Mr.
Bala Saho has been appointed as the Director General of the National
Centre for Arts and Culture (NCAC) with effect from June 25th
2010.
Mr. Saho has worked at various times
with the National Centre for Arts and Culture since 1982 as Cultural
Officer, Museum Curator and Principal Cultural officer, Research and
Documentation.
He has 2 Masters Degrees and is
currently a PhD candidate in History at Michigan State University.
He is also an author and poet.
He said about his appointment: ‘This
is a huge honour and challenge. I hope to work hard with my staff
and partners to promote the mandate of the National Centre for Arts
and Culture and the cultural agenda of His Excellency Sheikh
Professor Dr. Alhaji Yahya A.J.J. Jammeh. Importantly, he thanks
His Excellency, Sheikh, Prof `. Dr. Alhaji Yahya A.J.J. Jammeh for
the trust and confidence he places on him.
The
former Director General, Mr. Momodou C. Joof has now been redeployed
to the Ministry of Tourism and Culture as Deputy Permanent
Secretary. Mr. Joof served as Director General of NCAC for twelve
consecutive years and recorded tremendous successes in the
conservation and promotion of culture in this country.
INAUGURATION OF
COPYRIGHT COMMISSION
The 22 member Copyright Commission was inaugurated by the Minister
of Tourism and Culture on the 25th November
2009 at the Ministry's Conference Hall, The Quadrangle, Banjul, The
Gambia.
The Copyright Commission
Members are:
No
Name
Competence
1
Alhaji
Mansour Njie
Broadcaster, Folklore
2
Fodeh
Baldeh
Publisher, Poet, Author
3
Ebrima
S. B Touray
Customs
Officer, Jazzist, music
4
Ebrima
Sagnia
Film,
Video Documentalist, TV
5
Alagie
Mbye
Korist,
Folklorist
6
George F
Gomez
Music,
Events, promoter
7
Salieu
E.H John
Fine
Arts, Theatre, Educator
8
Ismaila
Oussou Njie
Music,
Super Eagles fame
9
Bai
Janha
Instrumentalist, Musician
10
Abdoulaye Ngom
Musician, live performance
11
Almamy
Taal
Lawyer,
Copyright law lecturer
12
Charles
Thomas
Playwright, actor
13
Lamin
Manga
Rap,
broadcast, DJ
14
Peter
Gomez
Broadcaster, DJ
15
Hassoum
Ceesay
NCAC
16
Maimauna
Bah
Broadcaster
17
Bammy
Jagne
Music,
events promotion
18
Saffie
Mbenga
Socialite
TERMS
OF REFERENCE OF THE COMMISSION
•To advise the Copyright Office on the registration and licensing of
literary, artistic, musical, sound, audiovisual, choreographic and
derivative works such as translations and adaptations.
•To meet regularly to go through works deposited with the Office for
copyright license to confirm their originality and moral decency as
enshrined in Chapter 11 Part 1 (2) of the Act which states that for
a work to be eligible for copyright it must be ‘original in
character ’ and has been affixed in a definite medium of expression
(in a book, cassette, CD, DVD etc). t the Copyright Office in its
sensitization and public outreach activities.
•To assist the Copyright Office in public sensitization and public
awareness programmes in the radio, TV and other mass media.
A. INTRODUCTION
In 2005, UNESCO Proclaimed the Kankurang as a “Masterpiece of the
oral and intangible heritage of humanity.”
The proclamation of Masterpieces of the oral and intangible heritage
signifies UNESCO’s strategy for the safeguarding of the world’s
living heritage. The proclamation programme was created by UNESCO’s
General Conference in 1997, and was approved by its Executive Board
in 1998.
The main objectives of the proclamation are:
• To raise awareness on the importance of the oral and intangible
heritage and the need to safeguard it.
• To evaluate and list the World’s oral and intangible heritage.
• To encourage countries to establish national inventories and to
take legal and administrative measures for the protection of their
oral and intangible heritage.
• To promote the participation of traditional artists and local
practitioners in identifying and revitalizing their intangible
cultural heritage.
The programme thus, honours two categories of intangible cultural
heritage:
1. Forms of popular or traditional expression
2. Cultural spaces, defined as “places in which popular and
traditional activities are concentrated.”
The Masterpieces are selected on the basis of six criteria:
(i) Possess outstanding value as a Masterpiece of the human creative
genius
(ii) That they are rooted in the cultural tradition or cultural
history of the community concerned
(iii) Play a role as a means of affirming the cultural identity of
the community concerned
(iv) That they are distinguished by excellence in the application of
skills and technical qualities displayed.
(v) That they constitute a unique testimony of a living cultural
tradition
(vi) That they are threatened with disappearance due to insufficient
means for safeguarding or to processes of rapid change.
