This document provides information about an exhibition at the Porter Butts Gallery at the University of Wisconsin from February 28 to March 30, 2003. It featured artwork by Sierra Leonean artists documenting the atrocities of the civil war in Sierra Leone through graphic mediums like paintings, drawings, and batiks. The exhibition contained biographies of the 14 artists and descriptions of over 60 of their artworks depicting horrific scenes and consequences of the war through a realist lens to promote conscious action.
makalah ini mendeskripsikan tentang sejarah sistem operasi symbian, versi-versi symbian, arsitekture sistem operasi symbian, feature, serta kelebihan dan kekurangan
Dokumen tersebut membahas tentang SisTer (Sistem Terdistribusi) yang didefinisikan sebagai kesatuan elemen yang saling berinteraksi secara sistematis dan teratur untuk mendistribusikan data. Dokumen ini juga menjelaskan beberapa aspek penting dalam pengembangan SisTer seperti keanekaragaman, keterbukaan, keamanan, dan skalabilitas.
Dokumen tersebut membahas tentang sistem terdistribusi yang terdiri dari kumpulan elemen yang saling berhubungan untuk mencapai tujuan tertentu. Sistem terdistribusi mendistribusikan data melalui jaringan komputer dan perangkat keras serta lunak yang saling terhubung. Dokumen ini juga membahas tentang arsitektur sistem terdistribusi seperti client server, tightly coupled, dan peer to peer.
Sistem Operasi Jaringan (SOJ) membahas tentang berbagai layanan server yang dapat diinstal pada sistem operasi jaringan seperti DHCP Server, FTP Server, Web Server, dan lainnya beserta cara instalasi dan konfigurasinya.
A slideshow connected to a lecture of the Arts of Liberia and Sierra Leone available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Stephanie Beck Cohen.
makalah ini mendeskripsikan tentang sejarah sistem operasi symbian, versi-versi symbian, arsitekture sistem operasi symbian, feature, serta kelebihan dan kekurangan
Dokumen tersebut membahas tentang SisTer (Sistem Terdistribusi) yang didefinisikan sebagai kesatuan elemen yang saling berinteraksi secara sistematis dan teratur untuk mendistribusikan data. Dokumen ini juga menjelaskan beberapa aspek penting dalam pengembangan SisTer seperti keanekaragaman, keterbukaan, keamanan, dan skalabilitas.
Dokumen tersebut membahas tentang sistem terdistribusi yang terdiri dari kumpulan elemen yang saling berhubungan untuk mencapai tujuan tertentu. Sistem terdistribusi mendistribusikan data melalui jaringan komputer dan perangkat keras serta lunak yang saling terhubung. Dokumen ini juga membahas tentang arsitektur sistem terdistribusi seperti client server, tightly coupled, dan peer to peer.
Sistem Operasi Jaringan (SOJ) membahas tentang berbagai layanan server yang dapat diinstal pada sistem operasi jaringan seperti DHCP Server, FTP Server, Web Server, dan lainnya beserta cara instalasi dan konfigurasinya.
A slideshow connected to a lecture of the Arts of Liberia and Sierra Leone available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Stephanie Beck Cohen.
Poster set created by Facing History and Ourselves and the Smithsonian Institution Traveling Exhibition Service to encourage dialogue, engagement, respect, and participation in our communities. For more information, visit www.facinghistory.org.
This exhibition at the Ellarslie Museum explores African American art collected by African American women. It features works in various mediums from both prominent and lesser-known artists. At the center are five serigraphs by Romare Bearden depicting biblical stories that convey messages of tradition and value. Other artists represented, like Mercy Moyo and Mickalene Thomas, use imagery of strong African American women. Themes of family, home, and shared cultural experiences are prominent. Mediums like collage and portraiture allow artists to represent the multidimensional nature of African American life. Collectors are also profiled who support artists and collect works that celebrate African American resilience, beauty, and history.
Teaching the Dream: The Enduring Idea, Art, and the National Civil Rights MuseumJ S-C
This is a presentation I gave at the 2014 Tennessee Art Education Association conference in Memphis, TN. The conference was themed "We Can Dream." The presentation seeks to demonstrate how enduring ideas and essential questions connect classroom concepts to real-world experience to promote higher order thinking. The presentation also shares how my art education training has been essential in shaping the National Civil Rights Museum's educational materials for teachers. Also included are ways to incorporate civil rights history into art lessons.
