Title: ACASA newsletter
ALL VOLUMES CITATION THUMBNAILS PAGE IMAGE ZOOMABLE
Full Citation
STANDARD VIEW MARC VIEW
Permanent Link: http://ufdc.ufl.edu/UF00103115/00028
 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: April 1991
 Subjects
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).
 Record Information
Bibliographic ID: UF00103115
Volume ID: VID00028
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 09794003
lccn - sn 92017937
 Related Items
Preceded by: Newsletter of the Arts Council of the African Studies Association

Full Text



ACASA

newsletter


Newsletter of the Arts Council
of the African Studies Association


Number 30, April 1991












Cover design by Acha Debela


ACASA Board of Directors

Maria Berns, President
Lisa Aronson, Secretary-Treasurer

Mary Jo Arnoldi
David Binkley
Acha Debela
Margaret Drewal
Barbara Frank
Simon Ottenberg
Mikelle Smith-Omari
Janet Stanley

Membership Information
Lisa Aronson, ACASA Secretary/Treasurer
Art Department
Skidmore College
Saratoga Springs, NY 12866

Newsletter
Janet Stanley, ACASA Newsletter Editor
National Museum of African Art Library
Smithsonian Institution
Washington, D.C. 20560


I----


I










ACASA Newsletter


April 1991


I C NWS. f


Letter from Dr. Maria Berns,
ACASA President:

The ACASA Board has begun planning the
Ninth Triennial Symposium on African Art, to
be held in Iowa City in April 1992. Working
with our colleagues at the University of Iowa,
the Board has placed high priority on finding
ways to fund the travel and participation of
scholars from Africa and the African Diaspora.
ACASA membership money will help support
the travel of two such individuals. However,
we are working on ways of extending this
number and increasing the amount of their
support by soliciting the assistance of the
USIS. To this end, we will need to establish an
itinerary of guest lectures for each African or
African-Caribbean scholar following their
participation in the Triennial.
We need the help of the entire ACASA
membership to reach our goal of maximum
participation. The brief questionnaire on page
19 asks whether you or your institution could
host one or more scholars for a visiting lecture.
Your institution would be expected to pay an
honorarium, per diem and one-way travel.
Although we do not know at this stage who
our guests will be, they will be individuals
whose scholarship involves African expressive
culture. We are not asking for guaranteed
commitment, but rather whether you think
your institution could support the visit of one
or more such scholars. We also are asking
those of you in the U.S. to recommend
colleagues whom we may contact about
participating in the Triennial. Those of you
living in Africa or elsewhere are encouraged
sumbit your own names for consideration.
ACASA members are also urged to invite
scholars working in Africa or the Diaspora to
present papers on panels being proposed.
Ideally, we would like to see our American
and non-American colleagues participating on


Contents
ACASA News
President's Letter 1
Slide Project 2
ACASA meets at CAA 2
1992 Triennial Symposium 2
Conferences 3
Exhibitions 8
News Roundup
United States 9
Europe 10
Africa 11
Australia 11
Publications
Request for Authors 12
New journals 12
New books & catalogues 13
Film Notes 14
People 15
African Studies 15
End Note 16
Questionnaire 19


panels of mutual interest and concern. We
.realize that the financial situation will make it
difficult for many of our African and Diaspora
colleagues to participate without ACASA
assistance.
If you have any questions or suggestions,
please write or call Bill Dewey at the
University of Iowa, who will serve as
ACASA's liaison to the USIS (see questionnaire
for details).

Please help us make the next Triennial the best
one yet!

Sincerely,
Marla C. Bems,
ACASA President


ACASA Newsletter / No. 30, April 1991









African Art Slide Project:
Progress Report
During its pilot stage, the ACASA Slide Project
is collecting 160 slides representing art
traditions from four areas of sub-Saharan
Africa: Bamana, Yoruba, Kuba-Luba-Hemba,
and the Kenyan pastoralists (Maasai, Samburu,
Turkana and others). These slides, which have
been provided by ACASA members, will be
duplicated and sold as pre-packaged sets in
the United States and elsewhere outside Africa;
they will be accompanied with written
documentation and bibliographies prepared by
those who contributed the slides.
Sets of these slides will be sent to libraries and
art teaching centers in Africa without charge.
The pilot project is funded through a grant
from the Michigan State University, and the
outcome of this first phase will be a model for a
more extensive project supported by a larger
grant from a major funding agency to which
ACASA will apply. ACASA members
participating in this pilot phase are Ray
Silverman, Barbara Frank, and Christraud Geary.

ACASA Meets at CAA,
February 21, 1991,
Washington, DC
At an ad hoc meeting of ACASA held during
the College Art Association meetings, several
items of business were discussed:
1. Membership Report:
Secretary/Treasurer Lisa Aronson
announced that 1991 membership renewals
are down from last year; those whose
membership has lapsed are urged to renew
promptly. Contact Lisa Aronson, Art
Department, Skidmore College, Saratoga
Springs, NY 12866. Dues are $20.00.
2. The 1992 CAA annual meeting will take
place February 13-15 in Chicago at the
Chicago Hilton Hotel & Towers. African
panels at the 1992 CAA will be: (a) New
Methodologies, New Areas (Chair, Paula
Girshick Ben-Amos); (b) The 'New' World?
Art History & Hegemony in the Americas
(Chair, Henry Drewal). (See below, page 5).
3. CAA Liaison: Acha Debela will replace
Fred Lamp as ACASA's liaison to CAA.


4. The dates for the 1991 ASA have been
changed to November 23-26, 1991 at the
Adams Mark Hotel, St. Louis. In addition
to the ASA panels listed in the December
1990 ACASA newsletter, Bob Soppelsa will
chair a "current research" panel. (See
update on proposed ASA panels, page 3).
5. Triennial Symposium, April 23-25, 1992.
The Program Committee consists of
Christopher Roy, Allan Roberts, Bill
Dewey, Marla Berns, Mary Jo Arnoldi, and
David Binkley. New deadline for panel
proposals June 15; new deadline for
proposals for papers October 1. Send all
proposals to Allen Roberts.
6. Book Distribution Program: Janet
Stanley reported on the progress of the
book distribution program. One hundred
libraries in Africa are receiving African
Arts, books and catalogues. Many have
written letters acknowledging receipt of the
books and expressing their thanks. The
most recent mailing (April 1991) included
the January 1991 issue of African Arts
(thanks to the publishers at UCLA) and
the catalogue Fired Brilliance: Ceramic
Vessels from Zaire (thanks to the University
of Missouri-Kansas City Gallery of Art and
Pat Darish).
7. Newsletter: Members were reminded to
send information to Janet Stanley, the new
editor of the ACASA Newsletter by
mid-March for the April newsletter.
Respectfully submitted,
Lisa Aronson,
ACASA Secretary/Treasurer.

