Title: ACASA newsletter
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00103115/00034
 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
Publication Date: August 1993
Subjects / Keywords: Arts -- Periodicals -- Africa   ( lcsh )
Genre: periodical   ( marcgt )
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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Bibliographic ID: UF00103115
Volume ID: VID00034
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

The Arts Council of the African
Studies Association

No. 37, August 1993


M- M- In

-- r- I -

S ACASA Board of Directors

Simon Ottenberg, President
Maria Berns, Past President
Barbara Frank, Secretary-Treasurer

Directors Retiring at the ASA Meeting 1993
Acha Debela
Margaret Drewal
Janet Stanley

Directors Retiring at the Triennial Symposium 1995
Rowland Abiodun
Freida High-Tesfagiorgis
Nancy Nooter
Raymond Silverman

Membership Information (for residents of North America & Europe):
Barbara Frank, ACASA Secretary-Treasurer
Department of Art
SUNY at Stony Brook
Stony Brook, NY 11794-5400, USA.

Annual dues are $25.00, payable in January..
The ACASA Newsletter is published three times a year: April, August and December.

Membership Information (for residents of Africa & the Caribbean):
Janet Stanley, ACASA Newsletter Editor
National Museum of African Art Library
Smithsonian Institution
Washington, DC 20560, USA.

Cover illustration by Olu Oguibe.



I I --I~

ACASA Newsletter

August 1993

President's Report by Simon Ottenberg
I have now moved to the National Museum of
African Art, Smithsonian Institution, 950
Independence Avenue, SW, Washington, DC,
20560, where I will be through July 1994.
Telephone: (202) 357-4600, extension 237.
Fund Raising. On the last day of the
Seattle ASA meeting I went before the ASA
Board to discuss our activities, as is the usual
practice. I was told that while the Board had
not reached a firm policy as yet, that we were
not to go ahead with a separate fund
raising/endowment plan without its permission,
but that the Board would discuss the matter
further at its spring meeting. The problem was
that the ASA Board did not wish us to
compete with their own Challenge Grant fund
raising activities, particularly since we are in a
close relationships with ASA as a Sponsored
Organization. The ASA Board has now
formalized its policy, which is that we can go
ahead with our own fund raising after the end
of their Challenge Grant, which is December
31, 1993. I am disappointed that we will have
to delay further, but we can spend the time
until then to firm up our planned activities.
The restriction relates to our close
relationships with the ASA, which has brought
us many benefits in other ways, including
some priority for panels at ASA meetings, the
acceptance of two unreviewed panels, free
audio-visual equipment at these meetings, free
space for our business meeting, financial
cooperation and support in bringing African
scholars to the U.S., and so on.
Sponsored Organization Status. Edna Bay,
ASA's Executive Director, has raised another
important issue with us. In order to maintain
our close relationship as a Sponsored
Organization of the ASA, we are required, by
its rules, that 66 percent of our ACASA
members also be ASA members. She reports
that at present only 50.1 percent are, and that
we are in serious trouble in terms of our

President's Letter
Proposed By-Law Changes
Nominations to Board
1993 ASA in Boston
ACASA'S Relationship with ASA
Book Distribution Program
House and Apartment Exchange
People in the News
Career & Research Opportunities
International News Round-Up
Noteworthy New Publications
Video Notes
Serial Notes
Forthcoming Exhibitions
Forthcoming Conferences
Recent Past Conferences
End Notes
Directory of ACASA Members 1993:


status as a Sponsored Organization if we
cannot bring it up to the higher level. Failure
to do so, would drop us to one of several
looser categories, such as an Associated or
Affiliate Organization, with less privileges in
the ASA. I urge those of you who are
ACASA members to join ASA as well.
Individually, you receive three journals,
registration fees at member's rates at ASA
meetings, the right to apply to present a paper
at these meetings, and you generally support
the scholarly Africanist activities of the ASA
in the U.S. and elsewhere. Please consider this
matter seriously.
Triennial Symposium on African Art 1995.
Plans for the Triennial in New York City in
1995 are beginning to shape up, after a
meeting at the Museum for African Art in
New York on June 30, which our Secretary/
Treasurer, Barbara Frank, attended. There will

ACASA Newsletter I No. 37, August 1993 1

I AASANews^f

be another one on September 30. A goodly
number of institutions and organizations have
shown interest, and the New York venue looks
like it will be a most interesting and rich
get-together. If you have suggestions for this
event, kindly contact Susan Vogel or Carol
Thompson at the Museum for African Art,
593 Broadway, New York, NY 10012.
Telephone: (212) 966-1313.
ASA in Boston. For the Boston ASA
meeting this fall, I am informed that 1,100
papers or speakers were submitted, of which
only there was only room to accept 750.
ACASA was cut back some, especially three
double panels reduced to single ones, but on
the whole, we came out quite well. This is
likely to continue to be an issue in the future,
as the demands to present papers appears to
be increasing. Barbara Frank, our
Secretary/Treasurer, who is ably handling our
Program arrangements, lists the accepted
panels and papers in this issue.
By-Laws. Elsewhere in this issue I present
the suggested revisions of the ACASA
By-Laws regarding voting procedures. These
will be voted on at the ACASA Business
Meeting during the Boston ASA meeting this
December. Please look them over and be
prepared to discuss and vote at that time.
If you have anything that you wish placed
on the agenda for that Business Meeting, or
you wish to be brought up to the ACASA
Board, which meets twice during the Boston
meeting, let me or another Board member
know what the issue is. Certainly continuing
discussions of how to raise funds and how to
save or employ them will be discussed at the
Business meeting and by the Board, as well as
an Ethics Committee Report, the matter of the
handling of African art materials in general art
history texts, and plans for the next ACASA
Lagos Symposium. Your President attended
the Second International Symposium on
Contemporary Nigerian Art in Lagos, April
27-May 1, at which over fifty presentations
were made, with many more art historians and
artists attending. ACASA was represent by
Janet Stanley and Bernice M. Kelly, as well
as myself. Retrospective exhibitions of the
work of Uche Okeke and Obiora Udechukwu
occurred; the annual AKA exhibition, an
exhibition of graduates and faculty of Obafemi
Awolowo University at Ile-Ife, and a number

of other individual exhibitions were held, as
well as the presentation of a new book of the
work of Bruce Onobrakpeya, and Stanley and
Kelly's massive Nigerian Artists: A Who's
Who and Bibliography. There is clearly a very
lively contemporary art scene in Nigeria and
in Lagos, despite the political and economic
difficulties, with an increasing audience of
Nigerian viewers and purchasers.

