: ACASA NEWSLETTER
NEWSLETTER OF THE ARTS COUNCIL
*OF THE AFRICAN STUDIES ASSOCIATION
NUMBERS 15-16 SPRING/SUMMER 1987
SLJS I IXNE M TTER
RECOMMENDATIONS FOR CHANGES IN AFRICAN ARTS:
For some time, there has been dissatisfaction among our
membership with the format and editorial procedures of African
Arts. The Board of Directors presents, for the consideration
of the members, the following recommendations to be made to the
editors of African Arts. If you have any thoughts on these
recommendations, please send them to Phil Peek, Dept. of
Anthropology, Drew University, Madison, NJ 07940.
1. Citations should be in the text, with notes (to be kept
minimal) and bibliography immediately following the
article in the same print type.
2. Articles and advertisements should be kept separate with
ads only in the front and back of each issue.
* 3. Some orthography should be adopted to represent African
4. A more flexible policy about field photographs (which can-
not be of gallery quality and may yet be critical to an
article) must be adopted.
5. The editors should send out proof sheets and indication of
photo selection to contributors with a firm two week
6. The editors might consider instituting a "Notes and
Queries" section with an editor for informed collectors
and dealers. This is in part a response to the editors'
continual concern about the amount of material for
each issue and the lack of a backlog of articles.
ACASA NEWSLETTER LOGO
The search for a logo for our "new and improved" newsletter
continues. Send your ideas or designs for the newsletter logo to
Mary Jo Arnoldi, Department of Anthropology, National Museum of
Natural History, Smithsonian Institution, Washington, D.C.
S 20560. Act now or risk the Board's eclectic tastes.
The Board of Directors presents the following nominations to
fill the three slots to be vacated by Phil Peek, Mary Jo 0
Arnoldi, and Roslyn Walker:
Mary Jo Arnoldi
Article VI: Elections
New officers shall be nominated by the Board of Directors at
least two months prior to the election meetings with the
nominations set forth in the ACASA Newsletter preceding those
meetings. Officers may also be nominated by written petition
of: (a) ten or more members, filed with the Secretary/Treasurer
not less than twenty days prior to the Annual Meeting or (b)
twenty or more members filed with the Secretary/Treasurer at
the start of that session at the Annual Business Meeting in
order to have their names placed in nomination, but nominators
must provide the presiding officer with a written statement of
such candidates' agreement to being nominated and willingness to
serve if elected. Those nominees for Director and Secretary/
Treasurer receiving the highest number of votes will be
considered to have been elected. A runoff election will be held
in case of a tie vote. Vacancies occurring on the Board of
Directors through resignation will be filled by majority vote of
the Board of Directors, with a replacement elected at the next
Annual Business Meeting to fill out the remainder of the term in
COLLEGE ART ASSOCIATION
We received a letter of thanks (April 7, 1987) from Barbara W.
Blackmun for ACASA travel money that enabled her to participate
in Jean Borgatti's panel at the CAA meeting in Boston. Barbara
observed that, "Although it will take more than one
confrontation to penetrate the mainstream myopia that we tried
to address, Jean's protest at least made the organizers of the
'Art Without History' panels uncomfortably self-conscious."
Suzanne Preston Blier, ACASA Chair of the Arts and Humanities
Standing Committee, reports that she wrote to Susan Ball,
Executive Director of the College Art Association last February
expressing her concern over the use of the term "Primitive Art"
in the employment section as an "area" of Art History. Ball
replied in March, stating that "I agree wholeheartedly that the
term is, to say the least, inappropriate," and asking for
suggestions for an alternate term to replace
Pre-Columbian/Primitive. Blier's suggestion was as follows:
Pre-Columbian/African/Oceanic/Native American. Since Blier had
not heard from Ball (June 5, 1987), she assumes this terminology
will be used.
There are several panels scheduled for the forthcoming CAA
meetings for which African papers would be appropriate. In
addition to a panel chaired by Labelle Prussin on Nontraditional
Methodologies in African Art and Architecture, and a panel
chaired by Cecelia Klein on "Institutions and Aesthetization of
Primitive Art," oopsps?] There are cross-field panels on
Deconstructionism, Art and Authority, Marxism, Writing and
Identity in the Islamic World, Gender and Art, the Concept of
"Original" Works of Art, the question of the "Outsider in Art,"
New Approaches to Decorative Arts, The Appropriation of Style,
Controversial Works of Art, Restoration as Interpretation,
Materials as Progenitors of Form and Meaning, and Art Markets
Blier reminds ACASA members, particularly those who are art
historians, to renew their membership or to join CAA so that we
can have a louder voice in the organization.