View the last slide for additional links.
This document discusses the work of several African American artists from the 20th century and how their work reflected themes of cultural identity and liberation. It mentions Jacob Lawrence's Migration Series from the 1940s, which depicted the Great Migration of African Americans from the rural South to northern cities. It also discusses works by Robert Colescott, John Biggers, Betye Saar, and other artists that explored African American history and themes of empowerment in the face of oppression. The document examines how these artists used their work to express aspects of cultural identity and the ongoing quest for racial equality in America.
This PPT was created to review contemporary artists we discussed in class (Visual Arts & Culture--an art appreciation course for non-art majors), Fall 2013
The document provides an overview of a presentation by several students on a proposed "Black Entertainment Network". It summarizes sections on Black athletes presented by Saihou and Micah focusing on historical racial injustices and how athletes like Jackie Robinson and Colin Kaepernick fought back; Black actors/actresses presented by Johnny discussing oppressive early roles and modern changes; culture presented by Khrys focusing on graffiti artist Cornbread and Jean-Michel Basquiat; and Black music presented by Alyssa and Arjan covering genres from gospel and blues to rap and their social impacts. The presentation aims to showcase influential Black figures and forms of cultural expression.
Dianne Smith is an abstract painter, sculptor, and teaching artist whose work has been exhibited widely across the United States. She creates sculptures out of everyday discarded materials to explore themes of identity, race, gender, and consumption. Smith currently works in New York City and teaches at Lincoln Center Institute, where she shares her perspectives on art and social issues with students.
This document provides information about various works of art from the 1960s through the 1980s that responded to social and political events and issues during those decades. It discusses Dr. Martin Luther King Jr.'s "I Have a Dream" speech and march on Washington in 1963. It also mentions Faith Ringgold's 1964 painting "God Bless America" which focused on racial conflict. Additional sections discuss how the Vietnam War was reflected in anti-war art like Claes Oldenburg's 1969 sculpture "Lipstick (Ascending) on Caterpillar Tracks" and land art works. The feminist movement is discussed in relation to works by Judy Chicago and Cindy Sherman. Questions of male identity are also touched on through the examples of Richard
This presentation is by a student from "Acting Up - Using Theater & Technology for Social Change," at DePaul’s School for New Learning’s Distance Education Program - Fall 2010. The instructor is Tom Tresser - see http://tomsclasses.wordpress.com.
The Museum of Modern Art (MoMA) in New York City was founded in 1929 to showcase modernist artworks from the 1870s-1970s. This included cubism, abstract expressionism, surrealism, and other movements. MoMA is now known for its collection of modern and contemporary art, including newly acquired works by international artists exploring social issues. One of these artists is Kara Walker, who creates provocative cut-paper silhouettes addressing topics like race, gender, and violence.
Josiah Wedgwood created the first anti-slavery medallion in 1787 depicting a kneeling slave with the motto "Am I Not A Man And A Brother?" to raise awareness of the evils of slavery. Inspired by this, the document proposes creating a modern anti-slavery medallion to raise awareness of the issue of human trafficking, which is growing rapidly. Funding is being sought to produce the medallions as well as packaging and informational materials to distribute them to leaders and organizations working to end human trafficking.
No Longer Empty: If you cut into the Present, the future leaks out 1kozakartclass
First presentation covering artists such as Juan Betancurth, Daniel Neumann, Lady K Fever, Melissa Calderon, and Teresa Diehl
AND…Bronx architects Michael John Garvin and Oscar Florianus Bluemner
The counterculture movement of the 1960s originated from young Americans rebelling against mainstream values and priorities. They believed society's values were hollow and its focus was misplaced. Inspired by the Beat generation of the 1950s, the counterculture movement grew out of opposition to the Vietnam War, racial discrimination, and environmental pollution. They advocated for a culture based on peace and love as an alternative to the mainstream.