B. THE KANKURANG PROJECT (GAMBIA AND
SENEGAL)
In view of the proclamation of the Kankurang as a “Masterpiece of
the oral and intangible heritage of humanity” by UNESCO in 2005, the
latter had encouraged both the Republic of Senegal and The Gambia to
jointly put up a project proposal geared towards the preservation of
the Kankurang tradition in view of its outstanding value. The joint
submission was necessitated by the fact that the “Kankurang”
tradition traverses the borders of the two countries, and could in
fact be traced back to Guinea Bissau as well.
Thus, in 2006, The Gambia and Senegal submitted a proposal to UNESCO
for the safeguard of the Kankurang, requesting for funds from the
“UNESCO/JAPAN Deposited Funds for the Protection of the Intangible
Cultural Heritage” to the tune of US$146,992.
In view of the foregoing, UNESCO approved for The Gambia, the sum of
US$63,027 in July 2007, and a contract to that effect was signed by
the NCAC on 25th July 2007.
The project essentially entails the following:
a. Establishment of a synergy between National Institutions and
Communities where the Kankurang tradition exists.
b. Creation of a Kankurang Centre cum Museum to be managed by a
local committee.
c. Protection of forests including re-afforestation of the trees
that are associated with the Kankurang.
d. Provision of informative and promotional literature on the
Kankurang.
e. Establishment of a National and Local committee to oversee the
implementation of the Kankurang Project.
f. Establishment of a joint Senegalo-Gambian Steering Committee for
the safeguard of the “Kankurang”.
C. ACTIONS UNDERTAKEN BY THE NCAC FOR THE IMPLEMENTATION OF THE
PROJECT
• Sensitization of regional governors about the project.
• A first ever workshop on Kankurang traditions in The Gambia was
organized in Janjanbureh from 8 – 11 May 2008, with representation
from all the regions, except the North Bank Region, Banjul and KMC.
• The different Kankurang types and their cultural spaces and
cultural significance, role and functions in society have been
identified and documented.
• The location for the future Kankurang centre has been identified
and agreed upon by consensus.
• A Local Committee has been established.
• The National Committee has been established.
• The second workshop of the National Committee was held at the
Independence Stadium in Bakau on the 11th April 2009. The purpose
was to bring together the National Co-ordinating Committee on the
Gambia National Committee of the Kankurang.
D. JOINT SENEGALO – GAMBIAN STEERING
COMMITTEE FOR THE SAFEGUARD OF THE KANKURANG
Since The Gambia and Senegal both share the Kankurang traditions,
and since the project on the Safeguard of the Kankurang was jointly
submitted by the two countries, it was felt necessary that the two
countries should constitute a joint steering committee, to oversee
the implementation of the project in the two countries. The Steering
Committee will include in its membership all the different but
relevant national institutions and representatives of the
communities involved (practitioners, initiators, etc).
Joint Senegalo-Gambian Steering Committee meeting was held from the
27th to 29th August 2009, at the Baobab Holiday Resort.
The Republic of The Gambia was represented by:
Mr. Momodou C. Joof - Director General, National Centre for
Arts & Culture (NCAC)
Mr. Baba Ceesay - Director of Cultural Heritage, NCAC
Mr. Bakary Sanyang - Deputy Director of Research, NCAC
Mr. Sananding Sonko -
Hon. Foday Manka - Chairman National Committee
Mr. Ousainou Cham
The Republic of Senegal was represented by:
Dr. Hamady Bocoum
Abdoul Aziz Guisse
Cheikhou Dabo
Prof. Balla Mousa Daffe
Biram Sarr
The meeting was officially opened by the Permanent Secretary,
Ministry of Tourism and Culture on behalf of the Honourable
Minister.
D. THE GAMBIA KANKURANG CENTRE CUM MUSEUM
It will be located in Janjangbureh, at a place called Tinyangsita,
the site for Kankurang Ceremonies and rituals Janjangbureh.
Construction work on the site has begun in earnest, and work is
expected to be complete by mid January 2010.
When completed, the Centre will house a Museum, an educational
room, a bantaba area, offices and visitor facilities.
The Centre will be managed by the National Committee and overseen by
the local Committee in Janjangbureh, with the NCAC providing
technical and advisory services.
