DOCSLIB.ORG

Bill Siegmann Remembered

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bill Siegmann Remembered Jan-Lodewijk Grootaers, Alexander Ives Bortolot, eds.. Visions from the Forests: The Art of Liberia and Sierra Leone. Seattle: University of Washington Press, 2014. 239 pp. $39.95, paper, ISBN 978-0-9893718-1-0. Reviewed by Fred Smith Published on H-AfrArts (February, 2015) Commissioned by Jean M. Borgatti (Clark Univeristy) Visions from the Forests: The Art of Liberia organized and introduces the section entitled “Re‐ and Sierra Leone was produced by the Minneapo‐ membering Bill Siegmann” (who died in 2011). It lis Institute of Arts to accompany an exhibition consists of statements by Siegmann himself and that will travel to four American museums. All of eight of his colleagues and friends that reveal not the works in the exhibition and illustrated in the only Bill’s achievements and interests but also his catalogue were collected by Bill Siegmann during personal and professional qualities. His commit‐ his many years of research and travel in Liberia ment to understanding, preserving, and sharing and Sierra Leone. Siegmann was director of the the material culture of Liberia rather than focus Africana Museum at Cuttington University in on a particular area or ethnic group is evident in Liberia, the National Museum of Liberia, and the these accounts, as is his sincere interest in people Brooklyn Museum of Art. The title of the exhibi‐ as individuals and his willingness to help both col‐ tion was selected because Liberia and Sierra leagues and Liberians whenever possible. The Leone are part of a tropical rainforest that runs section also features thirteen informal photo‐ along the West African coast from Guinea to Nige‐ graphs. ria. In support of this title, the general editors de‐ The book’s largest and most informative sec‐ clare, “the forest provides the physical and con‐ tion, “Visions from the Forests,” consists of seven ceptual terrain where actions and ideas are devel‐ essays by scholars with distinctive research inter‐ oped and pursued” (p. 8). Early ffteenth-century ests. The frst essay, “Forests in the Imagination of contact with Europe, immigration of emancipated the Upper Guinea Coast” by Mariane C. Ferme (an‐ slaves in the eighteenth and nineteenth centuries, thropologist) and Paul Richards (agriculturist), fo‐ and a more recent history of civil war have also cuses on the forest itself--its history and impact on given a particular distinction to the region. the cultures of the area as well as the connection The catalogue is divided into fve sections, the between forest materials and gender. The link be‐ three most significant being a remembrance of tween the forest and the male-controlled Poro So‐ Bill Siegmann, a collection of essays on the arts of ciety, the historical and social role of hunting, as the region, and a catalogue of objects in the exhi‐ well as distinctive attitudes about the bush in con‐ bition itself. Jan-Lodewijk Grootaers, curator of trast to farm and village are briefly discussed. African Art at the Minneapolis Institute of Arts, Ferme and Richards examine raw materials from H-Net Reviews the forest in relation to gender roles, especially as He concludes with a consideration of male non- they relate to male and female initiation societies, Sande helmet masks based on one particular ex‐ Poro and Sande respectively. The materials that ample in the exhibition (catalogue #21), noting the constitute masquerades--especially wood, raffia, features that differentiate this particular mask cotton cloth, and various trade items--are consid‐ from Sande masks and other types of male helmet ered, but their connection to gender is not always masks. clearly presented. This is especially true of the last The third essay, “Spirits from the Forest: Dan two paragraphs of the section. Masks in Performance and Everyday Life” by The second essay in this section, “Extending Daniel B. Reed (folklorist and ethnomusicoligist), the Stage: Photography and Sande Initiates in the focuses on the formal features and significance of Early Twentieth Century,” by Nanina Guyer Dan spirit masks (ge/gle). Of particular interest (Africanist), is a well-written and fascinating are his research entries from 1997 documenting study of photographs of Sande initiates done by specific mask appearances. However, Reed’s dis‐ early twentieth-century professional photogra‐ cussion of particular masks and their specific uses phers. These images were taken within the village only partially addresses the complexity of the con‐ but not within the Sande enclosure as that would nections between form and function for Dan have been forbidden. Guyer discusses them with‐ masking. Nonetheless, the overall social, religious, in the broader tradition of photographic portrai‐ and performance contexts of Dan masking is well ture in Sierra Leone, emphasizing the work of articulated. Alphonso Lisk-Carew, a Freetown-born photogra‐ “Brass Casting in Liberia,” a short and well- pher. Information on the context of the photo‐ written essay by