The Counterculture Movement of the 1960s originated from rock music challenging older generations' beliefs and traditions. Baby boomers questioned American society's values. On college campuses and in response to the Vietnam War, hippies turned away from mainstream culture by experimenting with drugs and sexual behavior meant to shock. The movement lasted from John F. Kennedy's assassination to Richard Nixon's impeachment after the Vietnam War ended and was exemplified by massive counterculture events like the 1969 Woodstock Music Festival. It also saw the rise of the Women's Liberation movement encouraging social and political change for women's rights.
The Counterculture Movement of the 1960s originated from rock music and baby boomers questioning traditional American values. It challenged beliefs around topics like the Vietnam War, religion, education, and art. Many groups like women and minorities were still fighting for equal rights. While not all young Americans participated, those who did formed communities where they could freely express themselves. The movement lasted from the early 1960s until the end of the Vietnam War. Key events included widespread anti-war protests, the 1969 Woodstock Music Festival, and the rise of the Women's Liberation movement advocating for social and political change.
The document discusses an art installation by Kevin Beasley that centers around a cotton gin motor from Alabama, using it to generate sound as a way to meditate on history, land, race, and labor in the American South. Beasley incorporates raw cotton and found garments into polyurethane reliefs chronicling his experiences leading to acquiring the cotton gin motor. The installation aims to provoke reflection on reconciling the legacy of slavery and America's relationship to class, labor, and human rights.
The document discusses Judy Baca Murals and her contributions to the mural movement in Los Angeles. It describes how Baca gave individuals the chance to create art and develop pride in their ethnic identity. It highlights that Baca founded the Social and Public Art Resource Center (SPARC) to facilitate the creation, preservation, and documentation of public art in Los Angeles. SPARC has helped involve the community in art and given voice to people of color.
The document summarizes an exhibition of African American art by Edmonia Lewis and Herman ("Kofi") Bailey. It discusses several artworks by each artist and how their works conveyed messages of empowerment and the struggle for civil rights. Both Lewis and Bailey used their art to express the strength and determination of African Americans and promote standing up for equal rights, with Lewis depicting the struggles after slavery and Bailey addressing issues in the 1950s-60s. Their art highlighted the oppression but also the hope of African American communities through important historical periods.
Poster set created by Facing History and Ourselves and the Smithsonian Institution Traveling Exhibition Service to encourage dialogue, engagement, respect, and participation in our communities. For more information, visit www.facinghistory.org.
This exhibition at the Ellarslie Museum explores African American art collected by African American women. It features works in various mediums from both prominent and lesser-known artists. At the center are five serigraphs by Romare Bearden depicting biblical stories that convey messages of tradition and value. Other artists represented, like Mercy Moyo and Mickalene Thomas, use imagery of strong African American women. Themes of family, home, and shared cultural experiences are prominent. Mediums like collage and portraiture allow artists to represent the multidimensional nature of African American life. Collectors are also profiled who support artists and collect works that celebrate African American resilience, beauty, and history.
Teaching the Dream: The Enduring Idea, Art, and the National Civil Rights MuseumJ S-C
This is a presentation I gave at the 2014 Tennessee Art Education Association conference in Memphis, TN. The conference was themed "We Can Dream." The presentation seeks to demonstrate how enduring ideas and essential questions connect classroom concepts to real-world experience to promote higher order thinking. The presentation also shares how my art education training has been essential in shaping the National Civil Rights Museum's educational materials for teachers. Also included are ways to incorporate civil rights history into art lessons.
View the last slide for additional links.
This document discusses the work of several African American artists from the 20th century and how their work reflected themes of cultural identity and liberation. It mentions Jacob Lawrence's Migration Series from the 1940s, which depicted the Great Migration of African Americans from the rural South to northern cities. It also discusses works by Robert Colescott, John Biggers, Betye Saar, and other artists that explored African American history and themes of empowerment in the face of oppression. The document examines how these artists used their work to express aspects of cultural identity and the ongoing quest for racial equality in America.