Proposed By-Law Change
Regarding Election Procedures
Changes in the By-Laws concerning the
procedure for the election of new Board
members were discussed at the ASA Annual
Meeting in Seattle last November, by the
Board of Directors, and at the Annual
Business Meeting by our members (see the
December 1992 ACASA Newsletter). The aim
of the changes is to open up nominations
more substantially to the general membership.
The changes follow the general pattern, though
not the precise details, of the ASA election
procedures. In the new procedure the
Nominating Committee will probably have to
conduct its business by telephone, fax or
letter. For an election at the ASA annual
meeting, this means that all nominations must
reach the newsletter editor by July 1st in time
for the August issue. For an election at the
Triennial, this means that the information must
reach the newsletter editor by November 1st.
This new procedure will emphasize the serious
nature of being a Board member. It is an
honor to be elected to the Board, but all
Board members are expected to carry their
weight in its activities. This has not always
been so in the past.
The present ACASA By-Laws concerning
elections read as follows:

New officers shall be nominated by
the Board of Directors at least two months
prior to the election meetings with the
nominations set forth in the ACASA
Newsletter preceding those meetings.
Officers may also be nominated by written
petition of (a) ten or more members, filed
with the Secretary/Treasurer not less than
twenty days prior to the Annual Meeting
or (b) twenty or more members, filed with
the Secretary/Treasurer at the start of that
session of the Annual Business Meeting in

2 ACASA Newsletter / No. 37, August 1993

order to have their names placed in
nomination, but nominators must provide
the presiding officer with a written
statement of such candidates' agreement to
being nominated and willingness to serve
if elected. Those nominees for Director
and Secretary/Treasurer receiving the
highest number of votes will be considered
to have been elected. A runoff election
will be held in case of a tie vote.
Vacancies occurring on the Board of
Directors through resignation will be filled
by majority vote of the Board of
Directors, with a replacement elected at
the next Annual Business Meeting to fill
out the remainder of the term in question.

The proposed new section reads as follows:

The Board of Directors will designate
two Board members and two ACASA
members who are not Board members to
form a Nominating Committee, which will
nominate candidates to stand for the Board
of Directors.
Nominations for the Board of
Directors by members-at-large can be
made by the signatures of ten members in
good standing in support of a candidate,
sent to the President of ACASA.
All nominees must be members in
good standing.
All candidates for the Board of
Directors will send a letter to the
President of ACASA indicating that he or
she is willing to serve. Each will also
prepare a brief statement as to why she or
he wishes to serve. This must be
submitted in time for inclusion in the issue
of the ACASA Newsletter to appear prior
to the election.
Election shall be by secret ballot at the
Business Meeting at the ASA annual
meeting, or at the Triennial Symposium on
African Art, whenever the election takes
place. The results will be tabulated by the
Secretary/Treasurer and announced at that
time. In the event of a tie, a run-off
election for the two candidates by secret
ballot will be carried out at this meeting.
Only members in good standing may vote
in elections.

For your information the ACASA By-Laws
concerning changes in the By-Laws reads as

Proposed changes in these By-Laws
must be submitted to the Secretary/
Treasurer in time for inclusion in the
ACASA Newsletter distributed before the
Annual Business Meeting at which they
will be taken up. By-Law alterations,
amendments, or new By-Laws must first
be approved by a majority vote of the
Board of Directors or by a majority vote
of members attending any Annual Business
Meeting. Such changes must then be
endorsed by 2/3 of the Regular and
Special members who respond through a
mail ballot conducted by the
Secretary/Treasurer as soon as possible
after the board of Directors's Meeting or
Annual Business Meeting in question.

The suggested changes were approved by the
ACASA Board at its meetings of November 21
and 23, 1992 in Seattle. If approved at the
Business Meeting at the ASA annual meeting
in Boston, December 4th-7th of this year, and
by the subsequent mail ballot, they will first
apply to the election to be held at the
Business Meeting in New York in the spring
of 1995, during the Triennial Symposium.

Nominations to Board
The Board nominated Kathy Curnow-Nasara,
Bill Dewey, Nii Quarcoopome, and Janet
Stanley for elections to be held at the 1993
ASA business meeting.

1993 African Studies Association (ASA)
Meetings in Boston, December 4-7, 1993
Panels Accepted. All things considered,
ACASA did very well in what was a difficult
selection process on the part of the ASA
national program committee this year. The
competition was stiffer than ever before
because of the combined effect of greater
limitations on space and a greater number of
proposals than usual. There were over 1,100
proposals of which they were able to
accommodate 750. All of our panel topics
were accepted, but three proposed as double

ACASA Newsletter / No. 37, August 1993

sessions were collapsed into single panels,
resulting in some papers being excluded from
the lineup. The following is a list of the
panels as they stand now. ASA will be
sending out the preliminary program with
other information about the conference in

Warren D'Azevedo, University of
Nevada at Reno
Mary Jo Arnoldi, National Museum of
Natural History, Smithsonian
Roy Sieber, Indiana University
Doran Ross, Fowler Museum of
Cultural History
Ekpo Eyo, University of Maryland
Terry Childs, Conservation Analytical
Lab, Smithsonian Institution
Richard Faletti, Chicago, IL
Philip Ravenhill, National Museum of
African Art
Janet Stanley, National Museum of
African Art
Herbert Cole, University of
California-Santa Barbara
Roslyn Walker, National Museum of
African Art

Barbara Blackmun, San Diego Mesa
Kathy Curnow-Nasara, Cleveland State
Ann O'Hear, Niagara University
Lantana Beads: Trade and Regalia in
Yorubaland, Benin and the Niger
Robin Law, University of Stirling,
Composite Communities: Demographic
and Cultural Interactions in the
Lagoonside Area of the Slave Coast.

Funso Afolayan, Obafemi Awolowo
Edo-Igbomina Relations: Tradition,
Kingship and Imperialism in
Southwestern Nigeria.
Jean Borgatti, Boston University
A Northern Edo Perspective on the
Road to Benin.
Carol Ann Lorenz, Colgate University
At A Crossroads of Cultures: Ishan
Art and Regalia.
John Pemberton III, Amherst College
Perkins Foss, Dartmouth College.

