DOCSLIB.ORG

(2014) Alphonso Lisk-Carew: Early Photography in Sierra Leone. Phd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Crooks, Julie (2014) Alphonso Lisk‐Carew: early photography in Sierra Leone. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/18564 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Alphonso Lisk-Carew: Early Photography in Sierra Leone Julie Crooks Thesis Submitted for PhD March 2014 Department of the History of Art and Archaeology SOAS University of London © 2014 Julie Crooks All rights reserved Declaration for SOAS PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: _____________________________ Date:_____________________ Abstract This dissertation examines the practice of Sierra Leonean photographer Alphonso Lisk-Carew (1883-1969). Through an exploration of his photography, it engages the key issues relating to Lisk-Carew’s biography, his contribution to Sierra Leonean photography and his photographic practice within a complex multiracial society. In the 1980s, Vera Viditz-Ward’s pioneering scholarship introduced the established, yet little-known, histories of photographic practices in Sierra Leone. Her early research on Alphonso Lisk-Carew engendered a new approach to the study of Sierra Leonean photographers. Here, I build on Viditz-Ward’s groundbreaking work by investigating a range of photographs and postcards that highlight his photographic ideas and practices in Sierra Leone, and by introducing oral testimonies from some of his descendents and friends as well as local citizens. Moreover, I utilize an extensive body of primary materials found in local newspapers such as the Sierra Leone Weekly News to contextualize and shed new light on the social, political and economic contexts under which Lisk-Carew built his commercial enterprise. I also consider Lisk-Carew’s gendered position, and following on from his body of work, examine his legacy in a 1970 retrospective exhibition. Subsequent to the aftermath of a protracted civil war in Sierra Leone (1991- 2002), both individual and institutional archives were decimated and made vulnerable. In light of this, I consider the reconstituting of photographic archives and address the ways in which the surviving institutional archives in Freetown can be reclaimed, preserved and maintained. To the loving memory of my parents, Evelyn Germaine Gaye (1931-2013) and George Jerome Gaye (1925-1997), in appreciation for their unwavering love, encouragement and support, and to my aunt Coretta Isaac (1944-2011),for fostering my love for art and art history. Table of Contents Acknowledgements viii Introduction 1 Setting the Stage 2 Theoretical Framework 4 The Period Eye and the Historical Imagination 4 Methodology 5 “She Na Salone Pickin.” 5 Visual Materials 7 Materiality and Condition Visual Material 11 Oral Testimonies 13 The Printed Press 16 Chapter Breakdown 17 Chapter One: Constituting and Contesting Sierra Leone through the Photographic Lens 20 Review of the Literature 22 First Encounters 23 From the Studio to the Museum 28 In the Field 33 African Photographs: New Approaches 37 Sierra Leone: The First Hundred Years Redux 39 The Development of Freetown 39 Early Cultural Production in a Cosmopolitan City 49 The Decline of the Creoles 52 Photography in Freetown 54 The Development of the Scene 54 W.S. Johnston 62 Illustrations 66 Chapter Two: Alphonso Lisk-Carew’s Life and Work 68 Early Life in Freetown 69 Photography and Experience, 1903-1910 79 Picturing a Royal Visit, 1910 89 Bestowal of Royal Patronage, 1912 92 The African Times and Orient Review 93 Photography Outside of Sierra Leone 97 Liberia, 1912 97 The Gambia, 1914 98 London, 1917-1919 99 The Red Book of West Africa, 1919-1920 103 The Winds of Change, 1920 107 Phantasmagoria Cinema Shows in Freetown, 1920-1930 110 “A Willful Perversion of the Truth,” 1930-1934 114 The West African Youth League, 1938-1943 116 World War Two, 1939-1945 120 New Ventures, 1945-1948 121 vi To the End 125 Illustrations 128 Chapter Three: In and Out of Sierra Leone through Lisk-Carew’s Lens 130 A Cabinet Card 132 Studio Portraiture 136 Official Commissions 141 The Royal Visit 148 The Gambia 155 Postcards 159 Early Postcards 161 An African Flâneur 165 The Liberian Postcards 172 Lisk-Carew Brothers 174 A Series of Chiefs 175 Portraits of Children and World War Two 178 Picturing Landscapes: Rural and Urban 182 The Absences 184 Illustrations 188 Chapter Four: Bundu Girls, Creole Brides and Yooba Women: Lisk-Carew’s Gendered Images 206 Bundu Girls 208 Bondo in the City 208 Photographing the Bundu Girls 212 