N EW AN AN NOUNLJNIVOEMENT'T
JOHN PICTON AT UCLA
John Picton will be teaching at UCLA during the Fall Quarter
1987 -- mid-September to mid-December, approximately. He is
interested in arranging lectures in other parts of the United
States during that period. Anyone interested is invited to
contact him directly (Department of Africa, SOAS, University of
London, Malet Street, London 7HP, UK) or through Arnold Rubin,
DADAH, 1300 Dickson, UCLA, 405 Hilgard Avenue, Los Angeles, CA
BINKLEY/DARISH ORGANIZE EXHIBITION
David Binkley and Pat Darish are in the initial planning stages
for a major exhibition on the Arts of the Kuba and related
groups including the Lele, Binji, and Ndengese. The complete
range of Kuba artistic production will be explored including
sculpture, masks, textiles, decorative arts, weapons, and tools.
SYMPOSIUM:INDIGENOUS CARFT TECHNOLOGIES OF AFRICA
A symposium on "Indigenous Craft Technologies of Africa,"
organized by Carol Ann Lorenz (Department of Fine Arts, Colgate
University) and Mary Moran (Department of Sociology and
Anthropology, Colgate University) and funded by the Sloan
Foundation and Colgate University, was held on March 6-7, 1987
at Colgate University. The Contributors were: Labelle
Prussin-"Architecture as an Overview of Craft Technologies,"
Warren D'Azevedo "Traditional Virtuosi: Myth and Technology in
Gola Woodcarving," Lisa Aronson-"Why People Weave the Way They
Do: Weaving Technology in Southeastern Nigeria," Diane
Pelrine-"Zaramo Basketry: Aesthetics and Technology on the
Swahili Coast," Barbara Frank-"Technology and Identity:
Continuity and Change in Leatherworking Traditions of the
Western Sudan," Carolee Kennedy-"Beads and Beadwork among the
Zulu-speaking Peoples of South Africa," Carol Spindel-"Forming
and Firing: Techniques of Senufo Potters," Patrick
McNaughton-"Technology as Sorcery and Both of Them as Art:
Smithing and Sculpture in Mande West Africa," and Eugenia
Herbert-"Lost Wax Casting in the Cameroon Grassfields." Opening
and closing statements were given by Carol Ann Lorenz and Mary
Moran. The organizers are planning to edit a volume from the
ROUND TABLE ON ILLICIT ARCHAEOLOGY IN AFRICA, FOUNDATION DAPPER.
PARIS, JUNE 13, 1987
The Fondation Dapper organized a one-day symposium on the
problems of archaeological pillage in Africa, with particular
attention being paid to Mali. During the discussion it was
stated that "The Niger Valley is important, if not more
important, for the history of Africa as the Nile Valley." No
definite conclusions or recommendations resulted from the
discussions, but the debate was lively. Participants included
representatives from UNESCO, ICOM, CRNS, Musee des Arts
africains et oceaniens, National Museum of African Art, various
French universities, and the Fondation Dapper. A notice on the
symposium is included in the recent Dapper catalogue:
Aethiopia, Vestiges de Gloire (see "Publications," below).
MUSEUM ACTIVITIES IN BENIN
Through the African National Museum Program (ANMP) they founded
in 1984 at the University of Michigan, Mary Kujawski and Allen
Roberts spent five weeks (May June 1987) working with staff of
the National Museums of Benin. Following up on discussions they
held in Benin during the fall of 1984, they worked with Edouard
Koutinhouen, Director of Museums, Monuments and Sites (DMMS);
and with Rachida de Souza, Maryse Brathier and Colette Gounou of
his staff, to devise a primary-school educational program on
cultural heritage, based upon the collections of the
Ethnographic Museum of Porto-Novo. The newly revised primary-
school curriculum in Benin includes a weekly unit on cultural
heritage, yet until this summer, no programs had been created to
fulfill this role. The joint AMNP/DMMS team worked closely with
master teachers from the Begamaye (Cotonou) lab school to
organize a program based upon the fine collection of Gelede
masks held in the Porto-Novo museum collection. A trial run with
45 fourth graders from Cotonou was a great success.
This primary activity engendered several others. Photographs of
the Porto-Novo Gelede collection, of Gelede carvers in
Porto-Novo, of a significant Gelede Society mask collection in
Cove, and of a Gelede masquerade in Daagbe, will be enlarged and
reproduced as duplicate slides, for use in the museum itself and
by its staff visiting outlying schools. Funding for this
photographic work was provided by ANMP through sales of T-shirts
and Fon applique banners provided by the DMMS, sold over the
past year in the U.S. Sets of ten postcards from the Abomey
museum will be sold for $5.00 plus $.50 postage by ANMP this
year to finance similar, small-scale work with DMMS
counterparts. Anyone interested in supporting this work through
purchase of postcards, is invited to send a check for $5.50 made
out to the African National Museums Program, to Allen F.