Barbara Johnson (art historian), graphs is provided by quotes from Thomas surveys a range of brass objects and their produc‐ Alldridge, a colonial administrator who traveled tion as well as the careers of two brass casters. extensively in Sierra Leone during the late nine‐ The penultimate essay by Jan-Lodewijk Grootaers, teenth and early twentieth centuries. Guyer also “Ritual Recycling: Modern Uses of Ancient Stone explores such nonethnographic uses for the pho‐ Sculptures in the Upper Guinea Forest Region,” tographs as picture postcards from the early examines the tradition of stone sculpture in the twentieth century, with their outrageously out-of- area, especially those in the styles referred to as context captions. nomoli and pomdo. Grootaers also discusses relat‐ The most thought-provoking essay, “By Their ed ivory carving and wood sculpture, notably a Fruits You Will Know Them: Sande Mask Carvers wooden male fgure in the Baltimore Museum of Identified,” is by art historian Frederick Lamp. Art dating from 1200 to 1400 CE. He briefly His essay begins with basic information on the presents the historical context and early accounts use, origin, meaning, and general characteristics of these sculptural traditions prior to discussing of the Sande mask. Lamp next states that after in more detail their later re-use or recycling. In forty years of collecting images, he has been able addition, the art works are considered within the to identify ninety-four workshops or styles for wider context of stones believed to have supernat‐ Sande masks. Lamp then connects masks illustrat‐ ural powers. ed in the catalogue to eight workshops, examining The fnal essay in this section, “William Sieg‐ the masks’ formal characteristics, ethnic origin, mann, Advocate for Connoisseurship” by Chris‐ and estimated number of known examples. He il‐ tine Mullen Kreamer (art historian), is a remem‐ lustrates his essay with documentary photographs brance that stresses Siegmann’s love of objects. It and images of similar works in other collections. is also a defense of connoisseurship, which in‐ 2 H-Net Reviews volves a connection with, and an understanding brief overview of Liberian and Sierra Leonean of, the individual work of art and its quality. Krae‐ history, and some references to recent attempts to mer notes that Roy Sieber of Indiana University preserve the history and material culture of the taught his students that the object was “the start‐ region. There is also what seems to me to be un‐ ing and ending point for art-historical enquiry” necessary repetition between the essays and the (p. 122). She stresses that Siegmann was guided by introductions to specific objects. I also found the this approach throughout his career. use of tiny, thumbnail-sized photographs in the The actual catalogue of objects is divided into top margin, when objects were being discussed or eleven sections, each focusing on a different ob‐ mentioned in the essay section, problematic. They ject type: Sande society masks, Mende female fg‐ are far too small to see any detail and therefore ures, Sande society pendants and necklaces, men’s more annoying than helpful. society masks (Poro and Thoma in particular), In general, however, the catalogue is a valu‐ masks of the Dan, Mano, Kono, and Bassa peoples, able and useful resource for anyone interested in miniature masks, game boards, Liberian brass the visual culture of Liberia and Sierra Leone. The (with a full page featuring a Grebo or Kru ring essays cover a variety of topics related to the art with knobs), stone sculpture of the Sapi and Kissi and cultures of the region. High-quality photo‐ peoples, textiles, and prestige arts of the Mende graphs, illustrating the exhibited objects, contrib‐ Vai, Kim, and Teme peoples. Each section has a ute significantly to the book’s visual impact. Docu‐ one-page introduction written by the two general mentary images dating from the late nineteenth editors, except for “Textiles” and “Brass from to the early twenty-first century add a broader Liberia,” which were authored by Natasha Thore‐ historical dimension. Finally, it highlights the per‐ son, a PhD student at the University of Minnesota sonal and professional contributions of Bill Sieg‐ School of Design. Although a few of the introduc‐ mann to the feld of African art, making it a ftting tions repeat information from the more extensive tribute. essays in “Visions From the Forests,” most expand upon the earlier material or interpret it different‐ ly. The book concludes with an appendix in which Lamp discusses the term nowo as a name for the Sande mask. The appendix is followed by an ex‐ tensive bibliography, information about the au‐ thors, an index, and finally, credits. Visions from the Forests: The Art of Liberia and Sierra Leone is a well-organized and clearly written publication that succeeds in highlighting the life and work of Bill Siegmann, especially his commitment to the arts and peoples of Liberia and Sierra Leone, and serving as a catalogue for the diverse range of objects collected by Siegmann and shown in the exhibition.
