Title: ACASA newsletter
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Permanent Link: http://ufdc.ufl.edu/UF00103115/00023
 Material Information
Title: ACASA newsletter newsletter of the Arts Council of the African Studies Association
Alternate Title: Newsletter
Physical Description: v. : ; 28 cm.
Language: English
Creator: African Studies Association -- Arts Council
Publisher: The Council
Place of Publication: S.l
S.l
Publication Date: December 1989
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Subjects / Keywords: Arts -- Periodicals -- Africa   ( lcsh )
Genre: periodical   ( marcgt )
 Notes
Dates or Sequential Designation: Vol. 1, no. 2 (winter 1982)-
Numbering Peculiarities: Vol. designation dropped with no. 3 (spring 1983).
General Note: Title from caption.
General Note: Vols. for Aug. 1992- include Directory of members: addendum.
General Note: Latest issue consulted: No. 34 (Aug. 1992).
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Volume ID: VID00023
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 Related Items
Preceded by: Newsletter of the Arts Council of the African Studies Association

Full Text













ACASA


news


letter


Newsletter of the Arts Council
of the African Studies Association
Number e5
December 1989


I











Cover design inspired by pressure-engraved
motifs originally worked by women on a Longuda
gourd, Northeastern Nigeria.

















ACASA Board of Directors

Mary Jo Arnoldi, President
Lisa Aronson Secretary-Treasurer

Maria Bems
David Binkley
Barbara Frank
Frederick Lamp
Philip Ravenhill
Doran Ross
Mikelle Smith-Omari
Fred Smith

Secretary/Treasurer
Lisa Aronson
Art Department
Skidmore College
Saratoga Springs, NY 12866
(for membership information)


Newletter Editor
Maria Bems
University of Minnesota
Goldstein Gallery
250 McNeal Hall
St. Paul, MN 55108

Word Processing
Chris J. Ohmer
Graphic Design
Barbara Martinson



ACASA Newsletter Volume 25, December 1989










ACASA new


setter


Letter from the President:

ACASA made a strong showing at the 32nd
Annual Meeting of the African Studies Association
in Atlanta with 11 sponsored panels on the arts of
Africa and the Diaspora. All of the sessions were
well attended and our panels suffered from a lack
of space rather than from any lack of a willing and
interested audience. In anticipation of an equally
enthusiastic attendance at next year's Baltimore
ASA meetings, the ACASA Board has formally
requested that our panels be given a room that will
comfortably accommodate from 80-100 people
per session. This issue of the Newsletter lists
proposed panel topics for the Baltimore meetings
(see pp. ). We want to continue our strong
presence at the ASA meetings and we encourage
you to respond to the call for papers and/or take
the initiative to organize a panel for Baltimore.

For those of you who were unable to attend the
Atlanta meeting, this issue of the Newsletter
includes the minutes from the ACASA Business
Meeting. A number of projects and initiatives were
discussed (see ACASA newsletter, number 24,
September 1989, pp. 2-4 for an outline of these
proposed initiatives) and planning groups for the
visual resources and the archaeological initiatives
are being formed. If you have ideas to share with
these planning groups please contact Barbara
Frank (visual resources) and Philip Ravenhill
(archeology initiative).

The Triennial Symposium on African Art is
tentatively scheduled to take place at the
University of Iowa, Iowa City, in the spring of 1992.
Mark your calendars and we will keep you informed
through the Newsletter about developments in its
planning. If you haven't yet completed the
questionnaire about the Triennial, please take the
time now to send us your ideas about its
organization, length and types of panels, potential
themes, etc. Send your responses to Lisa
Aronson, Secretary/Treasurer of ACASA, who will
compile and share your comments with the 1992
Program Committee.

Mary Jo Arnoldi
President, ACASA


ACASA Business Meeting
Minutes
Friday, November 3, 1989
Hyatt Regency Hotel, Atlanta, Georgia

I. FINANCIAL REPORT As of October 30,
1989, the ACASA account totaled $9929.56 with
249 paid members. Triennial expenses, mainly for
the banquet, totaled $2722.00, offset by the
$4480.00 income from conference/banquet
registration. In addition, ACASA spent $3100.00
to finance student scholarships (4 x $250) and to
bring over three African archaeologists (3 x $700).
In the end, ACASA put out $1342.00 of its own
budget to pay for the Triennial.
II. INITIATIVES
A. Education As reported by Barbara Frank, this
initiative involves three issues:
(1) Compiling an African art text/reader;
(2) Slide packets Barabra Frank, Ray
Silverman and Jean Borgatti will work on
compiling a 1000 slide packet of which the
profit from sales would enable ACASA to
give free slides sets to African
institutions;
(3) Recruitment of undergraduate/graduate
students into fields of African art -
Suggestions included: (a) the hosting of
summer institutes (Barbara Frank); (b)
letters sent to college administrators in
African art-poor areas (e.g., Boston) urging
them to expand their curriculum into the
African art area (Suzanne Blier); Visibility at
CAA (Jean Borgatti).
B. Outreach to African or Afro-American Scholars -
Mikelle Omar suggested that ACASA consider
funding, either fully or partially, African or
African-American scholar attendance at ASA or
Triennial conferences.
C. Closer association with ASA All panels would
be funneled through the ASA Steering
Committee. ACASA members should be on that
Steering Committee each year.
D. ACASA affiliation with corporate agencies -
Philip Ravenhill reported that USIA is receptive to
our writing a grant to help bring over 10-20 African
colleagues for the next ASA. ACASA members
voted that we should go ahead with the
grant-writing. The Board will form the committee.


ACASA Newsletter Volume 25, December 1989 1


*









E. ACASA Affiliation with CAA Fred Lamp
reported that while we are officially affiliated with
CAA, we need to continue open dialogue with
other art historians. Fred reminds us that we must
be members of CAA to give papers. Five panels
were proposed for the 1991 CAA in
Washington D.C.:
(1) Workshop on Utilitarian Ojbects
(Philip Ravenhill)
(2) Archaeology in West Africa, c. 1000 A. D.
(Fred Lamp)
(3) Art, History, and Gender: Re-evaluting and
reconstructing the role of women
(Maria Bems)
(4) Gender and Power -Africa/Oceania/Americas
(Mikelle Omari)
(5) Style and Technology Invited panel; not just
Africa (Bill Dewey will participate)
III. DISTRIBUTION PROGRAM Janet Stanley
reports that:
A. One hundred complimentary issues of
African Arts are being sent to 99 African and one
West Indies country.
B. She will begin sending publications to 100
African libraries.
C. We could send ACASA Newsletters to
colleagues in Africa without charge.
IV. TRIENNIAL After not receiving a
confirmation from St. Louis to host the next
Triennial, the Board decided to approach the
University of Iowa, Iowa City. The Board awaits
written confirmation from them.
V. ANNOUNCEMENTS:
A. Maria Berns (new Newsletter Editor) the
deadline for news for the next newsletter is
November 15.
B. Bell Feldman Uganda is trying to rebuild
their library collection of art books and asks that
we announce their plea for donations in the next
Newsletter.
C. Tom Wilson (NEH) the recent Senate
decision re: art-related grant funding affects us
in two ways:
(1) 6% reduction in funding capacities;
(2) Regarding the obscenity issue, the new law
requires that NEA desist from funding anything
regarded as obscene, which means some grants
could be turned down.
D. ACASA party will be held on Saturday from
8:00 12:00 p.m. in Mary Jo's suite.
E. Proposed panel topics for next ASA