Janet Stanley, National Museum of
African Art
Sharon Pruitt, East Carolina University
Bruce Onobrakpeya: A Synthesis of
Artistic Tradition Continues.
Nkiru Nzegwu, SUNY-Binghamton
Riding the Spirit of Ogun: The Art of
Olu Amoda.
Frieda High W. Tesfagiorgis,
University of Wisconsin-Madison
Feminism as a Theoretical Approach
to Contemporary African Art.
Simon Ottenberg, University of
The Uli Artists of Eastern Nigeria:
Sources of Tradition Within Modernity.
Acha Debela, North Carolina Central

Eli Bentor, Winthrop University
Peter Mark, Wesleyan University
Interdisciplinary Approaches to the
Pre-seventeenth Century Cultural
History of Senegambia and Guinea

4 ACASA Newsletter / No. 37, August 1993

Chike Aniakor, University of Nigeria,
Uzoiyi Festival: The Impact of
Political Rulership, Patronage and
Urbanization in an Igbo Masking
Martha Anderson, Alfred University
Buomini's Masquerade: An Ijo
Woman's Masterpiece.
Eli Bentor, Winthrop University
The Center in Here.
Robert Baum, Ohio State University
Female Containment and Enclosure:
Charting West Africa.
Sidney Kasfir, Emory University.

Maria Berns, University of
California-Santa Barbara
Richard Fardon, School of Oriental and
African Studies, London
The Personality of Chamba Masks.
David Zeitlyn, University of Oxford
Mambila Humanoid Terracottas:
Medicine or Fertility Cults, or
Protection from Theft.
Jorg Adelberger, Goethe University,
Structuring Diversity: Linguistic,
Historical and Cultural Aspects of the
Societies of the Muri Mountains,
Northeastern Nigeria.
Judith Sterner, University of Calgary
[title forthcoming]
Roy Sieber, Indiana University/
National Museum of African Art.

Enid Schildkrout, American Museum of
Natural History
Suzanne Preston Blier, Harvard

Christraud Geary, National Museum of
African Art
Saving Souls in Africa: The
Missionary Narrative in Historical
Lantern Slides.
Neal Sobania, Hope College
Image and Text: Representations of
Africa and Africans in Early 20th
Century Stereoscopic View Cards.
Curtis Keim, Moravian College and
Robert Stinson, Moravian College
Africa at the Movies.
Dominique Malaquois, Columbia
Tantalizing Africa: Erotic Images of
the Dark Continent.
Patrick Manning, Boston University.

Co-sponsored with the
Ethnomusicology Caucus:
Steven Friedson, University of North
Steven Freidson, University of North
The Dancing Prophets of Malawi.
Wyatt McGaffey, Haverford College
Arts of Persuasion: Kongo Divination
Then and Now.
Allen Roberts, University of Iowa
"Personal Spirits" and the Arts of
Problem Solving Among
Contemporary Tabwa of Southeastern
Manuel Jordan, University of Iowa
Arts of Divination and
Problem-Solving Among Chokwe and
Related Peoples of NW Zambia.
Filip De Boeck, Catholic University of
Representation and Relation:
Divination and Diagnostics among
Lunda and Chokwe of SW Zarre.
R. Blier
Metaphors and Mental Process: The
Therapeutic Role of Fa Divination
Among the Fon.

ACASA Newsletter / No. 37, August 1993

Mary H. Nooter, Museum for African

Co-sponsored with the
Ethnomusicology Caucus:
Cynthia Schmidt, Kalamazoo College
Michelle Kisliuk, Brown University
Zokela: "La musique traditionelle
moderne" in Bangui.
Kazadi wa Mukuna, Kent State
The Genesis of Urban Music in Zaire.
Cynthia Schmidt, Kalamazoo College
Kru Mariners and the Cultural
Dynamics of a West African Coastal
Music Style.
Ernest Brown
Zimbabwe Chimurenge Music: The
Traditional Roots of a Popular Music.
Veit Erlman, Berlin.

Co-sponsored with MANSA:
Roderick J. McIntosh, Rice University
Scott MacEachern, University of Calgary
Roderick J. McIntosh, Rice University
Unearthing the Early Mande World of
Patrick McNaughton, Indiana University
Things Change, But Can They Stay
the Same?
Scott MacEachern, University of Calgary
Symbolic Reservoirs and the
Construction of Ethnicity: The View
from the Mandara Mountains.

Maria Berns, University of
California-Santa Barbara
Symbolic Reservoirs, Sacred
Ceramics, and Linguistic Complexity
in the Gongola Valley, Northeastern
Nicholas David, University of Calgary.

WARNING: ACASA'S Relationship
with ASA in Jeopardy
We have recently heard from Edna Bay, the
Executive Director of the African Studies
Association, that our very close relationship
with ASA is in jeopardy. ASA rules require
that all Sponsored Organizations, of which we
are one of a few select ones, must have
two-thirds of their members also as members
of ASA. At the moment we have only 50
percent joint membership. If we do not
increase this to the required number, we will
lose our special status with the ASA.
This would mean that we would have to
change our name. We would no longer receive
the highest priority for panels at the ASA
annual meetings that we now have, nor would
we have two panels which we submit
automatically approved without review. We
would lose the free audiovisual equipment for
our sponsored panels at annual meetings. We
would lose the very close working relationship
with the ASA in regard to bringing African
scholars to the USA, so evident for our last
Triennial in Iowa City. We would have to go
through the extensive legal effort to obtain our
own IRS tax number. We would no longer
have the right to apply to the ASA for
subvention for our publications, or to apply
for financial support for special projects.
If you are a member of ACASA but not
of ASA, we urge you to join the latter, for
which you receive three publications,
registration at the ASA annual meetings at
member's rates, and the right to submit a
paper, either through ACASA or otherwise, to
be presented at the ASA annual meeting (a
right however, not totally guaranteed to be
For information on becoming a member of
the African Studies Association, contact their
office in Atlanta at (404) 329-6410. Address:
African Studies Association, Credit Union
Building, Emory University, Atlanta, GA

ACASA Newsletter / No. 37, August 1993

ACASA Book Distribution Program
The following publications were sent in May
African Arts, volume 26, number 1,
January 1993. (through the courtesy of the
African Studies Center at the University
of California at Los Angeles)
Elmina: Art and Trade on the West Africa
Coast (1992). (through the courtesy of the
National Museum of African Art,
Washington, DC).
In addition, several art publications from the
former Museum of Primitive Art were sent
courtesy of Kate Ezra and the Metropolitan
Museum of Art, New York:
The Great Bieri. 1962.

The Herbert Baker Collection. 1969.
The Robert and Lisa Sainsbury Collection.

