Far and Away: Reporting from the Brink of Change

268 My comments on the state of mental health care in Senegal rely on World Health Organization, “WHO mental health atlas 2011: Senegal,” Department of Mental Health and Substance Abuse, World Health Organization, 2011.

268 The quote “Without openness to Lebou beliefs and culture . . .” comes from William Louis Conwill’s seminal academic study of the n’deup ritual: William Louis Conwill, “N’deup and mental health: Implications for treating Senegalese immigrants in the U.S.,” International Journal for the Advancement of Counselling 32, no. 3 (September 2010).

An Awakening after the Taliban

283 Statistics on the number of US casualties in Afghanistan rely on US Department of Defense, “Casualty report,” US Department of Defense, November 10, 2015; numbers of troops remaining appear in Matthew Rosenberg and Michael D. Shear, “In reversal, Obama says U.S. soldiers will stay in Afghanistan to 2017,” New York Times, October 15, 2015.

283 Dominic Tierney’s comment “The popular narrative . . .” comes from his article “Forgetting Afghanistan,” Atlantic, June 24, 2015.

284 Murders of female journalists in Afghanistan are described in Declan Walsh, “Second female Afghan journalist killed in five days,” Guardian, June 6, 2007; and Associated Press, “Women journalists targeted in Afghanistan,” NBC News, June 26, 2007.

284 Kubra Khademi’s performance art project and its aftermath are chronicled in Emma Graham-Harrison, “Afghan artist dons armour to counter men’s street harassment,” Guardian, March 12, 2015.

284 For more on the Center for Contemporary Art, see “Introducing the Center for Contemporary Art Afghanistan (CCAA),” ARCH International, no date, at http://archinternational.org.

284 The quote by Munera Yousefzada (“Before I opened the gallery . . .”) comes from Peter Holley, “In Afghanistan, the art of fighting extremism,” Washington Post, September 12, 2015.

284 Turquoise Mountain’s programs are described on its extensive website, http://turquoisemountain.org, and in Daud Rasool, “Rebuilding Afghanistan’s creative industries,” British Council, October 14, 2013.

284 A cofounder of Berang Arts discusses the situation of artists in Afghanistan in Francesca Recchia, “Art in Afghanistan: A time of transition,” Muftah, August 6, 2014.

284 Professor Alam Farhad’s description of the explosion of interest in the arts program at Kabul University is recounted in Mujib Mashal, “Women and modern art in Afghanistan,” New York Times, August 6, 2010.

284 Ali Akhlaqi’s lament (“Kabul is a cursed city of night . . .”) comes from Chelsea Hawkins, “9 artists challenging our perceptions of Afghanistan,” Mic, October 9, 2014.

284 The quote from Shamsia Hassani comes from her interview with Lisa Pollman, “Art is stronger than war: Afghanistan’s first female street artist speaks out,” Art Radar, July 19, 2013.

284 Azim Fakhri’s philosophy (“My feeling is accept what you can’t change . . .”) comes from Hawkins, op. cit.

285 Kabir Mokamel’s “Art Lords” project is described in Fazul Rahim and Sarah Burke, “Afghan artist Kabir Mokamel takes aim at corruption with blast wall art,” NBC News, September 19, 2015.

285 Marla Ruzicka was well loved and widely mourned; see, e.g., Ellen Knickmeyer, “Victims’ champion is killed in Iraq,” Washington Post, April 18, 2005; Robert F. Worth, “An American aid worker is killed in her line of duty,” New York Times, April 18, 2005; Simon Robinson, “Appreciation: Marla Ruzicka, 1977–2005,” Time, April 18, 2005; Jonathan Steele, “Marla Ruzicka,” Guardian, April 19, 2005; Janet Reitman, “The girl who tried to save the world,” Rolling Stone, June 16, 2005; and Sarah Holewinski, “Marla Ruzicka’s Heroism,” Nation, September 18, 2013.

Museum without Walls

291 Up-to-date information about the Benesse Art Site can be found on its website, http://benesse-artsite.jp. For a recent review of Benesse, see Susan Adams, “Treasure islands: Inside a Japanese billionaire’s art archipelago,” Forbes, July 29, 2015. The quote by Soichiro Fukutake comes from Lee Yulin’s dissertation, “Strategies of spatialization in the contemporary art museum: A study of six Japanese institutions” (New York University, 2012).

Song of Solomons

302 For information about UNESCO’s designation of the Marovo Lagoon, see “Tentative lists: Marovo-Tetepare complex,” United Nations Educational, Scientific and Cultural Organization, December 23, 2008.