David P. Gamble Collection
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Gambia Parliamentary Elections, 6 April 2017
EUROPEAN UNION ELECTION OBSERVATION MISSION FINAL REPORT The GAMBIA National Assembly Elections 6 April 2017 European Union Election Observation Missions are independent from the European Union institutions.The information and views set out in this report are those of the author(s) and do not necessarily reflect the official opinion of the European Union. Neither the European Union institutions and bodies nor any person acting on their behalf may be held responsible for the use which may be made of the information contained therein. EU Election Observation Mission to The Gambia 2017 Final Report National Assembly Elections – 6 April 2017 Page 1 of 68 TABLE OF CONTENTS LIST OF ACRONYMS .................................................................................................................................. 3 I. EXECUTIVE SUMMARY ...................................................................................................................... 4 II. INTRODUCTION ................................................................................................................................ 9 III. POLITICAL BACKGROUND .................................................................................................................. 9 IV. LEGAL FRAMEWORK AND ELECTORAL SYSTEM ................................................................................. 11 A. Universal and Regional Principles and Commitments ............................................................................. 11 B. Electoral Legislation ............................................................................................................................... -
The Gambia’S Notorious Prison System, Has Proven Deadlier Than the Previous Laws
The more recent Publication of False Information Act, which mandates heavy fines or imprisonment in The Gambia’s notorious prison system, has proven deadlier than the previous laws. THE GAMBIA 152 MEDIA SUSTAINABILITY INDEX 2010 INTRODUCTION OVERALL SCORE: 1.66 THE GAMBIA THE Repressive media laws continue to hamper the independent press in The Gambia—in sharp contrast to the country’s constitution, which grants all citizens the freedom of expression and supports press freedom. The Alliance for Patriotic Reorientation and Construction (APRC), the ruling party since a bloodless coup in R1994, eroded and flouted the existing principles of democracy and human rights. APRC wasted little time introducing legislation, such as Newspaper Decree 70 and 71, aimed at gagging the media. The more recent Publication of False Information Act, which mandates heavy fines or imprisonment in The Gambia’s notorious prison system, has proven deadlier than the previous laws. Those who petition the president, seeking redress when their rights are violated, must prove their allegations in court—and if they fail to prove their cases, they face jail time. A human rights advocate was jailed recently under this law. Libel is punishable with civil penalties as well as criminal penalties, and the accused bear the burden of proof. The libel law and the laws on sedition and false publication all carry the same minimum custodial penalty of one year in prison and/or heavy fines. In 2009, several journalists were fined or imprisoned under these three laws. Although no one faced charges of libel, sedition, or false publication in 2010, the psychological impact of threatening remarks from the president’s office has driven editors to self-censorship, and dampens free speech among citizens. -
Downbeat.Com September 2010 U.K. £3.50
downbeat.com downbeat.com september 2010 2010 september £3.50 U.K. DownBeat esperanza spalDing // Danilo pérez // al Di Meola // Billy ChilDs // artie shaw septeMBer 2010 SEPTEMBER 2010 � Volume 77 – Number 9 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser AdVertisiNg sAles Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] offices 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] customer serVice 877-904-5299 [email protected] coNtributors Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, How- ard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer -
ECOS NÓMADAS Itinerario Musical La Biblioteca De Adultos Ofrece Un Itinerario Musical a Través De Sonidos Con Ecos Viajeros
ECOS NÓMADAS Itinerario musical La biblioteca de adultos ofrece un itinerario musical a través de sonidos con ecos viajeros. Y es que también los ritmos étnicos son herederos de formas de vida nómada: romaníes, tuareg o masai han dejado su huella en algunos grupos actuales. De este modo, instrumentos, estilos o ritmos ancestrales se han fusionado con músicas contemporáneas, componiendo nuevos sonidos que hermanan culturas y épocas. Esta selección musical nos recuerda que, en tiempos remotos, muchos de nuestros antepasados recorrían los senderos con la vida a cuestas. Sus ecos han pervivido a través del tiempo. Reseñas de José Miguel López , director del programa Discópolis , de Radio 3 , publicadas en: Fonoteca Civican de Ritmos Étnicos: una selección de músicas del mundo. Pamplona: Caja Navarra, 2007 ABAJI. Nomad spirit. Network Medien GMBH, Baaba MAAL. Lam toro. Island Records, 1993 2005 (ASI) (AFR) CONTIENE: Al kafila al akhira/ Iskandar el kabir/ CONTIENE: Hamady boiro (yelle)/ Daande lenol/ Lem Trance eastern blues/ Khosrow/ Al 'assifa/ Mitilini/ Al gi/ Ndelore/ Yela/ Toro/ Daniibe/ Olel/ Sy sawande/ awlad/ Nomad spirit/ Nida/ Tshingane/ Waiting for Hamady bogle djivan/ Min al jabal/ Bi albi/ Badawi/ Kamar wa assal Lam Toro es el quinto disco occidental de Baaba Maal. Abaji es un espíritu nómada donde los haya: trovador Fue el más mezclado de todos los que había hecho beduino con raíces familiares en Libia, Siria, Armenia, hasta ese momento. Baaba Maal estaba muy bien Turquía y Grecia. Nació en Beirut, hablaba francés en relacionado con Peter Gabriel, con quien había casa, árabe en la escuela y turco con su abuela Alicia. -
WOLOF for More Information Boston University Source
WOLOF For more information Boston University Source:http://www.geographicguide.com/africa-maps/ Wolof is spoken in Senegal, France, Gambia, Guinea- Prof. Fallou Ngom Bissau, Mali, and Mauritania Director, African Language Program [email protected] ABOUT SENEGAL 617-353-3673 Senegal is bounded by the Atlantic Ocean to the west, Mauritania to the north, Mali to the east, and Guinea and Guinea-Bissau to the south. Internally it almost completely surrounds the Gambia. Dakar, the capital city of Senegal, is located at the westernmost tip of the country on the Cap-Vert peninsula. During the 17th and 18th centuries, numerous trading posts, belonging to various colonial empires, were established along the coast. The town of St. Louis became the capital of French West Africa before Dakar replaced it in 1902. Dakar became Senegal’s capital in 1960 at the time African Studies Center Image above taken from century-old of independence from France. 232 Bay State Road manuscript in the African Ajami Library Boston, MA 02215 collection in Mugar Library. www.bu.edu/africa MUSIC & CULTURE Senegal is justly famous worldwide for its musical heritage, due to the popularity of mbalax. It has been popularized by Youssou N'Dour and others. Sabar drumming is especially enjoyable. Another instrument is the tama. Internationally renowned Photo by Fallou Ngom Senegalese musicians include Ismael Lô, Cheikh Lô, Orchestra Baobab, Baaba Maal, Akon Thione Seck, Viviane, Titi, Papiss Cisse, and ID 116 - Africa Today: The Beat of Popular Culture Pape Diouf. COURSES & MINORS AN 312 - Peoples & Cultures of Africa Senegal is well known for the West MU 340 - Musical Cultures of the World African tradition of storytelling, BU’s program in Wolof is unique. -
Dakar Wolof and the Configuration of an Urban Identity