Picturing the Bundu Woman in Freetown 214 Creole Brides 221 Creole Brides in Freetown 221 Constructing the Creole Bride in Studio Photographs 226 The Yooba Woman 232 Morality and Sexual Representations: Lisk-Carew’s Erotic Postcards of the Yooba Woman 232 Yoobas in Sierra Leone 234 The Yooba in Lisk-Carew’s Postcards 237 Illustrations 246 Chapter Five: “The Old Guard Changeth”: A Retrospective Exhibition and Lisk-Carew’s Legacy 254 Re-discovering Alphonso Lisk-Carew and the Exhibition of Sierra Leoneana 255 Mapping the Social and Political Landscape, 1950-1969 255 Connections 258 Inside the Exhibition of Sierra Leoneana: A Nation on Display 263 Lisk-Carew’s Legacy: The Post-Colonial Era 268 Jonathan Adenuga 270 Christo Greene 272 Ronald Fashola Luke 274 A.C.M. George 277 “Pa” Francis Mack Kongo 279 Lisk-Carew’s Legacy: The War and Post-Conflict Sierra Leone 282 vii Augustine K. Blango 282 Francess Ngaboh-Smart 286 The Sierra Leone Union of Photographers (SLUP) 288 Illustrations 292 Conclusion 299 Cultural Heritage Rebuilding and the Archives: Remembering, Forgetting, Reclaiming 300 Remembering 300 Forgetting 305 Reclaiming 308 Illustrations 315 Bibliography 318 Acknowledgements I cherish a particular photograph of my paternal grandmother, Emma Egletine Gaye. She was born in the 1890s in Freetown, Sierra Leone, and the image was taken in the 1920s, soon after my father was born. Grandmother Gaye strikes a formal pose in what seems to be a studio setting, yet she appears poised, self-possessed and at ease with whatever directions the unknown photographer has imparted. There is neither an inscription on the verso of the photograph, revealing little about to whom this portrait was intended, nor any indication of its specific source. The Freetown studio in which it was taken remains unidentified. This image served as one of the catalysts for undertaking this dissertation, galvanising its research and writing. Along this extensive journey, I have benefitted from the support, patience and guidance of numerous people. First, my most earnest thanks go to my supervisor, Charles Gore. Not only did his unwavering support, sage advice and endless patience carry me through this project, but his extensive knowledge of photography in Africa and years of experience in the field acted a springboard for my own research. I remain indebted to Andrew Lisk-Carew for generously sharing the story of his father’s life and career and cherish our friendship that grew over the years. I am thankful to Vera Viditz-Ward, whose pioneering research was an important touchstone and impetus for my project, and to the late Christopher Fyfe, whose words of encouragement at the outset of my research spurred me to pursue my goal. I am deeply grateful to Christraud Geary, Gary Schultz, Terence Dickinson and Isa Blyden for generously sharing their extensive collections of photographs and postcards by Alphonso Lisk- Carew and other Sierra Leonean photographers and for grating me permission to use ix several samples in this dissertation. Louise Gauthier acted as coach, editor and counsellor during the last stages of writing, for which I owe her great thanks. I would like to acknowledge the mentoring and guidance I received during the course of my research and writing from many of my colleagues, in particular: Erin Haney, Elizabeth Harney, Erika Nimis, Marieme Lo, Warren Crichlow, Kass Banning, Afua Cooper, Silvia Forni, Festus Cole and Sarah Parsons. I would also like to thank my friends Khadija Kamara, Karen Tyrell, Alison Taylor, Elaine Genius, maxine bailey, June Givanni, Karen Carter and Michael Griffiths. Their unfailing support and encouragement sustained me throughout this project. I also extend my appreciation to all those who provided assistance and guidance during my fieldwork in Sierra Leone. In this regard, I must acknowledge in particular: Steven Momoh, President of the Sierra Leone Union of Photographers, Dennis Williams, Cassandra Garver, Paulina Holland-Campbell, Albert Moore, Senior Government Archivist at the Sierra Leone Public Archives, Ibrahim Abdullah and Aisha Fofona of Forah Bay College, Marcella Davis, Christo Greene, Augustine K. Blango, Ronald Fashola Luke, A.C.M. George, Pa Francis Kongo, Francess Ngaboh-Smart and the many photographers with whom I discussed the subject of this dissertation and who offered their expert knowledge and advice. I extend my most heartfelt gratitude to my family, especially my husband, Nathaniel Crooks, and our children, Zachary, Thaddeus and Harrison.
Recommended publications
  • Excluded and Invisible