The John and Dominique deMenil
Collection. 1962.

Displays of Power: Art and War Among
the Marings of New Guinea / by Cherry
Lowman. 1973.

Crocodile and Cassowary: Religious Art of
the Upper Sepik River, New Guinea I by
Douglas Newton. 1971.

New ACASA Program:
House and Apartment Exchange
This is to notify ACASA members of a
new program: a lodging exchange. Members
may offer their houses or apartments to other
members while they are on leave and/or may
find housing for temporary stays in other
locations. Members need not to be in search
of housing to offer housing, nor need they
offer housing as a pre-requisite for searching
for housing. Anyone going on leave for any
amount of time for several days to several
months or years may give notification that
their domicile is available for lodging by
another ACASA member. This is a way to
offer inexpensive or free housing to colleagues
whom one trusts, who can reliably house-sit a
house or apartment containing (perhaps)
objects of African art. To offer a house or
apartment, send name, address, telephone

number, dates of availability, and any other
specification to: Fred Lamp, 3724 Ednor
Road, Baltimore, Maryland 21218.
Only the name of the city, type of
accommodations, and the dates available will
be published in the ACASA newsletter. No
names, addresses, or telephone numbers will
be published, for the purpose of security.
To respond to a temporary housing offer:
Send name, address, telephone number, and
dates you are able to occupy the premises of
the respective listing, to: Housing Offer (and
name of the city), c/o Fred Lamp, 3724
Ednor Road, Baltimore, Maryland 21218.
All responses received with the address
listed as above will be forwarded to the
respective house or apartment offerer. Those
sent without the appropriate address heading
will be returned to sender or discarded. We
hope this will be a convenience to both
offer-makers and offer-takers among this
group of highly mobile colleagues. Please
keep in mind that four weeks normally expire
between the newsletter deadline and its receipt
in the mall.

Nuruddeen Abubakar, Centre for Nigerian
Cultural Studies (Museology Section), Ahmadu
Bello University, will be in Boston for the
ASA meetings to present a paper on a panel
on Science and Technology and the African
Environment. His paper is entitled "Zamfara
Metal Industries in the 19th Century:
Ecological and Environmental Implications."
Mr. Abubakar is an ACASA member, and this
will be his first visit to the United States. He
is interested in making visits to other
American research centers and/or museums.
Contact Mr. Abubakar at the Centre for
Nigerian Cultural Studies, Ahmadu Bello
University, Zaria, Kaduna State, Nigeria.
Cornelius 0. Adepegba, University of Ibadan,
has been promoted to professor and was
subsequently appointed Director of the Institute
of African Studies at Ibadan.
Edna G. Bay, Emory University, has been
awarded a fellowship to study for the 1993-94
academic year at the National Humanities
Center in Research Triangle Park, NC. Her
research topic involves women and power in

ACASA Newsletter / No. 37, August 1993 7

Kathy Curnow-Nasara, assistant professor at
Cleveland State University, and Barbara W.
Blackmun, professor of art history at San
Diego Mesa College, have received a
three-year Collaborative Interpretative Research
Grant (1993-1996) awarded from the National
Endowment for the Humanities for field work
in Africa and archival and museum study.
They are preparing a book, Ivories in the Art
History of Nigeria: Benin and Its Neighbors.
Blackmun has also received an Advanced Area
Studies Grant from the Africa Program of the
Social Science Research Council, for
additional research in Europe during 1993.
Cumow-Nasara is collaborating consultant in
this award.
Warren d'Azevedo, Professor Emeritus of
Anthropology at the University of Nevada, a
leading scholar in the study of African
aesthetics with extensive fieldwork in Liberia,
was in residence at Indiana University from
March 25 to April 14 as a Fellow of the
Institute for Advanced Study. On April 6, as
the featured speaker for the Twentieth Annual
Hans Wolff Memorial Lecture, d'Azevedo
delivered the presentation "Rebel Destinies:
Remembering Herskovits."
Acha Debela, North Carolina Central
University, has been selected to show his
computer graphics at the annual meeting of
the Special Interest Group for Computer
Graphics and Interactive Techniques in
Anaheim, California, August 1-6. Debela's
computer animation project provides a tour of
the proposed Center for Ecology Research and
Training, planned by the U.S. Environmental
Protection Agency.
Bill Dewey traveled to Zambia, Zimbabwe,
Uganda, Tanzania, South Africa, and
Madagascar in June and July 1993, visiting
museums and research centers, lecturing, and
consulting with ACASA members in those
countries and, in particular, with those who
attended the 1992 Triennial.
Sidney Kasfir has been awarded a Rockefeller
Residency Fellowship to the Institute for
Advanced Study and Research in the African
Humanities at Northwestern University where
she will work on a book about representation
and practice. The Institute's theme for 1993-94
is "Inscriptions of the Material World" under
the preceptorship of Karin Barber. Kasfir has
also received funding for a fifth field trip to

Samburu district, Kenya, to continue work on
Samburu blacksmiths.
Wyatt MacGaffey, Haverford College, has
been awarded a Guggenheim Fellowship for
the upcoming academic year to pursue his
research on Kongo conceptions of power.
Polly Nooter will be a Visiting Assistant
Professor in African Art in the Department of
Art History and Archaeology at Columbia
University for the 1993-94 academic year. She
will maintain a part-time curatorial position at
the Museum for African Art while preparing a
forthcoming exhibition entitled "Memory:
Luba Art and the Making of History" for
September 1994.
Nigerian artist Uche Okeke was honored on
his sixtieth birthday with a retrospective
exhibition in Lagos and a symposium on
contemporary Nigerian art. Okeke, formerly
head of the Department of Fine and Applied
Arts, University of Nigeria, Nsukka, and now
the director of Asele Institute in Nimo, is
credited with launching the modern uli school
of painting. (See News from Nigeria below
for more details on the symposium).
Bruce Onobrakpeya launched his book Bruce
Onobrakpeya: The Spirit in Ascent on May
12th in Lagos. A one-day symposium was
held on May 14th as part of the continuing
celebration of Onobrakpeya's sixtieth birthday.
Simon Ottenberg, ACASA President, has
taken up a one-year residency at the National
Museum of African Art for his Smithsonian
Regents Fellowship award. His research topic
is contemporary African art, currently focusing
on artists in eastern Nigeria. He will be in
Washington from July 1, 1993 until June 30,
1994 and may be reached at (202) 357-4600
extension 237.
Susan Vogel will spend December 1993 and
January 1994 doing field work among the
Baule in C6te d'Ivoire on a National
Endowment for the Humanities grant. A major
Baule exhibition is planned for the Museum
for African Art in 1995.
Solomon Irein Wangboje, Nigerian artist and
art educator, has been invited as a guest
speaker at the 1993 Congress of the
International Society for Education through Art
scheduled for Montreal, Canada August 11-17,
1993. He will lecture on "Technological

