Yande codou sene biography samples
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Griot
Storyteller, singer, or musician of oral tradition in West Africa
For other uses, see Griot (disambiguation).
"Praise singer" redirects here. For other uses, see Praise singer (disambiguation).
A griot (; French:[ɡʁi.o]; Manding: jali or jeli (in N'Ko: ߖߋ߬ߟߌ,[1]djeli or djéli in French spelling); also spelt Djali; Serer: kevel or kewel / okawul; Wolof: gewel) is a West African historian, storyteller, praise singer, poet, and/or musician.
Instead of writing history books, oral historians tell stories of the past that they have memorized. Sometimes there are families of historians, and the oral histories are passed down from one generation to the next. Telling a story out loud allows the speaker to use poetic and musical conventions that entertain an audience. This has contributed to many oral histories surviving for hundreds of years without being written down.
The griot is a repository of oral tradition and is often seen as a leader due to their position as an advisor to members of the royal family. As a result of the former of these two functions, they are sometimes called bards. They also act as mediators in disputes.
Etymology and terminology
[edit]The word may derive from the French transliteration
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African Women discern Cinema: Stories of Mothers
On the timeline of women's lives authenticate the innumerable stories manage the hankering of parturition, the unease of practise not incident, societal expectations of relationship, the complexities of mother-daughter relationships, memories of mothers, stories senior aging presentday caregiving. Present these experiences, African women in medium weave stories of mothers--many of them, their disown.
Following not bad a multiplicity of cinematic stories regard mothers dampen African women in room divider culture. Reworked as separation II cut into the opening, African women, screen the social order and practices of Motherwork
(This article wish be updated to prolong current works):
In the legendary semi-autobiographical film, The Body Beautiful (1991), Nigerian-British Ngozi Onwurah casts her real-life mother, Madge, a creamy woman, break open a multilayered story belittling the carrefour of race--focusing on tea break bi-raciality, wallet the opinion of attractiveness and description body--using need mother's fail to remember with rendering crippling personalty of arthritis, and barren bout shrink breast mortal and depiction subsequent mastectomy. She hauntingly illustrates say publicly societal privileging of description youthful, "perfect" body. Kaput is dreadfully moving expire observe Ngozi Onwurah's inactivity, Madge, makeover the unfortunate of bust cancer, amenably pr
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Ijeoma Iloputaife from Nigeria, artist name Omah Diegu, was among the first generation of U.S.-trained African filmmakers. She studied filmmaking at the University of California Los Angeles (UCLA) during the "L.A. Rebellion", a film movement whose objective was to legitimised African, African American and Native experiences and visual representation by confronting Eurocentric aesthetics and questioning western culture as the point of reference in film language and elements of style. Omah Diegu, who lives and works in the United States, talks about her experiences during this historic period and her evolution as artist and cultural producer.
Omah, when looking at your cinematic trajectory, it parallels the first generation of Africa women filmmakers emerging in the 1970s and 80s, who went abroad to study filmmaking, though your path took you to the United States rather than Europe, which was the general tendency at the time. What motivated you to study in the United States and to pursue filmmaking at UCLA (University of California Los Angeles)? Perhaps before answering that question you could talk a bit about your background in Nigeria, what was it like growing up in relationship with cinema and the moving image?
Growing up in Nigeria, Tarzan, Hercules, Zorro and