9th TRIENNIAL SYMPOSIUM ON
AFRICAN ART, April 23-25, 1992
A call for papers for ACASA's 9th Triennial
Symposium on African Art: The University of
Iowa School of Art and Art History, host to
the 1992 Triennial Symposium on African Art,
has issued a call for panel proposals. The new
deadline for panel proposals is June 15, 1991
-note that this was extended from April 1st
to June 15th. The deadline for proposals for
individual papers is October 1, 1991. Proposals
from all disciplines and geographical areas are
welcome; those that emphasize cross-
disciplinary and cross-cultural approaches are


2 ACASA Newsletter/No. 30, April1991









especially encouraged. Please send abstracts to:
Professor Allen Roberts, Program Chair,
Anthropology Department, McBride Hall,
University of Iowa, Iowa City 52242, USA.


ASA at St Louis
Six ACASA-sponsored panels have been
tentatively lined up for the African Studies
Association meetings in St. Louis, Missouri,
November 23-26:
I. RECENT RESEARCH IN AFRICAN ART I.
Chair: Robert T. Soppelsa,
Washburn University.
Presenters:
1) The Late White Paintings of Kondoa, and
the Question of Ethnicity / Nancy I.
Nooter.
2) A Consideration of the Origins, Evolution,
and Demise of the Do Tradition in the
Bonduku Region (C6te d'Ivoire) /
Raymond A. Silverman, Michigan State
University.
3) Baule Art and the Nature of Change in 20th
Century African Art / Susan Vogel,
Center for African Art.
Discussant: Robert T. Soppelsa,
Washburn University
II. RECENT RESEARCH IN AFRICAN ART II.
Chair: David Binkley,
University of Missouri, Kansas City
& Nelson-Atkins Museum of Art.
Presenters:
1) Why the Difference? Aesthetic Aspects of
Preliminary and Postliminary Male
Initiation Rites at Bafodea, Sierra Leone,
and Afikpo, Nigeria / Simon Ottenberg,
University of Washington.
2) Aro Ikefj Negotiating a Masquerade Festival
/ Eli Bentor, Northwestern University.
3) Raffia Masks and the Art of Eloquence in
Southern Kuba Culture / David Binkley,
University of Missouri, Kansas City and
Nelson- Atkins Museum of Art.
Discussant: To Be Announced.


III. OLD FORMS, NEW SETTINGS:
AFRICAN ARTISTS RESPOND TO PAST
AND PRESENT.
Chair: Barbara Frank,
State University of New York at Stony Brook.
Presenters:
1) Capturing the New: A Generation of
Innovation in Malian Youth Puppet
Masquerade / Mary Jo Arnoldi,
Department of Anthropology,
Smithsonian Institution.
2) Tradition and Experimentation in
Contemporary African Ceramics /
Barbara Frank, SUNY at Stony Brook.
3) Let's Call it a Wrap . and Then Some:
Malagasy Funeral Textiles / Rebecca
Green, Indiana University.
4) Change as Tradition in Akwete Weaving /
Lisa Aronson, Skidmore College.
IV. INTERPRETING IMAGES FROM
AFRICA: HISTORICAL PHOTOGRAPHS
AND THEIR MAKERS.
Chair: Christraud M. Geary,
National Museum of African Art,
Smithsonian Institution
Presenters:
1) Missionaries as Photographers from 1850s to
1914 / Paul Jenkins, Basel Mission.
2) For Fame and Fatherland: Military Men and
Colonial Agents as Photographers in
Cameroon (1900-1915) / Christraud M.
Geary, National Museum of African Art.
3) Picturing Africans: Historical Photographs
from Colonial Senegal / David
Prochaska, University of Illinois.
Discussant: M. Jean Hay,
Boston University.
V. STRUCTURE AND AGENCY IN
AFRICAN ART.
Chair: Joseph Nevadomsky,
California State University, Fullerton.
Presenters:
1) Intentionality and Agency in Mami Wata
Practice in Southern Nigeria / Charles
Gore, SOAS & Joseph Nevadomsky,
California State University, Fullerton.
2) Duala Maritime Arts: Cultural Collision and
Transformation / Rosalinde G. Wilcox,
UCLA.
3) Structure and Agency in Isoko Shrine
Configurations / Phillip M. Peek, Drew
University.
Discussant: Henry Drewal,
University of Wisconsin-Madison.


ACASA Newsletter/ No. 30, April 1991 3









VI. WHAT CONSTITUTES HISTORY IN
AFRICAN ART?
Chair: Patrick McNaughton,
Indiana University.
Presenters:
1) Who Invents Masks Anyway? A Case Study
from the Pende of Zaire / Z. S. Strother,
Yale University.
2) The Bamana and the Komo / Kassim Kone,
Indiana University.
3) Olowo Elewuokun: the Individual as an
Agent of Change / Robin Poynor,
University of Florida.
4) Expansion and Contraction: A Partial
History of Nupe Ndakogboya
Masquerades / Kathy Curnow,
Cleveland State University.

Art at Wisconsin
"Arts in Contemporary Africa," a two-day
symposium scheduled for May 3rd and 4th at
the University of Wisconsin-Madison,
promises music, theatre, film, performance arts
and visual arts. Featuring Georges Collinet
(NPR and Afro Pop World-Wide), Veit
Erlmann (University of Chicago), Sandra
Richards (Northwestern University), Manthia
Diawara (University of Pennsylvania),
Margaret Drewal (Northwestern University),
Rowland Abiodun (Amherst College) and
Freida Tesfagiorgis (University of Wisconsin),
the symposium will make a critical assessment
of the state of the arts and artists in light of
political, economic and social issues in
contemporary African societies. For
information, contact coordinators: Betty Wass,
Associate Director of the African Studies
Program at Wisconsin (608) 262-2380 or
Henry Drewal, Department of Art History -
(608) 263-2340.
From April 18th through the 20th, the
University of Wisconsin-Madison hosted the
"Wisconsin Conference on Afro-American
Studies in the Twenty-First Century."
Participants discussed the methodological and
practical challenges facing Afro-American
studies as they enter a troubled new era of
racial awareness in the academic world. The
conference sought to provide a forum for
discussing the potential benefits and dangers
of approaches emphasizing multi-culturalism,
Afrocentrism and Black Women's Studies, as
well as those grounded in the vocabularies of


deconstruction, Marxism and quantifiable
sociology. One panel on "The Future of
Afro-American Studies" featured: Molefi Kete
Asante, Manning Marable, Bell Hooks, Henry
Louis Gates, and David Driskell. Another
session focused on "Afro-American Art, Music,
Literature and Performance."

1991 International Conference
on Images of Women
A conference on "Images of Women" will take
place at Obafemi Awolowo University, Ile-Ife,
Nigeria from July 3rd through 6th, 1991,
organized by the Ona Artists. Papers are
invited from interested scholars on any of the
following themes: images of women in
sculptural traditions; images of women and
religion; images of women and the verbal art;
female painting traditions; contemporary
female art; women and pottery; women and
textiles; critical perspectives in feminine art;
women and the performing arts; art of female
adornments; women and art education; women
in archaeology; women in architecture;
sociology of women art. The co-ordinator of
the conference requests that letters indicating
willingness to participate along with an
abstract of a paper should be sent by May
31st, 1991 to: The Co-Ordinator, 1991
Conference on Images of Women,
Department of Fine Arts, Obafemi Awolowo
University, Ile-Ife, Oyo State, Nigeria.