8 ACASA Newsletter / No. 37, August 1993

Transfer and Art Education: The African
Experience." Wangboje plans to spend two
weeks as guest of the School of Art and
Design, University of Illinois,
Urbana-Champaign after the Congress. A
graduate of Cranbrook Academy of Art and
New York University, Wangboje is Professor
of Art and Art Education, University of
Benin, Benin City, Nigeria. He is available for
lectures or workshops on contemporary
Nigerian art or art education after the August
conference. Contact: Theodore Zernich,
Director, School of Art and Design, 408 East
Peabody Drive, University of Illinois,
Urbana-Champaign, IL 61820. Telephone:
(217) 333-0855.

Sylvia Ardyn Boone, 54, a scholar of African
and women's art, died of heart failure April
27, 1993, in her home in New Haven. The
author of Radiance from the Mtbers: Ideas of
Feminine Beauty in Mende Art (1986), Boone
was an originating scholar of ideas and ideals
of beauty in African art, and on how those
ideals translated to women of color
everywhere. She was also the first
African-American woman to earn tenure at
Yale University. On September 30, 1993,
Sylvia's birthday, there will be a memorial
celebration in the Chapel of the Interchurch
Center, 475 Riverside Drive (at 119th St.),
New York, and a dedication of her headstone
at Grove Street Cemetery.
Asiru Olatunde, artist from Oshogbo,
Nigeria, died in March 1993. Asiru was
known for his distinctive aluminum repouss6
Cyril Rogers, director of the National Gallery
of Zimbabwe from 1985-1992, died April 2,
1993. An obituary appeared in the Guardian
Iekly, April 18, 1993, page 21.
Word has been received of the death of South
African painter Gerard Sekoto in Paris,
where he had lived in exile since 1948.

Jeremy Coote, Area Editor for Africa at the
Macmillan Dictionary of Art, London, writes

with a "hit list" of entries for which he
urgently needs contributors:

CHRISTIANITY (2500 words on
Christian African Art and on the
effects of Christianity on African art)
SCRAP (750 words on use of scrap and
recycling in African art)
MUSEUMS (700 words on the history
and role of museums in Africa and of
museums with important collections
outside Africa)
EXHIBITIONS (700 words on the
history and role of exhibitions of
African art both inside and outside
SWAZILAND (500 words on the
colonial and post-colonial art and
SONINKE (800 words)
words on these features of African art)
NARRATIVE ART (500 words on
narration in African visual art,
especially in the pre-modern context).

Jeremy Coote is also looking for contributors
for brief entries on the art and architecture of
ISLANDS. In addition, authors for ERITREA,
CONNOISSEURSHIP (of African art) and
SYMBOLISM (in African art) may also be
required. He would be happy to provide more
information to anyone interested, or to receive
helpful suggestions. Contact him on telephone
010 44 865 243426 (Home) or write to him at
Macmillan Dictionary of Art, 4 Little Essex
Street, London W2CR 3LF. Fax 010 44 71
240 4671). Jeremy will be very grateful for
any help.
Call for papers: "African Art: Definition,
Forms and Styles." Cornelius Oyeleke
Adepegba perhaps needs no introduction. He
is a Professor of African Visual Art at the
Institute of African Studies, University of
Ibadan. In a career that spans over fifteen
years of rigorous, systematic and illuminating
study of African art history and has
culminated in the Directorship of the Institute
of African Studies, Professor Adepegba has
trained over fifty post-graduate students,
pioneered new frontiers in art history, and

ACASA Newsletter / No. 37, August 1993 9


drawn attefltion to the intrinsic qualities of
African art objects. Those he has influenced
now occupy prestigious positions in the
academic and private sectors of Nigeria.
In appreciation of his various contributions
to visual art history and education, a group of
his former students now wish to dedicate a
volume entitled "African Art: Definition,
Forms and Styles" in his honor. The project
offers opportunity to scholars of diverse
disciplines to rethink the nature of African art,
its styles and forms against functions, the
impact of colonialism on forms and styles and
to examine the relationships between art and
ethnicity as well as focus the role of gender
in the production, distribution and marketing
of African arts. Funds are available for the
publication of selected papers. All manuscripts
(submitted in duplicate) must be typewritten,
double-spaced on white quarto-sized paper and
not less than fifteen pages in length and with
a single collection of bibliographical citations
and points of comments (notes and references)
at the end of the article. Illustrations (if any)
must be camera-ready and in very sharp black
and white glossy prints.
Send your contributions on a topic of your
choice to: R. 0. Rom Kalilu, Department of
Fine and Applied Arts, Ladoke Akintola
University of Technology, P.M.B. 4000,
Ogbomoso, Oyo State, Nigeria. Telephone:
038-710651 extensions 237, 239 or G. B.
Aremu, Department of Fine Art, St. Andrew's
College of Education, P.M.B. 1010, Oyo, Oyo
State, Nigeria. Telephone: 038-230103
extension 5. [Note: Although a deadline of
April 15, 1993 was given with this
announcement, papers may still be sent -
Rockefeller Foundation Resident Fellowships.
The University of Florida, Gainesville, offers
resident fellowships to study African-American
identity and cultural diversity in the Americas
through the Center for African Studies and the
Center for Latin American Studies at the
University of Florida. The program provides
support for scholars from Africa, the
Caribbean, Latin America and the U.S. to
participate in the study of the diaspora of
African peoples in the New World, including
cultural exchange, migration and new forms of
cultural identity. For more information,
contact: Helen I. Safa, Center for Latin
American Studies, 319 Grinter Hall,
University of Florida, Gainesville, FL 32611.