Load more

Recommended publications
  • From Ritual to Recovery: Spirituality As a Tool for Recovery Among Women Recovering from War-Related Trauma in Sierra Leone.”
    “From Ritual to Recovery: Spirituality as a Tool for Recovery Among Women Recovering From War-Related Trauma in Sierra Leone.” B.A. August 2000, University of Maryland by Sariane Leigh A Thesis submitted to: The Faculty of Columbian College of Arts and Sciences of The George Washington University in partial satisfaction of the requirements for the degree of Master of Arts May 17, 2009 Thesis directed by Daniel Moshenberg Associate Professor of English and Director of Women’s Studies © Copyright 2009 by Sariane Leigh All rights reserved ii Dedication The author wishes to dedicate this thesis to: The Dead My grandmother, Lee Pearl Cooper, you resolved that you would never let a traumatic experience alter your spirit for success My mother Heysette E. Leigh, you often fell off the balance beam of trauma, coping and healing but always pulled yourself back up for a stunning finish. My cousin Deborah Renee Turner, you overcame the odds through unconditional love My father, Dr. Johnnie S. Leigh, your love and care as a father was short-lived but your commitment to Sierra Leone and your legacy will solidify your footprint in this world The Living My siblings, Yahya-Johne, your patience, strength and discipline is unmatched Amandae, your generosity and humility continues to ground me and reminds me of my own humanity Anita, my baby and sister, you have taught me the pain and joys of learning to cope and survive on your own iii Acknowledgment The author wishes to acknowledge the encouragement, supportive guidance, limitless vision and honesty of Professor Dan Moshenberg.
    [Show full text]
  • FGM in Liberia: Sande (2014)
    7 0 Registered Charity: No. 1150379 Limited Company: No: 08122211 E-mail: [email protected] © 28 Too Many 2019 Second Edition Efua Dorkenoo OBE 1949–2014 28 Too Many dedicates this report to Efua Dorkenoo. A courageous and inspirational campaigner, Efua worked tirelessly for women’s and girls’ rights and to create an African-led global movement to end Female Genital Mutilation. 2 Contents Foreword to the 2014 Edition .................................................... 5 Case Study: Blessing ................................................................... 6 Foreword to the 2019 Edition .................................................... 7 Information on Country Profiles ................................................ 8 Background ............................................................................................................................... 8 Purpose ..................................................................................................................................... 8 Use of This Country Profile ....................................................................................................... 9 Acknowledgements .................................................................................................................. 9 The Team .................................................................................................................................. 9 List of Abbreviations ..............................................................................................................