Journal of African Cultural Studies, Volume 14, Number 2, December 2001, pp. 153-172 Dakar Wolof and the con guration of an urban identity FIONA MCLAUGHLIN (Department of Linguistics, University of Kansas) ABSTRACT The turbulent period of political and social unrest at the end of the 1980s and beginning of the 1990s in Senegal gave rise to the l movement in which the city of Dakar was recreated in the historical imagination of its youth. This essay argues that the movement coincided with the emergence of a self-conscious urban identity among the Dakar population, evidenced by a variety of artistic expression that focuses on and exalts the culture of the city. Central to the notion of an urban identity is the role of Dakar Wolof, a variety of the language that has signi cantly diverged from the more conservative dialects spoken in the rural areas, primarily by incorporating massive lexical borrowing from French. Dakar Wolof is portrayed in sustained written form for the rst time in two comics that appeared during this period: Boy Dakar by Ibou Fall and Aziz Bâ, and Ass et Oussou by Omar Diakité. This essay discusses the hybrid nature of Dakar Wolof and its depiction in written form in the two comics. Finally, it is argued that Dakar Wolof has had a profound effect on the notion of ethnicity in the Senegalese context and has contributed to the emergence of a de-ethnicized urban identity. 1. Introduction In February of 1988, presidential elections in Senegal failed to produce a change of regime from that of incumbent president Abdou Diouf to that of opposition leader Abdoulaye Wade, whose widely proclaimed campaign slogan had been or Change!1 A little more than a year later, in April of 1989, during the Muslim holy month of Ramadan, unprecedented ethnic violence against the Moorish population in Senegal broke out in the streets of Dakar, the country’s capital, escalating into an international crisis that stopped just short of war. -
The Music of Senegal: a Way of Life in West Africa
1 The Music of Senegal: A Way of Life in West Africa Lucien DeLaBruere Independent Study Project School for International Training Dakar, Senegal; Spring 2007 Project Advisor: Keba Djibril Mane Academic Director: Souleye Diallo 2 Dedication… To all the people who helped with the making of this project: SIT: Senegal, Keba Mane, Jacques Diatta and all the musicians in Senegal that helped make it all come together. 3 TABLE OF CONTENTS ABSTRACT………………………………………………………………………………1 INTRODUCTION……………………………………………………………………….1 METHODOLOGIES…………………………………………………………………….3 FINDINGS………………………………………………………………………………..6 Music in Senegal………………………………………………………………….6 A Brief History of Senegalese Music……………………………………………7 African Drumming and the Djembe……………………………………………8 Looking at Rhythm……………………………………………………………..11 Notating Traditional Music…………………………………………………….15 ANALYSIS……………………………………………………………………………...17 CONCLUSION…………………………………………………………………………18 APPENDIX……………………………………………………………………………...19 GLOSSARY…………………………………………………………………………….25 WORKS CITED………………………………………………………………………..26 4 I. ABSTRACT “Music is in the veins and blood of the Senegalese people” (Bakayoko 2007). This paper aims to take a look into the reason for why this is. By examining the historical and present context of music in Senegal, one can better understand the social aspects of its music. In addition, analyses concerning the rhythmic and pedagogical importance will help provide a better picture for how we, as Westerners, can try to comprehend this rather undocumented subject. II. INTRODUCTION It is difficult for a Westerner to understand African music. Moreover, it is difficult to understand the importance and social significance that music plays in African life. When a Westerner listens to African music for the first time, he will typically elicit one of two responses. He will become confused due to the assumed rhythmic complexity and consequently become bored or he will become intrigued for the very same reason, but still not quite understand why. -
A REPORT of the PROCESS EVALUATION a Report