This PPT was created to review contemporary artists we discussed in class (Visual Arts & Culture--an art appreciation course for non-art majors), Fall 2013
The document provides an overview of a presentation by several students on a proposed "Black Entertainment Network". It summarizes sections on Black athletes presented by Saihou and Micah focusing on historical racial injustices and how athletes like Jackie Robinson and Colin Kaepernick fought back; Black actors/actresses presented by Johnny discussing oppressive early roles and modern changes; culture presented by Khrys focusing on graffiti artist Cornbread and Jean-Michel Basquiat; and Black music presented by Alyssa and Arjan covering genres from gospel and blues to rap and their social impacts. The presentation aims to showcase influential Black figures and forms of cultural expression.
Dianne Smith is an abstract painter, sculptor, and teaching artist whose work has been exhibited widely across the United States. She creates sculptures out of everyday discarded materials to explore themes of identity, race, gender, and consumption. Smith currently works in New York City and teaches at Lincoln Center Institute, where she shares her perspectives on art and social issues with students.
This document provides information about various works of art from the 1960s through the 1980s that responded to social and political events and issues during those decades. It discusses Dr. Martin Luther King Jr.'s "I Have a Dream" speech and march on Washington in 1963. It also mentions Faith Ringgold's 1964 painting "God Bless America" which focused on racial conflict. Additional sections discuss how the Vietnam War was reflected in anti-war art like Claes Oldenburg's 1969 sculpture "Lipstick (Ascending) on Caterpillar Tracks" and land art works. The feminist movement is discussed in relation to works by Judy Chicago and Cindy Sherman. Questions of male identity are also touched on through the examples of Richard
This presentation is by a student from "Acting Up - Using Theater & Technology for Social Change," at DePaul’s School for New Learning’s Distance Education Program - Fall 2010. The instructor is Tom Tresser - see http://tomsclasses.wordpress.com.
The Museum of Modern Art (MoMA) in New York City was founded in 1929 to showcase modernist artworks from the 1870s-1970s. This included cubism, abstract expressionism, surrealism, and other movements. MoMA is now known for its collection of modern and contemporary art, including newly acquired works by international artists exploring social issues. One of these artists is Kara Walker, who creates provocative cut-paper silhouettes addressing topics like race, gender, and violence.
Josiah Wedgwood created the first anti-slavery medallion in 1787 depicting a kneeling slave with the motto "Am I Not A Man And A Brother?" to raise awareness of the evils of slavery. Inspired by this, the document proposes creating a modern anti-slavery medallion to raise awareness of the issue of human trafficking, which is growing rapidly. Funding is being sought to produce the medallions as well as packaging and informational materials to distribute them to leaders and organizations working to end human trafficking.
No Longer Empty: If you cut into the Present, the future leaks out 1kozakartclass
First presentation covering artists such as Juan Betancurth, Daniel Neumann, Lady K Fever, Melissa Calderon, and Teresa Diehl
AND…Bronx architects Michael John Garvin and Oscar Florianus Bluemner
The counterculture movement of the 1960s originated from young Americans rebelling against mainstream values and priorities. They believed society's values were hollow and its focus was misplaced. Inspired by the Beat generation of the 1950s, the counterculture movement grew out of opposition to the Vietnam War, racial discrimination, and environmental pollution. They advocated for a culture based on peace and love as an alternative to the mainstream.
The Counterculture Movement of the 1960s originated from rock music challenging older generations' beliefs and traditions. Baby boomers questioned American society's values. On college campuses and in response to the Vietnam War, hippies turned away from mainstream culture by experimenting with drugs and sexual behavior meant to shock. The movement lasted from John F. Kennedy's assassination to Richard Nixon's impeachment after the Vietnam War ended and was exemplified by massive counterculture events like the 1969 Woodstock Music Festival. It also saw the rise of the Women's Liberation movement encouraging social and political change for women's rights.
The Counterculture Movement of the 1960s originated from rock music and baby boomers questioning traditional American values. It challenged beliefs around topics like the Vietnam War, religion, education, and art. Many groups like women and minorities were still fighting for equal rights. While not all young Americans participated, those who did formed communities where they could freely express themselves. The movement lasted from the early 1960s until the end of the Vietnam War. Key events included widespread anti-war protests, the 1969 Woodstock Music Festival, and the rise of the Women's Liberation movement advocating for social and political change.
