internet - Melissa Gronlund

The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses - Laura U. Marks  

[kickmag]

AfroPoP Digital Shorts Series Presents Hands Performance For Pride Month

Black Public Media's AfroPoP Digital Shorts monthly series celebrates Pride Month with the film Hands Performance. The film is the brainchild of Oakland director Rashaad Newsome, an artist, and a vogue scholar. They created an AI named Being the Digital Griot which is a non-binary robot that travels through space. A team of Black Queer ASL interpreters, various vogue fem performers, flex dancers, and motion capture technologists, worked with Newsome to translate his poetry into a motion dataset representing the uniqueness of Black Queer sign language. Newsome debuted the griot in their  Assembly exhibition. Being is the star of Hands and the film continues Newsome's cartography of Black popular culture. The fluid movements are based on a style of the dance called vogue fem and they are delivered with a fierceness to assert Black Queer lives that are always fighting erasure. Hands Performance is available for viewing on Black Public Media's YouTube channel. 

[rideoutmusicgroup]

The Artifice of Singing Off-Key in Hip-Hop/R&B Music Explained

​Though art is subjective, we can seemingly identify a “bad” song instantly. A “bad” song; is mostly identified by its defiance to sonic conformities and cultural conformities amongst others. So, for the same reasons a Billy Joel fan may not appreciate Death Grips; a Metallica fan may very well dislike them too! They’re awfully different! Throughout the evolution of Hip-Hop and R&B music, there have been technological advancements that impacted the sonic landscape of the two genres. What remains constant through Hip-Hop transitioning to Rap; is the artist’s unique choice to sing.

The earliest form of an MC or Rap Artist like we know today; is identified as a Griot; a kind of bard or itinerant minstrel found in western African societies, who usually sings of local legends, histories, genealogies, or heroic deeds. (Oxford) Griot was later used to identify verbal messengers in American Slave Communities who’d indirectly and openly speak to their contemporaries in a chatter that their over-seer could not understand. That is why there is such emphasis on slang and rhythm in these genre’s today. (Dozier) The genre’s identity is founded on non-conformity. Auto-Tune: paved the way for rude and funny offkey rhymes sung by 80’s Hip-Hop legend Slick Rick the Ruler, to evolve to the candid lyrics that 2000’s Rap & R&B Legend, T-Pain, belts into the digital analog; vocal enhancer. Melodies are constant in music. However, Rap & R&B culture is infatuated with off-key singing. From Biz-Markie’s “He’s Just a Friend” to Lil Yachty’s “One Night;” we hear artists in this same space conjure unique singing-hooks with wild notes that do not theoretically conform to a classical musician’s standard for staying “on-key.” The trend is reasoned purely by artistic expression and the flowing river of new artistic-capabilities enabled by Auto-Tune amongst other vocal synthesizers and note-decoders.

Following the ground-breaking release of “808’s and Heartbreak” Kanye West admitted "I get a lot of backlash for using [Auto-Tune] because it's a tool people use when they can't sing... What it does for me, if I sing off-key, it really points that out. It points out the bad notes. So, what I have to do is sing more perfect.” Ben Rogerson insightfully explains that rather than a rap artist generically employing auto-tune solely for pitch correction, Ye used it as a clearly audible effect throughout the album. In a rap landscape which some artists might have hidden the fact that they implement it, Ye’s choice to double down on his use of vocal synthesizers shifted the sonic standards for the genre.

Auto-Tune turns rappers into singers or a unique combination of both. It enhances the musicality present in the rhythmically cadenced speech, and pushes rapping towards crooning and adlibbing, encouraging rappers to emit trills and melodic flourishes that would otherwise be outside their reach. The introductory song to Yachty’s fifth studio album: “Let’s Start Here,” titled ‘pRETTy,’ is characterized by the magical instrumentations that seemingly grant the listener euphoria, and the trippy chorus that is capitalized by auto-tune. (Banerjee) Future, another artist branded by his uniquely textured auto-tuned vocals “reinvented blues for the 21 century,” curating a style of delivery (somewhere between speech and singing) as a mode of feeling, and outlook. “My music—that’s pain,” Future has said. Paradoxically, Auto-Tune’s most flagrantly artificial effects have come to signify authenticity at its most raw and exposed. (Reynolds)

