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A pesquisa apresentada nesta Dissertação de Mestrado investiga o modo de produção de novos Griot’s, a partir de atividades afrocentradas, realizadas com crianças participantes das Oficinas “Semeando a História”, na ONG AfroSul/Òḍ óṃ ọdé, na cidade de Porto Alegre/RS. Através da perspectiva com uma inspiração pós-estruturalista e da metodologia de pesquisas com crianças, concebi-as como parceiras nesta pesquisa, buscando seus aceites expressos em palavras e atitudes, bem como dos Griot’s e demais participantes do local. Investigo como os modos de ser Griot influi diretamente nas atividades, nos discursos, nas relações entre as crianças, e destas com os adultos, subjetivando-as num modo de ser criança e de viver suas infâncias diferenciado e afrocentrado. Discuto os diferentes modos de ser criança ao longo da história e como a formação étnico-cultural da população brasileira fundamenta tais diferenças e as caracteriza. Constituo o modo de ser afro-gaúcho, um afrobrasileiro produzido a partir da convivência e das relações instituídas no espaço geográfico do estado do Rio Grande do Sul, a partir das diferentes etnias historicamente aqui residentes Evidencio as diversas atividades propostas às crianças, a partir das conversas, de uma oralidade basilar, que entremeia as propostas, e materializa as aprendizagens em outras formas de representações. Nestas infâncias múltiplas, e suas contribuições na produção destes novos sujeitos, crianças que percebem o mundo em sua diversidade e multiplicidade cultural e étnicorracial, encerra-se o desejo de ampliação das ações pensadas e planejadas para a manutenção das culturas ancestrais negro-africanas, afrobrasileiras e afro-gaúchas, potencializando a continuidade das tradições, em especial, da tradição dos Mestres dos Saberes e da Pedagogia Griot. Relato esta experiência vivida a partir de minhas experiências em família afrocentrada, num modo de ser partícipe da aprendizagem neste espaço de Pesquisa, num processo holístico da construção deste relato de si e do outro que estes Mestres dos Saberes utilizam para ensinar. / The research presented in this Master's Dissertation investigates the Griot's new mode of production, from african-centred activities carried out with children participated in the workshops "Sowing History" in AfroSul/Ọdọmọdé NGO in the city of Porto Alegre / RS. Through the perspective with a poststructuralist inspiration and research methodology with children, conceived them as partners in this research, seeking their accepted expressed in words and actions, as well as the Griot's and other participants of the site. Investigate how the ways of being Griot directly influences the activities, in speeches, in relations between the children, and those with adults, subjectively them in a way to be a child and to live their differentiated and african-centred childhoods. Discuss the different ways of being child throughout history and how the ethnic and cultural background of the population bases such differences and features Consisting how to be african-gaucho, one Afro-Brazilian produced from living and relationships established in the geographical area of the Rio Grande do Sul state, from different ethnic groups historically living here. Made evident the various activities proposed to children from the conversation, a basic orality, which intersperses the proposals, and the learning embodied in other forms of representations. These multiple childhoods, and their contributions to the production of these new subjects, children who perceive the world in its diversity and cultural and étnicorracial multiplicity, closes the desire for expansion of thought and planned actions for the maintenance of black-African ancestral cultures, Afrobrazilian and african-gaucho, enhancing the continuity of traditions, in particular the tradition of the Masters of Knowledge and Griot Education. Report this lived experience from my experiences in afrocentrada family, a way of being a participant of learning in this search space, a holistic process of building this story of self and other that these Masters of Knowledge use to teach.

