Scholar Adam J. Banks offers a mixtape of African American digital rhetoric in his innovative study Digital Griots: African American Rhetoric in a Multimedia Age. Presenting the DJ as a quintessential example of the digital griot-high-tech storyteller-this book shows how African American storytelling traditions and their digital manifestations can help scholars and teachers shape composition studies, thoroughly linking oral, print, and digital production in ways that centralize African American discursive practices as part of a multicultural set of ideas and pedagogical commitments. DJs are models of rhetorical excellence; canon makers; time binders who link past, present, and future in the groove and mix; and intellectuals continuously interpreting the history and current realities of their communities in real time. Banks uses the DJ's practices of the mix, remix, and mixtape as tropes for reimagining writing instruction and the study of rhetoric. He combines many of the debates and tensions that mark black rhetorical traditions and points to ways for scholars and students to embrace those tensions rather than minimize them. This commitment to both honoring traditions and embracing futuristic visions makes this text unique, as do the sites of study included in the examination: mixtape culture, black theology as an activist movement, everyday narratives, and discussions of community engagement. Banks makes explicit these connections, rarely found in African American rhetoric scholarship, to illustrate how competing ideologies, vernacular and academic writing, sacred and secular texts, and oral, print, and digital literacies all must be brought together in the study of African American rhetoric and in the teaching of culturally relevant writing. A remarkable addition to the study of African American rhetorical theory and composition studies, Digital Griots: African American Rhetoric in a Multimedia Age will compel scholars and students alike to think about what they know of African American rhetoric in fresh and useful ways.

Scholar Adam J. Banks offers a mixtape of African American digital rhetoric in his innovative study Digital Griots: African American Rhetoric in a Multimedia Age. Presenting the DJ as a quintessential example of the digital griot-high-tech storyteller-this book shows how African American storytelling traditions and their digital manifestations can help scholars and teachers shape composition studies, thoroughly linking oral, print, and digital production in ways that centralize African American discursive practices as part of a multicultural set of ideas and pedagogical commitments. DJs are models of rhetorical excellence; canon makers; time binders who link past, present, and future in the groove and mix; and intellectuals continuously interpreting the history and current realities of their communities in real time. Banks uses the DJ's practices of the mix, remix, and mixtape as tropes for reimagining writing instruction and the study of rhetoric. He combines many of the debates and tensions that mark black rhetorical traditions and points to ways for scholars and students to embrace those tensions rather than minimize them. This commitment to both honoring traditions and embracing futuristic visions makes this text unique, as do the sites of study included in the examination: mixtape culture, black theology as an activist movement, everyday narratives, and discussions of community engagement. Banks makes explicit these connections, rarely found in African American rhetoric scholarship, to illustrate how competing ideologies, vernacular and academic writing, sacred and secular texts, and oral, print, and digital literacies all must be brought together in the study of African American rhetoric and in the teaching of culturally relevant writing. A remarkable addition to the study of African American rhetorical theory and composition studies, Digital Griots: African American Rhetoric in a Multimedia Age will compel scholars and students alike to think about what they know of African American rhetoric in fresh and useful ways.

On African-American Rhetoric traces the arc of strategic language use by African Americans from rhetorical forms such as slave narratives and the spirituals to Black digital expression and contemporary activism. The governing idea is to illustrate the basic call-response process of African-American culture and to demonstrate how this dynamic has been and continues to be central to the language used by African Americans to make collective cultural and political statements. Ranging across genres and disciplines, including rhetorical theory, poetry, fiction, folklore, speeches, music, film, pedagogy, and memes, Gilyard and Banks consider language developments that have occurred both inside and outside of organizations and institutions. Along with paying attention to recent events, this book incorporates discussion of important forerunners who have carried the rhetorical baton. These include Frederick Douglass, Harriet Jacobs, Sojourner Truth, Anna Julia Cooper, W. E. B. Du Bois, Zora Neale Hurston, Malcolm X, Martin Luther King, Jr., Toni Cade Bambara, Molefi Asante, Alice Walker, and Geneva Smitherman. Written for students and professionals alike, this book is powerful and instructive regarding the long African-American quest for freedom and dignity.

