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THE CONTRIBVTION OF TRADITIONAL SCHOOLING TO THE EDUCATION OF TBE ARTIST IN SIERRA LEONE Caesar Amandus Malcolm Coker A Thesis in The Department of Art Education Presented in Partial hrlfilment of the Requirements for the Degree of Doctor of Philosophy at Concordia University Montreal, Quebec, Canada O Caesar Amandus Malcolm Coker, 2001 National Library Bibliothèque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. me Wellington Ottawa ON KIA ON4 Ottawa ON KI A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence dowing the exdusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distriiute or sell reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de rnicrofiche/film, de reproduction sur papier ou sur fomat électronique. The author retauis ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts from it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent êeimprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT THE CONTRIBUTION OF TRADITIONAL SCHOOLING TO THE EDUCATION OF TBE ARTXST TN SIERRA LEONE Caesar Amandus Malcolm Coker, Ph-D. Concordia University, 2 00 1 This study focuses on the education and work of indigenous Sierra Leonean visual artists . It examines the traditional artistic training processes, the nature of the artists' work, the place of the artists in their communities and their contributions to our national development. In order to address these four issues, answers to the following questions were sought r In what ways have traditional educational processes contributed to the education of Our artists in Sierra Leone? How important is the input of ethnic associations to the process of education? 1s the quality of the education offered to trainees compatible with their roles in the community? How or why do sorne of these traditionally trained artists shift their production emphasis £rom ritual objects to tourist art? This study also evaluates the development of di£ ferent educational/training institutions within the concext of Sierra Leone's colonial history. It also examines how the changes in the country's educational system have influenced the position and status of indigenous artists and their training processes. iii The study is based largely on data collected through in- depth interviews conducted with twelve indigenous Sierra Leonean artists, (seven male and £ive female) . Also, it relies on relevant literature on "traditional" African education, as well as seconda- literature on education and the training of artists generally. This study suggests that traditional artistic education makes an important contribution to national development . Traditional artistic education clearly contributes to a vibrant social life as well as about 2 Nillion US Dollars annually to the national economy, Likewise, traditional artistic education helps to shape popular culture and national identity. Findings frorn this study suggest that the Sierra Leone goverment should support the development of indigenous artistic training processes, and that use be made of the artists and their work to elevate the national ethos of our country. Most importantly, this research suggests that youths be given the opportunity to participate in traditional art activities. Such involvement will be rneaningful and useful to Our youth, especially considering the interrelation of art and other subjects in the school curriculum. Tt is with much gratitude that 1 express my appreciation and thanks to my Academic Advisor and Thesis Supervisor, Professor David Pariser, for his supervision, help and continous encouragement which aided me throughout the production of this thesis. 1 acknowledge the support of Professors Cathy Mullen and Lorrie Blair, both members of my Thesis Comrnittee. My thanks is also extended to the teaching staff of the Department of Art Education, Concordia University, Montreal, who prepared me for research. 1 am also grateful to the School of Graduate Studies for awarding me the Concordia University Graduate Fellowship- The support £rom the Graduate Students' Association in particular the Administrative Secretary, Kimberly-Am Shier who apart £rom her moral support skillfully typed this thesis- 1 wish to thank the staff of the International Students Office for their support. 1 am indebted to the University of Sierra Leone for granting me study leave £rom my position at The Institute of A£ rican Studies , Fourah Bay College, Freetown. 