Roberts, Center for Afroamerican and African Studies, University
of Michigan, 200 West Engineering Bldg., 550 East University,
Ann Arbor, MI 48109-1092.
Several important theoretical issues emerged as this practical
work was being undertaken. How can African national museums be
Africanized? In particular, how can ethnographic--versus
historical-- museums, be reinterpreted, rearranged and revamped,
to meet current needs of African education? How can African
national museums staff, and African national university staff,
begin to work together to generate the research, collection,
conservation, and exhibition required to make museums in Africa
truly vital to African cultural needs? These and other questions
* will be addressed in a presentation by Mary Kujawski at this
fall's ASA/ACASA meetings, and through one or more planned
publications, prepared jointly with DMMS colleagues.
CALL FOR PAPERS; L'UOMO SPECIAL ISSUE
The board of L'Uomo, Italian Journal of Ethnology and
Anthropology, is preparing a special issue for 1988 aimed to
foster a debate between scholars and specialists on the problems
of the analysis of material productions and museology. You are
invited to submit a paper (in English or French) on a topic
related to the aims of the special issue. If you cannot write a
paper, L'Uomo invites you to send a text with answers to the
questions for the round table. The deadline is set for the end
of October 1987 and papers should be no longer than
twenty-five (25) pages, double-spaced.
OBJECTS VALUES DOCUMENTS
1) Theoretical analysis and case-studies on the problems
of the study of material productions and objects
(analysis of values symbolic, aesthetic, economic,
ritual, magic or functional);
2) Theoretical analysis and case studies on the problems
* concerning the designing, planning and organizing of
museums, on the criteria of exhibition and use of
3) Epistolary round table. Questions for an epistolary round
a The cultural value and importance ascribed to objects that
used to be defined as "material culture" regardless of their
type or function may vary from the time in which they are
made, the period or periods in which they are used, to the
time in which they become "documents" to be preserved. In
the same way there may be a change in the way objects are
experienced aesthetically in relation to their use. In
your opinion, what criteria should be applied to the study,
analysis, collection, and preservation of the "documents"
of material culture?
: Primitive art, folk art, artisan crafts, and minor arts are
definitions applied to fields that are anything but homoge-
neous, however they are lumped together in a negative sense
in terms of their difference from high art. Anthropological
interest in these objects is based on their nature as
products of a community, works that on principle cannot be
referred back to individual artists. In your opinion, can
there be an anthropology of art, and what canons would pro-
vide a basis for anthropologically classifying something as
an art object? 0
* Thinking about the concepts of "other" cultures and "differ-
ent" levels of culture has revived discussion about the dis-
tinction between ethnographic museums, museums of "primi-
tive" art, folklore museums, and folk art museums. A re-
assessment is needed of the concept and role of the museum
in the demoethnoanthropological field. In your opinion,
what are valid criteria for organizing a museum, and what
role should it play in programming and using the heritage
it helps to preserve?
* On the basis of your experience, what are the best ways of
organizing museums so that the cultural heritage may be
accessible to the various kinds and levels of people who
Address your response to:
University di Roma, "La Sapienza"
Departimento di Studi Glottoanthropoligici
Piazzale Aldo Moro, 5
00185 Rome, Italy
NATIONALMMUSEUM OF AFRICAN ART:INAUGURAL EVENTS
On September 28, 1987 the National Museum of African Art,
Smithsonian Institution, in Washington, D.C. will celebrate the
opening of its new quarters on the National Mall. As part of its
inaugural festivities, the museum has organized five concurrent
exhibitions. Three of these exhibitions focus on the permanent
collection and two are organized from works of art lent by
private and public collections. In addition, the museum has
planned a variety of complementary programs, including lectures,
gallery talks, performances, and workshops.
African Art in the Cycle of Life (September 28, 1987-March 20,
1988). An international loan exhibition of eighty-eight
masterpieces of African sculpture from European and North
American public and private collections illustrating the role of
sculpture in traditional African life cycle. The exhibition and
accompanying publication by Roy Sieber and Roslyn Adele Walker
are supported by a generous grant from the Morris and Gwendolyn
Cafritz Foundation and by an indemnity from the Federal Council
on the Arts and Humanities.