The National Humanities Center awards
approximately 35-40 residential fellowships
each year for the advanced study of the arts
and other fields in the liberal arts. Social
scientists, natural scientists or professionals
whose work has a humanistic dimension are
encouraged to apply. Applicants must hold a
Ph.D. or equivalent degree. For more
information, contact: Fellowship Program,
National Humanities Center, Box 12256,
Research Triangle Park, NC 27709.
Woodrow Wilson International Center for
Scholars, Fellowships in the Humanities and
Social Sciences, 1994-95. Located on the Mall
in Washington, D.C., the Center awards
approximately 35 residential fellowships each
year for advanced research in the humanities
and social sciences. Men and women from
any country and from a wide variety of
backgrounds (including government, the
corporate world, and the professions, as well
as academe) may apply. Applicants must hold
a doctorate or have equivalent professional
accomplishments. Fellows are provided offices,
access to the Library of Congress, computers
or manuscript typing services, and research
assistants. The Center also helps Fellows
locate appropriate housing. Fellowships are
normally for an academic year, although a few
fellowships are available for shorter periods,
with a minimum of four months. In
determining stipends, the Center seeks to
follow the principle of no gain/no less terms
of Fellow's previous year's salary. The average
yearly stipend is approximately $42,000.
Travel expenses for Fellows, spouses and
dependent children are provided. The
application deadline is October 1, 1993. For
application materials write to: Fellowships
Office, Woodrow Wilson Center, 1000
Jefferson Drive, SW, Washington, DC 20560,
SI MRC 022. Telephone: (202) 357-2841.
The Travel to Collections Program of the
National Endowment for the Humanities has
been subsumed in the NEH program known as
Summer Stipends. These stipends provide funds
up to $4,000 (without travel) and $4,750 (with
travel) to assist American scholars meet costs
of research; the proposals may include
long-distance travel to the research collections
of libraries, archives, museums or other
repositories. Application deadline is October
1, 1993. For information contact: Summer
Stipends, Division of Fellowships and

10 ACASA Newsletter / No. 37, August 1993

- Seminars,-Room 316, National Endowment for
the Humanities, 1100 Pennsylvania Avenue,
NW, Washington, DC 20506. Telephone: (202)
NEH has established electronic mail
addresses to facilitate communication with
those seeking publications or grant
applications. The NEH publications office may
now be reached at nehopa@gwuvm (Bitnet) or
nehopa@gwuvm.gwu.edu (Internet).
International artists at Chapungu. The
Chapungu Sculpture Park, Harare, Zimbabwe,
encourages sculptors from overseas to come
and work alongside Zimbabwean sculptors at
the Park. Each application is considered on its
individual merits and anyone interested should
write to Jos Mawdsley with as much
information as possible. Address: Chapunga
Sculpture Park, P. O. Box 2863, Harare,
Zimbabwe. Telephone: (263-4) 47472 or
(263-4) 47533. FAX: (263-4) 734125.
University Research Expeditions Program.
The University of California, Berkeley, offered
some noteworthy research projects for the
summer of 1993, which required no academic
or field experience, only a tax-deductible
contribution to help cover project costs. The
1993 field projects included:
(1) "Archaeology in Benin," led by
Kenneth Kelly of UCLA and Alexis Adande
of the National University of B6nin, was
scheduled to conduct an excavation of a
seventeenth-century slave trade fort in the port
city of Ouidah. Participants identified, cleaned,
labeled, and analyzed artifacts, as well as
developed site maps by surveying and
test-digging unexplored areas. Contribution:
(2) "Art in Mali" allowed participants to
live among the Dogon people and discover the
role that art plays in their culture. Participants
worked with Rachel Hoffman, Ph.D. candidate
in Art History at UCLA, in interviewing local
artists in their workshops and comparing their
attitudes to those of community elders.
Contribution: $1995.
For information on next year's programs,
contact: University Research Expeditions
Program, Department D05, University of
California, Berkeley, CA 94720.
Earthwatch programs. Earthwatch organizes
year-round research programs to sites around
the world. Although most of Earthwatch's
projects deal with the environment and

conservation, some of the expeditions focus on
cultural history. Among those scheduled for
the summer of 1993 were:
(1) "Empires of Ancient Morocco:
Medieval Trade," led by Ronald Messier of
Middle Tennessee State University, excavated
the ruins of Sijilmasa, once capital of a vast
Islamic empire, and an important link in the
African-European gold trade. Cost $1595.
(2) "Iron Age Namibia: Origins of
Metallurgy." Beatrice Sandelowsky directed an
excavation of a 300-year-old metalworking site
near Rehoboth, Namibia, which may suggest
an indigenous Namibian tradition. Participants
excavated the site, designed open-air exhibits
of their findings, guided visitors through the
facilities, and cleaned findings in the lab. Cost
(3) "Tanzania's Epic Folklore: Oral
Traditions." This project was planned to study
the art and influence of epic tribal narratives.
Led by Joseph Mbele of St. Olaf College, the
participants interviewed local people,
missionaries, and archivists to gain insight into
the oral epic traditions. They also attended
local ceremonies and traditional dances. Cost
For information on future programs, call
Earthwatch at 1-800-776-0188.

I I n a

News from Angola
The Regional Museum of Huila Province,
Angola. The situation in Angola has been
devastating to traditional culture, research and
preservation of lifestyles and objects of art,
and has undermined contacts with other
African historians and museums. In this
context, the museum of Huila Province is in
excellent condition, with many fascinating
exhibits and much potential to expand.
Galleries include displays of paleontology,
evolution, clothing and body decoration, masks
and amulets, sculpture, agricultural and fishing
implements, building construction and village
design, domestic tools and musical
instruments. The curator, Jose Ferreira, has
worked at the museum since 1975, and was
the principal force in its transition from a
Portuguese museum of the conquest and
colonial era to an Angolan anthropological

ACASA Newsletter / No. 37, August 1993

With the change in Angola from one-party
rule in 1992, although the civil war did not
end, the nation turned outward in both positive
and negative ways. In this time of transition,
the curator (among thousands of artists,
musicians, writers and historians) is also
looking outside Angola for assistance in the
cultural survival of Angola. It is possible that
in these key years lies that last opportunity to
study primary sources, document and
catalogue the material and social organization
of the dozens of cultures of Angola. So much
has been destroyed in thirty-two years of war,
but people in their 50s and 60s like Jose
Ferreira, are committed to bringing to life for
the young of Angola the traditions and
wisdom of Angolan history. In an effort to
build ties between Angola and the outside,
concerned people and institutions are urged to
support projects like the Regional Museum of
Huila Province. For more information, contact:
Clark Pratt, Institute for International
Cooperation and Development, Box 103,
Williamstown, MA 01267. Telephone: (413)
458-9466 or the Huila museum curator, Jose
Ferreira, Caixa Postal 265, Lubango, Huila,

