John J. Culbertson served with the 2/5, 1st Marine Division, at An Hoa, Republic of Vietnam, from December 1966 to July 1967. Mr. Culbertson served as a Marine Rifleman, MOS 0311, on Operation Tuscaloosa. He completed 1st MarDiv Sniper School in Da Nang, where he earned the secondary MOS 8541. He was wounded in action and earned three Purple Hearts. He also was awarded the Combat Action Ribbon, Presidential Unit Citation, Navy Unit Commendation, Meritorious Unit Commendation, Vietnam Cross of Gallantry with Palm, Marine Corps Good Conduct Medal, and multiple expert rifleman badge awards. Mr. Culbertson received an honorable discharge from the U.S. Marine Corps in 1971 at the rank of sergeant.
Under the successive mid-twentieth century urgings of Muslim iconoclasm and state socialism, it seems as if some coastal Baga of Guinea became willing accomplices in the destruction of their own revered customs, chiefly authorities, and material culture. The great achievement of Ramon Sarro's nuanced ethnography is to reveal the truth of this view of the past while simultaneously exploring its limitations, seen from contemporary Guinea in which Baga ethnicity and custom are re-emerging as contested territories. Beyond this specific instance, Sarro demonstrates why modernizing processes have been fractured, fractious and fracturing in the experience of African people. -- Richard Fardon This is a wonderfully subtle account of social change among the Baga-speaking people of coastal Guinea, centred on dance and iconoclasm as modes of religious and inter-generational contestation. Broad in scope, erudite, and yet elegant in presentation, Sarro's book has wide significance for debates about conflict as performance, while being a pleasure to read. -- Paul Richards Under the successive mid-twentieth century urgings of Muslim iconoclasm and state socialism, it seems as if some coastal Baga of Guinea became willing accomplices in the destruction of their own revered customs, chiefly authorities, and material culture. The great achievement of Ramon Sarro's nuanced ethnography is to reveal the truth of this view of the past while simultaneously exploring its limitations, seen from contemporary Guinea in which Baga ethnicity and custom are re-emerging as contested territories. Beyond this specific instance, Sarro demonstrates why modernizing processes have been fractured, fractious and fracturing in the experience of African people. This is a wonderfully subtle account of social change among the Baga-speaking people of coastal Guinea, centred on dance and iconoclasm as modes of religious and inter-generational contestation. Broad in scope, erudite, and yet elegant in presentation, Sarro's book has wide significance for debates about conflict as performance, while being a pleasure to read.