The document discusses an art installation by Kevin Beasley that centers around a cotton gin motor from Alabama, using it to generate sound as a way to meditate on history, land, race, and labor in the American South. Beasley incorporates raw cotton and found garments into polyurethane reliefs chronicling his experiences leading to acquiring the cotton gin motor. The installation aims to provoke reflection on reconciling the legacy of slavery and America's relationship to class, labor, and human rights.
The document discusses Judy Baca Murals and her contributions to the mural movement in Los Angeles. It describes how Baca gave individuals the chance to create art and develop pride in their ethnic identity. It highlights that Baca founded the Social and Public Art Resource Center (SPARC) to facilitate the creation, preservation, and documentation of public art in Los Angeles. SPARC has helped involve the community in art and given voice to people of color.
The document summarizes an exhibition of African American art by Edmonia Lewis and Herman ("Kofi") Bailey. It discusses several artworks by each artist and how their works conveyed messages of empowerment and the struggle for civil rights. Both Lewis and Bailey used their art to express the strength and determination of African Americans and promote standing up for equal rights, with Lewis depicting the struggles after slavery and Bailey addressing issues in the 1950s-60s. Their art highlighted the oppression but also the hope of African American communities through important historical periods.
Similar to Representations of violence: Art about the Sierra Leone Civil War (20)
This report explores the significance of border towns and spaces for strengthening responses to young people on the move. In particular it explores the linkages of young people to local service centres with the aim of further developing service, protection, and support strategies for migrant children in border areas across the region. The report is based on a small-scale fieldwork study in the border towns of Chipata and Katete in Zambia conducted in July 2023. Border towns and spaces provide a rich source of information about issues related to the informal or irregular movement of young people across borders, including smuggling and trafficking. They can help build a picture of the nature and scope of the type of movement young migrants undertake and also the forms of protection available to them. Border towns and spaces also provide a lens through which we can better understand the vulnerabilities of young people on the move and, critically, the strategies they use to navigate challenges and access support.
The findings in this report highlight some of the key factors shaping the experiences and vulnerabilities of young people on the move – particularly their proximity to border spaces and how this affects the risks that they face. The report describes strategies that young people on the move employ to remain below the radar of visibility to state and non-state actors due to fear of arrest, detention, and deportation while also trying to keep themselves safe and access support in border towns. These strategies of (in)visibility provide a way to protect themselves yet at the same time also heighten some of the risks young people face as their vulnerabilities are not always recognised by those who could offer support.
In this report we show that the realities and challenges of life and migration in this region and in Zambia need to be better understood for support to be strengthened and tuned to meet the specific needs of young people on the move. This includes understanding the role of state and non-state stakeholders, the impact of laws and policies and, critically, the experiences of the young people themselves. We provide recommendations for immediate action, recommendations for programming to support young people on the move in the two towns that would reduce risk for young people in this area, and recommendations for longer term policy advocacy.
Working with data is a challenge for many organizations. Nonprofits in particular may need to collect and analyze sensitive, incomplete, and/or biased historical data about people. In this talk, Dr. Cori Faklaris of UNC Charlotte provides an overview of current AI capabilities and weaknesses to consider when integrating current AI technologies into the data workflow. The talk is organized around three takeaways: (1) For better or sometimes worse, AI provides you with “infinite interns.” (2) Give people permission & guardrails to learn what works with these “interns” and what doesn’t. (3) Create a roadmap for adding in more AI to assist nonprofit work, along with strategies for bias mitigation.
The Antyodaya Saral Haryana Portal is a pioneering initiative by the Government of Haryana aimed at providing citizens with seamless access to a wide range of government services
Preliminary findings _OECD field visits to ten regions in the TSI EU mining r...OECDregions
Preliminary findings from OECD field visits for the project: Enhancing EU Mining Regional Ecosystems to Support the Green Transition and Secure Mineral Raw Materials Supply.
UN WOD 2024 will take us on a journey of discovery through the ocean's vastness, tapping into the wisdom and expertise of global policy-makers, scientists, managers, thought leaders, and artists to awaken new depths of understanding, compassion, collaboration and commitment for the ocean and all it sustains. The program will expand our perspectives and appreciation for our blue planet, build new foundations for our relationship to the ocean, and ignite a wave of action toward necessary change.