Three exhibitions from the Permanent Collection of the National
Museum of African Art:
S1) Over one hundred masterpieces of sub-Saharan African art
from the museum's permanent collection and an additional
thirty works on loan to the museum from private
collections in the United States explore the cultural
styles found in eight major geographical regions.
2) Royal Benin Art in the Collection of the National Museum
of African Art. An exhibition of twenty copper-alloy
castings and one ivory carving from the historic West
African kingdom of Benin, Nigeria. Most of the
commemorative heads figures, pendants, plaques, and
other objects included in the exhibition were a gift
from Joseph H. Hirshhorn to the Smithsonian Institution.
They were transferred to the to the National Museum of
African Art in 1985 from the Hirshhorn Museum and
Sculpture Garden. The exhibition is accompanied by a
catalogue written by Bryna Freyer, assistant curator.
3) Patterns of Life: West African Strip-Weaving Traditions
(through February 29, 1988). The history, use, and
aesthetics of West African textile arts are revealed
in an exhibition featuring thirty-six textiles from the
Venice and Alastair Lamb collection., which was jointly
acquired by the National Museum of African Art and the
National Museum of Natural History. The exhibition and the
accompanying catalogue by guest curator, Peggy S. Gilfoy,
were supported by a grant from the Smithsonian Institution's
Special Exhibition Fund.
4) Objects of Use (through May 2, 1988). The extraordinary
craftsmanship lavished on the creation of personal and
utilitarian objects in Africa is celebrated in an exhibition
of thirty-seven works of art drawn from the museum's per-
manent collection as well as from private and public
collections in the United States.
African Art Studies: The State of the Discipline. September
16, 1887. Open by invitation only. Papers to be presented are as
follows: "The History of African Art Studies," by Adrian A.
Gerbrands, Professor Emeritus, Institute voor Culturele
Antrhopologie, University of Leiden; "African Art Studies
Today," by Henry J. Drewal, Rockefeller Fellow, Department of
Primitive Art, The Metropolitan Museum of Art, New York, and
Discussants: Simon Ottenberg, Professor, Department of
Anthropology; Ekpo Eyo, Professor, Department of Art History,
University of Maryland, College Park; and Daniel Biebuyck,
Professor, Department of Anthropology, University of Delaware,
Newark. "The Future of African Art Studies: An American
Perspective," by Suzanne Preston Blier, Professor, Department of
Art History and Archaeology, Columbia University, New York; "The
Future of African Art Studies: An African Perspective," by
Roland Abiodun, Professor, Department of Fine Arts, University
of Ife, Ile-Ife, Nigeria, and Discussants: John Pemberton III,
Professor, Department of Religion, Amherst College, Amherst, MA,
and Mikelle Smith Omari, Professor, Department of Art,
California State University, Long Beach.
The papers from this symposium will be published. For further
information, contact Edward Lifschitz, Curator of Education,
National Museum of African Art, 950 Independence Ave. S.W.,
Washington, D.C. 20560, tel: (202) 357-4860.
Intimate Objects: Snuff, Tobacco, and Hemp Paraphernalia in
Central and Southern Africa. December 6, 1987, 2:00 p.m. A
panel of four art historians will present brief talks on the use
of personal prestige objects associated with the preparation,
storage, and use of tobacco, snuff, and hemp among the Shona,
Zulu, Chokwe, and Nguni peoples. The panelists are Michael
Conner, Indiana University, Bloomington; Carolee Kennedy,
University of California, Los Angeles; William Dewy, Indiana
University, Bloomington; and Roslyn A. Walker, National Museum
of African Art.
To obtain a calendar of events, contact Edward Lifschitz at the
address indicated above.
S ACLS/SSRC JOINT COMMITTEE ON AFRICAN STUDIES ROUND TABLE AT ASA
Theme: The State of Documentation and the Use and Preservation
of Resources for African Humanities Research. November 20,
1987, 1-5 p.m. Chair: Christraud Geary
The Joint Committee on African Studies is presently undertaking
a major initiative in the African humanities that is designed to
address some of the problems and needs faced by all scholars
(African, American, European) working in the African humanities.
Among the problems identified by the committee is the lack of a
thoughtful, coherent approach to issues of documentation
and resources in African as well as in Europe and the US.
Problems of collection, organization, preservation and storage,
and the utilization of data and documentation urgently need
attention. In order to heighten awareness to these problems, the
SSRC Joint Committee on African Studies will sponsor an
interdisciplinary roundtable with international participation at
the 1987 ASA meetings.
