By Adam J. Banks
A few 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'd research 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 middle of electronic rhetoric, and he argues that the DJ is a griot, or electronic storyteller, via whom African American rhetoric might 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 tasks. This groundbreaking e-book is necessary and well timed, suggesting new instructions within the examine of either African American rhetoric and electronic rhetoric. Summing Up: Graduate scholars, researchers, college.
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Extra info for Digital Griots: African American Rhetoric in a Multimedia Age (Studies in Writing and Rhetoric)
96) While he worked carefully in his undergraduate course to teach students about the "struggle" of African Americans in Southside Chicago and in the larger nation, in framing his oral history project and describing its aims to local activists, he "contradicted their vision of a 'struggling community'" (96). Resisting close identification with community and advocacy as a goal for community service work, Coogan posits "civic dialogue" as a corrective. By imagining a role and a position for scholars and students doing community work on the other end of a continuum from advocacy and identification, Coogan believes those involved in community literacy work can ensure the importance of inquiry and prevent simplistic assumptions about a local community.
And even after having heard that collection and my mentor's intellectual, theoretical, and literal record collections in my graduate work, I still didn't quite hear my own blend yet, my own mix. I didn't hear it in the many layers of the individual track of my intellectual commitments, nor did I envision it yet in the mix between the many different tracks of an academic career (check chapter 4)—especially when I considered the blend between the campus and disciplinary role of the scholar and the attempt to employ my work in some kind of service, some kind of community engagement.
What are the skills, abilities, and understandings that this culture bearer brings to his or her work that can form the basis of multimodal writing? The wide range of genres and spaces of production for the DJ begins to answer this question: the on-air radio show; the mixtape; the sample; the bootleg; the flyers and posters used to promote artists, parties, and events; the studio session as producer for singers and MCs; the M C himself or herself as host and controller of the event or party. What skills and abilities allow the DJ to perform all of these roles and produce "texts" in all of these spaces?