    [Show full text]
  • This Paper Has Been Submitted to the Journal African Studies Review Published by Cambridge University Press
    Understanding social resistance to Ebola response in Guinea James Fairhead, April 2015 This paper has been submitted to the journal African Studies Review published by Cambridge University Press Abstract This paper seeks to understand the fear many Guineans feel towards Ebola response initiatives and why the educators, doctors and burial teams have sometimes encountered resistance, occasionally violent. Resistance has been catastrophic for the epidemic, preventing treatment, contact tracing and quarantine, permitting its spread. The paper sketches a history of dissent and violence during the epidemic before showing how some actions that Ebola response teams interpret as ‘resistance’ are less actions ‘against’ Ebola response, than actions that have their own cultural logics. But the paper then considers how resistance emerges as cultural sensitivities play into divisive ethnic and related party-political tensions relations, and the interpretive grids through which people make sense of politicians and the ‘white’ world. The analysis calls into question the social distance between the institutions of epidemic response and the communities affected, and the politicisation of health delivery where political parties are read as ethnically aligned. Key words Ebola, Guinea, Violence, Resistance, Funerals, Party Politics, Mining, Sorcery. Introduction This paper seeks to understand the fear felt by many Guineans towards Ebola response initiatives and why the educators, doctors and burial teams have sometimes encountered resistance, occasionally
    [Show full text]
  • Liberia – Kpelle – Traditional Practices – Christian Converts – Poro – NPFL – Child Soldiers – Peace Agreement – Demobilisation – Passports – China
    Refugee Review Tribunal AUSTRALIA RRT RESEARCH RESPONSE Research Response Number: LBR34713 Country: Liberia Date: 6 April 2009 Keywords: Liberia – Kpelle – Traditional practices – Christian converts – Poro – NPFL – Child soldiers – Peace Agreement – Demobilisation – Passports – China This response was prepared by the Research & Information Services Section of the Refugee Review Tribunal (RRT) after researching publicly accessible information currently available to the RRT within time constraints. This response is not, and does not purport to be, conclusive as to the merit of any particular claim to refugee status or asylum. This research response may not, under any circumstance, be cited in a decision or any other document. Anyone wishing to use this information may only cite the primary source material contained herein. Questions 1. Please provide information on the Kpelle, including their traditional practices, and their location within Liberia. 2. Is conversion to Christianity and refusal to adhere to traditional practices a problem for Kpelle living in Liberia? 3. Please provide information on the NPFL and their use of child soldiers, including information on the peace agreement and their demobilisation. 4. Please provide information on passport procedures in December 2007 and whether it is possible to get a passport through connections or bribes. 5. Please advise if there is a special deal between Liberia and China re entry into and employment of persons. 6. Please provide brief information on the current political environment in Liberia. RESPONSE A map of Liberia is included as Attachment 1 (United Nations 2004, ‘Liberia – Map No. 3775 Rev. 6’, January http://www.un.org/Depts/Cartographic/map/profile/liberia.pdf – Accessed 1 April 2009 – Attachment 1).
    [Show full text]
  • Symbolism & Ceremony in African Masquerades
    Harn Museum of Art Educator Resource Symbolism & Ceremony in African Masquerades Elusive Spirits: African Masquerades Masquerades transform human identity to something else, often an otherworld spirit. The Harn Museum of Art original exhibition, Elusive Spirits: African Masquerades examines the process of transformation through the materiality of the mask, and through multi-media components of performance. When masks embody or manifest spirit beings, how does the human to spirit transformation occur? The exhibition interrogates human-spirit relationships, and how such relationships evolve as the elusive spirits appear, engage humans, and then disappear. It considers how the essence of the spirit is conveyed through SYMBOLISM & CEREMONY phenomena, and how capturing that essence is the goal of the artists--the mask maker and performer--but also those who witness This resource unit is offered as a complement to the the performance. exhibition, Elusive Spirits, with the intention to support In Africa today, masks continue to be relevant and evolving. Masks classroom investigation by K-12 educators and their included in the exhibition range from the mid-20th century to the students. Selected objects are presented with a early 21st century and demonstrate the continuity of masking while special focus on the ceremonies and symbols pointing to new directions in masquerade production, use and associated with each mask, along with corresponding meaning. The works are organized into groups of ethnically-related images, maps, detailed background information and masks, also highlighting their distinct roles or themes. Some of suggested discussion questions. these masks serve to ease transitions from life to death, or from childhood to adulthood.