The roundtable will be a public continuation of several SSRC
sponsored activities, which took place during 1986-87. Among
them was a meeting on documentation and resources at the
National Museum of African Art in Washington, D.C. in February
1987. During that meeting it was decided to prepare a major
statement on the crisis situation regarding documentation and
the use and preservation of existing resources. The participants
in the meeting are presently working on this statement. A draft
should be circulated prior to and at the ASA meeting. We will
ask the organizers of the ASA meeting to give us names of
African scholars who will participate and send the statement to
them, asking for their comments. A revised version of the
statement should later be placed in several important Africanist
The objectives of the round table are:
1) to inform Africanists about the nature of the crisis, in
particular in Africa, and to present information on the
situation in several disciplines (history, art history,
anthropology, archaeology, etc.);
2) to get input from the audience on their experiences and
their perceptions of what needs to be done;
3) to finalize the statement by soliciting verbal and later
written comments from participants and scholars in the
4) to explore networking possibilities among concerned scholars
and documentalists with particular emphasis on the input
of Africans concerned with documentation.
Participants and the topics they will address are as follows:
*Claude Ardouin (Mali., former director of the Mali National S
Museum) salvage ethnography in Mali; *David Coplan (SUNY, Old
Westbury) audio materials, neglected sources for research like
78 rpm records; *Francis Deng (Woodrow Wilson Center) meaning
of preservation and documentation in the African context; *Ekpo
Eyo (University of Maryland) concerns of the archaeologist;
*David Henige (University of Wisconsin) access to materials in
the private domain; Adam Jones (University of Frankfurt) -
historical archives in Africa, Europe (in particular East
Germany) (to be invited); *Judith Luskey (National Museum of
African Art) neglected sources for research: photographs; Paul
Nkwi (Directeur des programmes, MESRES, Cameroon) scholars'
responsibility towards their host country, e.g., depositing
field notes, working with counterparts (to be invited); Abe
Obayemi (Director General of the Nigerian Antiquities Service) -
the museum situation in Nigeria (to be invited); *Philip
Ravenhill (National Museum of African Art) training of African
middle level museum professionals; *Doran Ross (UCLA Museum of
Cultural History) aspects of documentation and data manage-
ment in American museums; and *Janet Stanley (Smithsonian
Institution Libraries) the library network, book famine.
*denotes scholars who have already agreed to participate.
PtLJESL I COAT- I ONI4
The following are journals, books, and articles which may be of
interest to ACASA members. The list is not comprehensive and we
are dependent on the membership for contributions to this
listing. We would like to encourage members to send us
information about publications relating to African art and
material cultures, especially books and articles published
outside the United States, as well as notification of new or
lesser known journals and specific articles appearing in
journals not solely devoted to art studies.
Archiv fur VGlkerkunde (Museum fur V81kerkunde, Austria, Vol.
40, 1986. This issue includes five articles by Jurgen
Zwernemman, Klaus Volprecht, Guy Le Moal, and others about the
arts of the Nioniosse, Bobo, Tusia, and Yoruba. There are also
articles about a private museum in Togo and the Nioniosse at the
Hamburgisches Museum fur Vdlkerkunde.
Africana Gandensia (Rijksuniversiteit, Ghent), No.2, 1986.
"L'Art du Laiton chez les Dan et les Guere-Wobe (Cite
d'Ivoire-Liberia) by Elze Bruyninx. 316 pp, illus.
Africana Gandensia (Rijksuniversiteit, Ghent), No. 3, 1986. "A
Praxiological Approach to Ritual Analysis. The Sigi of the
Dogon," by Dirk Verboven. 77 pp, illus.
Critica d'Arte Africana (Edizioni Panini, Modena), anno 1,
fascicolo n. 1 (Primavera 1984) includes eight articles about
the African art collections in European and North American
Museums, including the Musee des Arts africains et oceaniens,
Paris, II Museo Pigorini, Rome, and L'Institut des Musees
Critica d'Arte Africana (Edizioni Panini, Modena). anno 1,
fasciolo n. 2 (Inverno 1985). The entire issue is devoted to
Smithsonian magazine, Vol.18, No.4 (July 1987) includes "An
Odd Collector's Odd Collections," an article by John Reader
about Oxford's Pitt Rivers Museum. Pp 108-116, illus. (some
African Civilizations: Pre-Colonial Cities and States in
Tropical Africa, an Archaeological Perspective by Graham
Connah, drawings by Douglas Hobbs. Published by Cambridge
University Press, New York and Cambridge, England, 1987. 259 pp,
The Art of West African Kingdoms. Project directed by Edward
Lifschitz. Published by the National Museum of African Art,
Smithsonian Institution, Washington, D.C. 48 pp, illus.,
glossary, bibliography, 4 pull out poster-size pages, maps. A
general reference for teachers.