(Baltimore); March 15 is the deadline for paper
abstracts. [Editor's note: for panel update, see
ASA news, below, p. 3 ]
(1) Fred Lamp State of art of South Africa
under apartheid (will accompany an exhibition
on Ndebele art)
(2) John Ojo Examination of Explorer's
Accounts
(3) Robin Poynor Notes & Queries/Bits &
Pieces
(4) Frieda High-Tesfagiorgis Contemporary
African Art: Methodology and Study
(5) Chris Mullen Kreamer Work/gender roles
produced in art
(6) Bill Dewey Headrests or possibly stools
(7) Elisha Renne Arts from Adversity
(8) Bill Mithoefer Commonality in African Art
growing out of "Icons" exhibition, National
Museum of African Art
(9) Marion Johnson Jewelry or hair decoration
F. Sidney Kasfir announced the ASA-sponsored
art opening at APEX we are all invited.
G. Chris Roy the Stanley/University of Iowa
Foundation offers three research fellowships and
graduate student scholarships. It also sponsors
an Outreach program which would allow African
scholars, among others, to take part in museum
workshops on museum research
administration, collections management, and
basic research on African art. (see Fellowships
section, below, p. 12)
H. Ray Silverman The Midwest Art History
Association seeks more participation in African,
Oceanic, and American areas. If you are
interested in participating on a panel for the next
conference (March 29-31, Cincinnati, Ohio)
contact Robert Soppelsa, Dept. of Art and
Theater, Washburn University, Topeka,
Kansas 66621.
I. The American Museum of National History has
funding for a one year research fellowship must
be anthropology/archaeology oriented.
J. John Ojo announces that the museum at the
University of Ife was looted in August; printed
photos of missing pieces will appear in
African Arts.
K. The Smithsonian National Museum of African Art
and The National Museum of Natural History offer
fellowships for projects linked in some way to their
collections. Deadline for applications is January
15 (write to office of Fellowships and Grants,


2 ACASA Newsletter Volume 25, December 1989


0









Smithsonian Institution).
L. Arnold Rubin's volume on the arts of Africa,
Oceania, and the Americas is forthcoming (see
Recent Publications, p. 14).
M. Henry Drewel announced that Peter Schmidt
is organizing an archaeology conference
(Gainesville, March 22) for which funding is
being sought to bring over 10-15 African
archaeologists. Those interested in
participating should submit abstract (see
Conferences, below, p. 9 )
N. Maria Berns and Lisa Aronson are planning to
co-edit a volume on African art and gender for
which they are seeking abstracts for article
submission. (see call for articles, p. 16).
O. Lisa Aronson The Institute of Contemporary
Art together with OXFAM is funding an exhibit
of contemporary African/African-related art for
which they are seeking a curator. Interested
individuals should write to: Mr. Matthew
Teitelbaum, The Institute of Contemporary Art,
955 Boylston Street, Boston, Massachusetts
02115.

Respectfully submitted
Lisa Aronson,
Secretary Treasurer, ACASA


ASA NEWS


1990 33rd ANNUAL ASA MEETING -
BALTIMORE, MARYLAND November 1-4, 1990
Omni Inner Harbor Hotel

CALL FOR PAPERS
[Editor's Note: The following are panel suggestions
and are subject to final selection by the ACASA board.
Persons interested in participating on a panel should
contact the organizer listed below the abstract or title.
Please note that ACASA can nominate African
scholars participating in panels for the ASA
international visitors program. Chairs should contact
Fred Lamp with nominations and paper abstracts.]

I EXPRESSIVE CULTURE AS PROPERTY AND
AFRICAN CONCEPTS OF OWNERSHIP

This roundtable projects a series of ten minute
presentations dealing with indigenous African
ideas relating to the ownership of property
generally defined in the Western World as "art."
This includes song, music, dance, and theatrical
forms in addition to the graphic and plastic art.
Attention should be paid to how these concepts
affect the use, loan, gift, or sale of expressive
culture both within a society and to outsiders.
Social, ethical, and legal ramifications should also
be considered. It is anticipated that this
roundtable will immediately precede the ethics
panel addressing the acquisition of intellectual
property in fieldwork situations.

Doran Ross
Associate Director
Museum of Cultural History
UCLA
Los Angeles, CA 90024

COLLEAGUES, RESEARCH ASSISTANTS,
INFORMANTS: ETHICS AND THE
OWNERSHIP OF IDEAS AND WORDS

(ACASA Board Sponsored Panel on Ethics)

We are seeking five to ten minute papers on one
or more aspects of this topic which are based on
real (in contrast to theoretical) ethical dilemmas
encountered in the field situation. The papers


ACASA Newsletter Volume 25, December 1989 3









should critically address the ethical issues
involved in the practice of acquiring information in
the field and/or the ethical concerns which
underlie the relationships between the
researcher and local colleagues: the researcher
and field assistants, and/or the researcher and
local informants. In developing the presentation,
authors should take into account specific local
beliefs, attitudes, and practices about the
ownership of words and ideas and discuss how
these complement or significantly differ from
Western notions about the ownership and
transfer of knowledge. Following the short
presentations, the remaining hour will be devoted
to an open discussion. Please send your
abstracts for the panel before
February 20, 1990 or call Mary Jo at (816)
333-1255 before February 15.

Mary Jo Amoldi
Department of Anthropology NHB 112
Smithsonian Institution
Washington D.C. 20560


I AFRICAN ART HISTORY AND MUSEUM
EXHIBITIONS

(ACASA sponsored panel on Museums)

The panel will explore how African art history is
implicitly or explicitly defined in both permanent
and temporary exhibitions. I plan on presenting an
overview paper dealing with 390 African Art
exhibitions organized in North America over the
past 25 years. Papers are solicited on other topics
relating to museums worldwide that exhibit African
art. It is hoped that the panel papers will ultimately
be published in a special issue of African Arts.