About Potato, The scientific name of the plant is Solanum tuberosum (L).Christina Parmionova
The potato is a starchy root vegetable native to the Americas that is consumed as a staple food in many parts of the world. Potatoes are tubers of the plant Solanum tuberosum, a perennial in the nightshade family Solanaceae. Wild potato species can be found from the southern United States to southern Chile
Synopsis (short abstract) In December 2023, the UN General Assembly proclaimed 30 May as the International Day of Potato.
Representations of violence: Art about the Sierra Leone Civil War
1. Exhibition Catalog &
Conference Proceedings
Porter Butts Gallery
University ofWisconsin
Memorial Union
Madison,Wisconsin
Feb 28 – March 30, 2003
Edited by Patrick K. Muana
and Chris Corcoran
Curators:Abu-Hassan “Askia”
Koroma & Karin L.Wolf
Twenty-First Century AfricanYouth Movement, Inc.
13. This unprecedented exhibition of viscerally potent art
focuses on how Sierra Leonean Artists have documented
the atrocities of war and how these representations of
violence spur conscious action.
Contains extremely graphic and violent images, which
may offend some viewers.
PROJECT
Twenty-FirstCenturyAfricanYouth Movement, Inc.
14. Lawrence Conteh
Marco S. Conteh
Michael During
Sahr Ellie
Prince Foday M. Kallon
OsmanTuzy Kamason
Julius C. Parker (Choema)
Ayo Peters
Septimus Roy-Thompson
Simeon Benedict Sesay
Michael P. Silma
Moses Silma
Mamei Isata Sowa
AmaduTarawally
Rodney OluwoleTemple
Twenty-FirstCenturyAfricanYouth Movement, Inc.
15. After studying commercial art through
correspondence courses, Parker enrolled
at Milton Margai Teachers College to study
Art and Crafts. He has been part of group
exhibitions in the UK at Leeds Play House
Gallery, Van Mildert College, University of
Durham, Perens Art Gallery, Hull and, at
the Commonwealth Institute in London.
Basic facts of life with strong emotional
appeal like love, hatred and fear, are
constantly featured in his pen and ink
drawings of the war, of which he is a
victim.
Twenty-FirstCenturyAfricanYouth Movement, Inc.
21. Septimus Roy-Thompson is a well-known
batik artist. He was born on September
8, 1964 in Freetown, Sierra Leone. He is
married with two children, a boy and girl.
He is the founder of the Septo Youths
Training and Production Center, which he
founded on September 8, 1991
Twenty-FirstCenturyAfricanYouth Movement, Inc.
22. Another Face Ten Years Ago
1999
Roy-Thompson, Septimus, (Sierra Leonean,
b.1964)
Batik, 71” x 50”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
23. Sierra Leone: Ten Years Back
1999
Roy-Thompson, Septimus, (Sierra Leonean, b.1964)
Batik on fabric, 55” x 48”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
24. Another Face Ten Years Ago
1999
Roy-Thompson, Septimus, (Sierra Leonean, b.1964)
Batik, 64 1/2” x 49”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
25. Lawrence Conteh was born in 1981. (At
the time of this project) He (was) a
student at the Sierra Leone Grammar
School.
Twenty-FirstCenturyAfricanYouth Movement, Inc.
26. Ten Years of Destruction
1999
Conteh, Lawrence, (Sierra Leonean, b.1981)
Marker on paper, 28” x 24”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
27. Amadu Tarawally was born on October
24, 1976 Freetown. He attended the
Tabernacle W.A.M. primary school.
Graduating from high school, Tarawally
worked under the guidance of art tutor
Ajibu Ajeebs Kabba.
Twenty-FirstCenturyAfricanYouth Movement, Inc.
28. The Story of the War
2000
Tarawally, Amadu, (Sierra Leonean, b.1976)
Watercolor on paper, 28” x 24”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
29. Ayo Peters was born on February 22,
1968 in Freetown, Sierra Leone. He
considers himself a Creative and
Decorative artist. A graduate of the
Sierra Leone Grammar School, he
proceeded to work after the fifth form.