Planning Lamu, Conservation of an East African Seaport by
Francesco Siravo and Ann Pulver with a foreword by Richard E.
Leakey. Published by the National Museums of Kenya, Nairobi, c.
1986. 167 pp (4 folded), illus., maps, plans, bibliography,
Precolonial Black Africa: A Comparative Study of the Political
and Social Systems of Europe and Black Africa from antiquity to
the formation of modern states by Cheik Anta Diop. Published by
L. Hill, Westport, 1987.
A Treasury of Woodcarving Designs by Alan and Gill
Bridgewater. Published by Van Nostrand Reinhold, New York, c.
1981. Includes line-drawing illustrations of lines, circles,
twined forms, and animal forms in African art. 192 pp, illus.
A World of Embroidery by Mary Gostelow, line drawings by the
author and Janet Watson. Published by Mills & Boon, London,
1975, and Arco Publishers, New York, 1983. Includes chapters on
sub-Saharan Africa, including embroidery among the Amhara,
Masai, Zulu, Kuba, Igbo, Hausa, Fulani, and Fon peoples. 512 pp, 0
14 leaves of plates, color illus.
The Way of the Ancestors. Foreword by Jean-Louis Paudrat.
Published by Fondation Dapper, Paris. A summary of the Panorama
of the Kota Reliquary Figures exhibition at the Fondation Dapper
September 15-19, 1986. 88 pp, color and black and white
illustrations include many previously unpublished sculptures
from the Charles Ratton collection.
Aethiopia Vestiges de Gloire. Essays contributed Ibrahima
Baba Kate, Bernard de Grunne, Etienne Feau, Marie-Claude Dupre,
and Peter Telfair. Published by Fondation Dapper, Paris, on the
occasion of the exhibition held July 3 October 3, 1987. 80 pp,
illus. (many in color).
For prices and further information contact: Editions Dapper, 50
avenue Victor-Hugo, 75116 Paris, France.
FORTHCOMING from Smithsonian Institution Press, September 1987:
African Art in the Cycle of Life by Roy Sieber and Roslyn
Adele Walker. 168 pp, color and black and white illustrations.
($39.95, cloth; $19.95 pkbt)
Patterns of Life: West African Strip-Weaving Traditions by
Peggy Stoltz Gilfoy. 96 pp, color and black and white
illustrations. ($16.95, pkbk)
Royal Benin Art: Selections from the National Museum of African
Art Collection by Bryna M. Freyer. 64 pp, color and black and
white illustrations. ($12.95 pkbk)
The monthly Library Acquisitions List of the National Museum of
African Art Library is avialable free of charge upon request.
Write to Janet Stanley, Librarian, National Museum of African
Art Library, Smithsonian Institution, Washington, D.C., 20560.
1987 AM MfEET-X ING
The 1987 ASA Meeting will be held at the Radisson Hotel,
November 19 23, in Denver, Colorado. The final version of the
proposed schedule (as of May 17) of ACASA sponsored panels is as
Fri., Nov. 20, morning session
A "Art and Ideology in Africa"
* chair: Arnold Rubin
Christraud Geary (National Museum of African
Art), Art and Political Manipulation:
Examples from the Cameroon Grassfields"
Suzanne Preston Blier (Columbia Univ.)
"Dahomeyan Art and the Development of Divine
Edward A. Alpers (UCLA), "Representation and
Historical Consciousness in the Art of Modern
discussant: James C. Faris (Univ. of Connecticut)
Fri., Nov. 20, afternoon sessions (two concurrent panels during
the first session)
B-0 "Recent Research on African and African-American Art and
chair: Philip M. Peek (Drew Univ.)
Fred H. Tesfagiorgis (Univ. of Wisconsin),
"Boghossian: Icons, Images and Ideology"
Reinhild K. Janzen (Kauffman Museum), "The
Use of Writing in the Work of Contemporary
South African Artists"
Jacqueline C. DjeDje (UCLA), "A Comparison of
African and African-American Fiddle Music
Carlyn Saltman, "The Blooms of Banjeli"
B-1 "African Textile Design -I"
chair: Peggy S. Gilfoy (Indianapolis Museum of Art)
Merrick Posnansky (UCLA), "Textile Pattern,
Meaning, and Tradition in the Ewe Heartland
Carol Thompson, "Checkerboard Pattern as Mande
Motif in the Textiles of West Africa"
Peggy S. Gilfoy (Indianapolis Museum of Art),
"The Eye, the Hand, and the Stripe: North
African Motifs in West African Textiles"
Rachel Hoffman (UCLA). "Islamic Sybols in
Secular Contexts: The Fulani Kerka"
discussant: Lisa Aronson (Skidmore College)
B-2 "African Textile Design-II"
chair: Peggy S. Gilfoy (Indianapolis Museum of Art)
Monni Adams (Peabody Museum, Harvard Univ.)