Philip Ravenhill
National Museum of African Art
Washington, DC 2060


AFRICAN ART THROUGH THE EYES OF
EARLY TRAVELERS/EXPLORERS,
MISSIONARIES AND COLONIAL
ADMINISTRATORS

Explorers' accounts contain not only geographical


data, but also, more often than not, information
about various aspects of the culture of the people
through whose territories they passed. Explorers
made copious notes on: cities and towns; types
of buildings; people and their modes of dress and
self-adornment; occupations, commercial
activities; art and material culture; as well as rituals
and ceremonies.

Purged of the writers' personal prejudices and
the theoretical presuppositions of the epochs in
which the writers lived, these writings constitute
the earliest written records of African culture and
can provide a useful backdrop against which
present day material can be studied.

Following closely on the footsteps of these
explorers, we have the writings of missionaries
and the published works, often illustrated with
photographs and with the imprimatur of scientific
societies, of the earliest crop of colonial
administrators. These two categories of writings
are also veritable mines of information, and with
the explorers' records, contain material for studies
in the change or resilience of various aspects of
African culture, especially art and material culture.

John R. O. Ojo
Dept. of Anthropology
Rice University Box 1892
Houston, TX 77251


CONTEMPORARY AFRICAN ART: A
CRITIQUE OF DEFINITION, METHOD, AND
THEORY

Past studies of "contemporary" art (i.e.
post-colonial) in Africa have been primarily
synchronic in nature with an extraordinary stress
on artists' biographies as methodological tools.
Conspicuously absent from the record are
studies which are diachronic or which present
clearly delineated theoretical frameworks
elucidating the relationship of contemporary art to
the larger society.

It is the purpose of this panel to address these
issues as well as to attempt a clearer definition of
contemporary art in Africa. Since the focus is
theory and methodology, papers may be based


4 ACASA Newsletter Volume 25, December 1989


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0


on bibliographical research and analysis as well as
field work.

The intent is for each presenter to summarize a
position paper (in ten to fifteen minutes) in which
s/he addresses the problems stated above and
suggests alternative theoretical frameworks and
methodologies for studying contemporary African
art. Two discussants will comment on the papers
in five to seven minutes and the remainder of the
time will be devoted to dialogue with the
audience.

Current participants include: Freida
High-Tesfagiorgis, Sharon Pruitt, Sidney Kasfir,
Acha Debeleh, Salah Hassan. Discussants will be
announced. Other participants are encouraged
in the hopes of organizing a double panel to
grapple with these issues. Paper abstracts must
be received no later than January 31 since the
ASA deadline is one month earlier this year. Final
papers must be received no later that September
7, 1990 in order to allow discussants ample time
to read and prepare comments on the papers.

Mikelle Smith Omari
Department of Art
Califomia State University
1250 Bellflower Blvd.
Long Beach, CA 90840
Home phone number: (213) 296-6661


DEVELOPMENT AND CONTRIBUTION OF
THE CONTEMPORARY AFRICAN ARTIST IN A
HISTORICAL CONTEXT

The fundamental characteristic of a culture is the
highly dependent and reciprocal nature of its
linkages with the social and economic reality of
the environment, with the level of productive
forces, and the mode of production of the society
which created it. Suffice it to say that the study of
the development and contribution of the
contemporary African artist is inextricably linked to
the understanding of the social and economic
dynamics of his/her background and or
environment, in other words understanding the
artist and his/her work in a historical context.
Dynamic changes in tradition and continuity and
the state of Contemporary African Art is


ACASA Newsletter Volume 25, December 1989 5


understood when social, political, cultural,
religious, and economic changes are looked at as
part and parcel of the phenomenon. The African
artist today is part of on-going local, national, and
international (global) change and as such any
study that claims to present the African artist will
necessarily consider to looking at his/her
development and contribution in a historical
context.

This, I believe, will prevent quick and easy but
erroneous approaches to pigeonholing and or
misleading analysis of artists and their work. I
hope this panel among others will encourage
study of works by individual artists, both in Africa
and abroad as well as contribute toward the
extensive studies already existing in traditional
African Art.

Acha Debela
Ohio State University
Advanced Computing Center
for the Arts and Design

Panelists: Salah Hassan, Gavin Jantjes,
Acha Debela
Discussant: Henry Drewal


THE RESPECTABLE MINIMUM IN AFRICAN
DRESS

Proposals should strive to expand the
understanding of African Dress by focusing on
the limits of "propriety" within which aesthetic
arrangements in African dress are based. Special
attention should be made to aspects of dress
which are overlooked in textile oriented
discussions. For example, body painting, the
cache-sex as public jewelry; the form and
decoration of prepuce covers; change-over-time
in response to Western definitions of
"respectable"; situations where the minimum
actually seems to be synonymous with maximum,
etc.

Michael Conner
821 West Sixth St.
Bloomington, IN 47401
(812) 334-0131









II THE STATE OF BLACK AFRICAN ART IN
SOUTH AFRICA IN THE FACE OF APARTHEID

Nowhere else in Africa are the societal changes of
the 1980's as monumentally and pervasively
affecting as in South Africa today. In the face of
the massive forced relocation of indigenous
peoples in the "tribal homelands," and the
attempts by the White government to squelch
both dissent and the hopes of the Black peoples
for a share in the control of their future, art has
persevered and has developed its own national
and ethnic character. This is seen in forms from
the powerful protest of South African theater to
the identification of a South African painting and
sculpture in the exhibition, The Neglected
Tradition, to the astonishing persistence of
Ndebele women architectural painters and
beadwork artists defying their newly imposed
alien environment.

The purpose of this panel is to examine the
"tradition" of Black South African art in the context
of the disturbing political climate. What new
directions has art taken? Is there an identifiable
Black art that has grown out of the unique Black
experience? Is there a "dialogue" between the
arts of African and European South Africans that
responds to the relationship in which they find
themselves? Is there an identity to South African
art that contrasts with the art of the rest of Africa?
In the transitions that have taken place, what is the
importance of ethnic heritage? What can be
predicted for the immediate future on the basis of
an analysis of the current situation?

"Black African art in South Africa" apply to any of
the arts, either taken separately or as an
ensemble. It is hoped that the discussion would
include a range of forms, styles, media, traditions,
transitions, gender, and African ethnic origins.

The focus is not necessarily "art of protest", but
rather the character of the artistic tradition in the
context of the peculiar political and social
circumstances in which South African artists find
themselves. Nor is this necessarily a discussion
on "contemporary art" made for ethnically
defined, artistic traditions and cultural continuities.
The focus excludes White South African art, not
because it does not address the same political


issues and face similar problems, but because it is
an art that evolves out of a social background that
can never approximate the Black experience, no
matter how empathetic the artist may be. We
would like to explore this particular experience as
it finds its voice and its visual manifestation in the
arts of today. We earnestly seek a dialogue that
would include scholars and artists of Black African
descent.

Frederick Lamp, Curator
The Baltimore Museum of Art
Art Museum Drive
Baltimore, Maryland 21218

I CONTEMPORARY AFRICAN ART "A
SEAMLESS MANTLE?'

