She made sculptures of torn vaginas to illustrate the harm of genital cutting, 她制作撕裂的阴道雕塑，以说明切割生殖器的危害，

　　statues depicting domestic violence 还制作描绘家庭暴力的雕像，

　　and satirical figurines of women wearing full veils—a burgeoning practice in Mali, of which she disapproves. 还有带有讽刺意味的戴着面纱的妇女雕像——在马里戴面纱是一种新兴的做法，她对此表示反对。

　　For all his scepticism, Mr Camara performed with her in the national marionette troupe in the 1990s, when urban companies educated Malians on subjects such as HIV and child labour. 20世纪90年代，尽管卡马拉先生心存疑虑，但还是在城市公司在给马里人做类似艾滋病和童工的普及教育时，和她在国家木偶剧团同台演出。

　　This artistic progress has been violently interrupted. 但这种艺术的进步被粗暴地打断了。

　　After a partial jihadist occupation in 2012, followed by a coup d'état, foreigners no longer attend Ms Koné's performances and workshops. 马里在2012年被圣战分子部分占领后，紧接着又发生了政变，外国人不再参加Koné女士的演出和工作坊。

　　Invitations from European festivals and schools have dried up. 欧洲节日和学校的邀请也渐渐少了。

　　Donors have diverted funds to the security services. 捐助者已经将资金转移到安全部门。

　　(Around 14,000 UN peacekeepers remain in Mali; ethnic strife still bubbles.) （约1.4万名联合国维和人员留在马里；民族冲突仍然存在。）

　　“Europeans are frightened to invite us,” Ms Koné says; “欧洲人害怕邀请我们，”Koné女士说道；

　　and “because there are explosions and people are being killed here, they won't come.” “因为这里发生了爆炸，有人被杀害，所以他们不会来。”

　　Fodé Sidibé, director of Mali's annual marionette festival, thinks the current government and donors should sponsor the arts to promote peace in a divided country. 马里一年一度的木偶艺术节的负责人弗德?西迪贝认为，现任政府和捐赠者应该赞助艺术活动，以促进分裂国家的和平。

　　“The political establishment don't understand the value of culture,” Mr Sidibé says. “政治体系不理解文化的价值，” 西迪贝先生说。

　　“The security problem will not be solved with arms, but with arts.” “安全问题用武力解决不了，得用艺术。”

　　These days, though, Ms Koné's avant-garde troupe—named “Torch of Liberty”—rarely have a chance to perform. 尽管近日，Koné女士前卫的剧团——叫做“自由火炬”——很少有机会表演。

　　But they still meet every evening in the INA's courtyard, where they mould marionettes for a show they may never stage. 但他们仍然每天晚上在艾娜的院子里聚会，在那里，他们为一场他们可能永远不会登台的演出制作木偶。