"Irregularity in the Design Structure of
Middle African Textiles"
Pat Darish, "Aspects of the Kuba and Showa
Karl Ferdinand Schaedler, "The Ikaki/Oni
Motif in Nigerian Weaving"
Susan Domowitz (Indiana Univ. ), "Insults by'
the Yard: Anyi Proverb Cloth"
discussant: Lisa Aronson (Skidmore College)
Sat., Nov. 21, morning panels, concurrent
A-1 "Exploring the Lands of Do"
chair: Patrick R. McNaughton (Indiana Univ.)
Charles S. Bird (Indiana Univ.), "Reflections
of the Etymologies of Do"
Kathryn L. Green (Univ. of Florida), "Do
Among the Mandekan-speakers of Kong, Ivory
Christopher D. Roy (Univ. of Iowa), "Do in Wood
and Leaves Among the Bobo and the Bwa"
Monica Blackmun Visona, "Manifestations of Do
in the Southern Ivory Coast"
Philip L. Ravenhill (National Museum of African
Art), "The Do Masquerade of the Wan"
discussant: Martha Kendall (Indiana Univ.)
A-2 "Shrine Configurations in the Study of African Art"
chair: Christine Mullen Kreamer (Washington, D.C.)
Christine Mullen Kreamer (Washington, D.C.),
"Spheres of Protection: Shrines of the Moba,
Pamela A.R. Blakely (Brigham Young Univ.),
"Shrines and Semi-Secret Societies in the
Hemba World (Zaire)"
Dennis M. Warren (Iowa State Univ.), "The
Agbeni Shrine: A Century of Continuity"
Robert T. Soppelsa (Washburn Univ.), "An
Ashante Shrine Figure"
Sat., Nov. 21, afternoon panels
B-i "Power, Gender, and Art I"
chair: Mikelle Smith Omari (California State Univ, Long
Diedre Badejo (Univ. of Rhode Island),
"Concepts of Gender and Power in the Oral
Literature of the Yoruba Goddess Oshun"
Warren d'Azevedo (Univ. of Nevada, Reno),
"Gola Womanhood and the Limits of Masculine
Marilyn H. Houlberg (The School of the Art
Institute of Chicago), "From Cash Madames
to Macho Tricksters: Aspects of Gender in
Yoruba Art and Religion in Africa and the
Delores Yonker (California State Univ.,
Northridge), "Three Faces of Erzulie: Women
in Haitian Voodoo"
discussants: Robin Poyner (Univ. of Florida), Sylvia H.
Williams (National Museum of African Art)
B-2 "Power, Gender, and Art II"
chair: Mikelle Smith Omari (California State Univ., Long
Anita Glaze (Univ. of Illinois, Champaign/
Urbana, "Senufo Woman Power: Myth and
Monni Adams (Peabody Museum, Harvard Univ.),
"Power, Gender, and Art among the We (Guere)
of Canton Boo"
D. Francine Farr (Brooklyn Museum), "Sande
Power: A Re-Examination of Mende Power,
Gender and Art"
Sidney L. Kasfir (Dartmouth College),
"Ideologies of Power and Freedom in Lokop
(Samburu) Body Art"
discussants: Sylvia Boone (Yale Univ.), Henry Drewal
(Cleveland State Univ.)
Sat., Nov. 21, ACASA Business Meeting (following the afternoon
Sun., Nov. 22, morning panels, concurrent
A-i "Recent Research on African and African-American Art
Art and Artists"
+* chair: Judith Bettelheim (San Francisco State Univ.)