In the "romantic" past, each artistic expression
worked in lock-step with the others. Each was
bonded to the others, helped to identify the
others, and contained elements of the others.
Does evidence of a similar fusion exist among the
works of artists, poets, and filmmakers today? Or
does individualism, art for profit, and influence
from the West rip apart the seamless fabric,
denying this organic intermingling and, in so
doing, efface specificity in favor of a false
universalism?

Jean Kennedy
California College of Arts and Crafts
996 Oak Street
San Francisco, CA 94117

Other panel topics include:
Notes & Queries/Bits & Pieces Robin Poynor
Work/gender roles produced in art Chris Mullen
Kreamer
Headrests or possibly stools Bill Dewey
Arts from Adversity Elisha Renne
Commonality in African Art growing out of "Icons"
exhibition, National Museum of African Art -
Bill Mithoefer
Jewelry or hair decoration Marion Johnson
Cultural Heroes: Myths, History, and Art -
Dunja Hersak Address: 38 Edith Road
London W14
(w) 01 836-6633 ext. 2525
(h) 01 602-7882
Please contact panel organizers if you are interested
in participating.


6 ACASA Newsletter Volume 25, December 1989


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ACASA INITIATIVES


CAA NEWS


Notice of the 1990 annual meeting of the College
Art Association, New York Hilton, February 15-17

Panels of special interest to ACASA members:-

Kathryn Moore Heleniak (Fordham University),
Reflections on Race and Racism in Modern
Western Art (1750-present). Th. 9:30-12:00
a.m.
Frederick Bohrer, Exoticism, Orientalism,
Primitivism: Modes of "Otherness" in Western
Art and Architecture from Antiquity to the
Present. Th. 2:00-4:30 p.m.
Mary Miller, (Yale University), Precolumbian Art:
Reconstructing History from the History of
Art? Th. 2:00-4:30 p.m.
Ann Eden Gibson, (Yale University), Abstract
Expressionism's Others. Th. 8:30-11:00 p.m.
Shifra Goldman (UCLA), The Columbus
Quincentenary and the Art of Latin America:
A Critical Evaluation. Th. 8:30-11:00 p.m.
Sarah Brett-Smith (Rutgers University), Object
and Sacrifice. Fr. 9:30-12:00 a.m.
Marianna Shreve Simpson (National Gallery of
Art), Islamic Art 650-1250. Sa. 10:45-12:15
a.m.
Judith Bettelheim (San Francisco State
University), Festivals: Africa and the African
Caribbean. Sa. 2:00-4:00 p.m.
Patricia Fortini Brown (Princeton University), Art
and Civic Identity (non-Western and
pre-industrial). Sa. 2:00-4:00 p.m.

ACASA Business Meeting and Reception:
Thursday, February 15, 4:45-6:00 p.m., Suite
510 (Franklin Adams Room), New York Hilton,
5th Floor.


At the ACASA business meeting in Atlanta Ray
Silverman distributed a fact sheet and
questionnaire about a field slide project for
teaching African art history. Because very few
people returned this questionnaire, another has
been inserted in this newsletter. Please return it
promptly so that ACASA can proceed with its work
on this project.

Thank you.


Conferences/Symposia


ANNOUNCEMENTS

[Editor's Note: Please send in information about
activities/programs at your institution that deal with
African art and material culture.]


Midwest Art History Society Annual Meeting.
IMarch 29-31, 1990.

The Midwest Art History Society, an organization
of art historians and museum professionals in the
Midwest, has indicated that increased
participation by specialists in the areas of African,
Pacific, and Precolumbian/Native American arts
would be welcome. At the M.A.H.S. annual
conference in Cincinnati next spring (March
29-31, University of Cincinnati and Taft Museum),
there will be a panel on the arts of Africa, the
Pacific, and the Americas. For further information
contact:


ACASA Newsletter Volume 25, December 1989 7


EDUCATION









Bob Soppelsa (Africa/the Pacific)
Dept. of Art and Theater
Washburn University
Topeka, Kansas 66621

Carey Rote (the Americas)
College of Arts and Sciences
Corpus Christi State University
6300 Ocean Dr.
Corpus Christi, TX 78412


"The Yoruba Legacy in the Americas:
Understanding an African Artistic Tradition in its
New World Setting." The Art Institute of
Chicago.

The Art Institute of Chicago will host the exhibition
"Yoruba: Nine Centuries of African Art and
Thought" from February 10 April 1 1990. In
conjunction with this important exhibition, the
Departments of Africa, Oceania, and the Americas
and of Museum Education have planned the
symposium, which will take place Friday evening,
March 9, Saturday, March 10, and Saturday,
March 17 at the Art Institute.

Project director, Ramona Austin, Assistant
Curator for African Art, will open the symposium at
6:00 p.m. on Friday, March 9. Robert Farris
Thompson, senior Professor of Art History, Yale
University, will present the keynote address,
"Indelible Motifs of Yoruba Leadership." The
Saturday sessions are titled: The Conceptual
.Foundations of Traditional Yoruba Art; Yoruba
Influenced Traditions in the Americas; Santeria:
From the Center of the World to the Caribbean
and Urban America; and Yoruba Influence in the
Latin-American Urban Communities of North
America.

Symposium speakers who will address these
topics are: Marilyn Houlberg, School of the Art
Institute; Margaret Drewal, Northwestern
University; Mikelle Omar, University of California,
Long Beach; Rowland Abiodun, visiting
professor, Amherst College; David Brown, a
Smithsonian Fellow, and several contemporary
artists/practioners Mueer Bahauddeen, Chicago;
Kofi Zannu, Milwaukee; Baba Efunyemi, Chicago;
and Mr. and Mrs. Hector Rodriquez.


A complete program schedule will be available
early in January. Please request copies from:
Ramona Austin
Assistant Curator
Department of Africa
The Art Institute of Chicago
Michigan Avenue at Adams Street
Chicago, IL 60603


I International Conference on Yoruba Art.
Obafemi Awolowo University, Ile-lfe. April 23 -
29, 1990.

The following panels have been constituted:

1. Traditional Yoruba Art; Chair: Rowland
Abiodun; Discussants: J. R. O. Ojo, and
Cornelius O. Adepegba
2. Yoruba Art and Archaeology; Chair: Ekpo
Eyo; Discussants: Omotoso Eluyemi and Tunde
Agbaje-Williams
3. Contemporary Yoruba Art; Chair: Babatunde
Lawal; Discussants: Ola Oloidi and Don Akatakpo
4, Yoruba Art and the West; Chair: Robert F.
Thompson; Discussants: Freida
High-Tesfagiorgis and Mikelle Smith Omari
5. Art of Yoruba Neighbours; Chair: Irein
Wangboje; Discussants: Chike Aniakor and
Chuks Amaefuna

Letters indicating willingness to participate are
invited from intending participants, and abstracts
which fit into any of the panels should reach the
following address before January 31, 1990.