A pesquisa apresentada nesta Dissertação de Mestrado investiga o modo de produção de novos Griot’s, a partir de atividades afrocentradas, realizadas com crianças participantes das Oficinas “Semeando a História”, na ONG AfroSul/Òḍ óṃ ọdé, na cidade de Porto Alegre/RS. Através da perspectiva com uma inspiração pós-estruturalista e da metodologia de pesquisas com crianças, concebi-as como parceiras nesta pesquisa, buscando seus aceites expressos em palavras e atitudes, bem como dos Griot’s e demais participantes do local. Investigo como os modos de ser Griot influi diretamente nas atividades, nos discursos, nas relações entre as crianças, e destas com os adultos, subjetivando-as num modo de ser criança e de viver suas infâncias diferenciado e afrocentrado. Discuto os diferentes modos de ser criança ao longo da história e como a formação étnico-cultural da população brasileira fundamenta tais diferenças e as caracteriza. Constituo o modo de ser afro-gaúcho, um afrobrasileiro produzido a partir da convivência e das relações instituídas no espaço geográfico do estado do Rio Grande do Sul, a partir das diferentes etnias historicamente aqui residentes Evidencio as diversas atividades propostas às crianças, a partir das conversas, de uma oralidade basilar, que entremeia as propostas, e materializa as aprendizagens em outras formas de representações. Nestas infâncias múltiplas, e suas contribuições na produção destes novos sujeitos, crianças que percebem o mundo em sua diversidade e multiplicidade cultural e étnicorracial, encerra-se o desejo de ampliação das ações pensadas e planejadas para a manutenção das culturas ancestrais negro-africanas, afrobrasileiras e afro-gaúchas, potencializando a continuidade das tradições, em especial, da tradição dos Mestres dos Saberes e da Pedagogia Griot. Relato esta experiência vivida a partir de minhas experiências em família afrocentrada, num modo de ser partícipe da aprendizagem neste espaço de Pesquisa, num processo holístico da construção deste relato de si e do outro que estes Mestres dos Saberes utilizam para ensinar. / The research presented in this Master's Dissertation investigates the Griot's new mode of production, from african-centred activities carried out with children participated in the workshops "Sowing History" in AfroSul/Ọdọmọdé NGO in the city of Porto Alegre / RS. Through the perspective with a poststructuralist inspiration and research methodology with children, conceived them as partners in this research, seeking their accepted expressed in words and actions, as well as the Griot's and other participants of the site. Investigate how the ways of being Griot directly influences the activities, in speeches, in relations between the children, and those with adults, subjectively them in a way to be a child and to live their differentiated and african-centred childhoods. Discuss the different ways of being child throughout history and how the ethnic and cultural background of the population bases such differences and features Consisting how to be african-gaucho, one Afro-Brazilian produced from living and relationships established in the geographical area of the Rio Grande do Sul state, from different ethnic groups historically living here. Made evident the various activities proposed to children from the conversation, a basic orality, which intersperses the proposals, and the learning embodied in other forms of representations. These multiple childhoods, and their contributions to the production of these new subjects, children who perceive the world in its diversity and cultural and étnicorracial multiplicity, closes the desire for expansion of thought and planned actions for the maintenance of black-African ancestral cultures, Afrobrazilian and african-gaucho, enhancing the continuity of traditions, in particular the tradition of the Masters of Knowledge and Griot Education. Report this lived experience from my experiences in afrocentrada family, a way of being a participant of learning in this search space, a holistic process of building this story of self and other that these Masters of Knowledge use to teach.

During the independence era in West Africa (1958–1980) many nations embarked on ambitious programmes aimed at rejuvenating their traditional art forms. These programmes were realised through new cultural policies, with music the prime target of the governments’ campaigns. I contend that in the search for an appropriate voice West African governments focussed on one group of musicians, the Mande griots. It was through their musical compositions that the State communicated ideology and doctrine to the public. I assert that to focus on a specific ethnic group and promote them as cultural ambassadors was a policy that conflicted with the core principles of West Africa’s governments, who upheld a doctrine that promoted nationalism over ethnocentrism. It was a neo-colonialist strategy designed to consolidate the rule of the governing party, a contention which I support through an analysis of the role of griots in West African society and an appraisal of the careers of musicians, musical recordings, and musical styles. This thesis represents a historical account of Mande griots in West Africa with respect to their influence on local and national politics. Part of the aim of this thesis is to create a comprehensive and accurate catalogue of West African musical recordings and groups, the results of which are located in the appendices.