THE MASS MEDIA AND HEALTH PRACTICES EVALUATION IN THE GAMBIA: -A REPORT OF THE PROCESS EVALUATION A Report from Stanford University to the United States Agency for International Development prepared by Applied Communication Technology 1010 Doyle Street, Suite 17 Menlo Park, Czlifornia 94025 U.S.A. August 1985 Contributors: Peter L. Spain and Leslie Snyder .i . The research reported here has been supported by the Office of Education and the Office of Health of the Bureau for Science and Technology, United States Agency for l nternat ional Development under contract A1 DIOSPE-C-0028. The USAlD Mission in The Gambia and the Ministry of Health, Government of The Gambia have provided additional resources in support of the work. EXECUT l VE SUMMARY This summary reports the major findings from the Process Eva18rationof the U.S. AID Mass Media and Health Practices activity in The Gambia. The program in The Gambia was known as the Mass Media for lnfant Health Project. It was an undertaking of the Department of Medical and Health in the Ministry of Health, Labour, and Social Welfare with the collaboration of the Academy for Educatimal Development. The evaluation was performed by Stanford University's Institute for Communication Research and Food Research Institute, and by Applied Communication Technology. Both the intervention and the evaluation were funded by the Office of Education and the Office of Health of the Bureau of Science and T.ectinology, United States Agency for International Development. The USAlD Mission in Banjul and the Department of Medical and Health have provided additional support and cooperation. -
Pasic 2001 Marching Percussion Festival
TABLE OF CONTENTS 2 Welcome Messages 4 PASIC 2001 Planning Committee 5 Sponsors 8 Exhibitors by Name/Exhibitors by Booth Number 9 Exhibitors by Category 10 Exhibit Hall Map 12 Exhibitors 24 PASIC 2001 Map 26 PASIC 2001 Area Map 29 Wednesday, November 14/Schedule of Events 34 Thursday, November 15/Schedule of Events 43 Friday, November 16/Schedule of Events 52 Saturday, November 17/Schedule of Events 60 Artists and Clinicians 104 Percussive Arts Society History 2001 111 Special Thanks/PASIC 2001 Advertisers NASHVILLE NOVEMBER 14–17 2 PAS President’s Welcome It is a grim reminder of the chill- from this tragedy. However, in a happier world that lies ® ing events that shook the U.S. this land of diversity, we all deal ahead for all of us. on September 11. I am espe- with grief and healing in differ- cially grateful to all of our PAS ent ways. I’m in no way international members who sent trivializing this tragedy when I personal messages to me, tell you that I’m especially look- members of the Board of Direc- ing forward to seeing friends tors, and into the PAS office in and colleagues from around the www.pas.org Lawton, Oklahoma. Your out- globe at PASIC in Nashville. pouring of support and conso- Percussion is the passion that oday, as I sit to write my lation are deeply appreciated. binds us all and allows us to T“welcome to PASIC” I applaud those of you who come together in a common message, I realize that our have offered to use your re- place to see our friends, hear world has forever changed. -
Casamance, 1885-2014
MAPPING A NATION: SPACE, PLACE AND CULTURE IN THE CASAMANCE, 1885-2014 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Mark William Deets August 2017 © 2017 Mark William Deets MAPPING A NATION: SPACE, PLACE AND CULTURE IN THE CASAMANCE, 1885-2014 Mark William Deets Cornell University This dissertation examines the interplay between impersonal, supposedly objective “space” and personal, familiar “place” in Senegal’s southern Casamance region since the start of the colonial era to determine the ways separatists tried to ascribe Casamançais identity to five social spaces as spatial icons of the nation. I devote a chapter to each of these five spaces, crucial to the separatist identity leading to the 1982 start of the Casamance conflict. Separatists tried to “discursively map” the nation in opposition to Senegal through these spatial icons, but ordinary Casamançais refused to imagine the Casamance in the same way as the separatists. While some corroborated the separatist imagining through these spaces, others contested or ignored it, revealing a second layer of counter-mapping apart from that of the separatists. BIOGRAPHICAL SKETCH Mark W. Deets