+ panelists: M. Maurer (Univ. of Michigan Museum of Art),
"The Context and Form of African Headrests"
+ Allen F. Roberts (Albion College and Univ. of
Michigan), "Mbote Art"
Daniel J. Crowley (UCD), "National Identity
in the Carnival of Guinea-Bissau"
+* Judith Bettelheim (San Francisco State Univ.),
"Carnaval in Cuba Today: Questions of
A-2 "Contemporary African Art and Artists"
* chair: Jean Kennedy (San Francisco)
Gavin Jantjes (London), "The South African
Artist in Exile"
Solomon Wangboje (Univ. of Benin, Nigeria),
"Art, Culture, and Education"
Amir Nour (Olive-Harvey College), "Traditional
Roots, Modern Expression"
Betty Schneider (Stanford Univ.), "South
African Artists and Censorship"
Wosene Kosrof (Goddard College), "My Work as
a Contemporary African Artist"
Acha Debela (Univ. of Maryland, Eastern Shore),
"African Artist and Audience"
discussant: John Povey (UCLA)
Sun., Nov. 22, afternoon panels
B-i "African Ceramic Arts: History and Identity in Clay I"
chair: Marla C. Berns (Univ. of Minnesota)
Eugene C. Burt, "The Four Styles of Baluyia
Pottery and the Origins of the Baluyia"
Carol Spindel (Univ. of Illinois, Urbana-
Champaign), "Farmers Who Fire: The Women
(Potters of the Nafarak Senufo"
Andrea Nicolls (National Museum of African
Art), "A Matter of Choice: Selection
Processes in the Service of Art,
Specifically Pottery Making"
Jacqueline Chanda, "A Mode of Establishing
Roles and Values"
B-2 "African Ceramic Arts: History and Identity in Clay II"
chair: Marla C. Berns (Univ. of Minnesota)
+ panelists: Enid Shildkrout (American Museum of Natural
History), Curtis Keim (Moravian College),
and Jill Hellman (American Museum of Natural
History), "Pottery from Northeastern Zaire:
Forms and Variations in Historical
+* Roderick J. McIntosh, "Ancient Terracottas
Before the Symplegades Gateway"
+* Marla C. Berns (Univ. of Minnesota), "Ceramic
Clues: Art and Historical Reconstruction
in Northeastern Nigeria"
discussant: Philip L. Ravenhill (National Museum of African
Note: + indicates abstract submitted
indicates pre-registration fees submitted
AASA MEMBERS IP F RENEWAL-
This issue of the newsletter includes a 1987 membership renewal
form. If you have not renewed your membership, please take time
to fill it out and send it to Mary Kujawski.
-ITHANI 1KS to all of you who contributed to this newsletter.
ACASA BOARD OF DIRECTORS, 1987
Mary Jo Arnoldi
Dept. of Anthropology, NHB 112
Washington, D.C., 20560
(202) 357-1396/-2671 (0)
(202) 544-8754 (H)
Suzanne Preston Blier
Dept. of Art History & Archeology
New York, NY 10027
(212) 280-8552 (0)
(212) 864-1988 (H)
Univ. of Michigan Museum of Art
525 South State Street
Ann Arbor, MI 48109
(313) 764-0395 (0)
Philip M. Peek
Dept. of Anthropology
Madison, NJ 07940
(201) 377-3000, x-383 (0)
(201) 822-3425 (H)
Philip L. Ravenhill
National Museum of African Art
950 Independence Ave., SW
Washington, D.C. 20560
(202) 357-4910 (0)
(202) 546-2605 (H)
UCLA Museum of Cultural Hitory
405 Hilgard Ave.
Los Angeles, CA 90024
(213) 825-4259 (0)
(213) 207-0369 (H)
School of Art and Art History
Univ. of Iowa
Iowa City, 10 52242
(319) 335-1777 & (319) 335-1727;
Dept. of Art History
Univ. of California
405 Hilgard Ave.
Los Angeles, CA 90024
(213) 826-6973 (0)
(213) 396-9378 (H)
Roslyn A. Walker
1301 Delaware Ave, SW
Washington, D.C. 20024
(also c/o National
Museum of African Art)
(202) 357-4871 (0)
(202) 484-1358 (H)
(319) 354-9033 (H) 0
1987 ACASA MEMBERSHIP RENEWAL
REGISTRATION FORM: Arts Council of the African Studies Association
SMembers and non-Members of the African Studies Association (USA)
are invited to complete this form and to remit .dues for the current
year according to the following schedule (check one):
Regular Members $20.00
Special Members $ 5.00
(students and unemployed or retired scholars)
Institutional Members $20.00
Make checks payable to ACASA. Please pay in $US.
Members residing outside the US should pay with a foreign draft drawn
on a bank with an affiliation in the US or with a postal money order
payable in $US. Do not pay with stamps or international reply coupons
or with checks not drawn on or payable through a US bank. Payments
not marked with a US affiliate bank, will be returned. Newsletters
and other ACASA correspondence will be sent via airmail at no extra
charge to members residing outside the US and Canada.
Mary Kujawski, Secretary/Treasurer, ACASA
University of Michigan Museum of Art
525 South State Stret
Ann Arbor, Michigan. 48109
PLEASE CIRCLE APPROPRIATE TERMS/FILL BLANKS AS INDICATED
EDUCATION Highest degree: Doctorate
SPECIALIZATION: Art History
Primary professional involvement: College/University teaching
* Primary regional focus: West Africa
Specific ethnic/geographic focus: