By Adam J. Banks
A couple of compositionists, together with Johndan Johnson-Eilola and Stuart Selber, have used the tropes of "mix" and "remix" to give an explanation for electronic writing practices—and have even spoke of the present age as "remix culture." Banks (Univ. of Kentucky) asks "what we would study from the rhetorical practices and traditions of the tradition that gave us the remix." He hyperlinks print, oral, and electronic productions in ways in which find African American discursive practices on the heart of electronic rhetoric, and he argues that the DJ is a griot, or electronic storyteller, via whom African American rhetoric should be reimaged in a brand new century. within the book's 5 chapters, the writer explores how the tropes of "mix," "remix," and "mixtape" tell numerous texts and areas. In bankruptcy four, for instance, he considers black theology as a "mixtape movement" that synthesizes integrationist and nationalist traditions. He additionally deals shout-outs in every one bankruptcy to electronic griot initiatives. This groundbreaking ebook is necessary and well timed, suggesting new instructions within the research of either African American rhetoric and electronic rhetoric. Summing Up: Graduate scholars, researchers, college.
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Additional resources for Digital Griots: African American Rhetoric in a Multimedia Age (Studies in Writing and Rhetoric)
The listener becomes a literal ghost chaser in order to bring that beat back, to hear that section again. Questlove also hints at the griot's role as archivist, with his drive to chase down every sample and clear it in his head, no matter how esoteric. Ean Golden, in a column designed to teach newbies some of the tricks of the trade, discusses some of the rhetorical value of the mix—the need for someone on the wheels to be able to make the right transitions in both tempo and feel: "Maintaining the musical pace and feel in a mix is a very important facet of DJing..
In some ways, though, he reminds me, as does Jeff Grabill in his infl uential 40 / Mix book Community Literacy Programs and the Politics of Change, that confronting the slow, deliberative pace of universities and other public institutions and the straitjacketing language of grant applications and laws and policies must be a part of community work, no matter how idealistic one might be or no matter how much I might yearn for the intellectual freedom to do what I want to do. And Steve is a good example of a scholar bringing informed political commitment to bear on universities and funding institutions in pursuit of using literacy in the struggle for fundamental changes in our society for working people.
Usually phrases like "academic discourse," "civic writing," or "professional writing" guide our theorizing and pedagogy, whether individually or in combination, all implying that the main—or even the only—goal is to prepare students to move away from the home community and its discursive practices. For African American students, this division can lead to two particular dangers. The first is the continued "miseducation of the Negro," the well-known phrase Carter G. Woodson used to identify the heightened alienation many African Americans felt from their communities the more education they pursued.