    Excluded and Invisible

    THE STATE OF THE WORLD’S CHILDREN 2006 EXCLUDED AND INVISIBLE THE STATE OF THE WORLD’S CHILDREN 2006 © The United Nations Children’s Fund (UNICEF), 2005 The Library of Congress has catalogued this serial publication as follows: Permission to reproduce any part of this publication The State of the World’s Children 2006 is required. Please contact the Editorial and Publications Section, Division of Communication, UNICEF, UNICEF House, 3 UN Plaza, UNICEF NY (3 UN Plaza, NY, NY 10017) USA, New York, NY 10017, USA Tel: 212-326-7434 or 7286, Fax: 212-303-7985, E-mail: [email protected]. Permission E-mail: [email protected] will be freely granted to educational or non-profit Website: www.unicef.org organizations. Others will be requested to pay a small fee. Cover photo: © UNICEF/HQ94-1393/Shehzad Noorani ISBN-13: 978-92-806-3916-2 ISBN-10: 92-806-3916-1 Acknowledgements This report would not have been possible without the advice and contributions of many inside and outside of UNICEF who provided helpful comments and made other contributions. Significant contributions were received from the following UNICEF field offices: Albania, Armenia, Bolivia, Botswana, Brazil, Burkina Faso, Cambodia, Cameroon, China, Colombia, Dominican Republic, Ecuador, Egypt, Guinea-Bissau, Jordan, Kenya, Kyrgyzstan, Madagascar, Malaysia, Mexico, Myanmar, Nepal, Nigeria, Occupied Palestinian Territory, Pakistan, Papua New Guinea, Peru, Republic of Moldova, Serbia and Montenegro, Sierra Leone, Somalia, Sudan, The former Yugoslav Republic of Macedonia, Uganda, Ukraine, Uzbekistan, Venezuela and Viet Nam. Input was also received from Programme Division, Division of Policy and Planning and Division of Communication at Headquarters, UNICEF regional offices, the Innocenti Research Centre, the UK National Committee and the US Fund for UNICEF.
  • Sierra Leone

    Sierra Leone

    SIERRA LEONE 350 Fifth Ave 34 th Floor New York, N.Y. 10118-3299 http://www.hrw.org (212) 290-4700 Vol. 15, No. 1 (A) – January 2003 I was captured together with my husband, my three young children and other civilians as we were fleeing from the RUF when they entered Jaiweii. Two rebels asked to have sex with me but when I refused, they beat me with the butt of their guns. My legs were bruised and I lost my three front teeth. Then the two rebels raped me in front of my children and other civilians. Many other women were raped in public places. I also heard of a woman from Kalu village near Jaiweii being raped only one week after having given birth. The RUF stayed in Jaiweii village for four months and I was raped by three other wicked rebels throughout this A woman receives psychological and medical treatment in a clinic to assist rape period. victims in Freetown. In January 1999, she was gang-raped by seven revels in her village in northern Sierra Leone. After raping her, the rebels tied her down and placed burning charcoal on her body. (c) 1999 Corinne Dufka/Human Rights -Testimony to Human Rights Watch Watch “WE’LL KILL YOU IF YOU CRY” SEXUAL VIOLENCE IN THE SIERRA LEONE CONFLICT 1630 Connecticut Ave, N.W., Suite 500 2nd Floor, 2-12 Pentonville Road 15 Rue Van Campenhout Washington, DC 20009 London N1 9HF, UK 1000 Brussels, Belgium TEL (202) 612-4321 TEL: (44 20) 7713 1995 TEL (32 2) 732-2009 FAX (202) 612-4333 FAX: (44 20) 7713 1800 FAX (32 2) 732-0471 E-mail: [email protected] E-mail: [email protected] E-mail: [email protected] January 2003 Vol.
  • Blacks on the Border: the Black Refugees in British North America, 1815-1900'