The Co-Ordinator
1990 Conference on Yoruba Art
Department of Fine Art
Obafemi Awolowo University
Ile-lfe
Nigeria


8 ACASA Newsletter Volume 25, December 1989


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*


"What is the Future of Archaeology in Africa?"
The Society of Africanist Archaeologists .
Biennial Conference. University of Florida -
Gainesville. March 22-25, 1990.


Papers and symposia are invited that address the
conference theme and related subjects, such as:
1) Archaeology and Identity; 2) The Implications
of Post-Processual Archaeology for Africa; 3) The
Crisis of CRM in Africa; 4) Perspectives on the
Underdevelopment of Archaeology in Africa; 5)
Innovative Funding and Training of
Archaeologists in Africa; 6) Archaeology, Art and
the Art Market.

ACASA members are organizing a formal session
and roundtable discussion on #6. Please contact
Henry Drewal if you are interested in participating.

Deadlines: December 1, 1989 Symposia
Proposal with Abstracts; January 1, 1990 -
Abstracts of Contributed Papers


For registration information write:

SAFA 1990
Center for African Studies
University of Florida
427 Grinter Hall
Gainesville, FL 32611 U.S.A.



REPORTS

"The Archaeology of Gender." 22nd Annual
Chacmool Conference, sponsored by the
Archaeological Association and the Department
of Archaeology, University of Calgary.
November 9-12, 1989.

105 papers were given at this conference,
attended by over 300 participants from across the
globe. The opening plenary session featured:
Adrienne L. Zihlman, Department of
Anthropology, University of California, Santa
Cruz; lan Hodder, Department of Archaeology,
Cambridge University; Alison Wylie, Department
of Philosophy, University of Western Ontario;


ACASA Newsletter Volume 25. December 1989 9


Margaret Conkey, Department of Anthropology,
University of California, Berkeley.
A series of concurrent sessions followed dealing
with a variety of topics: The Evolution of Gender;
Gender as a Construction; Feminist Approaches
to Post-Processual Archaeology;
Ethno-Archaeological Approaches to Gender;
The Status of Women in Archaeology: Historical
and Empirical Perspectives; Gender in Historical
Archaeology; Gender Differentiation Among
Hunter-Gatherers; Gender Roles in the
Archaeological Record: Ideology, Art, and
Material Remains; Gender Roles and the Origins
of Agriculture; and Gender Differentiation in
Complex Societies.

Although archaeologists and anthropologists
dominated this conference, the emphasis on
deconstructing widely held assumptions about
male/female roles and identities, especially as
they are read through the material record, was
valuable for scholars of several related disciplines.
Abstracts of papers are available and full papers
given at the conference will be published by
Chacmool, The Archaeological Association of the
University of Calgary, within a year. For further
information write:

Chacmool Conference
Department of Archaeology
University of Calgary
Calgary, Alberta
Canada T2N 1N4

Submitted by
Maria C. Bems,
University of Minnesota


"The Sustaining Power of Yoruba Art and
Thought: Nigeria and the Americas." The
Center for African Art. September 22-23, 1989.

As part of the opening of the exhibition, "Yoruba:
Nine Centuries of African Art and Thought," the
Center for African Art and the Department of
Anthropology, Hunter College (with support from
NEH, NEA, NYSCA, and the Anne S. Richardson
Fund) organized this symposium. The program
opened on Friday, September 22 with a keynote
address by Robert F. Thompson, Yale University,









on 'The Yoruba Tradition in Urban North America:
The Multiplicity of Sources." Thefollowing day
was filled with presentations and discussions.

The morning session, chaired by John
Pemberton III included: Ade Obayemi, Director
General of Nigeria's National Commission for
Museums and Monuments -- "Yoruba's Culture --
A View from the Periphery"; Wande Abimbola,
Vice-Chancellor of Obafemi Awolowo University --
"The Role of Ifa as a Cultural System and Body of
Knowledge"; Rowland Abiodun, former Chairman
of the Fine Arts Department of Obafemi Awolowo
University -- "Yoruba Leadership Arts";

The afternoon session chaired by Henry Drewal
included: Margaret Thompson Drewal,
Department of Performance Studies,
Northwestern University -- 'The Container and the
Contained: Representations of Gender in Yoruba
Art"; Rosalyn Walker, Curator, National Museum of
African Art, Smithsonian Institution -- 'The Image
of Woman in Yoruba Art";
Mikelle Smith Omari, Art Department, California
State University, Long Beach -- "The Yoruba
Heritage in Brazil"; John Mason, Yoruba priest and
head of The Yoruba Theological Archministry,
Brooklyn, New York -- "New World Yoruba Art: Old
Ideas Re-thought."

Submitted by
Harry Drewal,
Cleveland State University


"Cultural Vibrations: Yoruba Transformations
and Continuities in the Diaspora." University of
Florida Gainesville April 27-29, 1989.

The intent of this conference was to explore the
Yoruba Diaspora and the transformations and
continuities of Yoruba culture in the light of other
cultures with which it came in contact in Africa and
the Western Hemisphere. The Yoruba of the
Diaspora did not operate in a vacuum. Although
Yoruba elements are readily traced and identified,
and may even be seen as dominant in many areas
of the New World, there are many other
identifiable African elements. There has been a
tendency in past scholarship to focus on survivals
and retentions. The purpose of this conference


was not only to look at the elements of
dominance and subordination of African cultures
in a new Europeanized environment, but to focus
on relationships of African groups and how
African cultural manifestations have been fused in
the effort to resist European acculturation.

The conference was opened with kola divination
and an address by Oba Adefunmi I of Oyotunji.
Papers were presented on the Yoruba interaction
and impact in three spheres -- West Africa, the
Caribbean, and North America. Two participants
who were to discuss Brazil were not able to attend
because of last minute emergencies, Pierre
Verger and Julio Braga.

The Sierra Leone impact was addressed by
Olasope Oyelaran of Obafemi Awolowo University
("Of Roots and Transplants: The Case of Yoruba
Institutions in the Krio Culture") and John Nunley
of the St. Louis Museum of Art ("The Yoruba in
Sierra Leone and Trinidad and Tobago").

Caribbean ties were developed by Maureen
Warner-Lewis of The University of the West Indies
("The Interaction of African Peoples and Cultures
in Nineteenth Century Trinidad"), Dolores Yonker
of Califomia State University at Northridge ("From
the Belly of Dan: Dahomey's Legacy to Haiti"),
Donald Cosentino of the University of California at
Los Angeles ("Deconstructing Legba"), and
Rogelio Fure of the Cuban Folklore Ensemble
("Cuban Santeria").

North American developments of Yoruba culture
were explored by Mercedes Sandoval of Miami
Dade Community College ("Santeria in the
Twenty-first Century"), Marilyn Houlberg of the
Chicago Art Institute ("Come to me, Orisha,
Touch Me With Luck, Love, and Life: Serving the
Yoruba Gods in Chicago"), Margaret Thompson
Drewal of Northwestem University ("Yoruba
Reversionism in New York"), John Mason of the
Yoruba Theological Archministry ("Fundamentals:
Criteria for Change") and Mikelle Smith Omari of
California State University at Long Beach ('The
End of the Rainbow: Self Determination and
Creativity in Oyo Tunjj, A Neo-Yoruba
Community").

These papers, along with an overview by Pierre


10 ACASA Newsletter Volume 25, December 1989


0


0












*


NEW POSITIONS AVAILABLE

Northwestern University -
Department of Art

[Editor's Note: Even though the application deadline is
past due, this notice is included for your information.]

As part of a major rebuilding effort in African
studies, Northwestern University is seeking
candidates working on the study of African
cultural practice and the production of culture, for
tenure or tenure-track (rank open) appointments
which could be in the Department of Art History,
commencing September 1, 1990.
Applications, which should consist of a letter
relating research and teaching interests, a
resume, and a list of referees, should be sent to
"Search Committees," Program of African
Studies, Northwestern University, 620 Library
Place, Evanston, Illinois 60208, by
November 1, 1989. Northwestern is an Equal
Opportunity and Affirmative Action employer.
Employment eligibility verification required upon
hire.


Verger and a paper on the cult of Egun in Bahia
by Julio Braga, will be published in a forthcoming
volume to be edited by Robin Poynor and Olabiyi
Yai of the University of Florida, organizers of the
conference.

The conference concluded with a visit to the
Neo-Yoruba community of Oyotunji, South
Carolina, were the Oshun Festival was in
progress.

Submitted by
Robin Poynor,
University of Florida




Position
Announcements


ACASA Newsletter Volume 25, December 1989 11


State University of New York Stony
Brook. Art Historian
Asst. prof. $29,000-$30,000. Fall 1990. Tenure
track. Non-western specialist, Africanist pref, to
teach African art with other possible courses in
Islamic, Pre-Columbian, or Native American art.
For a major university near NYC, an imaginative
and dynamic teacher for undergrad core courses
and surveys, as well as grad courses in a program
of art history, theory and criticism. Interest in
Feminist theory and approaches encouraged, but
not necessary. Ph.D. pref. Include letter of
application, CV, list of 3 references. A/D Dec. 4,
1989. AA. EOE. WMA. Non-Westem S. C.
Dept. of Art, Stony Brook, NY 11794-5400.


University of Virginia. Art Historian.
Rank and salary open. September 1990. Tenure
Track. Open search for teacher and scholar in 1 of
3 possible fields. Northern Renaissance or
non-European (except Chinese) or Art and Art
Theory since World War II. Teach graduate and
undergraduate courses. Ph.D. required.
Teaching experience and publications preferred.
Include list of 3 references. A/D December 31st,
1989. AA EOE WMA

Send application to Paul Barolsky, Chair, Mclntire
Dept. of Art, Fayerweather Hall, Charlottesville, Va
22903.

The Center for African Art -
Senior Curator
The Center for African Art seeks a specialist in
African art to create exhibitions and to develop
exhibitions with outside curators. The Center for
African Art is a museum founded in 1982 to
increase understanding and appreciation of
Africa's ancient cultures: it originates two or three
major traveling loan exhibitions every year
accompanied by substantial publications. The
senior curator will have full responsibility for about
one exhibition each year, defining the concept,
identifying outside specialist curators when
appropriate, selecting objects, writing catalogue
and other materials, and working with catalogue
and exhibition designers. Ph.D. or equivalent in
African art or anthropology, and museum
experience essential. Must have experience with
temporary exhibitions and demonstrated









connoisseurship. The successful candidate will
be energetic, imaginative, able to enlist the
cooperation of lenders and colleagues, a team
worker, committed to a high quality of intellectual
and aesthetic content in exhibitions and
publications.
Send application letter with writing sample,
resume, and names of three references to
Executive Director, The Center for African Art, 54
East 68th Streeet, New York City, 10021. EOE


VISITING POSITIONS SOUGHT=

*John R. O. Ojo of the Obafemi Awolowo
University, currently a Rockefeller Fellow at the
Center for Cultural Studies of Rice University,
Houston, is seeking a three month teaching,
research, or curatorial position from about
mid-May to the end of August 1990.

He has researched extensively and published on
Yoruba art with special emphasis on masquerades
of N.E. Yorubaland, has long experience in the
teaching of European and African art at an
undergraduate level, and the teaching of African
and Nigerian art at a graduate level, and for over
two decades has been the curator of a University
collection of traditional art.

Contact address:
Rice University Anthropology Dept.
P.O. Box 1892
Houston, TX 77521
work: (713) 527-8101 ext 3786; home: (713)
630-9182
Resume available on request


*Agbrola Folarin, Associate Professor,
Department of Fine Arts (Obafemi, Awolowo
University, Ile-lfe, Nigeria) is seeking a visiting
position during the Academic year 1990-91. He
holds an M.F.A. from Howard University and has
an extensive list of publications and one-person
and group exhibitions.

Please contact Mr. Folarin at Obafemi Awolowo
University.
*Danielle Madeleine Lyndersay, Ph.D., currently
Artistic Director of the Walket-Puppets Theatre in


the Netherlands, is interested in employment in
North America after having finished her doctorate
in theatre arts at the University of Ibadan in 1988.
Her M.A. in Theatre Education was completed at
the University of Victoria, Canada, in 1982. Dr.
Lyndersay has had extensive theatre-related
experience in Nigeria for several years, in
teaching, administration, television, and directing
with a special involvement in children's theatre
and puppetry. Her complete c.v. is available from
her directly at the address below:

Prins Bernhardstraat 31,
1211 GT Hilversum,
The Netherlands
(Tel: (035) 215 404


*Aremu, faculty member in the Department of
Fine Arts Obafemi Awolowo University, Ile-lfe,
Nigeria, has written that he is available for a
sabbatic leave in the U.S. for the 1990-91
academic year. Aremu has a particular interest in
textile arts. His c.v. is available from him at the
above address in Ife.


0


Fellowships/
Scholarships



*PASALA is an interdisciplinary research program
of fellowships, scholarships, conferences and
publications focused on the visual arts of Africa.
PASALA is located at the University of Iowa.

Three fellowships are offered each year to
scholars working in any discipline in the Social
Sciences and the Humanities whose research
interests include the visual arts of Africa. One
senior scholar, more than ten years past the
Ph.D., with an international reputation and a
respected record of publications will work at Iowa
for a period from three months to a year. Two
junior scholars, less than ten years from the
dissertation, will visit Iowa for one to three
months. Support will vary depending on the
fellow's own resources and need.


12 ACASA Newsletter Volume 25, December 1989












0


Current Exhibitions


Fellows will be provided office space and
equipment, and given access to The Stanley
Collection of African Art. They will be expected to
pursue their own research and writing, to increase
our understanding of objects in the collection and
of the collection as a whole, and to participate in
seminars. Fellows will be offered the opportunity
to organize and co-chair the biennial Stanley
Conference on African Art at the University of
Iowa.

Scholarships are provided for graduate study of
African art, for research in Africa, and for
dissertation writing. The Stanley Scholarship for
Graduate Study of African Art History supports
three years of tuition, a half-time assistantship,
and field research. Other scholarships support a
variety of needs in both art history and
anthropology. Internships in connoisseurship
and commercial training are available in Brussels
at the Zaire Basin Art Research Foundation.

For additional information and applications write
to:
PASALA
The School of Art and Art History
The University of Iowa
Iowa City, IA 52242

*Summer internships: The Metropolitan Museum
of Art offers ten-week summer internships for
college students and assistantships for graduate
students who are interested in museum careers.
Application materials can be obtained from the
office of Academic Programs, Metropolitan
Museum of Art, 1000 Fifth Avenue, New York, NY
10028. Deadlines are January 26, 1990 for
college students and February 2, 1990 for
graduate students. Since graduate students
work on specific projects within the curatorial
departments, applicants wishing to concentrate
on African art should contact
Kate Ezra (Associate Curator, Department of
Primitive Art) to discuss possible projects.

*Please send ACASA newsletter editor the
names of college/university programs that offer
semester or summer abroad programs to study in
Africa.


ACASA Newsletter Volume 25, December 1989 13


Metropolitan Museum of Art
"Gold of Africa" will be on view in the Michael C.
Rockefeller Wing through March 11, 1990. The
exhibition includes 130 objects including jewelry,
ornaments, and royal regalia that reflect the
importance of gold in African history and art. The
goldworking traditions of Ghana, Cote d'lvoire,
Mali, and Senegal are represented.

Upcoming lecture of interest includes:
January 19, 1990 "Black Gold: Goldsmiths,
Jewelry, and Women in Senegal"
Marian A. Johnson, Assistant Professor of Art
History, Brigham Young University
Uris Center Auditorium
6:00 p.m.


Galerle Fred Jahn, Munich
"Kifimbo: Staffs of Office from Central and
Eastern Africa"
October 1989
Maximilianstrasse 10 8000 Munchen 22


Royal Ontario Museum
"Into The Heart of Africa." November 16 August
6, 1990. The exhibition will be traveling to
Ottawa's Canadian Museum of Civilization, the
Vancouver Museum, the National History
Museum of Los Angeles, and the Albuquerque
Museum, throughout 1991 and 1992.


The Black Arts Studio & Gallery inaugurates
a programme of exhibitions which will feature the
work of contemporary African artists and other
artists connected by blood or spirit to Africa and
the Diaspora. It is one of the first galleries in the
country to focus on contemporary African art and
something completely new to Santa Fe.

Nigerian fiber artist Nike and David Osevwe will
show wall hangings and wearable art at the Black
Arts Studio & Gallery from November 18 January
15. Also on display from the collection of the
Gallery will be work by Twins Seven Seven,


0









Labayo Olaniyi, and other members of Nike's
family. Gallery hours are 10am 6pm, Friday and
Saturday and by appointment.

Gallery address: 710 Don Felix Street, Santa Fe,
NM 87501 (505) 982-5667 for appointment.


Recent Publications



NEW BOOKS

II Sally Price. Primitive Art in Civilized Places.

Challenging Western art connoisseurship and
cultural interpretation at the ground level, Sally
Price raises disquieting questions about the
relationships between "civilized" viewers and
"primitive" art objects. She argues that the
Western appropriation of non-Western art
(recently so visible in exhibitions that pose it
side-by-side with the likes of Picasso) is ultimately
an act of profound cultural arrogance, a
dehumanization of "primitive" art and its makers.
Price calls for reconsideration of such notions as
the anonymity of primitive artists, the universality
of aesthetic canons, the privileged position of
literate civilizations, and the value or preserving
Culture for Science. The assertions that "art" is a
concept unique to Great Civilizations and that an
object made by a nonliterate artisan becomes an
"art object" only when it falls under the
discriminating gaze of a connoisseur allow
Westerners to imagine, she suggests, that they
are doing for African sculpture what Andy Warhol
did for Brillo boxes or Marcel Duchamp for urinals.

208 pages, 15 halftones, 1989, price: $19.95.
Available December 1989, University of Chicago
Press, 11030 S. Langley Ave., Chicago, IL
60628.


I Art as Technology: The Arts of Africa, Oceania,
Native America, and Southern California.
Arnold Rubin, Zena Pearlstone (editor).
Available January 1990. $19.95 paper, 184 pp.,
120 duotones.

II Ethnic L.A. Zena Pearlstone.
Available January 1990. $12.95.

Order both through: Hillcrest Press, P. O. Box
10636, Beverly Hills, CA 90210, (213)
858-7669.

I Images of Wood: Aspects of the History of
Sculpture in 20th-Century South Africa

Catalogue accompanying the exhibition held at
the Johannesburg Art Gallery from June 28 to
August 13, 1989. Researched and written at the
University of the Witwatersrand, with biographies
compiled by Elizabeth Dell and documentation of
works by Julia Meintjes. Sponsored by The Hans
Merensky Foundation. Biographies of 89 artists,
index to all known twentieth-century South
African sculptors in wood. 188 pages, black and
white illustrations throughout.

The first extensive documentation of this area of
study. The catalogue offers a holistic overview of
twentieth-century sculpture in wood in South
Africa, acknowledging the indigenous tradition of
wood sculpture which until recently had been
considered to be outside the aesthetic
parameters of Eurocentric definitions of art.
"Images of Wood" contributes to the
reassessment of the written history of South
African art and provides insight into discrepancies
which have affected local aesthetic values as far
as sculpture in wood is concerned.

Price R56 (R45 plus GST, packing and postage)
for local orders, or R90 (including packaging and
seamail postage) for overseas orders. Payments
to be made in South African Rands to The
Friends of the Johannesburg Art Gallery. For
further details telephone (011) 725-2830 / 3130
/ 3180, or write to the Johannesburg Art Gallery,
PO Box 23561, Jourbert Park, South Africa,
2044.


14 ACASA Newsletter Volume 25, December 1989


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0


II Jeanne Cannizzo. Into The Heart of Africa.

A celebration of the vitality of Africa's many
peoples as well as a thought-provoking
examination of the role of Canadian soldiers and
missionaries in the European colonization of
Africa during the late 19th and early 20th
centuries.

This companion book to the exhibition of the
same name, organized by the Royal Ontario
Museum, is lavishly illustrated with full-colour and
black and white photographs of objects and
historical photographs from the ROM's
outstanding African collections. 96 pages, 16
full-color and 84 black and white illustrations,
paper, price: $19.95.

I Jean-Louis Bourgeois.Spectacular Vernacular:
the Adobe Tradition, 2nd expanded edition.

Photographs by Carollee Pelos. Intro. by Basil
Davidson. 192 pp. 150 color ph. 9" x 12" (h).
Notes, photographic notes, biblio., name and
subj. index. Published by Aperture. Hard Cover
price: $35.

With over half of its material new, the expanded
second edition of "Spectacular Vernacular"
presents village adobe architecture from seven
West African countries. A section traces the
history of the mosques of Djenne in Mali. Most of
the photos appear in a revised version of the
exhibition "Spectacular Vernacular", touring
under the auspices of the Smithsonian
Institution.


SGuidebook to Cameroonian Art in the Mt. Febe
Benedictine Monastery Museum, Yaounde.

Edited by Nancy W. Edelman with photography
by Alain Denis. Text in French and English. 128
pages with 82 full-color photographs and 10
black/white photographs. Price: $20.00.
Send book orders to: OAN/Oceanie-Afrique
Noire, 9 East 38th St., NY, NY 10016, (212)
779-0486.


ACASA Newsletter Volume 25, December 1989 15


NEW JOURNALS

I Minerva The International Review of Ancient
Art and Archaeology, incorporating
"Archaeology Today".

In January 1990 the first issue of a significant new
monthly magazine will be published: Minerva. It
will be an illustrated news and review magazine
devoted to ancient art, antiquities, and
archaeological discoveries worldwide from
prehistory to the 18th century.

Minerva will provide information about changing
interpretations and methods in the various fields
of archaeology, ancient art, numismantics,
connoisseurship, art technology and
conservation. The continuing problem of forgery
and the technology at the forgers disposal will be
among the topics covered.

Articles and news items on ancient art and
archaeology are requested. All US and Canadian
museum exhibition and acquisition articles, press
releases and photographs should be sent to our
New York offices to the attention of Dr. Jerome M.
Eisenberg. Schedules for all US and Canadian
Museum Exhibitions, art gallery exhibitions, fairs,
auctions, conferences and national meetings
(through December 1990) should be sent to:
Martha Steele, American Calendar Editor,
Minerva, 332 North Beverly Drive, Beverly Hills,
CA 90210. All other news items and articles
should be sent to our London address.

Subscription rates will be L17.50 per year (10
issues) in the UK, L20 by air to Europe, and L25
(US $40) to the US, Canada, and the rest of the
world. Subscribe now and you will be billed in
January 1990.

I Frankfurter Afrikanische Blatter (Frankfurt
Papers in African Studies).

New scholarly journal. Linguistic, ethnological,
and historical studies on African topics will be
published.
For subscriptions, write to:
Stadt und Universitatsbibliothek
Bockenheimer Landstr. 134-138
D-6000 Frankfurt am Main 1
West Germany


0









Price: DM 45, for institutions; DM 30, for
individuals".
Contributors should write to:
FAB
Professur fur Afrikanische Sprachwissenschaften
Feldbergstr. 22
D-6000 Frankfurt am Main 1
West Germany


I Kurio Africana: Journal of Art and Criticism -
Focus on Contemporary Nigerian Arts.

$12 per issue. All correspondence to the Editor,
Kurio Africana, c/o Ona Artists, Dept. of Fine Arts,
Obafemi Awolowo University, lie Ife.


NEW FILM

Judith Lynne Hanna. "African Dance Frame by
Frame: Revelation of Sex Roles through
Distinctive Feature Analysis and Comments on
Field Research, Film, and Notation," Journal of
Black Studies, 19(4): 422-441, June 1989.

Sixteen millimeter motion picture film was
selected for ethnographic research on meaning in
movement among Nigeria's Ubakala Igbo over
notation in the field or only native description and
interpretation. Accurate and speedy notation of a
dance in its field context is nearly impossible,
because some dances may be performed only
once during a research period, improvisation may
occur, and some dancers may be unable or
unwilling to replicate a performance.
Contemporary notation systems, developed for
the purpose of constructing a choreographers
intention for the dance, assume dance phrases
will be repeated for a transcriber. While it is
important to elicit the native dancers' views about
their dances, reliance upon verbal exegesis alone
precludes much understanding. Critical issues in
using film are explored.

NEW VIDEO

The 28 minute film, Togu na Cheko; Change and
Continuity in the Art of Mali, produced by the
National Museum of African Art in conjunction with
the exhibition "Icons," is available for purchase on


VHS video format. The film explores the art and
architecture of Dogon men's meeting houses
(togu na) and the communal puppet theater
(cheko) of the Bamana. The cost including
postage and handling is $22.95. Orders should
be sent to:
Jennifer Keller
Smithsonian Museum Shops
3301 75th Avenue
Landover, MD 20785

CALL FOR ARTICLES

African Art and Gender

Lisa Aronson and Maria Berns are soliciting
one-page abstracts for a volume they are
co-editing on African art and gender. Papers
should consider issues of gender symbolization
or of male/female relations as expressed in either
the production, use, or meaning of African art.
How does African art reflect, mediate, or actively
construct gender and gender relationships? To
what extent is gender, expressed through art, a
function of social, political, or economic
conditions; how has gender symbolization altered
within recent circumstances of social, political, or
economic change?


Lisa Aronson
Art Department
Skidmore College
Saratoga Springs, NY
12866


Maria C. Bems
Goldstein Gallery
240 McNeal Hall
University of
Minnesota
St. Paul, Minnesota
55108


16 ACASA Newsletter Volume 25, December 1989


0









MEMBERSHIP RENEWAL

Please fill out and return the membership renewal
form inserted with your newsletter. Only paid
members will receive copies of the 1990
newsletters. The new 1990 roster will be
published with the first newsletter of next year.


All information regarding change of address
should be directed to the ACASA
Secretary/Treasurer, Lisa Aronson, Skidmore
College, Department of Art, Saratoga Springs, NY
12866.



MARCH NEWSLETTER

Send all news and announcements to Maria C.
Berns, University of Minnesota, Goldstein Gallery,
240 McNeal Hall, St. Paul, MN 55108 by
FEBRUARY 1, 1990 for inclusion in the March
Newsletter.

We encourage colleagues in Africa, Europe, and
North America to send information about
exhibitions, research projects, publications,
conferences and other activities.



6mm~i


ACASA Newsletter Volume 25, December 1989 17




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