In this book Adam Banks uses the concept of the Digital Divide as a metonym for America's larger racial divide, in an attempt to figure out what meaningful access for African Americans to technologies and the larger American society can or should mean. He argues that African American rhetorical traditions--the traditions of struggle for justice and equitable participation in American society--exhibit complex and nuanced ways of understanding the difficulties inherent in the attempt to navigate through the seemingly impossible contradictions of gaining meaningful access to technological systems with the good they seem to make possible, and at the same time resisting the exploitative impulses that such systems always seem to present. Banks examines moments in these rhetorical traditions of appeals, warnings, demands, and debates to make explicit the connections between technological issues and African Americans' equal and just participation in American society. He shows that the big questions we must ask of our technologies are exactly the same questions leaders and lay people from Martin Luther King to Malcolm X to slave quilters to Critical Race Theorists to pseudonymous chatters across cyberspace have been asking all along. According to Banks the central ethical questions for the field of rhetoric and composition are technology access and the ability to address questions of race and racism. He uses this book to imagine what writing instruction, technology theory, literacy instruction, and rhetorical education can look like for all of us in a new century. Just as Race, Rhetoric, and Technology: Searching for Higher Ground is a call for a new orientation among those who study and profess African American rhetoric, it is also a call for those in the fields that make up mainstream English Studies to change their perspectives as well. This volume is intended for researchers, professionals, and students in Rhetoric and Composition, Technical Communication, the History of Science and Society, and African American Studies.

Thanks to ever-greater digital connectivity, interest in oral traditions has grown beyond that of researcher and research subject to include a widening pool of global users. When new publics consume, manipulate and connect with field recordings and digital cultural archives, their involvement raises important practical and ethical questions. This volume explores the political repercussions of studying marginalised languages; the role of online tools in ensuring responsible access to sensitive cultural materials; and ways of ensuring that when digital documents are created, they are not fossilised as a consequence of being archived. Fieldwork reports by linguists and anthropologists in three continents provide concrete examples of overcoming barriers -- ethical, practical and conceptual -- in digital documentation projects. Oral Literature In The Digital Age is an essential guide and handbook for ethnographers, field linguists, community activists, curators, archivists, librarians, and all who connect with indigenous communities in order to document and preserve oral traditions.

Drawing on social justice methodologies and cultural studies scholarship, Key Theoretical Frameworks offers new curricular and pedagogical approaches to teaching technical communication. Including original essays by emerging and established scholars, the volume educates students, teachers, and practitioners on identifying and assessing issues of social justice and globalization. The collection provides a valuable resource for teachers new to translating social justice theories to the classroom by presenting concrete examples related to technical communication. Each contribution adopts a particular theoretical approach, explains the theory, situates it within disciplinary scholarship, contextualizes the approach from the author’s experience, and offers additional teaching applications. The first volume of its kind, Key Theoretical Frameworks links the theoretical with the pedagogical in order to articulate, use, and assess social justice frameworks for designing and teaching courses in technical communication. Contributors: Godwin Y. Agboka, Matthew Cox, Marcos Del Hierro, Jessica Edwards, Erin A. Frost, Elise Verzosa Hurley, Natasha N. Jones, Cruz Medina, Marie E. Moeller, Kristen R. Moore, Donnie Johnson Sackey, Gerald Savage, J. Blake Scott, Barbi Smyser-Fauble, Kenneth Walker, Rebecca Walton

Rooted in the ways Black women understand their lives, this collection archives practices of healing, mothering, and advocacy during the COVID-19 pandemic. Recognizing that Black women have been living in pandemics as far back as colonialism and enslavement, this volume acknowledges that records of the past—from the 1918 flu pandemic to the onset of the HIV/AIDS epidemic—often erase the existence and experiences of Black women as a whole. Writing against this archival erasure, this collection consciously recenters the real-time experiences and perspectives of care, policy concerns, grief, and joy of Black women throughout the COVID-19 pandemic. Nineteen contributors from interdisciplinary fields and diverse backgrounds explore Black feminine community, consciousness, ethics of care, spirituality, and social critique. They situate Black women’s multidimensional experiences with COVID-19 and other violences that affect their lives. The stories they tell are connected and interwoven, bound together by anti-Black gendered COVID necropolitics and commitments to creating new spaces for breathing, healing, and wellness. Ultimately, this time-warping analysis shows how Black women imagine a more just society, rapidly adapt to changing experiences, and innovate ethics of care even in the midst of physical distancing, which can be instructive for thinking of new ways of living both during and beyond the era of COVID-19. Contributors Shamara Wyllie Alhassan Sharnnia Artis Keisha L. Bentley-Edwards Candace S. Brown Jenny Douglas Kaja Dunn Onisha Etkins Rhonda M. Gonzales Endia Hayes Ashley E. Hollingshead Kendra Jason Julia S. Jordan-Zachery Stacie LeSure Janaka B. Lewis Michelle Meggs Nitya Mehrotra Sherine Andreine Powerful Marjorie Shavers Breauna Marie Spencer Tehia Starker Glass Amber Walker