Griot Here is Griot, a short conversational memoir between DjĂŠliba, a fictional grand-griot-master, and myself. On the basis of texts, brief interviews and articles, it presents research and fragments of responses to the possibility of mixing design and griotism, a global reflection on design supported by a cultural figure.
Willina Sossou DSAA Product Design École Boulle, 2019-2020
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OUVERTURE 5 ACT ONE the meeting 7 ACT TWO the first question 11 ACT THREE the explanation 17 ACT FOUR the outcome 23 ACT FIVE the end 29 REFERENCES 33
Griots !
Are you listening ? I wanted to be like you You know how to turn situations to your advantage Art, artist, artifice, artefact
Griot !
I see myself in you A designer who wants to be a griot. Has such a thing ever been witnessed ? From ancient MandĂŠ plateaux to the Great Plains, Was there any wind of such an adventure ? Favorable design or disastrous enterprise ? Only tomorrow will tell.
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ACT ONE : the meeting
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DjÊliba : What brings you here my dear ? Willina : I am a design student and I want to become a griot. I need your help. You want to become a griot ? Where does such a desire come from ? In fact, the figure of the griot arose during a reflection on West African cultural transmission. I read that griots are traditional communicators for the benefit of the community. They use various artefacts to capture attention and deliver their message. Although their attributes vary according to cultures and contexts, their peculiarity is the use of storytelling and celebration as means of mediation. Their oral celebration aims to educate by entertaining, in order to encourage exemplary behaviour maintaining the harmony and development of the community. I learned that due to colonisation, most of the traditional societies from which the griot originated lost their social constructs and embraced the coloniser’s way of organising society as the main model of progress. However, the majority of these geopolitical spaces face difficulties on humanitarian, health, educational and environmental levels. In the West, in postindustrial societies, another observation has arisen. In the post-war years, a wave of doubt permeated contemporary consciousness, dismissing great narratives supposed to bring
citizens together in a common adventure. Even the refuge found in science remains weak. Paradoxically, in the face of this contemporary incredulity, more and more groups in search of common ideals are emerging, revealing the need to be heard and wether still, the need for a collective imagination. Today, in this third industrial revolution marked by digital innovation and democratisation, globalisation no longer consists in following a universal pattern. Despite a loss of influence, the griot still harbours interesting strategies to capture the attention of their audience. Could the designer borrow the griot’s codes and thus become a modern-day griot ? Griot-designer : a contemporary spokesperson ?
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ACT TWO : the first question
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But before we continue, I want to ask you a question: DjÊliba, why do you tell stories ? You know, my dear, turning something complex into a story, makes it more accessible because everyone understands stories. When a speech is uttered in a particular context, it is an intention delivered towards an audience. The act of speaking takes on meaning only if it is translated through the filter of conventions shared by the speaker and the audience. I’ll give you an example. A village meeting under the palaver tree will only be considered open if it is the village chief who declares it to be and no one else. The word uttered by the right person confers to reality its content. Do you know what I mean ? Yes, I do know what you mean. It was John Austin, an American philosopher, who introduced the notion of performative speech into contemporary philosophy in his book How to do things with words in 1962. Moreover, within the public space, narratives allow the staging of lifestyles, values and identities on different scales. Behind a tale, there is not only a ritual and a narrative dimension,
but also a didactic dimension. The narrative carries within it a suggestive propensity to model a conduct, and then consolidates the relationships between individuals by allowing them to gather around common projections. Are you manipulating us when you sing then ? I wouldn’t really call it manipulation, but rather suggestion. Mr Cristol, a doctor of education, once said, «Storytelling, because it is a language, is a carrier of life, of individual and collective fulfilment. When I praise a nobleman by recounting his lineage, I remind him of the honour of his ancestors before everyone, I thus encourage him to show himself worthy of the deeds of his lineage. Do you understand ? Yes, I think so. Could you tell me more ? Storytelling allows a general opinion to be established and insidiously configures certain monopolies. By decision-makers, whether political, religious, cultural or economic, it can be a powerful weapon. Some call it propaganda, others call it soft power. I once heard someone say “ To speak is to build a village”. What does it mean ? Traditionally in Africa, the exchanges that build the village often take the form of stories conveyed orally by storytellers, griots and even the elderly. These discourses go beyond the simple speaker-receiver schematic of exchange. The discourse becomes a matter of
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education and transmission that establishes the values of the village and its different stakeholders. Narratives really have an edifying power when written in collective intelligence. So you agree with Karen Blixen who wrote «All sorrows are bearable if you make a story out of them». The idea that storytelling holds a kind of cathartic and therapeutic virtue. Yes, exactly ! The storytelling of life is a social practice that opens up to discovery, transformation and selflearning. Pineau and Legrand wrote that the invention of life narratives is a «search for and construction of meaning from personal facts, it initiates a process of expression of experience». Take another look at all those young people from the Society of Ambiancing and Elegant People (aka SAPE) who parade through the streets of Brazzaville or Paris, dressed in luxurious, ostentatious and colourful clothes. By conceiving their own codes of representation, they created their own movement of affirmation during a time of oppression. In fact, listening to you, I realise that narration, language, modes of recognition and the existence of individuals are closely linked. It’s even surprising that griotism is at the crossroads of these notions ! Honestly, do you think that today, precisely with globalisation, we need new narratives, new ways of celebrating ? New narratives ? I don’t know, maybe so. Telling stories, celebrating, encouraging, taking up, passing on, no matter where you are, no matter what you say, it works. Should we try new applications ?