    [Show full text]
  • The Missing Women of Sande a Necessary Exercise in Museum Decolonization
    The Missing Women of Sande A Necessary Exercise in Museum Decolonization Susan Kart y introduction to the art of Sierra Leone was curating a tiny exhibition of African art for the Smith College went something like this: Despite the Museum of Art, did I start to consider what is painfully absent overwhelming presence of African from our visual narratives on Sande art: our understanding and headpieces in the worlds’ museums, the appreciation of elderly women and their position as art patrons masquerade tradition is not widespread and performers of their own objects. Quite separately from the across the continent. Of the limited scholarly need to understand their role in the production of art, regions in Africa where performances requiring wooden mask Sande/Bondo members have now found themselves victimized headpiecesM were and are practiced, it is generally a performance and disparaged due to the international debate over their initia- of men. Only in West Africa does a dierent tradition of masked tion practices, which traditionally include genital modication dance take place, where women in Sierra Leone and Liberia are the of pubescent girls by female elders. e controversy over genital primary singers and dancers in masquerade as well as the wearers alteration, understood in Sande tradition to mark the death of and commissioners of their sculpted wooden masks (Phillips 1978: childhood and the beginning of adult life, has come to rest on the 265; Boone 1986; Lamp 2014). Among the Mende, Temne, and objects used in public by the most senior Sande women and those their neighbors, adults belong to organized societies—the Poro for appearing most frequently in our museums: their wooden masks.
    [Show full text]
  • The Missing Women of Sande a Necessary Exercise in Museum Decolonization
    The Missing Women of Sande A Necessary Exercise in Museum Decolonization Susan Kart Downloaded from http://direct.mit.edu/afar/article-pdf/53/3/72/1845540/afar_a_00539.pdf by guest on 30 September 2021 y introduction to the art of Sierra Leone was curating a tiny exhibition of African art for the Smith College went something like this: Despite the Museum of Art, did I start to consider what is painfully absent overwhelming presence of African from our visual narratives on Sande art: our understanding and headpieces in the worlds’ museums, the appreciation of elderly women and their position as art patrons masquerade tradition is not widespread and performers of their own objects. Quite separately from the across the continent. Of the limited scholarly need to understand their role in the production of art, regions in Africa where performances requiring wooden mask Sande/Bondo members have now found themselves victimized headpiecesM were and are practiced, it is generally a performance and disparaged due to the international debate over their initia- of men. Only in West Africa does a dierent tradition of masked tion practices, which traditionally include genital modication dance take place, where women in Sierra Leone and Liberia are the of pubescent girls by female elders. e controversy over genital primary singers and dancers in masquerade as well as the wearers alteration, understood in Sande tradition to mark the death of and commissioners of their sculpted wooden masks (Phillips 1978: childhood and the beginning of adult life, has come to rest on the 265; Boone 1986; Lamp 2014). Among the Mende, Temne, and objects used in public by the most senior Sande women and those their neighbors, adults belong to organized societies—the Poro for appearing most frequently in our museums: their wooden masks.
    [Show full text]
  • 175. Bundu Mask Sande Society. Mendes Peoples (West African Forests of Sierra Leone and Liberia). 19 to 20 Century C.E. Wood, Cl
    175. Bundu mask Sande Society. Mendes peoples (West African forests of Sierra Leone and Liberia). 19th to 20th century C.E. Wood, cloth, and fiber (2 images) Video at Khan Academy This type of mask is used by the sande female society (women's secret society) on the occasion of the most solemn anniversaries, while exercising justice, during funeral ceremonies and in the initiation that makes it possible to become a sande. o The Sande society initiates girls into adulthood by rituals including female genital mutilation.[1] It is alleged by its supporters to confer fertility, to instill notions of morality and proper sexual comportment, and to maintain an interest in the well-being of its members throughout their lives. o common features of all of these women's associations (found in several places in Africa) are: . Group initiation in a secluded area of the forest. The use of Sande society names in lieu of birth names following initiation. Hierarchically ranked female leadership. A pledge of secrecy vis-a-vis men and uninitiated girls. Female genital mutilation performed by female specialists. o On the latter occasion, the masks are worn by women who have a certain standing within the society, to receive the younger women at the end of their three month's reclusion in the forest. The long costume, that completes the mask, serves to disguise the whole body. This mask represents the spirit of fecundity and is considered the incarnation of the female waters. The masks always have female characteristics, even when they incarnate the male ancestral spirit.