To further discuss the identifiable reason for rap artists to sing off-key or improper and present it as high-valued talent, we can look closely at the prolific Mixtape Rapper, Max B. Max, whose given name is Charley Wingate, was most musically active in the years, 2006-2008. From more than 20 mixtapes, one full-length on a small independent label and a substantial number of hooks and verses with New York City’s Dipset/ByrdGang crews; the body of work that Max B recorded vary wildly in tone and sound quality from release to release: referencing the stark contrast between the hallucinatory grime of the Coke Wave tapes with French Montana and the crisp G-funk of Vigilante Season. Lyrically, Max explores the depths of inebriation, crime and incarceration, misogyny, money as a means and a motivator, and these lyrics evoke an aggressive stance toward anyone with doubt in his status as the greatest gift to New York City, if not the world. (Cohen) Max B’s delivery exudes confidence, intentionality, and purpose all while singing off-key without the use of auto-tune.

In a recent interview with Complex led by Grant Rindner, Wingate states: “I Don’t Need Auto-Tune. My Voice Is Beautiful.” Max B, renowned as an influential figure whose melodic style predated the current wave of singing rap artists, explains his ear-catching delivery by admitting: “I’m not trying to sing, I’m just trying to be vulnerable... I’m trying to put my soul on there for you. I’m trying to give you me... I’m not getting respected for my musical gifts, so now I’ve got to do the unthinkable, and come with [something else].” (Rindner) Max B. Very early into his contract with Koch Records, Max told his contemporary Jim Jones, that they needed a new sound, one that moved away from the hard-hitting drums and choir samples and horns we’d typically hear in popular New York rap music at that time. Max referred to this sound being a soulful flavor that best resembles the musical roots of Harlem. Considering the cultural significance of the Harlem Renaissance, and the cultural significance of a Grigot and slave chatter in Hip-Hop and Rap music; rap artists who choose to sing off-key tap into a vulnerability and creative consciousness that is inspired by captivity, longing, non-conformity, and revolution.

Future hits it on the head when he describes his music to be simply “Pain.” T-Pain glamorously wears his moniker with the same notion in mind. Though there are many upbeat songs which feature rap artists singing; the creative consciousness inspired by slavery is inherent. Therefore, the artists vulnerability that off-key singing conveys, is most attributed to pain and suffering. It takes painful history from the genre’s lineage and sculpts it into modern chat toward people who feel painfully oppressed in their circumstances. Max B’s intentional vulnerability in his creativity comes from his own painful experiences as a child and the painful lessons that he struggled to learn in his adulthood: when he sings about being incarcerated, his adaptable keys for attaining success, and ways that he is persecuted from the Music Industry and the public. Max was trapped in a non-lucrative record deal, while facing criminal charges that loomed a 35-year sentence over his head and he directed his stress and his pain into his music and rapid productivity; amassing a cult following that awaits his eventual release this coming Autumn. This artist-model or artistic approach works with any rap artist who is confident enough to make the great, powerful choice to be vulnerable and sing honestly instead of correctly and uniformly.

O. Daley

Work Cited

Banerjee, Rhys. “Lil Yachty Made a Psychedelic Rock Album and It’s Pretty Good.” The Chronicle, 13 Feb. 2023, www.dukechronicle.com/article/2023/02/lil-yachty-lets-start-here-psychedelic-rock.

Cohen, Finn. “Lord Is Tryna Tell You Something: How Charly Wingate Became Max B.” Complex, Complex, 4 Feb. 2023, www.complex.com/music/a/finn-cohen/max-b-jail-interview1.

Dozier, Barbra. “The History of Slavery and Its Impact on Contemporary Hip-Hop Music.” Barbra Dozier’s Blog, 24 Apr. 2018, barbradozier.wordpress.com/2018/04/24/the-history-of-slavery-and-its-impact-on-contemporary-hip-hop-music/.

Mahadevan, Tara. “Kid Cudi Says Lil Yachty Is ‘What I Hoped for in the next Generation.’” Complex, Complex, 19 Jan. 2024, www.complex.com/music/a/cmplxtara-mahadevan/kid-cudi-praises-lil-yachty-what-i-hoped-for-next-generation.