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ACT THREE : the explanation
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You have heard and told countless stories, do you think that a designer can be a griot ? As you may have already read, one cannot become one of us if one is not already from a griotic lineage. Why do you as a designer really want to become a griot ? It may sound a bit atypical for you to hear that, but behind your storyteller’s craft, I see design. What do you mean ? I believe that the way of seeing the world and revealing it is a way of building it. Both you as the griot, and I as the designer have this common ability to shape this world through our work. Sudjic Deyan, a journalist, once said : “Objects help us to assess the course of our existence. They help us define our personality, say who we are and who we are not. Design has become the language that shapes these objects and adapts their message. The role of today’s most sophisticated designers is that of storytellers : their creations must convey audible messages as much as they must solve problems of external appearance and internal functionality. Like other languages, design evolves and changes direction quickly. Whether it is handled with subtlety and ingenuity or with heaviness and clumsiness, it is the key to understand the world shaped by mankind.
Interesting…What a curious connection you’re making right now ! The evidence of this connection occurred when I read in an article that you were part of the craftsmen’s caste. Its special role was to transform the wild elements of nature into culture. I have also read that «weaving», «forging» and «singing praises», were expressed by the same verb «da» which means «to create». Is that right ? Yes, indeed. The nyamakalaw’s caste. To me, design and griotism can come together because unlike other forms of artistic expression, they are generally in a non-partisan universality. Their respective subjectivity is part of a generally objective and grounded context : one must respond to the specifications and the other must perpetuate the values of the group. Upon closer examination, design has been associated with a form of emancipation and transformation of society from the very start. In recent decades, with the development of services, the trend has turned towards social innovation. With these cross-disciplinary projects surrounded by societal issues, I wonder if the creativity of the designer should only reside in the design of industrial objects. Mightn’t it be more advantageous to experiment through a scenario ? Should rationality always be our main expression filter ? Interesting ! Furthermore, through history, I have noticed that most of the social celebrations of a group bring out visual and formal projections that can transform public spaces into strong artistic dynamics. They act as positive moments where the members can express themselves individually and collectively. All these common narratives
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ultimately convoy particular visions of the world. Consequently, faced with the disenchantment of large collective projects which are nevertheless necessary, and a contemporary context where the sensitive emerges in practically all spheres of society, could public spaces not become the site of a new heterotypic mechanism carried by design? Faced with those who would then fear an increase in permeable information, I would suggest the use of different means. Djéliba, when you speak, time is at your service. Therefore, could we not oppose the cult of efficiency, profitability and productivity, in favour of a different timeline in which humans and their abilities are celebrated? Also, watching you using your linguistic and paralinguistic ploys, I sense the designer that Villém Flusser describes in his Little Design Philosophy. From the English definition of design meaning both intention and conspiracy, he defines the designer as «a treacherous plotter who sets traps». According to him, design is an intersection where art and technique overlap to open the way to a new culture, conscious of being fraudulent, conscious of surpassing the natural with the artificial and whose aim would be to transform the men subject to natural determinations as free men continuously freeing themselves from constraints. Do you have an example to illustrate your assertions ? The project that comes to mind is the film Disaster Playground by Nelly Ben Hayoun, made in 2014 as part of the «Future Fictions» exhibition in Belgium. By manipulation of the documentary and apocalyptic consensus, the film mixes real situations and fictional scenarios to create a fragmented reality, in order to raise awareness about the threat of asteroids. Here, via unexpected artefacts, the sublimation expected from the filmic medium is deconstructed and the
important information is perceived differently. Nelly Ben Hayoun pushes the limits of design by means of fiction where the product turns out not to be material but a generator of questions. Design thus moves away from the consumption of artefacts and gets closer to social debates with designers placing themselves as instructors guiding the user to see beyond. Therefore, like the song of the griot which generates introspection, could design not increasingly consider its production as food for thought ? Still, like the griot, could the designer not be an instructor, in order to pass on the power of action to the user? In the end, for me, whether it is a projection through drawing or narration, design and the griot are part of the same project : the making of society. This is why, DjÊliba, I see myself in you. I see ambition right there. Ah DjÊliba, I know that neither design nor the griot will change the world. Despite our goodwill, other factors beyond our reach enter the equation. But it’s not for lack of trying. Is it ?