During the independence era in West Africa (1958–1980) many nations embarked on ambitious programmes aimed at rejuvenating their traditional art forms. These programmes were realised through new cultural policies, with music the prime target of the governments’ campaigns. I contend that in the search for an appropriate voice West African governments focussed on one group of musicians, the Mande griots. It was through their musical compositions that the State communicated ideology and doctrine to the public. I assert that to focus on a specific ethnic group and promote them as cultural ambassadors was a policy that conflicted with the core principles of West Africa’s governments, who upheld a doctrine that promoted nationalism over ethnocentrism. It was a neo-colonialist strategy designed to consolidate the rule of the governing party, a contention which I support through an analysis of the role of griots in West African society and an appraisal of the careers of musicians, musical recordings, and musical styles. This thesis represents a historical account of Mande griots in West Africa with respect to their influence on local and national politics. Part of the aim of this thesis is to create a comprehensive and accurate catalogue of West African musical recordings and groups, the results of which are located in the appendices.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-31T16:34:24Z No. of bitstreams: 1 Dissertação Tania Soares.pdf: 10091702 bytes, checksum: 04c4b9dd24a286edd34ca49ed13c80ab (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:19:26Z (GMT) No. of bitstreams: 1 Dissertação Tania Soares.pdf: 10091702 bytes, checksum: 04c4b9dd24a286edd34ca49ed13c80ab (MD5) / Made available in DSpace on 2018-09-11T13:19:26Z (GMT). No. of bitstreams: 1 Dissertação Tania Soares.pdf: 10091702 bytes, checksum: 04c4b9dd24a286edd34ca49ed13c80ab (MD5) / Esta pesquisa teórico-prática traz reflexões acerca do uso da voz do ator a partir do processo criativo do monólogo “Na Teia de Ananse” inspirado nos contadores de história de matriz africana, os griots, onde inventa-se uma contadora de histórias a partir de procedimentos de criação e de encenação. A dissertação que resultou num exercício de encenação, aborda os meios e modos de atuação utilizados pela atriz Tânia Soares para compor personagens a partir das múltiplas vozes do contador de histórias da tradição oral. Os procedimentos apontados, dialogam intensamente com a pesquisa de Rafael Morais de Souza, intitulado “Na Teia de Ananse: Um Griot no Teatro e sua Trama de Narrativas de Matriz Africana”, do Mestrado em Artes Cênicas da UFBA. O uso expressivo da voz, as experiências vividas, a utilização de improvisação, emoção e memória, a interação com o público, corroboram para o processo criativo e a escrita do texto, revelando a importância do trabalho vocal do intérprete como mobilizador para a construção dramática. As referências bibliográficas destacam diversos autores que abordam as áreas de teatro, cultura e mitologias africanas e afro-brasileiras, memória, improvisação teatral e técnica vocal. / This research provides theoretical and practical reflections on the use of voice actor from the creative process of the monologue "The Web of Ananse" inspired by the storytellers of African origin, the griots, the invention where a storyteller from procedures creation and staging. The dissertation which resulted in a scenario exercise, discusses the ways and means of action used by actress Tânia Soares to compose characters from the multiple voices of the storyteller's oral tradition. The procedures mentioned, intense dialogue with the research of Rafael Morais de Souza, entitled "The Web of Ananse: A Griot Theatre and its Plot Narratives of African Matrix", the Master of Performing Arts of the university. The expressive use of voice, the experiences, the use of improvisation, emotion and memory, the interaction with the public, serve to support the creative process and writing the text, revealing the importance of the vocal work of the interpreter as a mobilizer for dramatic construction. The references highlight several authors that address the areas of theater, culture and mythology african and African-Brazilian, memory, theatrical improvisation and vocal technique.