The Miscellany News. “The Impact of ‘808s & Heartbreak’ on Modern-Day Rap.” The Miscellany News, 29 Apr. 2021, miscellanynews.org/2021/04/28/arts/the-impact-of-808s-heartbreak-on-modern-day-rap/.

Reynolds, Simon. “How Auto-Tune Revolutionized the Sound of Popular Music.” Pitchfork, 17 Sept. 2018, pitchfork.com/features/article/how-auto-tune-revolutionized-the-sound-of-popular-music/.

Rindner, Grant. “‘I Don’t Need Auto-Tune. My Voice Is Beautiful’: An Interview with Max B.” Complex, Complex, 23 May 2023, www.complex.com/music/a/grant-rindner/max-b-interview.

Rogerson, Ben. “Kanye West Says Auto-Tune Makes Him a Better Singer.” MusicRadar, MusicRadar, 2 Dec. 2008, www.musicradar.com/news/tech/kanye-west-says-auto-tune-makes-him-a-better-singer-185278.

[reasoningdaily]

Linden Forbes Sampson Burnham (Guyana)

BlackFacts.com breaks new ground with a Video Series on "Caribbean Revolutionaries". This series tells the often untold stories of the significant figures of the Caribbean Islands that pushed the boundaries for freedom and changed the landscape of the Caribbean as we know it. This installment tells the story and the achievements of: LINDEN FORBES SAMPSON BURNHAM (Guyana) Narrated by BlackFacts.com A.I. driven Digital Griot - "Timbuktu(tm)"

[ecsundance]

Stefanie's Experience at Sundance 2024

Being able to finally attend Sundance in person, I have to say it was a much better experience than attending it all online. Don’t get me wrong, having it online was extremely convenient, but seeing all the films in person is much much cooler. You get to connect with other people face to face and even see actors and directors from different parts of the world. Going into this, I already had a good understanding of what independent films were and are. I have to say, hearing all the directors speak about their films either before or after, has made me understand independent filmmaking a lot better. Being in person, you get to interact with more people and see why each person is at Sundance. Independent film is defined much more than economic, stylistic or thematic terms, but it also brings up questions and ideas that might otherwise be controversial. These films also bring up lots of topics that are not discussed as much as they should be. One example comes from The Mother of All Lies. This film mainly focuses on one grandma who won’t allow pictures inside the house and will not let anyone know why. This film takes place in Morocco where it is considered taboo to talk about the past as people do not want to relieve the pain, but the only way to escape the pain is to talk about it. These films also help a wider audience understand a culture that is different from our own. A good example is the film DiDi. DiDi is a coming of age film about a young Taiwanese-American boy growing up in the US. For many, this is a very different perspective of life in America and it helps us understand people's backgrounds better. Film festivals are also a place for anyone with any sort of interest in film. Some people are aspiring directors, producers, critics, and other people are just film lovers looking for entertainment. I didn’t realize how much of a big deal film festivals are and how many big name sponsors or celebrities show up. With these sponsors at film festivals, there is a greater chance that a film can be picked up by one. Which is all a part of the business. You make a film to tell a story and to get that story to wider audiences, you have to get it bought. Being a filmmaker and getting your films into festivals is a lot harder than I thought, but since going to Sundance, I am very inspired to try on my own. Especially from hearing other directors stories on how they got into film and how long it took them to get into Sundance. 

Now I saw a LOT of films at Sundance and it is very hard to choose a favorite, but my favorite has to be It’s What’s Inside directed by Greg Jardin. It was a great, suspenseful and twisting film. It’s like Freaky Friday meets Guess Who. It has also been acquired by Netflix and I strongly recommend checking it out once it is streaming. I promise you will be hanging onto the edge of your seat, wondering what is going to happen next. My least favorite film has to be Being (the digital griot). It was an animated AI who spoke a poem for close to an hour while dancing. Not only was it very weird, but it also had ambient music playing behind it with calming images to go with it. It almost made me fall asleep. At the end of it’s speech, it asked us to consider how we are oppressed due to the patriarchy and things. I wasn’t really in the mood to be in another one of my Imagine Justice classes, but I went along anyway. At the end, it asked us to come up and share our answers with it. Many people stood up and spilled their feelings. The AI responded with what seemed like a cut and paste response and didn’t actually acknowledge the peoples feelings or concerns. The showing I also went to sparked a walkout, which you can read here. Overall, it was not what I was expecting and I thought the audience was going to be able to ask it questions, so I was a bit thrown off. All in all, I saw a BUNCH of amazing films and the full list is below. I only went to one talk and it was Pushing the Boundaries of Storytelling for a Future that Demands Impact.