1 wish to acknowledge the support £rom the respondents in Sierra Leone who willingly took part in the study. I am also grateful to Professor Arthur Abraham, ~irector,Institute of African Studies, Four& Bay College (presently a Professor of History, Virginia State University, Virginia, U.S.A,)for his logistical support. To ouis se Metzger, Director, Gaga Studio, Freetown and Asan Allie, Teacher, Albert Academy Freetown, £or introducing me to the respondents. Tu you Dr. Isrnail Rashid of Vassar College, Poukeepsie, New York, 1 appreciate your support in shaping the work. Your wife Anifa Rashid is also worthy of rny thanks. To my friends in Montreal for providing moral and other support particularly Revd. Eardley and Denise Eardley,Dr. Nii T. Quao, Gertrude Edem. Olu and Marie Marcus-Jones, Isata Jones-Stanley, John Walling and Lynda Cutler-Walling. Charles and May Cutler, Sybil Kramer, Dr. Franknel and Valerie Pabai, Vicky Marcok, David Aliruma OkunF, Abdullah Mo j addedi. Mohamed Sheriff and Abu Bakarr Conteh. The support of my Mother Hannah Okeke Coker, brothers Olufemi Cole, Balogun Coker, sisters Iyamide Williams, Oduntola John is commendable. Also, to Fadipeh Thomas (Snr.) , Tela Coleridge-Taylor, George Coleridge-Taylor, Moira Coleridge-Taylor, John Gordon Harris and Dr. Felicia Gordon- Harris, Talabi Allen, Fadipeh Thomas (Jnr. ) , Dr. Orlean Cole, and Dilys, Mariana Kaxgbo, Dona ld Faulkner, Arnold Faulkner and Angusta Davies thanks for your support. Finally, my gratitude to my wife Margaret Coker who gave so much support just when 1 needed it. Also, to our children Claudius and Kim, Lawrence, Maureen, George and Pauline. To you al1 I extend my sincere appreciation and thanks. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS - . - - . - . CHAPTER 1. INTRODUCTION . , , . , . - . The Problem . - - . - . - - - - - - . Significance of the Study . - - - . - . - Terms and De£ini tions - - . - - - - - - . - . CHAPTER 11. REVFEW OF RELATED LITERATURE . - - . - Education, Art and Society in Africa . - . - . The Concept of Education and of an Educated Person Concept and Purposes of Art Education . - - . Education in ~reliterateAfrica - - - . "Secret Societies" or Schools for Life? . - . Initiation Rituals . , , . - . - - . The Atelier of the Artist - . * . - . - - . An Example of the Atelier System . - - - - - . The Artist in the Comrnunity . - - . - - - - - . CHAPTER III. HISTORICAL DETELOPMENT OF EDUCATIONAL INSTITUTIONS IN SIERRA LEONE . , - . - . - . Introduction . , - . , . Early Development . - . - - . - . - - - - ~nstitutionand Vocational Education Before ~olonization. , . * Education During Colonization, 1787-1960 . vii CHAPTER TV . RESEARCH METHODOLOGY ..........8 4 Introduction ...................... 84 1- The Pilot Study .................84 Summar,r of Responses ..........85 Manner of Becoming an ~rtist........ 85 Stages of Training ............... 86 Importance of the Position of Artist ........87 Respect fcr Artist by the Community ....89 2 . The Major Research Pro ject ......90 Method : Li£e History Interviews ....9 1 Participant Observation .........92 Interviewing .................... 93 The Interview Questions ......-.95 Selection of Respondents .-............97 FieldworkProblems . - - - . - - . - - - . - 97 Procedure for Data Collection ....100 Language Used in Data Collection ....101 CHAPTER V . LIFE HISTORY AND BIOGRAPHICAL DATA OF RESPONDENTS ............... 106 Names of Respondents ............... 106 Mabinty Bangura ..........106 Mariama Tuwa Fahmbulleh .............. 108 Gbessay Goba ................... 112 Philip Kainyande ............ 115 IbrahirnKamara .................. 120 Alpha Kargbo ................... 124 viii Mohammed Jerome Konneh . - - - - . - - - . - - 129 Sorie Koroma . - - . - - . - . - . 133 Gladys Mangbay . - . - . - . - - . - , + - 137 Eric Samai - - . - - - . - . - . - - . - . - - 140 Alfred Sesay . - . - . - . - . , . 144 Haj a Khadiatu Tejan-Kamara - - - - . - . - . 148 A Synopsis of the Researcher's Life History . - - 154 The Researcher's Persona1 Reflection on Western-type Education - . - - . - . - . - - - - - The Researcher's Cornparison Between Western-type and Traditional Education . - . - . - - . - 157 CHAPTER VI. P.-iVALYSIS OF THE COLLECTED DATA . - - 160 Origins of the Decision to Become an Artist . - 160 Family Tradition - - - . - - . - 161 General Summary - - - . - - . - - . - - . 162 The Quest for Decent Employment - . - - - 163 General Summary - . - - - - - - - . - . - . 165 Fascination with Artistic Process and Materials 166 General Summary - . - - . - - . - - - - . - 168 Apprenticeship--A Form of Art Education
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