    Blacks on the Border: the Black Refugees in British North America, 1815-1900'

    H-Canada Frost on Whitfield, 'Blacks on the Border: The Black Refugees in British North America, 1815-1900' Review published on Tuesday, July 1, 2008 Harvey Amani Whitfield. Blacks on the Border: The Black Refugees in British North America, 1815-1900. Burlington: University of Vermont Press, 2006. 200 pp. $24.95 (paper), ISBN 978-1-58465-606-7; $65.00 (library), ISBN 978-1-58465-605-0. Reviewed by Karolyn Smardz Frost (Atkinson College School of Arts and Letters, York University) Published on H-Canada (July, 2008) Recreating the Black Refugees Blacks on the Border: The Black Refugees in British North America, 1815-1860 is a wonderful book. Far more than the sum of its parts, this slim volume focuses on several critical themes while expertly detailing the history of an important segment of the African Diaspora. Harvey Amani Whitfield, an assistant professor at the University of Vermont, demonstrates how African Americans from different parts of the United States, slave and free, who fought in the British forces in the War of 1812 came to found families, cultural institutions, and communities on Nova Scotia's inhospitable soil. He further details their subsequent development as a community and as a new, hybrid culture. This, Whitfield maintains, came about largely because of the hardships the so-called Black Refugees faced, not the least of which was the unrelenting and pervasively discriminatory treatment these brave and hardworking people encountered in their adopted Maritime home. The story of Nova Scotia's Black Refugees is generally less well known than that of the earlier migrants from the United States, the Black Loyalists.
  • Texts Checklist, the Making of African American Identity

    Texts Checklist, the Making of African American Identity

    National Humanities Center Resource Toolbox The Making of African American Identity: Vol. I, 1500-1865 A collection of primary resources—historical documents, literary texts, and works of art—thematically organized with notes and discussion questions I. FREEDOM pages ____ 1 Senegal & Guinea 12 –Narrative of Ayuba Suleiman Diallo (Job ben Solomon) of Bondu, 1734, excerpts –Narrative of Abdul Rahman Ibrahima (“the Prince”), of Futa Jalon, 1828 ____ 2 Mali 4 –Narrative of Boyrereau Brinch (Jeffrey Brace) of Bow-woo, Niger River valley, 1810, excerpts ____ 3 Ghana 6 –Narrative of Broteer Furro (Venture Smith) of Dukandarra, 1798, excerpts ____ 4 Benin 11 –Narrative of Mahommah Gardo Baquaqua of Zoogoo, 1854, excerpts ____ 5 Nigeria 18 –Narrative of Olaudah Equiano of Essaka, Eboe, 1789, excerpts –Travel narrative of Robert Campbell to his “motherland,” 1859-1860, excerpts ____ 6 Capture 13 –Capture in west Africa: selections from the 18th-20th-century narratives of former slaves –Slave mutinies, early 1700s, account by slaveship captain William Snelgrave FREEDOM: Total Pages 64 II. ENSLAVEMENT pages ____ 1 An Enslaved Person’s Life 36 –Photographs of enslaved African Americans, 1847-1863 –Jacob Stroyer, narrative, 1885, excerpts –Narratives (WPA) of Jenny Proctor, W. L. Bost, and Mary Reynolds, 1936-1938 ____ 2 Sale 15 –New Orleans slave market, description in Solomon Northup narrative, 1853 –Slave auctions, descriptions in 19th-century narratives of former slaves, 1840s –On being sold: selections from the 20th-century WPA narratives of former slaves, 1936-1938 ____ 3 Plantation 29 –Green Hill plantation, Virginia: photographs, 1960s –McGee plantation, Mississippi: description, ca. 1844, in narrative of Louis Hughes, 1897 –Williams plantation, Louisiana: description, ca.
  • Image Credits, the Making of African