    [Show full text]
  • COUNTRY PROFILE: FGM in LIBERIA DECEMBER 2014 Registered Charity : No
    COUNTRY PROFILE: FGM IN LIBERIA DECEMBER 2014 Registered Charity : No. 1150379 Limited Company: No. 08122211 E-mail: [email protected] © 28 Too Many 2014 Efua Dorkenoo OBE 1949-2014 28 Too Many dedicates this report to Efua Dorkenoo. A courageous and inspirational campaigner, Efua worked tirelessly for women’s and girls’ rights and to create an African-led global movement to end Female Genital Mutilation (FGM). CONTENTS FOREWORD 5 BACKGROUND 7 PURPOSE & ACKNOWLEDGEMENTS 7 LIST OF ABBREVIATIONS 8 EXECUTIVE SUMMARY 9 INTRODUCTION 13 NATIONAL STATISTICS 16 POLITICAL BACKGROUND 18 SANDE SECRET SOCIETY 20 THE ECONOMICS OF FGM 23 ANTHROPOLOGICAL BACKGROUND 24 OVERVIEW OF FGM IN LIBERIA 31 COUNTRYWIDE TABOOS AND MORES 36 SOCIOLOGICAL BACKGROUND 37 HEALTHCARE SYSTEM 41 WOMEN’S HEALTH AND INFANT MORTALITY 43 EDUCATION 46 RELIGION 50 MEDIA 51 ATTITUDES AND KNOWLEDGE RELATING TO FGM 53 LAWS RELATING TO FGM 55 INTERVENTIONS AND ATTEMPTS TO ERADICATE FGM 59 INTERNATIONAL ORGANISATIONS 64 NATIONAL AND LOCAL ORGANISATIONS 70 CHALLENGES FACED BY ANTI-FGM INITIATIVES 75 CONCLUSIONS 76 APPENDIX I - LIST OF INTERNATIONAL AND NATIONAL ORGANISATIONS CONTRIBUTING TO DEVELOPMENT GOALS AND WOMEN’S AND CHILDREN’S RIGHTS IN LIBERIA 80 APPENDIX II - REFERENCES 82 PAGE | 4 FOREWORD Liberia fits into a wider context where globally one girl has FGM every ten seconds, leaving the Since first researching FGM in Liberia in 2012, staggering figure of 3 million a year. If we do not the progress made towards ending this harmful act now, 30 million girls just across Africa will have traditional practice has been taken over by a new FGM by 2024 – to add to the already 140 million and urgent crisis – tackling Ebola.
    [Show full text]
  • Olive Deluce Gallery Northwest Missouri State University Department of Art
    OLIVE DELUCE GALLERY NORTHWEST MISSOURI STATE UNIVERSITY DEPARTMENT OF ART African Art Exhibit April 4, 2011 – April 22, 2011 The DeLuce Fine Art Gallery’s exhibit of African art and artifacts offers glimpses into some of the enormous variety of cultures on the continent of Africa. From more than twenty of the countries represented in the extensive collection of Dr. Ray Lake of Kansas City, Mo., eighty wooden and fabric masks, figurines, and ritual objects showcase the work of both historic and contemporary Africans. Lectures by Yale-trained PhD Dr. Maude Wahlman on the gallery show, and by Dr. I. Murphy Lewis, PhD from Pacific University, on the myths and wisdom of the African peoples she studies complement the exhibition to create a rare and rich cultural experience for NWMSU’s guests. AngolaBurkino Faso Cameroon Congo Gabon Ghana Guinea-Conakry Ivory Coast Mali Liberia Nigeria Sierra Leone I have thoroughly enjoyed watching Ray Lake build his African art collection. Many of the pieces in his collection are museum quality and will be sought by museums as they are seen and published. Ray collects what he likes best and his collection of African art is remarkable for its geographic and material diversity, its aesthetic quality, and his very interesting choices. It has been an interesting challenge for me to curate this exhibit, advise on photographing images, help choose images for the postcard and the mailer, write this catalog and wall labels, and install the exhibit. So I wish to acknowledge the talents and support of Dr.Martha Breckenridge who came up with the idea and nurtured it along, Ray Lake who measured everything and let us overrun his house, Pete Vogt who photographed our dramatic wonderful images, Christopher Graves, our brilliant postcard, mailer, and catalog designer, and Nicholas LaSeur who made artistic stands for many pieces and took charge of packing and shipping the arts.