Museums in Africa
"What Museums for Africa? Heritage in the
Future" is a international working conference
sponsored by ICOM to be held November
18-23, 1991 in three West African countries-
Benin, Ghana and Togo. More than 100
participants are expected of whom
three-quarters will be museum specialists from
Africa. The participants will attend seven
workshops covering topics such as museum
management and financing, personnel and
training, heritage and contemporary creation,
conservation and exchange of the heritage
within and outside Africa, and the museum as
a tool for development. These encounters will
attempt to define new ways of organizing
exchanges and partnerships through concrete
actions. The proceedings of the conference will
be published and widely distributed, especially
in Africa. Philip Ravenhill and Doran Ross


4 ACASA Newsletter/ No. 30, April 1991









will coordinate North American participation.
For more information, contact Philip at (202)
357-4910 or Doran at (213) 825-4259. Or write
to: ICOM, Maison de l'Unesco, 1 rue Miollis,
75015 Paris, France.

Call for Papers:
College Art Association,
Chicago, February 12-15, 1992:
1. The 'New' World?: Art, History, and
Hegemony in the Americas:
Henry John Drewal is organizing a panel for
the 1992 College Art Association meetings in
Chicago, February 12-15 on the art and history
in the New World, whose theme he
summarizes: "From the 15th century, European
expansion greatly intensified the global
encounters of cultures with radically different
forms and concepts of art and artistic
production. In the Americas, such encounters
involved Europeans, indigenous peoples in the
Americas, and Africans. All three have
contributed to the formulation of distinctive art
histories in the Americas. Research has tended
to emphasize continuities/survivals or to
privilege-the invention or transformation of
artistic traditions-approaches that imply
issues of hegemony and resistance and
therefore have implications for studies of art,
ideology, and cultural encounters generally.
Are these approaches adequate or do the
complex logics of social processes and culture
contact require other conceptual and
methodological frames? Focusing primarily on
peoples indigenous to the Americas and
Africans and their encounters with Europeans
in the New World, and any era between
1492-present, panelists should consider the
historical, social, economic, and political
conditions that have shaped and been shaped
by specific artistic traditions. At the same time,
they should critically examine past and present
research-theories, methods, and
products-and offer suggestions for future
endeavors.
Prospective presenters should contact Henry
Drewal at the University of
Wisconsin-Madison, Department of Art
History, Madison, WI 53706 (until May 21,
1991); or at 340 Diversey, Apt. 1819, Chicago,
IL 60657 (between May 21st and September
1st, 1991).


2. Open Session on African Art
There will be an open session on African art at
the 1992 College Art Association meetings.
Although not organized around a specific
topic, the panel will be a forum for the
exploration of new areas of African art
research-new methodologies, approaches, or
topics. Please submit your proposals by May
1st, 1991 (or as soon as possible thereafter) to
Paula Girshick Ben-Amos, Anthropology
Department, Rawles Hall 108, Indiana
University, Bloomington, IN, 47405.




The First Annual PASALA
Graduate Student Symposium,
April 1991
The first Annual PASALA (Project for the
Advanced Study of Art and Life in Africa)
Graduate Student Symposium was held on
April 13, 1991. The purpose of the symposium
was to provide students with an opportunity to
present and discuss their research in a scholarly
forum. The papers described how objects reflect
ideas about the wilderness. This topic
complements the exhibition "Art from the
Wilderness" currently on display at the
University of University of Iowa Museum of Art.
The following papers were selected for
presentation:
Out of the Wilderness: Iconoclasm and
Change among the Sala Mpasu of
Zaire / Elisabeth Cameron, University
of California Los Angeles.
Structuring the Unknown: Manifestations
of the Ngbe Society in Ejagham Visual
Arts / Christa Clarke, University of
Maryland
Rorke's Drift/Shiyani, High Art in a
South African Homeland / John Peffer,
Columbia University.
South Africa's Black Artistic Migration /
Indra Caudle, University of Maryland.
The Modified Wilderness: African
Landscapes / Gary Van Wyk,
Columbia University.


ACASA Newsletter / No. 30, April 1991 5









Art as Symbols of Political Power: the
Regalia of an Akan Chief / Ofori
Akyea, The University of Iowa.
The "Problem" of the Pare Half-Man: A
Spirit Sculpture from North-Eastern
Tanzania / Michael Matter, The
University of Iowa.
The Affinity between Karagwe Kings and
Smithing: Iron Cattle / Julia Risser,
The University of Iowa.
Culture/Nature as Represented by the
Kasiymaliro Masking Form / Laurel
Faulkner, The University of Antioch.

College Art Association,
Washington, DC, February 1990
In the CAA panel "Style in Art and
Technology: Pre-Columbian America and
Pre-Colonial Africa," chaired by Heather
Lechtman of Massachusetts Institute of
Technology, two papers of interest to
Africanists were presented. Terry Childs of the
University of Florida spoke on
"Transformations at the Forge: A Legacy of
Metals Technology in Southeastern Zaire."
William J. Dewey of the University of Iowa
presented "Blacksmiths and Kings: Forging
Symbolic meaning in Luba Metal Arts." Both
papers focused on objects of iron and copper
produced in the Upemba Depression
(southeastern ZaYre) over the last millennium,
which have been utilized as symbols of
embodied power and prestige by political and
religious leaders. Childs demonstrated how
laboratory studies of the iron and copper
objects have allowed a reconstruction of their
manufacturing processes and suggested
hypotheses concerning the cultural forces that
patterned the technological behavior. The
metallurgical techniques involved processes of
slow build-up and progressive transformation
that seem to have reflected a basic social
concern for the growth and maturation of a
productive individual and the perpetuation of
society in general. Dewey focused on a
particular object type, ornamental nails or
hairpins, that decorated the elaborate hairdos
of ancient as well as more recent royalty and
also appeared on ceremonial axes and Luba
figurative sculpture. He noted, among other
things, that because the pins have the same
name as the conical hammer or anvil used by


blacksmiths, the hairpin/nails function as more
than mere ornamentation and symbolically link
the interrelated powers of royalty and
blacksmiths.


Monni Adams on College Art
Association meetings:
Monni Adams sends us these reflections on the
recent CAA meetings: African art historians
were not out in force on the program of the
recent College Art Association meetings in
Washington, D. C. There was no one panel
devoted to the subject, although there were
two full panels on African Diaspora art: one
chaired by Robert F. Thompson on "Face of
the Gods," which I heard from several sources
was stimulating, especially the paper by Grey
Gundaker on "Road and Mirror: Sacred Trees
in African-American Yard-Shows," and one
chaired by Philip M. Jones of SUNY-Fredonia
on "Transcultural Icons and Aesthetics in
African Diaspora Media Art," with interesting
titles like "No More Mammy Stories: An
Overview of Black Women Filmmakers" and
"Sign Reading at the Crossroads of West
African Mythology." There was one panel fully
devoted to Pre-Columbian art.
The Africanist art historians were, perhaps
inspired by urgings at ACASA meetings,
interspersed into theme panels along with their
art historian colleagues. In a panel on
"Identity, Society and the Hand-Made Object,"
I heard Rachel Hoffman, graduate student at
UCLA, discuss "The Illusion of Tradition:
Identity and Authenticity in Dogon Sculpture,"
following talks on Roman sculpture, Venetian
mosaics and. Trecento goldsmiths. The shock of
difference from these painstakingly
documentary analyses of ancient works was
directly related, I felt, to seeing and
considering living artists at work. Of course,
now that Africanists are willing to sit in full
view on the stage of art history, the trick is to
get the art historians not to go out for an
intermission.
William Dewey gave a paper in a
well-planned and well-attended panel on
"Style in Art and Technology" organized by
Heather Lechtman of MIT, who had
sponsored the field research of panel
members, two in Ecuador and two in
southeastern Zaire, with a view to exploring


6 ACASA Newsletter/ No. 30, April 1991









the relation between choices made in technical
procedures, style and context. Just as an aside,
I would note that the similiarity between the
10th-llth century Upema basin and 19th
century Luba iron ornaments was
impressively demonstrated. Even the panel
held at the National Museum of African Art
mixed domains: one paper on gourds by
Maria Berns, the other on Panama and
prehistoric arts.
One of the high points of the conference,
especially for Africanists, was the award to
Patricia Leighton (author of Re-ordering the
Universe: Picasso and Anarchism, 1989) for the
best article in the 1990 Art Bulletin. In the
article: "The White Peril and L'art negre:
Picasso, Primitivism and Anti-colonialism" (Art
Bulletin 72 (1) December 1990), Leighton
argued that the preference of some modernist
artists of the early 20th century for "primitive"
cultures was as much an act of social criticism
as a search for a new art.
In view of this yawning canyon of absences, I
offer to toss in a few memory stone in the form
of words, words, words (faithfully copied from
utterances) that are the signs of current art
history discourse and that you will undoubtedly
want to incorporate into your next article or
lecture: the gaze, paradox, disjunctive, negotiate,
interstitial, agency, erotic, trope, mediated,
inscribed, commodity, exchange, fetishized,
sexual, gender, constrained, contradiction,
articulated, reflexive, recontextualize,
representations, value creation, disavowal,
structure, ambivalence, loss, difference,
dispossession, construe, social space, constitute,
configurate, praxis. Round these off with a few
gerunds: exhibiting culture, refiguring woman,
making their mark, etc., -ing.

Conference on women:
"Queens, Queen Mothers,
Priestesses and Power"
A conference on "Queens, Queen Mothers,
Priestesses and Power. Case Studies in African
Gender" was held April 8th through 10th, 1991
in New York City. Organized by the Program
in Museum Studies at New York University,
the conference brought together
anthropologists, historians and art historians of


women's experience who offered comparative
perspectives on gender in Africa. Flora Kaplan
was the conference coordinator.
Monni Adams, who attended, offers some
perspectives: The conference was impressive in
scope and outreach. Director of the Museum
Program, Professor Flora Kaplan invited thirty
anthropologists, historians and art historians-
eight from Africa-to give papers (or comment
on them) under three broad rubrics concerned
with women's power: Sources and Routes,
Constraints and Limitations, and Symbolic
Representations: Images and Realities. In
addition, the conference was organized to
reach different publics: the first night at the
Schomburg Center in Harlem; the remaining
topics during all-day and evening sessions at
New York University, and on the third
evening, a summing up uptown at the New
York Academy of Sciences. Some final sessions
devoted to publication plans were restricted to
participants and invited contributors only.
This was an unmistakable Event. The
President-elect of NYU and the Nigerian
Ambassador to the US offered congratulations.
Panels attracted two to three hundred patient
listeners. In Harlem and uptown sessions,
African-American Queen Mothers and
priestesses emerged from the audience to urge
their participation in this kind of event, and
one or two voices staked a claim for the black
African origin of civilisation. Although it is not
unusual for U.S. scholars to deliver their
papers at meetings before their African
counterparts, there was a special excitement in
bringing their research on the topic of African
women before a considerable body of African
women, which included at times the wife of
the Nigerian Ambassador to the U.S. and the
wife of the Nigerian Consul-General, both of
whom contributed to discussions. The papers
were remarkably free of jargon or abstruse
theoretical arguments, but altogether as Sandra
Barnes summarized they raised and fleshed
out the major questions about women's power.
In conclusion, Professor Bolanle Awe of the
Institute of African Studies, Ibadan University
and the head of the Nigerian Commission on
Women, emphasized the need to research the
strategies women use to achieve power.


ACASA Newsletter / No. 30, April 1991 7












1. "South African Mail: Messages from
Inside," an exhibition reflecting the life
circumstances, hopes dreams of over 200 South
African women of all races, is being made
available to museums, galleries, and cultural
organizations. The exhibition includes 400
unique postcard-sized works-paintings,
photographs, drawings, prints, beadwork,
collages, reliefs, and written statements.
Featured on the PBS program "South African
Now" and first shown at Soho 20 Gallery,
New York City in February 1990, "South
African Mail" was curated by New York artist
Janet Goldner. In compliance with the cultural
boycott, the exhibition seeks to promote the
culture of liberation by presenting the current
life circumstances of progressive women in
South Africa, and their hopes and dreams for
future South Africa which is democratic and
nonracial. The exhibition is a collaboration
between American and South African artists.
All contributions have signed a pledge against
apartheid.
Janet Goldner, who traveled to South Africa in
November 1989 to prepare for the exhibition,
is available for a slide lecture. An exhibition
catalogue is also available.
The exhibition has been seen at the following
U.S. locations: Soho 20 Gallery, New York
City, February 1990; University of the Arts,
Philadelphia, March 1990; Franklin and
Marshall College, Lancaster, PA, September
1990; Mt. Mercy College, Cedar Rapids, Iowa,
October, 1990; Goddard-Riverside Community
Center, New York, November/December 1990;
Georgia Southern Univeristy, Statesboro, GA,
January, 1991; and Boston Public Library,
sponsored by Fund for a Free South Africa,
March 1991.
For further information contact: Janet Goldner,
52 Warren Street, New York, NY 10007; (212)
766-1910 or Soho 20 Gallery, 469 Broome
Street, New York, NY 10013; (212) 226-4167.

2. "Songs of Power, Songs of Praise" -
Modern Visions from Haiti, Nigeria, and
Papua New Guinea, an exhibition curated by
Jean Kennedy, is available for future
exhibition. First successfully shown at San Jose


State University in the fall of 1990, the
exhibition represents twenty artists with works
in a variety of mediums.
According to Jean Kennedy, "The exhibition
has been assembled to demonstrate a number
of profound concepts out of which the rich
imagery of these artists has developed. This
contextual structure with accompanying
documentation and photographs illustrates
philosophical concepts and aesthetic principles
inherent in each culture. While the art of each
geographical group is distinct, present social
and cultural horizons are realities which they
hold in common, as are certain philosophical
tenents such as moral strength, integrity, and
the accumulation of divine power and beauty.
In emphasizing a philosophical basis for
expression, it is hoped that this exhibition will
underwrite respect for, and provide a cultural
link to, the communities of which these artists
are an important part."
This collection includes 70-100 works (200
running feet): paintings, tapestries (batik,
applique, embroidery) graphics (etchings,
monoprints, subtractive prints), and metal
sculptures. Biographies and photographs of the
artists, information mounted for display (a
curator's statement and a statement for each
group of works, as well as a series of praise
poems) and catalog text are also included.
For further information contact: Jean Kennedy,
996 Oak Street, San Francisco, CA 94117, (415)
861-6708.


More Yoruba ...
Hot on the heels of "Yoruba: Nine
Centuries ... .," we now have a British
response in the shape of "Yoruba: A
Celebration of African Art" at the Homiman
Museum, Forest Hill, London. Organized by
Keith Nicklin, Keeper of Ethnography at the
Horniman, the show opened in March 1991
and will run until the spring of 1992. It
encompasses contemporary Yoruba art it
even has a contemporary portrait of Nicklin -
as well as the more familiar kinds of objects. A
specially commissioned work by painter
Ademola Akintola is showcased. A catalogue
accompanies the exhibition. West Africa (March
25-31, 1991) carries a short feature about the
exhibition.


8 ACASA Newsletter / No. 30, April 1991










Fourth Bienniale de l'Art
Bantu contemporain
The fourth biennale of contemporary Bantu art
will be held in Malabo, Equatorial Guinea in
July 1991. These exhibitions are organized and
sponsored by CICIBA in Libreville, and there
are catalogues available. For information:
CICIBA, B.P. 770, Libreville, Gabon.


NEWSROUNDIU


Kush Museum of African and
African-American Art
(Buffalo, NY):
The Kush Museum of African and African
American Art is a new institution established
in April 1990 by the Langston Hughes
Institute, Inc. of Buffalo, New York through
grants from the State National Heritage Trust
and other foundations. The Kush Museum is
temporarily located in the Langston Hughes
Cultural Center at 25 High Street in downtown
Buffalo. The Langston Hughes Institute is a
non-profit organization that has existed for
twenty years, providing a variety of cultural,
ethnic, and educational services to the Buffalo
community and the western New York area.
The mission of the Kush Museum is to house
and display African artifacts and disseminate
information on the African experience from the
antiquity to the present. The regional concern
is for art produced by African and
African-American artists of the western New
York area. In addition, the museum project
includes establishing a research center, a
library/film archive and a performing art
center. An important component of the Kush
Museum program is devoted to the training
and development of a cadre of museum
professionals with African and
African-American perspectives, capable of
staffing the Kush Museum and similar
institutions.
The museum was established by several
concerned Buffalo scholars, among whom Dr.
Keith Baird and Dr. Mary Twining were a
major driving force. The current Project
Director is Dr. Salah Hassan of the Art History
Department, SUNY at Buffalo.


For further information on events and
programs, contact: The Kush Museum,
Langston Hughes Institute, 25 High Street,
Buffalo, NY 14203; (716) 881-3314.

News from the University of Iowa
Chris Roy who is on sabbatical for the spring
semester has spent January and February at
the University of Ibadan, Nigeria, where the
University of Iowa has a faculty exchange
program. While there, Chris taught about the
art of Burkina Faso and conducted research on
pottery traditions with University of Iowa
colleague, Chuck Hindes, Professor of Ceramics.
Henry Drewal gave a lecture at the University
of Iowa Museum of Art, April 14, 1991 on
"The River that Never Rests: Yoruba Art in
Africa and the Americas."
University of Iowa graduate students doing
dissertation fieldwork: Emily Hanna-Vergara,
who is conducting field research in Burkina
Faso, is studying women's roles in masquerade
performances with emphasis on the cult of Do.
Manuel Jordan is in Angola researching
Chokwe divination art. Andrea Smith has
returned from Safane, Burkina Faso where she
was investigating the significance of patterning
in Dafing weaving. Julia Risser will leave for
Burkina Faso at the end of May to study
continuity and change in large scale public
architecture, particularly palaces and mosques.
She is specifically interested in earth-built
architecture.

Michigan State University -
Ethiopian exchange program
Michigan State University (MSU) Museum and
the Ethnographic Museum of the Institute of
Ethiopian Studies, Addis Ababa University,
have been selected to participate as partners in
the AAM/ICOM-sponsored program,
International Partnership among Museums. In
March, MSU Museum curator Raymond
Silverman traveled to Addis Ababa for six
weeks to work in the Ethnographic Museum;
subsequently, Dr. Girma Kidane, the
Ethnographic Museum's chief curator, will
visit East Lansing for a six-week residency at
the MSU Museum. This collaboration will
facilitate planning an exhibition dealing with
the cultural history of Ethiopia which the MSU
Museum (in association with the Fowler


ACASA Newsletter / No.30, April 1991 9









Museum of Cultural History, UCLA) is
organizing for 1994-1995. It is anticipated that
the exchange will provide a sound foundation
on which to build a long term linkage between
the two institutions.

News from the National Museum of
African Art Library, Washington, DC
The catalog of the National Museum of
African Art Library is to be published by G. K.
Hall in Boston in August 1991. The three-
volume set will be listed for around $500.00.
"Africa Illustrated: Fantasy and Reality Before
1900," a forthcoming exhibition of illustrated
books from the collections of the Smithsonian
Institution Libraries will open on June 5, 1991
at the National Museum of African Art and
remain on view until November 10, 1991.
Primarily from the National Museum of
African Art Library, the illustrated books
reveal how outsiders viewed Africa and how
their perceptions of Africa and Africans were
mirrored in the published images. The
exhibition and accompanying brochure were
put together by Margarita Dobert, Janet
Stanley and Bryna Freyer.

Benin art to the Met
The New York Times of February 26, 1991
carried this news item by Eleanor Blau: "More
than 150 bronze and carved-ivory sculptures
from Benin . have been given to the
Metropolitan Museum of Art from the
collection of Klaus G. and Amelia Perls of
New York. The museum says it is the most
important gift of African art since the
establishment of its Michael C. Rockefeller
Wing in the late 1970s. The objects, which
include bronze figures, elephant tusks carved
with royal figures, musical instruments, small
decorative masks, furniture and jewelry, will
be exhibited next January. .. The gift makes
the museum's collection of Benin art the
second most comprehensive in the United
States, after the Field Museum of Natural
History in Chicago, and a leading collection
worldwide, the museum said, adding that the
two most extensive collections are in the
Museum of Mankind in London and the
Museum fur V61kerkunde in Berlin ... "


African art in Paris
Since 1974 the Ecole du Louvre has included
in its curriculum on art history a course on
African art. Initially it was taught by Colette
Noll, who was then the curator of the
DIpartement de l'Afrique Noire at the Musde
des arts africaines et oc6aniens in Paris. Since
1983, African art has alternated with Pacific
art, the latter taught by Jean Guiart, professor
at the Museum of Natural History. Until 1986
African art was taught by Francine N'Diaye,
head of the D1partement de l'Afrique Noire at
the Mus6e de l'Homme; since then the
responsibility has fallen to Marie-Noel
Verger-Fivre and Mathilde de Lataillade, who
hold research appointments at the Ecole du
Louvre. In the 1989-1990 year, African and
Pacific art will also be included within in the
general course on art history in the form of
five lectures by Jean Polet and Roger Boulay,
the heads respectively of the Arts of Africa
and Oceania.
At the University of Paris I (Sorbonne), in the
section "History of Art and Archaeology"
during the past two academic years, Louis
Perrois, Director of Research at ORSTOM and
Claude-Francois Baudez, Director of Research
at National Research, organized a series of
lectures entitled "The Anthropology of Art" by
various specialists in the arts of Oceania,
Americas and Africa. The papers have been
published in two volumes: Anthropologie de
l'art: formes et significations, Fascicule I
(1987-88) and II (1988-89).