Twenty-FirstCenturyAfricanYouth Movement, Inc.
30. January 6, 1999 Invasion
Peters, Ayo, (Sierra Leonean, b.1968)
Mixed Media, 28” x 24”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
31. Rodney Temple illustrates violence from
what he believes is the cause of it in
Sierra Leone - wide scale poverty. This,
according to him, prevented parents
from sending their children to school.
“Those kids were initially raised as
‘petty traders’ whose enterprise came
to a halt due to further economic
problems. They therefore took to the
ghetto, drinking, taking drugs and
gambling.” Temple believes that the
idle man's mind is the devil's workshop.
With the advent of armed struggle,
these very youths became the core of
operation. They were the first to receive
the arms for destruction.
Twenty-FirstCenturyAfricanYouth Movement, Inc.
32. Decade of Violence in Sierra Leone
1999
Temple, Rodney Oluwole, (Sierra Leonean, b.1973)
Watercolor on paper, 27” x 21 1/2”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
33. Simeon Benedict Sesay is a self-trained
artist living in Freetown, Sierra Leone. He
attended the St. Edwards Secondary
School from 1979 to 1986.
He is currently working with the Ministry of
Health as an artist in the Health Education
Division. He did not attend any institution
to be trained as an artist. He has a natural
talent, which he tried very hard to develop,
and has been very fortunate to win a
couple of competitions at a national level.
“Looking back, I try as best possible to
depict some of the horrors that were
committed by the RUF…”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
34. Wahala Na Salone
1999
Sesay, Simeon Benedict
Oil on Canvas, 31” x 25 2/10”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
35. Horrors of War
2002
Sesay, Simeon Benedict
Oil on Canvas, 32” x 261/2”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
37. Handiworks of Child Combatants
1999
Sesay, Simeon Benedict
Watercolor on paper, 36” x 291/2”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
38. Moses Silma was born in Bendu, Jaiama
Bongor Chiefdom in the Bo District,
Southern Province, Sierra Leone. He
attended the University Secondary
School, Njala from form one to form five.
At the time of this work, Silma worked
for the Njala University College as a
photographer in training with eight years
of experience as a graphic artist with the
University.
Twenty-FirstCenturyAfricanYouth Movement, Inc.
39. Origins of the Rebel War
2000
Silma, Moses
Watercolor on paper, 28” x 24”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
40. The Bo - Freetown Highway Ambush
2000
Silma, Moses
Watercolor on paper, 28” x 24”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
42. Kamajors Attack On Koribondo
2000
Silma, Moses
Watercolor on paper, 28” x 24”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
43. January 6, 1999
1999
Silma, Moses
Watercolor on paper, 28” x 24”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
44. Sahr Ellie attended the Roman Catholic
Elementary School from 1962 to 69 and
the Methodist City Mission Elementary
School from 1969 to 70. He then
proceeded to the Government
Secondary Technical School, Freetown
from 1970 to 77, He is currently a senior
artist at the General Workshop for the
Ministry of Health and Sanitation and
attached to the Health Education
Division. His work entails designing
visual aids for the Health Education
Unit. He is married with three children.
Twenty-FirstCenturyAfricanYouth Movement, Inc.
47. Michael P. Silma is the younger
brother of Moses Silma. At the time
of this project, he was a student at the
Ahmaddyya Muslim Secondary
School, Kissy Dockyard, Freetown.
Twenty-FirstCenturyAfricanYouth Movement, Inc.
48. Massive Killer - Cut hand, Cut foot
1999
Silma, Michael P.
Watercolor on paper, 17” x 15 1/2”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
51. Osman Tuzy Kamason attended the Freetown
Grammar School. At school, he trained in
different areas such as painting, carving,
engraving, sculpture, batik and gara tie and
dyeing. In 1993, he was commissioned to create
a statue that was erected in BO, the second
largest city in Sierra Leone. The work was to
bring to attention the rebel war and its
atrocities. It was titled "Soldier Killed Rebel."
Tuzy graduated with a painting and decorating
diploma from the Government Technical
Institute, Kissy, and Freetown in 1999.