    [Show full text]
  • FGM in SIERRA LEONE JUNE 2014 Registered Charity : No
    COUNTRY PROFILE: FGM IN SIERRA LEONE JUNE 2014 Registered Charity : No. 1150379 Limited Company: No: 08122211 E-mail: [email protected] © 28 Too Many 2014 Contents FOREWORD 5 BACKGROUND 7 PURPOSE 7 ACKNOWLEDGEMENTS 7 LIST OF ABBREVIATIONS 8 EXECUTIVE SUMMARY 9 INTRODUCTION 12 NATIONAL STATISTICS 15 POLITICAL BACKGROUND 17 BONDO 19 ANTHROPOLOGICAL BACKGROUND 23 OVERVIEW OF FGM PRACTICES IN SIERRA LEONE 30 COUNTRYWIDE TABOOS AND MORES 34 SOCIOLOGICAL BACKGROUND 35 HEALTHCARE SYSTEM 36 WOMEN’S HEALTH AND INFANT MORTALITY 38 EDUCATION 41 RELIGION 44 MEDIA 46 ATTITUDES AND KNOWLEDGE RELATING TO FGM 48 LAWS RELATING TO FGM 54 INTERVENTIONS AND ATTEMPT TO ERADICATE FGM 57 INTERNATIONAL ORGANISATIONS 61 NATIONAL AND LOCAL ORGANISATIONS 66 CHALLENGES FACED BY ANTI-FGM INITIATIVES 72 CONCLUSIONS 73 APPENDIX I - LIST OF INTERNATIONAL AND NATIONAL ORGANISATIONS 76 APPENDIX II - REFERENCES 78 PAGE | 4 FOREWORD where FGM is the badge of belonging, but is also linked to early child marriage and girls dropping In disease control and social movements alike, out of compulsory education. At the end of the there are three principles that define what leads civil war Bondo initiation was used as a way of to an epidemic: contagiousness, small causes normalising social relations lost in the destruction. having big effect, and that change happens at one It also presented itself in a war torn economy as dramatic moment. an economic opportunity for younger women, a Having worked on aid projects since 2001 and in rarity in Sierra Leone. Traditionally FGM is carried anti-female genital mutilation (FGM) for ten years, out by older community women, in unhygienic there seems to be an appetite for, and a window of conditions in isolated bush camps.
    [Show full text]
  • Fgm in Sierra Leone
    COUNTRY PROFILE: FGM IN SIERRA LEONE June 2014 Registered Charity: No. 1150379 Limited Company: No: 08122211 E-mail: [email protected] © 28 Too Many 2015 v2 October 2018 Contents Foreword ................................................................................................ 2 Case Study: Masanga Education Assistance ........................................... 3 Information on Country Profiles ............................................................. 4 Background ................................................................................................................................. 4 Purpose ....................................................................................................................................... 4 Use of this Country Profile .......................................................................................................... 4 Acknowledgements ..................................................................................................................... 4 The Team ..................................................................................................................................... 5 List of Abbreviations ................................................................................................................... 6 A Note on Data ............................................................................................................................ 7 Executive Summary ................................................................................
    [Show full text]