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ACT FOUR : the outcome
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My dear, anyone who wants honey must have the courage to face the bees. But before facing the bees, do you really know what being a griot implies? I guess so. I would say that it implies imagination, observation, good training and skills. Isn’t that right ? Yes, but that’s not all. To help you find your way, I’ll give you four key pieces of advice : Position : Know who you are What type of griot do you want to be ? Storyteller, politician, genealogist, musician? Whether they call you djeli, jasare, bard, nyamakalaw, or whatever you choose to be, your message must be one of unity, and reinforce the harmony of the group, rather than disturb it. Be an independent, neutral and objective intermediary. Information : Master your subject Whether it’s stories, ancestors’ exploits or praises, you need to know your subject. You have to learn how to listen, to speak, to observe and even play an instrument. You will use it to charm your audience. History is rich and vast, so don’t limit yourself to the corners of your walls. Explore, travel, collect and enrich
your repertoire. Etiological, panegyric legends, genealogies, etymologies, epics, proverbs, tales, origins of various surnames, rivers, cities and villages, dive in ! Attention : Know your audience Remember, any story is aimed at and based on an audience. Your audience is therefore very important. You have to take them into account when constructing your speech, because the speech of a griot is judged according to its effectiveness. Whether under the palaver tree or at a wedding, a meeting or a courtesy call, your story must be part of conventions. There is a consensus between your audience, the subject of your speech and you. You have to be credible. Action : Be eloquent The way you dress, the way you speak, the way you hold yourself, the way you play your instrument : everything is language. And your word must lead to action, answers, interjections, laughs, tremors, even material or financial donations. Therefore, surround your speech with charming artefacts. Make your audience the center of your occupations. Impose yourself physically by your voice and your gestures. Saturate your tale with “salt”, with humor, suspense, exaggeration, metaphor, music, mimes, changes of voice, changes of language or changes in intonation. In the end, my dear, being a griot is acting for the sake of the community for your audience, in the fairest way
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by teaching them something while arousing pleasure, laughter, courage, pride, exaltation, or even tremors. Thank you very much Djéliba for your advice. It will help me a lot with the development of my project. Now, with those guidelines in mind, what are you thinking about ? To explain, I’ll use the previous four major pieces of advice you kindly gave me. Sure. Go on, I’m listening. Position : who am I ? Going from the proverb you told me about, today in my postulate as a griot designer, I place myself as the builder of this village. A constructor turned towards what is depreciated, be it communities, know-how or particularities, who celebrates and reaffirms their positive sides. Through forms or scenarios, I imagine griot design centred around notions such as archive, identity, enhancement, intentionality and empowerment. Information: how am I going to work ? I plan to always work on the basis of observation, archiving and collecting around general history, shared history and personal experiences : films, documentaries, museum archives, books, anthropological studies etc. Attention : Which audience ? For this first attempt of griotic design, my gaze naturally fell on the Afro community. It’s the community on which my observations are the most extensive. I have noticed something really interesting : while hair may simply represent a physical peculiarity or a personal way of expression in others, hair in the black community
carries within it a unique symbolic significance. Afro hair in this community is embedded in a duality where it is both the cause of complexes and rejection but also a symbol of black identity appropriation. By focusing on the moment when people get their hair styled, I noticed that it was a strong socialising moment where know-how but also womanhood/manhood are discussed. It is a matter of experience and transmission. By observing the hairdressing salons, I noticed a plethora of hairstyles and a great aesthetic wealth. I understood through all the names of those hairstyles that this hair was in itself a language. This is why, as a griot designer, I would like to use this material as a vector for positive narratives of black beauty. Action : Which action ? Rather than work on the technical aspect or the care process, I chose to work on its aesthetics and its graphic potential. The programming of the project is not defined yet but my aim is to divert the hair salon into a culture salon by transposing the hair matter into a graphic language. This appropriation of the hairdressing salon through an offbeat and graphic medium would be a pretext to give value to black beauty and to decomplex the tumultuous relationship that afrodescendants experience with their hair.