Also in Paris: Musee des Arts
d'Afrique et d'Oceanie
On October 9th, 1990, the former Mus6e
national des Arts africains et oc6aniens
officially became the twelfth department of the
Mus6es de France, thus joining the seven
departments of the Louvre and four other
museums external to the Louvre. Henri
Marchal remains the director, or Conservateur
General.
To advise the Directeur des Mus6es de France,
a twelve member Conseil Scientifique has been
named. Its members include:
three French curators-
Dominique Bozo, Director of the Mus6e
national d'art moderne


10 ACASA Newsletter/ No. 30, April 1991









Etienne F6au, curator in charge of Africa
and Oceania at the Mus6e d'Angoulme
Germain Viatte, Chef de l'Inspection
g6nerale des musees classes et
controls;
three foreign curators-
Roger Bedaux, Curator of the
Ethnographic Museum in Leiden, The
Netherlands.
Christian Kaufmann, Curator, Museum of
Ethnography, Basel, Switzerland
Philip Ravenhill, Chief Curator, National
Museum of African Art, United States;
three French professors-
Daniel de Coppet, Director of Oceanic
studies, Ecole des Hautes Etudes en
Sciences Sociales
Jose Garanger, professor, Oceania,
University de Paris I
Jean Louis Paudrat, professor of African
art, Universite de Paris I;
and three persons of distinction-
Jean-Baptise Kieth6ga, archaeologist,
University d'Ouagadougou
Alpha Oumar Konar6, President of ICOM
Pierre de Maret, Professor, Universit6 libre
de Bruxelles.
The counsel will advise on acquisition policy,
exhibition programs, training and research,
and exchange programs.
The museum's former departments of the
"Mahgreb" and of "Black Africa" have been
merged into one department of "Africa"
headed by Jean Polet, Charg6 de la section.
Contemporary art from Africa and the Pacific
will be exhibited and acquired by the museum.
A new research library is being created,
bringing together the collections of three other
libraries.
The museum's address is: Muske des Arts
d'Afrique et d'Oceanie, 293, avenue
Daumesnil, Paris 75012. Telephone:
33-1-43.43.14.54. FAX: 33-1-43.43.27.53.


New Director of Nacional Museu
de Arte, Maputo
The Nacional Museu de Arte in Maputo,
Mozambique is one of the newly established
museums in Mozambique. The current
director, Mr. Gilberto Cossa, a graphic artist
by training, was in the United States in
February 1991 under the auspices of the USIS
International Visitor's Program. Among the
stops on his itinerary were the National
Museum of African Art and the University of
Iowa. The Nacional Museu de Arte is one of
the recipients of publications on ACASA's
distribution program. The address is: C.P.
1403, Maputo, Mocambique.

Society of Nigerian Artists
The Society of Nigerian Artists (SNA) is 25
years old. SNA celebrated its Silver Jubilee in
November 1989 with the exhibition "Creative
Dialogue" and a symposium on "Art as an
Instrument of Social Change: Implications of
National Cultural Policy for Nigeria." The
current president of the SNA is Dr. Dele
Jegede, graduate of Indiana University, now
the Acting Director of the Centre for Nigerian
Cultural Studies at the University of Lagos.
Jegede has edited the publication Creative
Dialogue: SNA at 25, a copy of which is
available at the National Museum of African
Art Library. Others interested in acquiring the
catalogue should contact: Dr. Dele Jegede,
Centre for Nigerian Cultural Studies,
University of Lagos, Yaba, Lagos, Nigeria.
The symposium papers published in Crveive
Dialogue are contributed by Solomon
Wangboje, J. B. Akolo, R. B. Fatuyi. B. K.
Olorunkooba, S. A. Adetoro, Babatunde Lawal,
Ola Oloidi, Ademola Adejumo, Toyin
Oguntona, Dele Jegede and Chike Aniakor.

African Artifacts in Australia;
A Survey of Major Public Collections
Dr. David Dorward of the African Research
Institute, La Trobe University (Australia) has
received a grant from the Australian Grants
Council to document the holdings of African
artifacts in the major public collections in
Australia. It is intended that the information,
including provenance, will eventually be
available on video disk for use by museums,
historians and art historians within Australia


ACASA Newsletter/ No. 30, April 1991 11









and overseas. In the process, it is anticipated
that considerable information will come to
light regarding Australian-African links and
the identity of the collectors. For more
information contact: David Dorward, African
Research Institute, La Trobe University,
Bundoora, Victoria 3083, Australia.


PUBlnIffiXTIO^


Request for Contributing Authors for
New Architectural Encyclopedia
Basil Blackwell of Oxford is planning to
publish a two-volume Encyclopedia of
Vernacular Architecture of the World (the first of
its kind). The editors are seeking contributions
from Africanist scholars with expertize in the
field. The culture areas in Africa for which
contributions are being sought are as follows:
Region IX. Sub-Saharan Africa
1. Colonial Africa
2. East and South Bantu
3. Equatorial and Central Bantu
4. Ethiopia and the Horn
5. Guinea Coast
6. Madagascar and Islands
7. Nigerian Plateau
8. Sahara and Sahel
9. Savanna Grasslands
10. Sudan and Upper Nile
11. Zanj, East African Coast
Each of these regions is considered a Main
Entry and the text length should be from
1000-2000 words. Each Main Entry will have
from six to ten Secondary Entries following it,
each consisting of from 250-500 words.
Contributors will be reimbursed on a pro-
rated basis. For further information please
contact Paul Oliver, Editor, Shelter &
Settlements Unit, School of Architecture,
Oxford Polytechnic, Oxford OX3 OBP, UK, or
Labelle Prussin, Consulting Editor, at 33-27
Utopia Parkway, Flushing NY 11358 as soon
as possible.

Macmillan Dictionary of Art:
Reminder to Contributing Authors
ACASA members who have been
commissioned to write articles for the
Macmillan Dictionary of Art are reminded to
honor their deadlines. We want to assure that


African art is well and thoroughly represented
in this landmark reference work. ACASA
member Dunja Hersak, African editor of
Macmillan Dictionary of Art, has been an
articulate and tireless spokesperson for African
art within the editorial palavers at the
Macmillan.