Here is a complete list of films I saw at Sundance in order from first watched to last:

How to Have Sex

Love Machina

The Greatest Night in Pop

10 Lives

Stress Positions

Presence

A Different Man

Malu

Episodic Pilot Showcase

Penelope

Me/We

Las Mesias

A Violent Nature

Being (the digital griot)

DiDi

The Mother Of All Lies

It’s What’s Inside

Sasquatch Sunset

A New Kind of Wilderness

Eternal You

Ibelin

Handling the Undead

Layla

Porcelain War

Desire Lines

Animated Shorts

Drago

Matta and Matto

Martyr’s Guidebook

Dona Beatriz Nsimba Vita

Baigal Nuur - Lake Baikal

Larry

27

Documentary Shorts

To Be Invisible

WInding Path

Object 817

The Smallest Power

14 Paintings

Award Winner Shorts

Pisko the Crab Child is in Love

Bug Diner

The Looming

Bob’s Funeral

The Stag

Say Hi After You Die

The Masterpiece

[youviralart]

Lisa Gilliam 

Sundance film festival 2024

Being (the Digital Griot)

In this innovative participatory experience, Being, an artificial intelligence digital griot, asks the audience to engage in unifying and challenging discussions. LEAD ARTIST RASHAAD NEWSOME PRODUCER JOHNNY SYMONS YEAR 2024 COUNTRY UNITED STATES

[rollanjoemar-blog]

HLTD22 Digital Reflection 3/3

It is truly important to understand the history of Black Canadians because we live and work in a White-centred environment, which places Whiteness as the expert. The Black community has experienced plenty of systematic and institutional forms of racism dating back to the first populations of Black Canadians in Canada. For many years following Black enslavement, the segregation of Black people in Canada was justified by following the same racial inferiority myths (Henry, 2019). Many significant events in Black Canadian history are ignored and not taught to students in schools. For example, prior to taking this course, I did have any knowledge about the tragedies of Africville and Hogan’s Alley. However, a notable first step was the incorporation of Black History Month, which honours and celebrates the legacy of Black Canadians and their communities.

I believe the notion of storytelling and the Griot is important to understanding the present because it provides a different perspective from lived experiences. Significant Black figures such as Viola Desmond and Donovan Bailey, contribute a lot to the Black community, but their stories are not emphasized enough in media and schools. By listening to more storytellers of more famous Black figures, we can maintain and include these values to our everyday life. Understanding the past is significant to our future, and we must learn and educate others on the inequality that many Black Canadian communities continue to experience.

References

Henry, Natasha. “Racial Segregation of Black People in Canada”. The Canadian Encyclopedia, 2019. https://www.thecanadianencyclopedia.ca/en/article/racial-segregation-of-black-people-in-canada

[ultraenglishnerd]

DJ Griots (Week Five)

As implied by the title of the work, the book focuses on the importance of the digital griot and how DJs specifically relate to and continue the work of griots. Over the course of five chapters, the author discusses groove, mix, remix, mixtape, and fade, all different aspects of what DJs do in their composition and what we as writers should strive to do as well. The first chapter responds in part to the need for composition instructors to keep up with the changing technologies, much like many of the other works we have read, but it also discusses this specifically in tandem with the time and research put into African American folktales and why the overlap between griots and digital composition should be considered. 

The mix section was, for me, the most interesting because it challenges the traditional idea of community scholarship, in which generally it is seen as a service to the community and not a give and take scenario. The step by step process and decisions that the author took to starting his community project was highly interesting as it detailed why the outcomes were not easily visible, and what reasons he had for not engaging in a traditional model of literacy work. The success of creating an engaged community stemmed from mixing relatable and interesting fields of study, cultural conversations and politics, and having a space in which to form the beginnings of the community by being together rather than being instructed. The discussion of the village was also significant in this section because it again ties in the old with the new, the griot of the villages with the modern day DJ, who both work with history and rememory. 