Restoration
of James Island, the CFAO Building at Albreda and the Stone
Circles
Museum, Kerbatch,The Gambia
In December 2008, the Prince Claus Fund under its Cultural Emergency
Response Programme approved a grant of € 35,000 to the National
Centre for Arts and Culture to assist with the immediate restoration
of James Island and the related CFAO Building at Albreda and for the
rehabilitation of the Stone Circles Museum at Kerbatch. The
structures which are recognised as UNESCO World Heritage Sites
suffered unusual damage to their fabric during the storms of the
previous rainy season. Following the signing of a contractual
agreement, and the first disbursement of 25% of the project funds,
work started with the rehabilitation of the Kerbatch Museum and the
mobilisation of building materials for the James Island and CFAO
Building works. In accordance with the terms of the contract a
progress report for the period January to March was submitted
detailing inter-alia the results achieved at the Kerbatch Museum
which was completed in the first half of the grant period. Preparatory Activities
Work started soon after the receipt of the first grant payment. As
previously reported, because of the disbursement mode agreed in the
contract (25%-50%-25%) an early decision was taken to undertake full
implementation of the Kerbatch Museum works, and start mobilizing
materials for the James Island/CFAO Building works. Early
mobilization of building materials, especially boulder stones was
particularly important because vast quantities were needed and this
required a considerable period of time to quarry. In addition, the
transportation of the boulders, stakes and other building materials
by canoe to James Island was equally demanding. This process took
approximately eight weeks of the project time.
Mobilisation of local building materials was followed by
mobilization of tools and equipment and additional building
materials such as cement and fired bricks which were obtainable from
Banjul, the capital city where the head office of the NCAC is
located. A truck had to be hired to take these materials to the
project site.
The journey to the site involved an 8 mile ferry crossing from the
south bank of the river to the north bank, and a drive of 35 Km. on
rough road. The transportation process lasted two days as there is
often a long queue of vehicles waiting at the ferry terminal to make
the same crossing.
Aerial view of the ruins of James Fort: The newly
consolidated walls discernible from the white mortar.
Work at James Island and the CFAO Building effectively started on
Monday 11th May 2009.
Historic Conservation practice dictates that a survey and recording
of the state of a site is undertaken prior to any intervention.
Consequently, with the assistance of the United States Embassy in
Banjul, additional funding was obtained to facilitate this exercise.
Between May 2, 2009 and May 11, 2009 a detailed assessment of the
remaining sections of James Island and James Fort, as well as
standing structures in Albreda (CFAO Building) were documented by
Liza Gijanto , an American Archaeologist with an interest in
colonial archaeology in The Gambia. The primary goal of this
archaeological assessment was to identify any possible features at
each site, in addition to documenting all extant structures related
to James Fort for site interpretation. The comprehensive report
provided by Ms Gijanto which includes suggestions for future
archaeological investigation and management of historic resources at
James Island and the CFAO structure at Albreda.
Other preparatory assistance came in the form of a civil engineer
who assisted with a structural assessment of the buildings and the
effectiveness of the planned interventions. The engineer was
subsequently retained as technical adviser throughout the period of
execution. Clearing
Clearing and cleaning of the grounds to remove the rubble of
collapsed walls, plant growth and all extraneous materials from the
sites took place between 11th and 12th May. This was necessary to
among other things reveal any structural weaknesses in the
foundations of the structures and minimize encumbrance during the
course of work.
Clearing also involved the demolition of later incongruous additions
to the sites such as the defunct toilet at James Island and the
concrete seating area which tended to encourage picnics on the
Island to the detriment of its conservation. The plan is to replace
the toilet with a prefabricated portable one, though this provision
is not included in the project budget. A new hut was constructed
around the concrete table in the previous seating area, maintaining
the table as pedestal for the model of the fort /Island.
The task was executed by a team of unskilled labourers under the
close supervision of NCAC staff . Wall works
This mainly entailed the re-filling of holes, consolidation of weak
walls, sealing of cracks, introduction of buttresses to support
free-standing walls, raising of destroyed foundations, reinforcement
of eroded foundations and walls, re-building of collapsed walls,
etc. Wall works at James Island lasted 4 weeks, whilst for the CFAO
Building it took the entire 6 week implementation period.
These works were executed with boulders and/or fired bricks and
mortar (lime, cement, sand). Very high walls were accessed with
metal scaffolding or ladders. The photographs below reflect the
situation before and after the interventions facilitated by the
grant. Sea Defence Works
Sea defense works were executed at both James Island and the CFAO
Building. At both sites the focus was on the most vulnerable areas
where the water laps on the structures at high tide. At James Island
the focus was on the northern side of the fort. The sea defense here
stretched for a distance of 70 meters. At the CFAO Building the
focus was on the shoreline to the east. The sea defense at the CFAO
Building takes a semi circular formation and is also 70 meters in
length.