INEWJOURNALSI


Announcing an important new journal
Third Text: Third World Perspectives on
Contemporary Art and Culture. Kala Press, 303
Finchley Road, London NW3 6DT. quarterly.
Founded in 1987 under the editorship of
Pakistani sculptor and culture theorist Rasheed
Araeen as a successor to Black Phoenix which
folded in 1979, Third Text has, in its young life,
already taken center stage in the discourse of
20th century non-western cultures. In taking
the name from the Eurocentric creation, "Third
World," the journal demonstrates the age old
ability of these cultures to turn marginal space
into affirmative arena, effectively edging the
dominion culture to the periphery. Third Text
provides a much-needed forum for internal
dialogue outside the categories of colonialist
scholarship, tackling questions of common
concern with remarkable clarity and depth. It
is sharp- edged, its editorial standards are
impressive, and its line-up of contributors
count some of the finest names in Third World
and non-European art and scholarship: Ali
Mazrui, Edward Said, Osvaldo Pa, Howardina
Pindell, Amon Saakana, among others. In its
topical essays, reviews, interviews and artists'
portfolios covering Africa, Latin-America,
African-America, and Asia, Third Text keeps
within non-European cultural scholarship a
most appropriate and deserved tradition of
tough-mindedness and vigour.
Annual subscription: institutional $70 / 30;
individual $45 / 16.

Another new magazine from
Zimbabwe: The Artist
A monthly magazine on the contemporary arts
in Zimbabwe was launched in January 1990 by
Visual Publications of Harare. The Artist is
geared to a general readership as a vehicle for
promoting local art and artists. Although the


12 ACASA Newsletter/ No. 30, April 1991









content is predominantly on artists
(overwhelmingly stone sculptors), exhibitions,
and art workshops, other artistic topics get
some attention-current cinema, theatre,
musicians & recordings. Address: Visual
Publications, P. 0. Box 66286, Kopje, Harare,
Zimbabwe. Annual subscription: Z$8.40.

Two new journals from Paris:
Primitifs and La Revue Noire
Primitifs: Art Tribal, Art Moderne, a glossy
bi-monthly devoted to the influences and
interplay between 20th century European art
and African art, began publication in 1990
with the November-December issue. The first
number had articles on Derain, the Parisian
collection of Michele Yoyotte, the museum in
Turin, and the Czech artist Franta. Address:
29, rue Saint-Amand, 75015 Paris. ISSN
1154-2780. Annual subscription: $60.00.
A new quarterly international journal
scheduled to appear early in 1991, La Revue
Noire will be devoted to contemporary African
arts in order to give visibility and recognition
to new creative energies and talents from the
continent. La Revue Noire promises to be a
platform for trends and currents, to encourage
dialogue between African artists, artists in the
Diaspora, and all those interested in the arts
from Africa, and to provide a counterweight to
officially sanctioned art. Although we have not
yet examined this new journal, it seems to be
one worth keeping your eye on. Address: 8
rue Cels, 75014 Paris, France. Annual
subscription: 340 FF (in France); 400 FF
(elsewhere in Europe and in Africa).


s OO C *AO

Major new catalogue on modern East
African art:
For several years now the Museum fir
Vo1kerkunde in Frankfurt has been steadily
and systematically collecting works of modern
African art. Dr. Johanna Agthe has now
published a hefty catalogue of 200 works of
East African artists from the Frankfurt
collection entitled Wegzeichen: Kunst aus
Ostafrika, 1974-1989 = Signs: Art of East Africa,
1974-1989. The text (in English and German)
includes interviews with several of the artists;


many of their works are reproduced in color.
The list price is DM 58. Write: Museum fiir
Vdlkerkunde, Schaumainkai 29, D-6000
Frankfurt am Main 70, Federal Republic of
Germany.

Noteworthy new books from Africa:
1. Kenyan pots and potters / edited by Jane
Barbour and Simiyu Wandibba. Nairobi:
Oxford University Press, in association with
the Kenya Museum Society, 1989. 130pp. illus.
This book looks at archaeological pottery
as well as contemporary pottery traditions
across Kenya, some of which are dying out.
The broad focus includes not only the
technology and styles of pottery, but also
the social and economic contexts of its
manufacture, distribution and use.
Robert Soper, an archaeologist, writes
the overview chapter on the "History of
pottery in Kenya," in which he discusses
the value of pottery as a cultural index in
archaeological contexts and maps out the
prehistoric pottery traditions neolithicc, Iron
Age) so far identified in Kenya. Eight
subsequent chapters discuss particular
regional or ethnic pottery traditions: Luo,
Western Bantu (Avalogoli, Babukusu),
Southern Nilotic (Pokot, Endo, Okiek),
Eastern Nilotic (11 Chamus, Dorobo),
Central Bantu (Agikuyu, Akamba), Eastern
Bantu (Adavida), Coastal Bantu (Waswahili)
and Somali. Contributors are mainly
scholars who have worked in Kenya; they
include: Jean Brown, Ingrid Herbich,
Michael Dietler, Alice Welbourn, Corinne
Kratz, Geoffrey Carfield, Richard Wilding,
Lois Rank and the two editors.
Attractively printed with clear line
drawings and reasonably good photographs
(many taken from the journal Azania).
2. Spiro, Lesley. Gerard Sekoto: unsevered ties;
[exhibition held at the Johannesburg Art
Gallery from January 11, 1989-October 2,
1990]. Johannesburg: Johannesburg Art Gallery,
1989. 99pp. illus. (color), bibliog.
Sekoto was given a long overdue
retrospective exhibition at the Johannesburg
Art Gallery in 1989. An exile in Paris for
four decades has made Sekoto something of
a "mythical figure" in South Africa, but his


ACASA Newsletter/ No. 30, April 1991









pioneering role in modern South African art
is undeniable.
Piecing together the life of Sekoto from
primary sources and interviews, Lesley
Spiro builds the foundation of Sekoto's
biography from his birth in 1913 in the
Transvaal. Perhaps his most creative,
productive and ultimately influential years
were those spent in Sophiatown and
elsewhere in Johannesburg and later Cape
Town areas in the late 1930s and 1940s. His
paintings from this period provide a
window on township life, as he
experimented in oils, color, shadow and
composition; he also began exhibiting at
this time. In 1947 he left for Paris. During
his long Paris stay-he lives there still-he
continued to draw upon South African
subjects and rework earlier themes. This
catalog is a worthy testimony and tribute to
the renewed interest in Sekoto coming as it
does toward the end of his life. There were
135 works in the exhibition. Well
illustrated; thorough bibliography.
3. Land and People of Nigeria: Rivers State /
edited by E. J. Alagoa and Tekena N. Tamuno.
[Port Harcourt]: Riverside Communications,
1989. 253pp. softcover. [Price: $25 plus $1.50
postage and handling. Order through: Lisa
Aronson, Department of Art, Skidmore
College, Saratoga Springs, NY 12866].
Contains 28 scholarly articles divided
according to the following topics: The
Natural Environment, The Human
Environment, Culture (including the arts),
History, Politics and Government, The
Economy, Social Development.

Announcing a major new publication
on museum terminology:
The Museum Documentation Association
(MDA) is pleased to announce the publication
of Terminology for museums, the proceedings of its
second Conference held in Cambridge in 1988.
Published with the support of The Getty Grant
Program, the volume includes nearly 100
authoritative chapters from 90 authors
covering all aspects of museum terminology.
Details of international, national and
institutional initiatives are followed by
extensive sections on practical systems for
controlling personal names, geographic names,


object identification and description, and
conservation work. The sections on different
object disciplines include fully illustrated
chapters about the main classification schemes
used in museums. The one chapter dealing
specifically with African art is by Janet Stanley
("African material culture and the Art and
Architecture Thesaurus: challenges to the
AAT"). The book also includes an extensive list
primary sources and a full bibliography.
Copies are available from the MDA at $50.00.
For further details or to order a copy, please
contact The Museum Doctumentation
Association, 347 Cherry Hinton Road,
Cambridge CB1 4DH United Kingdom.
Telephone: +44 223 242848, Fax: +44 233 213575.