Currently, he works as an artist in the research
and planning department of the Sierra Leone
police Force as the police artist. He is married
with three children.
Twenty-FirstCenturyAfricanYouth Movement, Inc.
52. Motherhood In The Bush
1999
Kamason, Osman Tuzy, (Sierra Leonean)
Pen and Ink, 20” x 17”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
53. Butchering A Pregnant Woman
2001
Kamason, Osman Tuzy, (Sierra Leonean)
Oil on canvas, 23” x 20”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
54. Lost Bondo Girls
2001
Kamason, Osman Tuzy, (Sierra Leonean)
Water Color on Paper, 24” x 18”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
55. Mob Justice
2001
Kamason, Osman Tuzy, (Sierra Leonean)
Oil on canvas, 20” x 17”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
56. Big Trouble After Intervention
1998
Kamason, Osman Tuzy, (Sierra Leonean)
Oil on paper, 28 2/8” x 24 2/8”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
57. Michael During was born on June 8, 1958.
His parents died when he was 18. Upon
graduation. he was left to fend for himself
and has been doing this ever since. He says
art is a gift from God and he uses it to
improve himself.
Twenty-FirstCenturyAfricanYouth Movement, Inc.
58. January 6, 1999 Invasion
1999
During, Michael
Watercolor on paper, 30 1/10” x 26 1/10”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
59. Operation No Living Thing
1999
During, Michael
Watercolor on paper, 28” x 24”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
61. Marco S. Conteh was born on January 27, 1948. He attended
the American Wesleyan School in Binkolo. From there, he
proceeded to the Government Boys Secondary School in
Magburaka. From 1967 to 1970, he attended the Milton
Margai Teachers College (now Milton Margai College of
Education and Technology)
From 1970 to 1972 He was an art lecturer at Magburaka
Government Teachers College. From 1972 to 1974 he was a
teacher at Magburaka Government Boys Secondary
School. From 1974 to 1984 he was a teacher at The Prince of
Whales School, Freetown. From 1984 to present he is a
teacher at Milton MargaiTeachers College.
Marco is a painter, sculptor, ceramicist, graphic artist, and art
historian. He has attended several workshops including a
workshop for African crafts experts in 1988 in Helsinki Finland
from August 1 through August 12 and Stockholm Sweden
from August 13 through August 18, 1988.
Marco now holds a Bachelor of Education degree in Practical
Arts
Twenty-FirstCenturyAfricanYouth Movement, Inc.
66. Mamei Isata Sowa studied art at the
Milton Margai Teachers College now,
Milton Margai College of Education and
Technology. She presently lives in the
United States.
About the art:
The wailing women were a constant
reminder of the carnage of war in Sierra
Leone. Mourning for loved ones dead at
the hands of rebels were a daily
occurrence.
Twenty-FirstCenturyAfricanYouth Movement, Inc.
67. Bad News!
1997
Sowa, Mamei Isata
Oil on canvas, 37” x 24”
Twenty-FirstCenturyAfricanYouth Movement, Inc.
69. Prince Foday Musa Kallon: Prince Fodie
Musa Kallon was born in 1948 and started
schooling in 1958. He completed
Secondary School in 1969 and started
working at the Forest Industries
Corporation in Kenema. He is married
with four children.
Twenty-FirstCenturyAfricanYouth Movement, Inc.
70. The Peace of Nature
1999
Kallon, Prince Foday Musa
Oil on canvas, size
Twenty-FirstCenturyAfricanYouth Movement, Inc.
71. Thank you for viewing the slides. Please take a moment and share with your network.
Twenty-FirstCenturyAfricanYouth Movement, Inc.
73. Available: 4 – 10 weeks booking periods through 2017
36-41 Pen and ink, Painting on Canvas, Batik
Space required: Approximately 898 Square feet
For further information about this exhibition and CD, please contact:
Askia
Phone: +703-672-0631
infosl@aym-inc.org
Karin L. Wolf
Phone: 608-279-1846
E-mail: klwolf_53703@yahoo.com
For more information about AYM visit our website http://www.aym-inc.org
74. Now
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Twenty-FirstCenturyAfricanYouth Movement, Inc.