News from Ethiopia
Update on Michigan State University-UCLA
Ethiopian Exhibition. A three month period
of research, sponsored by Michigan State
University, has just ended during which
several teams of scholars documented the lives
and the work of ten contemporary Ethiopian
artists. In addition to information collected in
interviews, a good deal of video, audio, and
still photographs, as well as roughly 250
artifacts were collected. This data will serve
as the core of two exhibitions dealing with the
aesthetic traditions of Ethiopia. Although the
exhibitions will explore a variety of issues, the
unifying concept will be the creativity. At a
fundamental level, the exhibition will explore
the creative process, but within this framework
it will examine the ways in which certain
historical traditions have influenced creativity,
intercultural contacts (local, regional, and
global), ,cultural convergence and divergence,
and continuity and change. The exhibition will
also consider a number of urban vs. rural
lifestyles on the creation of aesthetic objects.
The first exhibition "Ethiopia: Traditions
of Creativity" will be a single venue

exhibition that is slated to open at MSU in
July 1994 and close at the end of the year.
This exhibition will present the fruit of the
research carried out in Ethiopia this past
spring. A second traveling exhibition, the
product of a collaboration between the MSU
Museum and the Fowler Museum of Cultural
History at UCLA is planned for 1997-1998. It
will have as its core the material featured in
the 1994 exhibition, but these contemporary
traditions will be set in a broader temporal
and cultural context by presenting the field
objects with material borrowed from a number
of European and American museums. For
additional information contact: Ray Silverman,
MSU Museum, Michigan State University,
East Lansing, MI 18824. Telephone: (517)
336-9230. FAX: (517) 336-9230. e-mail
bonduku@msu. bitnet.

News from France
Pierre Harter's bequest of Cameroonian
Grassfields sculpture went on exhibition at
the Mus6e des Arts d'Afrique et d'Ocanie
(MAAO) in Paris in May 1993. The collection
is now part of the MAAO's permanent
collection. See also Henri Marchal, "Un
enrichussement prestigieux pour le Musde
national des arts d'Afrique et d'Oc6anie: le
legs du Dr. Pierre Harter," Revue du Louvre
et des Musdes de France (Paris) 42: 10-15,
avril 1992.

News from Germany
Haus der Kulturen der Welt (House of World
Cultures). In January 1989 the City of Berlin
and the Federal Republic of Germany founded
Haus der Kulturen der Welt with the aim to
introduce foreign cultures to the German
public and to develop understanding and
interest of Europeans for different
non-European cultures. The Haus brings guests
from abroad and organizes their meeting with
German and European cultural personalities. It
also organizes meetings between groups of
different cultures, creative workshops,
exhibition and tours. German tour organizers
are then invited to take over programs that
had been developed under the auspices of the
Haus. Haus der Kulturen der Welt is
organized in three project areas: literature,
society, and the sciences; the fine arts, film
and the media; and the music, theatre and

12 ACASA Newsletter / No. 37, August 1993

dance. Program suggestions and projects may
be submitted by the individual artists, working
groups, agencies, initiative groups or
ministries of culture. For more information,
contact: Haus der Kulturen der Welt GmbH,
John-Foster-Dulles-Allee 10, 1000 Berlin 21,
Federal Republic of Germany. Telephone:
030-39 40 31. FAX: 030-394 86 79.

News from Ghana
Dan Mato has been studying funerary arts in
Ghana among the Akan for a number of years
focusing upon the core area of Asante (1984
onwards). He has studied the wearing of
various cloths at funerals as an indicator of
familial and social relationship and ranking.
His main area of research began as a study of
adinkra cloth and the stamped graphic motifs
on this cloth. To date Mato has collected 270
individual stamps with their proverbs,
aphorisms or popular sayings. Variants of each
stamp have also been recorded in the catalog
compiling approximately 1,000 documented
stamps. Successive visits to Ghana each year
from 1988 to 1992 have added new stamps to
the catalog. Research has been supported by
the University of Calgary for these trips.
Mato has also documented the carving of
stamps and the stamping of adinkra cloth in
the stamping centers of Ntonso and Asokwa,
both nearby to Kumasi as well as individual
cloth stampers elsewhere. The making and
selling of the dye by local women was also
documented. A point of research for 1994 will
be the marketing of adinkra cloth in Ghana by
the market women who control not only
distribution of the cloth in large centers, but
recently determine which adinkra symbols are
popular and will sell and have the cloth
stamped accordingly.
As part of the study of adinkra, Mato has
worked at the Court of the Asantehene in
Kumasi in interviewing various Court officials
in the early history and use of adinkra as an
aspect of royal regalia and symbolic display (at
Court). Support was provided by the Court in
documenting funerals of both 'royals' and
Court officials over this period.
Last year (1992) Mato was a consultant
for the Public Broadcasting System (PBS)
when they came to Ghana to film funerals and
funerary practices, including the making and
wearing of adinkra cloth. Filming of a funeral
in the town Mensassie near Kokofu, about two

hours drive outside Kumasi, took place with
permission and support of the Asantehene and
the Kokofuhene with some support by the
Ghana Broadcasting Corporation. This funeral
and the ceremonies surrounding it will be
featured as part of a two part series called
"Death: Trip of a Lifetime" to be broadcast
on PBS October 4-5, 1993. Each segment will
be two hours and will address funerary
practices in different parts of the world.
This summer Mato will be examining
colonial and military photographs of the
nineteenth century in various archives, libraries
and museums. He will be returning to Ghana
next year to continue research on adinkra and
the arts of funerary display.
Monuments designated. UNESCO has
designated fifteen monuments in Ghana as
world heritage monuments. The selected
monuments include major forts and castles in
the Central Region, shrines and some other
historical buildings in other parts of the
country. This was disclosed by Kwesi Agbley,
coordinator of the Tourism Scheme for
Development in the Central Region
(TODSCER), when he took a four-man team
from Shell(Gh) Ltd around the Elmina and
Cape Coast Castles to inspect the progress of
renovation work on the two forts. The Shell
Group has contributed $1 million towards the
renovation of monuments and nature
preservation spots in the Central Region. The
renovation exercise, which is being carried out
by TODSCER, is benefiting from a technical
assistance programme funded by the Ghana
government, UNDP and USAID. Agbley also
disclosed that TODSCER has contracted two
European firms, in partnership with Ghanaian
consultants, to do archaeological research on
the Elmina and Cape Coast Castles. from
West Africa (London) May 17-23, 1993, page

News from Great Britain
Commonwealth Library saved. The
Commonwealth Library, which contains the
most extensive history of the empire and the
Commonwealth, has been bought for Britain
for 3 million. It will be housed in a new
extension at Cambridge University Library. An
appeal was launched last autumn when the
Royal Commonwealth Society feared that it
would be forced to split up and auction the
Library. The Queen and the Queen Mother

ACASA Newsletter / No. 37, August 1993

contributed and recently Sir Patrick Sheehy,
chairman of BAT industries and one of four
business trustees of the appeal, handed the
Society a cheque for 3 million. The library
contains 70,000 photographs and over 350,000
books, as well as the papers of such figures
as Stamford Raffles, David Livingstone and
Cecil Rhodes. from West Africa (London)
May 17-23 1993, page 835.