Construction of sea defenses was executed in the original method
used by the European occupiers, a method that also served to reclaim
the land to provide more building space. This was done by driving in
horizontal wooden piles in close proximity in two rows, filling the
space in between with boulders, and subsequently, filling-in the
front, in the case of James Island, and the back, in the case of the
CFAO Building. This method not only serves to protect the fabric of
the Fort and the CFAO Building from the impact of the waves , but
can be gradually extended to increase the available land space
whenever resources permit. In the case of the CFAO Building, the sea
defense forms a semi-circular platform round the building which can
be subsequently used for seating and other recreational purposes: Visitor paths
Designated visitor paths are important for directing the flow of
visitors and minimizing visitor interference with the fragile
historic fabric. They also prevent visitors wandering into unsafe
areas. Visitor paths should have a gradual gradient that not only
allows visitors to ascend or descend with ease,but also serve as
conduit for draining water out of the building. In addition, they
should not be slippery, and should be free of all forms of debris.
This is particularly important for preventing accidents during
ascent or descent as in the case of the bastions of the fort at
James Island. Both the north east and north west were extensively
worked on as well as other areas in the visitor circuit shown in the
map and photographs below.
Signage, Safety and Interpretative Works
Designated
Visitor Circuit on James Island1755 drawing by Justly
WatsonArtistic
impression by CRATerre-ENSAG
Prior to the intervention there was very limited site interpretation
on the island. This consisted mainly of several small wooden signs
marking specific areas of the interior fort as well as the former
landing sites and slave yard area. Only one sign providing
background information on the island’s history attached to the west
entrance wall of the fort existed.
To provide a vivid impression of what James Island looked like in
its heydays, a scaled model of the Island and fort has been
constructed and is housed in a replica slave hut, another structural
element which records speak of abundantly, but have been totally
lost since the final abandonment of the island in 1829.The model is
based on a survey and drawing of the Island executed by Justly
Watson, Director of Engineers, in 1755; and artistic impression
extrapolated from the drawing by CRATerre - ENSAG.
With regard to safety for visitors on site, the most precarious
areas were the bastions of the fort where visitors can easily slip
and tumble over the edges. These areas amongst others have now been
protected with wooden barriers with signs warning visitors to be
cautious.
A series of six interpretative panels will be produced as part of
this project. Two will describe the storehouse foundations and slave
quarter area. The remaining four will be placed strategically within
the remains of the fort in order to describe the former rooms of the
fort for visitors.
Follow-up activities
Because of the mode of disbursement of the funds certain works on
the CFAO Building remain to be completed. These are mainly, the
doors and windows, roofing, the completion of wall works and
plastering of the walls. These are to be completed when the final
25% grant fund are received.
Another important expected outcome of the project is the adaptive
re-use of restored CFAO Building. The plan outlined in the project
application to turn the building to community use as a restaurant,
accommodation facility and retail outlet for local produce, still
subsists. This has been borne in mind during restoration phase by
making provision for additional doors and windows in the appropriate
spaces to increase ventilation/air circulation within the building.
Talks have also been initiated with the Village Development
Committees of Albreda and Juffureh with a view to establishing a
modus operandi for such an enterprise. The initial plan is to work
on a project that will empower the women of the two villages
financially and serve as a good example of community empowerment
initiatives.
A caretaker has been assigned the specific duty of regularly
inspecting and cleaning the CFAO Building which still stands without
a roof. His duties also include clearing the vicinity of any plant
growth and ensuring that water does not percolate within the
building, albeit, the floors of the building have been treated with
cement plaster in a gradient that will allow all rain water to drain
out of the building.
Continuous assessment of the integrity of the structure and size of
James Island including annual mapping of the shoreline and island
perimeter at high and low tide will be undertaken as well as
systematic surface collection whenever deposits are exposed and at
risk to collection by tourists visiting the island. Conclusion/Results
On the whole the project objectives have been achieved. It will be
recalled that the project was conceived against the backdrop of the
devastation caused by the heavy rains and storms of the 2008 rainy
season which inter-alia led to the collapse of the north east
bastion of James Island and caused extensive damage to the roof of
the Kerbatch Museum. The destroyed James Island bastion has been
reconstructed and the Kerbatch Museum completely refurbished. Apart
from the sea defences which have been introduced at both James
Island and the CFAO Building to retard the devastating effects of
wave action on the historic fabric, both structures have been
consolidated and do not stand any risk of deteriorating further. The
restoration of the CFAO Building once completed will provide a
facility that will enable the communities of Juffureh and Albreda to
make use of the building and derive direct benefits from the
heritage that have stood within their midst for centuries. In
addition visitor safety at both sites have been improved, and site
interpretation, especially at James Island have been greatly
enhanced with the introduction of a model of the fort and Island.
The
World Heritage Committee sitting at its 30th session in Vilnius,
Lithuania, has approved the inscription of the Stone Circles of the
Senegambia in the World Heritage List. Read
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