is a retired Marine aviator and a PhD candidate in African History at Cornell University. Deets began his doctoral studies after retiring from the Marine Corps in 2010. Before his military retirement, Deets taught History at the U.S. Naval Academy. Previous assignments include postings as the U.S. Defense and Marine Attaché to Senegal, The Gambia, Guinea-Bissau, Cape Verde, and Mauritania (2005-2007), as a White House Helicopter Aircraft Commander (HAC) and UH-1N “Huey” Operational Test Director with Marine Helicopter Squadron One (1999-2002), and as Assistant Operations Officer and UH-1N Weapons and Tactics Instructor with the “Stingers” of Marine Light Attack Helicopter Squadron 267 (1993-1998). -
Record Executives Dream of Being: an Innovator, a Barrier Breaker and An
Blackwell’s mother’s family had settled in Jamaica in the 1700s after the Inquisition chased them out of Portugal. In Jamaica they began selling rum, cattle and sugar. Those were good businesses then and remained so for the next two hundred years. Chris was bom in London in 1937 to an Irish aristocrat, Middleton Joseph Blackwell. When Chris was six months old, he was brought to his mother’s family’s mansion in Jamaica to be raised. He was brought home. At age ten, Chris left Jamaica to be edu cated in England, feat he was already too free-spirited to slide into the British class system. left Harrow in 1955 and returned to Jamaica, where he worked at odd jobs while falling more and more deeply in love with music. In 1959 he started Island Records, Which at first mostly supplied Ja maican records, including early efforts by the fledgling Wailers, to Britain. Always curious and still a very young man, Blackwell also took a job as a second assistant to the director of the first James Bond movie, Dr. No, filmed in Jamaica. Offered a permanent job in the production company, Blackwell asked a fortune-teller what to do. She told him his destiny lay with music. Blackwell passed on 007. In 1964 he produced Millie Small’s “My CHRIS BLACKWELL IS w hat Boy Lollipop,” which sold six million copies around the world. Chris Blackwell was on his way. That same year, he recorded the Spencer record executives dream of Davis Group with Stevie Winwood. “Keep On Running,” “Gimme Some Lovin’ ” and being: an innovator, a barrier “I’m a Man” gave Blackwell big hits, an influx of cash and the start of a long, fruitful rela breaker and an international tionship with Winwood. -
FGM in the GAMBIA MARCH 2015 Registered Charity : No
COUNTRY PROFILE: FGM IN THE GAMBIA MARCH 2015 Registered Charity : No. 1150379 Limited Company: No. 08122211 E-mail: [email protected] © 28 Too Many 2015 CONTENTS PREFACE 4 FOREWORD 5 BACKGROUND 8 PURPOSE 8 ACKNOWLEDGEMENTS 8 LIST OF ABBREVIATIONS 9 EXECUTIVE SUMMARY 10 INTRODUCTION 12 NATIONAL STATISTICS 14 POLITICAL BACKGROUND 16 ANTHROPOLOGICAL BACKGROUND 18 OVERVIEW OF FGM IN THE GAMBIA 24 TYPE OF FGM AND PRACTITIONERS 29 SOCIOLOGICAL BACKGROUND 32 HEALTHCARE SYSTEM 35 WOMEN’S HEALTH AND INFANT MORTALITY 36 EDUCATION 40 RELIGION 44 MEDIA 46 ATTITUDES AND KNOWLEDGE RELATING TO FGM 48 LAWS RELATING TO FGM 55 INTERVENTIONS AND ATTEMPTS TO ERADICATE FGM 57 INTERNATIONAL ORGANISATIONS 62 NATIONAL AND LOCAL ORGANISATIONS 66 CHALLENGES FACED BY ANTI-FGM 69 INITIATIVES 69 CONCLUSIONS 70 APPENDIX I - LIST OF INTERNATIONAL AND NATIONAL ORGANISATIONS CONTRIBUTING TO DEVELOPMENT GOALS AND WOMEN’S AND CHILDREN’S RIGHTS IN THE GAMBIA 73 APPENDIX II - REFERENCES 74 PREFACE It is my great pleasure to write the Preface for this report on the current state of FGM in The Gambia. I have been undertaking research in The Gambia for over 35 years and during that time I have developed a real and deep admiration and respect for the women of the country. The women of The Gambia perform the challenging roles of wives and mothers, food producers, income earners and are the stalwarts of their families and communities, this is despite the fact that a majority of them have been subjected to FGM. FGM in The Gambia is still legal and is often mistakenly justified on religious grounds.