    Image Credits, the Making of African

    THE MAKING OF AFRICAN AMERICAN IDENTITY: VOL. I, 1500-1865 PRIMARY SOURCE COLLECTION The Making of African American Identity: Vol. I, 1500-1865 IMAGE CREDITS Items listed in chronological order within each repository. ALABAMA DEPT. of ARCHIVES AND HISTORY. Montgomery, Alabama. WEBSITE Reproduced by permission. —Physical and Political Map of the Southern Division of the United States, map, Boston: William C. Woodbridge, 1843; adapted to Woodbridges Geography, 1845; map database B-315, filename: se1845q.sid. Digital image courtesy of Alabama Maps, University of Alabama. ALLPORT LIBRARY AND MUSEUM OF FINE ARTS. State Library of Tasmania. Hobart, Tasmania (Australia). WEBSITE Reproduced by permission of the Tasmanian Archive & Heritage Office. —Mary Morton Allport, Comet of March 1843, Seen from Aldridge Lodge, V. D. Land [Tasmania], lithograph, ca. 1843. AUTAS001136168184. AMERICAN TEXTILE HISTORY MUSEUM. Lowell, Massachusetts. WEBSITE Reproduced by permission. —Wooden snap reel, 19th-century, unknown maker, color photograph. 1970.14.6. ARCHIVES OF ONTARIO. Toronto, Ontario, Canada. WEBSITE In the public domain; reproduced courtesy of Archives of Ontario. —Letter from S. Wickham in Oswego, NY, to D. B. Stevenson in Canada, 12 October 1850. —Park House, Colchester, South, Ontario, Canada, refuge for fugitive slaves, photograph ca. 1950. Alvin D. McCurdy fonds, F2076-16-6. —Voice of the Fugitive, front page image, masthead, 12 March 1854. F 2076-16-935. —Unidentified black family, tintype, n.d., possibly 1850s; Alvin D. McCurdy fonds, F 2076-16-4-8. ASBURY THEOLOGICAL SEMINARY. Wilmore, Kentucky. Permission requests submitted. –“Slaves being sold at public auction,” illustration in Thomas Lewis Johnson, Twenty-Eight Years a Slave, or The Story of My Life in Three Continents, 1909, p.
  • Early African American Photography

    Early African American Photography

    In a New Light 7 Review Essay In a New Light: Early African American Photography Tanya Sheehan THE CAMERA AND THE PRESS: American Visual and Print Culture in the Age of the Daguerreotype. By Marcy J. Dinius. Philadelphia: University of Pennsylvania Press. 2012. PICTURES AND PROGRESS: Early Photography and the Making of African American Identity. Edited by Maurice O. Wallace and Shawn Michelle Smith. Durham: Duke University Press. 2012. EMBODYING BLACK EXPERIENCE: Stillness, Critical Memory, and the Black Body. By Harvey Young. Ann Arbor: University of Michigan Press. 2010. DELIA’S TEARS: Race, Science, and Photography in Nineteenth-Century America. New Haven: Yale University Press. 2010. In 2000, art historian, curator, and artist Deborah Willis presented Reflections in Black, the first major history of photography in the United States to foreground early African American photography. In the three years that the exhibition toured 0026-3079/2013/5203-007$2.50/0 American Studies, 52:3 (2013): 007-024 7 8 Tanya Sheehan the country, and in the decade that its catalogue has been read avidly by students, historians, and practitioners of photography, Reflections in Black has exercised a powerful influence on how we think about photographic self-representation within the African American community. Willis taught us how to look for and at images that did not grossly caricature black bodies but instead “celebrated the achievements” of black subjects and “conveyed a sense of self and self-worth” (Willis, xvii). The placement of cameras in black hands, she argued, made such counter-representation possible; writing a different history of African American life and culture therefore depended on rediscovering the first black photogra- phers.
  • From Twitter

    From Twitter

    H-Slavery From Twitter Discussion published by Amanda McGee on Sunday, September 8, 2019 This week in the twittersphere, the Dalhousie University offered an apology to Black Nova Scotians for its role in the Atlantic Slave trade and its historical ties to slavery. Learn more here. A piece by the Liberty Africa Writers highlights an enslaved Ghanaian woman named Breffu who led a revolt against the Danish army stationed in the West Indies in 1733. Read more about Breffu’s revolt here. A new podcast episode by Teaching Tolerance explores the relationship between the institution of slavery and indigenous populations in North America. The episode, "Indigenous Enslavement," is hosted by Hasan Kwame Jeffries and Meredith McCoy and features an interview with Christina Snyder who discusses how European invasion changed indigenous ideas about bondage. Find the episode here. In her article, “A Downtown Jackson Alley Was Renamed After a Woman Who Escaped Slavery," Sarah Clinkscales details the renaming and transformation of a street in Jackson City, Michigan, to honor Emma Nichols, an enslaved woman who came to the city on the Underground Railroad. Learn more here. Also this week, The 1619 Project published its second podcast episode, “The Economy that Slavery Built." In it, Nikole Hannah-Jones, Jesmyn Ward, and Matthew Desmond investigate the relationshjp between American Capitalism and the brutality of slavery on the plantation. Listen to the episode or read the transcript here. Citation: Amanda McGee. From Twitter. H-Slavery. 09-08-2019. https://networks.h-net.org/node/11465/discussions/4654441/twitter Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License.
  • Millions of Civilians Have Been Killed in the Flames of War... But