EIBLB NOTS


Film-maker Hans Schomburgk in Togo
The April 8, 1991 issue of the New Yorker
carries a long feature article by Caroline
Alexander (author of In the Footsteps of Mary
Kingsley) on German film-maker Hans
Schomburgk, who filmed in Togoland in 1913
making documentaries and one feature film,
"The White Goddess of Wangora." The small
film expedition, which traveled to the far
northern regions of Togoland, included the
erstwhile actress Meg Gehrts, who later wrote
the book A Camera Actress in the Wilds of
Togoland (London: Seeley, Service, 1915). One
of the several films that came out of this
expedition was the one that documented
iron-making in Banjeli, some footage of which
was used by Candice Goucher, Carlyn
Saltman, and Eugenia Herbert in their 1986
film, "The Blooms of Banjeli." Schomburgk,
who also filmed in Liberia in 1922, achieved
some fame back in Germany as a
"film-explorer," but fell into obscurity in later
life. He died in 1967. Alexander has done a
fascinating piece of detective work in narrating
this pre-World War I Togo expedition.

"Mister Johnson"
Joyce Cary's 1939 novel Mister Johnson has
been made into a movie starring Nigerian
actor Maynard Eziashi in the title role. Set in
Northern Nigeria during the colonial period,
the story is based on Cary's real-life


14 ACASA Newsletter/No. 30, April 1991









experiences as an Assistant District Officer
near Bussa; central to the story is the eternal
road building that obsessed British colonials.
Directed by Bruce Beresford ("Breaker Morant"
and "Driving Miss Daisy") and screenplay by
novelist William Boyd (A Good Man in Africa
and The Ice Cream War), the film opened in
New York City in April. Check your local film
listings.


Musical Chairs
Professor Roy Sieber has abandoned his chair
in Bloomington this spring for one in New
York. During the spring semester, he is serving
as the Meyer Shapiro University Professor of
Fine Art at Columbia University where he is
teaching a seminar on "Arts, Crafts &
Technology." He shuttles between New York
and Washington where he keeps in touch with
events at the National Museum of African Art
home base. His East Coast peregrinations this
spring also included a southern detour to
Miami where he spoke to the Tribal Art
Society on the subject of collecting. Meanwhile,
Dr. Patrick McNaughton has also relinquished
temporarily his chair in Bloomington for one
at the National Museum of African Art in his
capacity as Senior Fellow; Pat's tenure at the
Museum is for one year from March 1991.
Who's minding the shop in Bloomington?

New Faculty at Wisconsin
Henry John Drewal was appointed
Evjue-Bascom Professor of Art History by the
University of Wisconsin Board of Regents and
joined the faculty in January 1991. He has a
joint appointment in the Departments of Art
History and Afro-American Studies, building
an art history program that meets the needs
of both departments at a graduate level.
Henry joins Dr. Freida Tesfagiorgis of the
Department of Afro-American Studies, who
specializes in contemporary African and
African-American Art.


AFRIAN STUIE


IPEOPLEf


ACASA Newsletter / No. 30, April 1991 15


New dates for ASA in St. Louis:
The annual meetings of the African Studies
Association in St. Louis will be held from
Saturday, November 23rd through Tuesday,
November 26th at the Adam's Mark hotel.
This is a change of both hotel venue and
dates. Note these changes on your calendars.
The Akan Studies Council (ASC),
founded in 1988, is an international,
multi-disciplinary organization of scholars
interested in promoting the study of Akan
culture. (For the purposes of the association,
the term Akan is used in its widest sense, that
is, covering all groups who consider
themselves to be part of the Akan culture area
on both sides of the C6te d'Ivoire- Ghana
border). The Council was established in order
to foster an exchange of ideas among scholars
working in C6te d'Ivoire and Ghana. The ASC
publishes a newsletter twice a year, spring and
fall, which includes information about current
research, recent publications, a list of members,
and the analysis of the state-of-the-field of a
particular discipline; previous issues have
included overviews of history and archaeology.
Anyone who interested in Akan studies may
join. Annual dues are $5.00. For more
information contact: Ray Silverman, Art
Department, Michigan State University, East
Lansing, MI 48824.

From ASA News:
Africans resident in Africa can have access to
papers presented at the annual meetings of the
African Studies Association (ASA) free of
charge through PADIS, the Pan-African
Documentation and Information Service. Write
to PADIS and request lists of paper titles;
copies of individual papers may then be
obtained without charge. Their address:
PADIS/ENECA, P. O. Box 3001, Addis Ababa,
Ethiopia.
The ASA offers museums and universities
distribution services for African art catalqs or
other publications on Africa. A listing wih the
ASA will be advertised as part of ASAs
catalog of publications, which is disributd
annually to more than 4,000 individual and
institutions with an interest in African sdies.










It will also be marketed at one or more
academic meetings each year. For details,
contact: Dr. Edna Bay, Executive Secretary,
ASA, Credit Union Building, Emory
University, Atlanta, GA 30322. (404) 329-6410.

End Note
The editors would like to thank all ACASA
members and others who submitted news
items, in particular: Monni Adams, Paula
Girshick Ben-Amos, David Binkley, Bill Dewey,


Henry Drewal, Janet Goldner, Salah Hassan,
Jean Kennedy, Olu Oguibe, Libby Prussin,
Philip Ravenhill, Ray Silverman. And
particular thanks to Acha Debele, who
designed the cover of the 1991 ACASA
Newsletter.
Next ACASA Newsletter: August 1991. Deadline
for news: July 15, 1991. Send to: Janet Stanley,
National Museum of African Art Library,
Smithsonian Institution, Washington, DC
20560, USA. (202) 357-4875. FAX (202) 357-4879.



Editors
Janet L. Stanley
National Museum of African Art Library
Smithsonian Institution
and


Mary Jo Arnoldi
Department of Anthropology
Smithsonian Institution


16 ACASA Newsletter/ No. 30, April 1991












A Call for Papers and Panels



Ninth Triennial Symposium on African Art


Organized by
The Arts Council of the African Studies Association


hosted by
The University of Iowa School of Art and Art History
The University of Iowa Museum of Art
Iowa City, Iowa

April 23-25, 1992


Deadline for panel proposals, June 15, 1991 (New Deadline)
Deadline for paper proposals, October 1, 1991

Proposals from all disciplines and geographical areas are welcome, and we especially
encourage those that emphasize cross-disciplinary and cross-cultural approaches.

Please submit abstracts to:
Professor Allen F. Roberts, Program Chair
Anthropology Department, McBride Hall
The University of Iowa, Iowa City, IA 52242


ACASA Newsletter / No. 30, April 1991 17




University of Florida Home Page
© 2004 - 2010 University of Florida George A. Smathers Libraries.
All rights reserved.

Acceptable Use, Copyright, and Disclaimer Statement
Last updated October 10, 2010 - Version 2.9.9 - mvs