The final three chapters worked to reinforce the claims made in the first two, first by attending to the generational gap and the idea of “back in the day” narratives. History is remembered differently by each generation, for example old school meaning Earth, Wind, and Fire for some and “Candy Girl” for others. The mixtape chapter was interesting for a variety of reasons, but sticking to the composition side, the concept of plagiarism and copyright was significant. Like DJs, new compositions can be made by using older texts and models in new ways with our digital modes if only we get passed the idea that borrowing things from other authors is automatically wrong. Finally, the last chapter summarizes the compositional themes of the book fairly well by giving the reader the type of composer they should strive to be, stating, “the digital griot demonstrates a synthesis of deep searching knowledge of the traditions and cultures of his or her community and futuristic vision; the skills, ability, and comfort level to produce in multiple modalities; the ability to employ those skills toward the purpose of building and serving communities with which he or she is aligned; and awareness of the complex and layered ethical commitments and questions facing that community; and the ability to “move the crowd,” to use those traditions and technologies for the purposes of persuasion” (155). 

For last week’s multimodal piece, I would have strived to layer the concepts a little better. The comparison of composition to music (even though music is composition) challenges me to better sync up my ideas and modes in which I express them. It felt like, for last week, that I merely took different modalities and forced them to work together. Did it work? Yes. But could the same thing have been expressed in a better way? Probably. After reading this text, I think I understand better the necessity use mediums that work together and make the transitions and overlaps between them appear as natural as a good DJ moves from one song to the next. Going beyond my own composition and thinking about what we did in class, I also think the way my partner and I worked with the Found Texts to create a narrative was forced as well. We focused so much on making a cohesive narrative in which all of the pieces were part of the same story that we (or at least I) did not consider how multiple narratives might overlap and share similar beats. 

As for traditions that might shape my voice, I cannot think of any other than the way in which I compose texts, that being the academic, straightforward style. Even when allowed to move beyond the traditional academic form, much like this blog, I still fall into the habit of not using contractions, of structuring sentences in various lengths, and attempting to use “I” as little as possible unless it involves personal reflection. I do know, based on what I learned in this reading and in a sociolinguistics course that I took last semester, that my writing and speech is influenced by my race, where I grew up, my economic status, and plenty of other factors, which is why I think I write incredibly straight laced and perhaps always sound more formal than I mean to. 

[gracyjain]

Digital Griot is a top-rated digital marketing agency in India, offering innovative solutions to help businesses grow online. From SEO to social media marketing and content creation, this agency provides comprehensive strategies tailored to your brand’s needs. Explore how Digital Griot can transform your online presence and drive results.

[lazyfredricjameson]

Thus, one must have a teaching voice, an activist voice, a scholarly voice that allows one to teach, politic, build, act, plan, in the idiom of the people—whoever 'the people' are in the settings in which we hope to work. And one must teach in the idiom—not just the language practices but the ways of seeing the world, the ways of being in the world, the values, attitudes, knowledge, needs, hopes, joys, and contributions of a people as expressed through their language.

Adam J. Banks, Digital Griots : African American Rhetoric in a Multimedia Age (49)

[emrad001]

Gif from my webcomics “Djinkans”

These djelis can fight !

[womanistgrrrl]

We are Migrating To DDSOS! 🌿🌻

Happy Tuesday, Beloved Womanists, Black Feminists, Pan Africanists, Abolitionists, Communalists, and Maroon lovers of Black liberation!

We hope this message meets you giving and receiving love because you deserve.

We are reaching out to share that after 10 years of micro blogging and macro blogging on Womanistgrrrl, we are migrating to DDSOS.

Leaving Womanistgrrrl is bittersweet, but is necessary for our growth as womanist griots and digital cultural organizers.

If you have gotten your life from our content, stay connected with us on DDSOS. We will be able to send and receive "ask" (not chat box) messages on here through December 2022 as we organize the digital archive of the blog. Beginning January 2023, we will only be able to receive and respond to messages through the DDSOS website, digital mail(dmail), and social media. Thank you for understanding and being an essential accomplice in our journey!

With the Spirits of Black Love, Justice, and Truth, Womanist Grrrl Team (2012-2022)

[umsermusical]

Sambou, griot de Niantanso.

Published in Le tour du monde, nouveau journal des voyages. Édouard Charton, 1868.