    Millions of Civilians Have Been Killed in the Flames of War... But

    VOLUME 2 • NUMBER 131 • 2003 “Millions of civilians have been killed in the flames of war... But there is hope too… in places like Sierra Leone, Angola and in the Horn of Africa.” —High Commissioner RUUD LUBBERS at a CrossroadsAfrica N°131 - 2003 Editor: Ray Wilkinson French editor: Mounira Skandrani Contributors: Millicent Mutuli, Astrid Van Genderen Stort, Delphine Marie, Peter Kessler, Panos Moumtzis Editorial assistant: UNHCR/M. CAVINATO/DP/BDI•2003 2 EDITORIAL Virginia Zekrya Africa is at another Africa slips deeper into misery as the world Photo department: crossroads. There is Suzy Hopper, plenty of good news as focuses on Iraq. Anne Kellner 12 hundreds of thousands of Design: persons returned to Sierra Vincent Winter Associés Leone, Angola, Burundi 4 AFRICAN IMAGES Production: (pictured) and the Horn of Françoise Jaccoud Africa. But wars continued in A pictorial on the African continent. Photo engraving: Côte d’Ivoire, Liberia and Aloha Scan - Geneva other areas, making it a very Distribution: mixed picture for the 12 COVER STORY John O’Connor, Frédéric Tissot continent. In an era of short wars and limited casualties, Maps: events in Africa are almost incomprehensible. UNHCR Mapping Unit By Ray Wilkinson Historical documents UNHCR archives Africa at a glance A brief look at the continent. Refugees is published by the Media Relations and Public Information Service of the United Nations High Map Commissioner for Refugees. The 17 opinions expressed by contributors Refugee and internally displaced are not necessarily those of UNHCR. The designations and maps used do UNHCR/P. KESSLER/DP/IRQ•2003 populations. not imply the expression of any With the war in Iraq Military opinion or recognition on the part of officially over, UNHCR concerning the legal status UNHCR has turned its Refugee camps are centers for of a territory or of its authorities.
  • The First Daguerreotype Made of John Brown the Militant Abolitionist Which Recently Resurfaced Among Descendants Sold at Auction

    The First Daguerreotype Made of John Brown the Militant Abolitionist Which Recently Resurfaced Among Descendants Sold at Auction

    Daguerreotype of John Brown in the news by Jean Libby The first daguerreotype photograph of John Brown the militant abolitionist recently resurfaced among descendants in Ohio who placed it for auction for medical expenses. It sold at auction for $97,750, purchased by the Hall Foundation for the Nelson-Atkins Museum in Kansas City, Missouri. Public viewing began in March 2008. http://www.nelson- atkins.org/images/PDF/press/2008%2003%2003%20John%20Brown%20Media%20Advisory. pdf The image auctioned on December 7, 2007, was originally owned by Annie Brown Adams, the daughter of John Brown who spent the summer of 1859 at a Maryland farmhouse while her father gathered weapons and men to raid the government arsenal at Harpers Ferry. This compares with the auction price of $115,000 in 1996 when the second daguerreotype, which shows Brown with his hand upraised taking an oath on an abolitionist banner, was found mislabeled in Pennsylvania. Both were photographed by Augustus Washington, an African American daguerreotypist in Hartford, Connecticut, in 1846 or 1847. The second daguerreotype (photographed within in a short period of time, but not on the same day), was purchased by the National Portrait Gallery with funds donated from descendants of Free-State militia who fought alongside John Brown in Kansas in 1856. http://www.civilwar.si.edu/slavery_brown1.html The writer of this article is the private historian who undertook gathering and digitizing the John Brown portraits from many archives and personal collections over a period of years. They were examined by N. Eileen Barrow of the FACES Laboratory (Forensics Anthropology and Computer Enhancement Services) at Louisiana State University in Baton Rouge in June 2003.
  • UNICEF Photo of the Year – Previous Award Winners