Made available in DSpace on 2014-08-20T13:47:55Z (GMT). No. of bitstreams: 1 Cristiano Guedes Pinheiro_Dissertacao.pdf: 2353517 bytes, checksum: cac9b76167b7f415663110dc1f0eac4c (MD5) Previous issue date: 2013-03-27 / The dissertation Narratives of Education and Resistance: The Griot Popular Practice of Mrs Sirley, addresses the problem of a popular narrative as a process of education and resistance in our days. Based on the methodological assumptions of the case study, participant observation and narrative interview, the research deals with the following issue: can the practice of popular narratives, by means of a specific subject, be perceived as an educational and resistance process? In the context of this discussion, authors like Walter Benjamin, Homi Bhabha and Pedrinho Guareschi are used and read from the perspective of the Critical Pedagogy by Peter McLaren and Henry Giroux. At the end, the practice of storytelling griot is proposed as a process of education and resistance in the framework of a border pedagogy. / A dissertação Narrativas de Educação e Resistência: A Prática Popular Griô de Dona Sirley, problematiza uma prática narrativa popular enquanto processo educativo e de resistência na atualidade. Partindo dos pressupostos metodológicos do estudo de caso, da observação participante e da entrevista narrativa, a pesquisa trabalha com a seguinte questão: a prática das narrativas populares, através de um sujeito específico, pode ser apreendida como processo educativo e de resistência? No contexto dessa discussão são utilizados autores como Walter Benjamin, Homi Bhabha e Pedrinho Guareschi, aproximando-os da perspectiva da Pedagogia Crítica de Peter McLaren e de Henry Giroux. Por fim, propomos a prática da contação de histórias griô, como processo educativo e de resistência nos marcos de uma pedagogia da fronteira.

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Cette étude se penche sur le geste singulier se dégageant de l’œuvre du cinéaste sénégalais Djibril Diop Mambety. Une force de « mise en présence » y est identifiée, dont la présente recherche démontre qu’elle s’apparente à l’action médiatrice du griot des traditions orales d’Afrique de l’Ouest. Singulièrement, cette force tenant de l’oralité ne repose pas sur le récit ou la parole comme discours, mais relève au contraire de ruptures narratives et de disjonctions image-son qui mettent le récit en question, invitant le spectateur à fréquemment réviser son interprétation de ce qu’il voit et entend. C’est le film lui-même qui devient alors griot, actualisant un lien en constante transformation entre l’univers qu’il porte et son spectateur. En instaurant un rapport critique à l’égard du monde dans lequel s’inscrit le récit, les multiples ruptures dans le cinéma de Mambety sont également les brèches par lesquelles se crée un espace d’accueil pour la marginalité, qui habite tous ses films. La tradition orale et le griot sont présentés en premier lieu, de manière à poser les bases à partir desquelles peut se développer la réflexion. La description et l’analyse des films Parlons Grand-mère et Le franc démontrent en quoi ceux-ci sont des films médiateurs, qui se comportent en griots. Cette découverte ouvre la voie à une réflexion plus large sur la médiation au cinéma, où la portée éthique du film-médiateur est explorée, ainsi que la nature des relations possibles entre médiation et récit. Finalement, l’analyse du film Hyènes, eu égard à la différence qu’il présente en déployant un récit plus linéaire, est l’occasion d’approfondir une compréhension à la fois de ce que font les films de Mambety et de ce que peut la médiation au cinéma de façon plus large. / This study examines how the mediatory action of the griot in West African oral traditions is at work in the films of Senegalese filmmaker Djibril Diop Mambety. This force of orality, of mise-en-présence, emerges in Mambety’s films from narrative disruptions and sound-image disjunctions. Instead of relying on narrative or speech as a discourse, this force of orality challenges the story’s consistency, inviting the viewer to frequently revise his or her interpretation of what is being seen and heard. The film itself becomes griot, a griot which links the world borne by the film and the spectator in a dynamic and ever-changing interplay. By fostering, through these disruptions, a critical stance toward the world on which depends the narrative, Mambety’s cinema makes room for marginality and exclusion, which inhabit all his films. Oral tradition and griot are first defined, followed by an analysis of how the films Parlons Grand-mère and Le franc are mediator films, functioning as griots. This opens the way for a broader reflection on the ethical significance of film-as-mediator, as well as the possible ties between mediation and narrative. Finally, an analysis of the film Hyènes, on account of its more linear narrative exposition, provides an opportunity to deepen our understanding of Mambety’s filmmaking, and to explore the greater implications of mediation in cinema.

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