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ACT FIVE : the end
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I have listened carefully to what you said. I’ll just give you three more pieces of advices : throughout your work, don’t forsake humility, you’re just a spokesperson. Real action is the responsibility of your audience. Remember the bravery of Soundiata, and remember my advice. When all that is said, I wish you great courage, my dear. Thank you very much Djéliba.
Now, to whom might be reading, I can say : First was the song of a griot, The song provoked the question, The question raised the attempt, The attempt generated design, The designer gave birth to this paper, And here, it ends. Designer-griot: a contemporary spokesperson ? Designer-griot, yes, insofar as their material, real or fictional narration is used to build a group. Contemporary spokesperson, yes, insofar as mediation is not limited to perpetuating the tradition as expected from a griot, but also carrying questions rooted in temporality. Designers involving themselves in the commonplace in a particular temporality, knowing how to position themselves in a convention, skilful in their collection of information, drawing attention to an audience by creating an engaging action. Position, Information, Attention, Action.
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REFERENCES : what I read
• Bertrand, Gwenaëlle et Favard, Maxime Poïétiques du design, Conception et politique, L’Harmattan Editions, 2015 • Bornand, Sandra Le discours du griot généalogiste chez les Zarma du Niger, Karthala Editions, 2005 • Flusser, Vilém La petite philosophie du design, Circé Editions, Paris, 2002 • Lipovetsky, Gilles Les temps hypermodernes, Grasset Editions, Gallimard, 2004 • Niane, Djibril Soundiata ou l’épopée mandingue, Éditions Présence Africaine, Paris, 1960 • Barou, Jacques « Griots et messagers » in L’école des parents, vol. 603, no. 4, 2013, pp. 35-36. • Bujo, Bénézet « Culture africaine et développement : un dialogue nécessaire » in Finance & Bien Commun, vol. 28-29, no. 3, 2007, pp. 40-45. • Cristol, Denis « Écrire un récit collectif pour faire communauté », article publié en ligne le 23 avril 2018 sur le site « Thot Cursus » at https://bit. ly/2U8yOmn
•De Jarcy, Xavier
« Un designer et une philosophe aux petits soins de la société » article publié le 07 mars 2019 sur le site «Télérama» at https://bit. ly/2RVr98i
• Marzolf, Hedwig,
« Écrire sa vie. L’équivoque de la «philosophie du conter de Hannah Arendt»» in revue Raison publique, vol. 19, no. 2, 2014, pp. 139-164.
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• Moussaoui, Rosa « Kossi Efoui : « nous recherchions des résonnances dans les événements du monde « »article publié le 01 décembre 2017 sur le site “l’Humanité“ at https://bit.ly/36FepYG • Quemener, Nelly « Christian SALMON, Storytelling. La machine à fabriquer les images et à formater les esprits » in Communication, vol. 29, 2012, publié en ligne le 06 septembre 2013 sur le site « Open Editions » at https://bit.ly/38Q9d5T • Le pouvoir des mots organised by the Centre Pompidou Public Library of information at https://bit.ly/2RFH3ox
what I heard • Klein, Étienne
« La conversation scientifique. La notion d’identité culturelle a-t-elle un sens ? » on France Culture at https://bit.ly/2RC6Wp5 • Van Reeth, Adèle « Les chemins de la philosophie. Le pouvoir de la parole: parler est-ce agir ? » on France Culture at https://bit.ly/36AQmKv • Worms, Frédéric « Matières à penser. La crise du langage et comment y répondre » on France Culture at https://bit.ly/2Ob17N8
what I watched
• Condom, Cédric Je suis né griot, 2007 • Diop Mambéty, Djibril Parlons Grand-mère, 1989 • Kouyaté, Dani Keïta, l’héritage du griot, 1996 • Ocelot, Michel Kirikou et les hommes et les femmes, 2012
• Rouch, Jean Les maîtres fous, 1995 • Ecole Urbaine de Lyon « Qu’est-ce que veut dire faire société ? », 2018 at https://bit.ly/2GAzhpo • Gallet, Dominique « Sotigui Kouyaté: une vie d’apprentissage » at https://bit.ly/3aUj9NC
• The Listening Post « Noam Chomsky - The 5 Filters of the Mass Media Machine », 2017
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Memoir supervised in french by Bertrand Vieillard, VaĂŻana Le Coustumer Vincent Rossin and in english by Lucinda Caton Text composed in Big Calson and Athelas by Matthew Carter
Édition École Boulle ©Willina Sossou, École Boulle www.ecole-boulle.org