    UNICEF Photo of the Year – Previous Award Winners

    UNICEF Photo of the Year – Previous Award Winners 2014 First Prize Insa Hagemann / Stefan Finger, Germany, laif Their reportage on the effects of sextourism in the Philippines gives an insight in the situation of children whose fathers live abroad. Second Prize Christian Werner, Germany, laif For his reportage on internally displaced people from Shinghai district, Iraq Third Prize Brent Stirton, South Africa, Getty Images for his reportage “Before and after eye surgery” on children with congenital cataract blindness in India. 2013 Winner Niclas Hammarström, Sweden, Kontinent His photo reportage captures the life of the children in Aleppo caught between the frontlines. 2012 First Prize Alessio Romenzi, Italien, Agentur Corbis Images The winning picture shows a girl waiting for medical examination at a hospital in Aleppo, Syria. The camera captures the fear in her eyes as she looks at a man holding a Kalashnikov. Second Prize Abhijit Nandi, India, Freelance Photographer In a long-term photo project, the photographer documents the many different forms of child labor in his home country. Third Prize Andrea Gjestvang, Norwegen, Agentur Moment The third prize was awarded to Norwegian photographer Andrea Gjestvang for her work with the victims of the shooting on Utøya Island. Forth Prize Laerke Posselt, Dänemark, Agentur Moment for her look behind the scenes of beauty pageants for toddlers in the USA. 1 2011 First Prize Kai Löffelbein, Germany, Student, University of Applied Sciences and Arts, Hannover for his photo of a boy at the infamous toxic waste dump Agbogbloshie, near Ghana’s capital Accra. Surrounded by highly toxic fumes and electronic waste from Western countries, the boy is lifting the remnants of a monitor above his head.
  • Proquest Dissertations

    Proquest Dissertations

    UNDERSTANDING THE ROLE OF THE CHURCH IN ADDRESSING THE HEALTH AND LEISURE NEEDS OF YOUNG AFRICAN NOVA SCOTIAN WOMEN by Crystal Lynne Watson Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia November 2009 © Copyright by Crystal Lynne Watson, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-63583-4 Our file Notre reference ISBN: 978-0-494-63583-4 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimis ou autrement printed or otherwise reproduced reproduits sans son autorisation.
  • Major Trollope and the Eastern Caprivi Zipfel One Night As He Lay

    Major Trollope and the Eastern Caprivi Zipfel One Night As He Lay

    Conference Paper for ABORNE 2009. Please do not cite vilify or pillage without at least talking to me. Beyond the Last Frontier: Major Trollope and the Eastern Caprivi Zipfel One night as he lay sleeping on the veranda of his residence in Katima Mulilo Major L.F.W. Trollope, the Native Commissioner and Resident Magistrate for the Eastern Caprivi Zipfel, was attacked by a nineteen year old wielding an axe. Major Trollope survived the attack and the assailant was soon arrested, but in the subsequent trial the “plum posting” that Trollope had created on the furthermost frontier of South African rule came crashing down. The trial brought to the fore that Trollope lived beyond the control of the South African administration to which he was formally subject, and that instead he had become enmeshed in the administrations of Northern Rhodesia and the Bechuanaland Protectorate. Originally appointed to Katima Mulilo to enforce South African rule in the Eastern Caprivi Zipfel, Trollope increasingly established his own fiefdom on the outer fringes of South African rule, and became evermore integrated in the administrations of countries beyond the borders of South Africa. By the time of his demise, Trollope ruled the Eastern Caprivi Zipfel in a manner that had more in keeping with the academically schooled coterie of District Commissioners of Northern Rhodesia and the Bechuanaland Protectorate, than that it bore relation to the apartheid securocrats of the South African Bantu Affairs Department to which he was nominally subject. Beyond the frontier Even amongst the arbitrarily drawn borders of Africa, the borders of the Namibian Caprivi strip are a striking anomaly jutting 500 kilometres into the African continent.