News From Italy
Centro Camuno di Studi Preistorici in
Valcamonica is planning to publish a second
edition of Who's Who in Rock Art:. A Wbrld
Directory of Specialists, Scholars and
Technicians. The first edition, published in
1985, is being updated with current names,
qualifications, and addresses of specialists in
rock art studies. Individuals who study rock
art are invited to submit biographical entries
to: Ariela Fradkin Anati, Editor Who's Who
in Rock Art, Centro Camuno di Studi
Preistorici, 25044 capo di Ponte, Valcamonica
(BS), Italy. Telephone: 0364/42091. FAX

News from Kenya
The curious book The Art of the Maasai
by Gillies Turle (New York: Alfred Knopf,
1992) and the collection on which it is based
have raised both legal and ethnical concerns as
well as nagging questions of authenticity.
Richard Leakey has pronounced the collection
largely fake, and at present it has been
confiscated by the National Museums of
Kenya. Jon Bowermaster explores this case in
his article "Bones of Contention," Art &
Antiques January 1993, pages 78-81.

News from Mali
Mande Studies Association / Association des
itudes made [MANSA]. International
Conference on Mande Studies / Congris
International des Etudes Mand&. MANSA and
the Ministry of Culture and Scientifique
Research, Republic of Mali organized an
international Congress on Mande studies in
Bamako, Mali March 15 to 19, 1993. Over
sixty participants from West Africa, Europe
and the United States were in attendance and
the Congress and the many related cultural
events were thoroughly engaging and exciting.

Adam Ba Konare, a scholar of Mande history
and society, a MANSA member and the wife
of the head of state, gave the opening address
and Issah N'Diaye, Minister of Culture and
Scientific Research, closed the proceedings.
Congress papers touched on a wide variety
of scholarly topics in the archaeology, history,
and sociology of the larger region, and the
arts were well represented by a number of
papers and panels. ACASA member Susan
McIntosh chaired a panel on the Soninke
Diaspora and gave a paper on "Archaeology
and the Soninke Diaspora." The entire third
day of the Congress was devoted to Mande
arts and material culture. The first arts panel
was co-chaired by ACASA members Mary Jo
Arnoldi and Tereba Togola and the second
was chaired by ACASA member Kate Ezra.

Mary Jo Arnoldi and Tereba Togola

Georges Meurillon, Mus6e National du
Mali, Bamako
Initiations septennales du "jo" chez
les bamanan du Baninko.
Mary Jo Arnoldi, Smithsonian
Institution, Washington, DC
Tradition and Innovation in the
sogobo Masquerade Theater in Segou
Peter Weil, University of Delaware,
The Masks of Mande Musulu: The
Creation and Performance of Masks
by Women in Wuli Kingdom,
Abdoulaye Sylla, Musde National du
Mali, Bamako
Societd initiatique du Komo d travers
les collections du Musde National.

Kate Ezra

Kate Ezra, Metropolitan Museum of
Art, New York
Leo Frobenius' Collection of Bamana

ACASA Newsletter / No. 37, August 1993

Victoria Rovine, Indiana University
Being an Artist in Bamako: An
Examination of the Malian Art Market.
Tereba Togola, Mus6e National du
Mali, Bamako
Le pillage des sites archdologiques au
Barbara Frank, State University of
New York, Stony Brook
Mande Women Potters and
Reconstructing the History of Ceramic
Carol Thompson, The Museum for
African Art, New York
Black, White and in Color:
Checkerboard Patterns, Magic
Squares, and the History of Mande
Expansion in West Africa.
Eric Charry, University of North
Carolina, Greensboro
A Historical and Comparative View of
Mande Musical Instruments.

Each evening participants were invited to a
variety of cultural events. The National
Theatrical Troupe of Mali gave a special
dramatic performance of an episode from the
Sunjata epic at the French Cultural Center,
and the National Museum organized an
evening of ethnographic films. There were
also several art exhibitions. The Galerie of the
French Cultural Centre held an exhibition of
Senou Fofana's bogolan paintings and the
National Museum organized an exhibition
entitled "Richesses du Mali," which featured
the recent work of Nathalie Tarquini, Ismael
Diabate and Abdoulaye Konate.
William Crowell, the Director of USIS,
hosted an official reception for Congress
participants at his home in Bamako. Certainly
one of the highlights of the four day
conference was a reception hosted by President
Alpha Konare and Mme. Konare at the
Presidential residence. President and Mme.
Konare are both well known scholars of
Mande history and over the past twenty years
they have offered many of us support and
encouragement in our studies of Malian arts
and culture. contributed by Mary Jo

News from Nigeria
International Symposium on Contemporary
Nigerian Art and Uche Okeke's 60th Birthday

Anniversary, April 27-May 2, 1993. The Art
and Artists' Conference Forum (AACF) in
conjunction with the Association of University
of Nigeria Art Graduates (ARTGRADS-UNN)
and the Committee for Relevant Art (CORA)
organized this Second International Symposium
on Contemporary Nigerian Art. The
Symposium had the theme: "Contemporary
Nigerian Art: Retrospect and Prospect."
More than fifty papers were presented during
the gathering, which took place from April
29th to May 1st, 1993 at the University of
Lagos. There are plans to publish the
proceedings. Copies of the unpublished papers
are available in the National Museum of
African Art Library. A sampling of the
presentations includes:
Simon Ottenberg, An Anthropologist
Considers Contemporary Nigerian Art.
Osa D. Egonwa, Contemporary Nigerian
Painting: A Study of Styles and Their
Jerry Buhari, Contemporary African Art
Abroad: Reception.
John Picton, The New Way to Wear
Pat Oyelola, Internationalism and
Ethnicity in Modern Nigerian Art.
Greg Odo, Vulgar Patrons and Beggarly
Artists: A Dangerous Trend in the
Contemporary Nigeria Art Scene.
Jacob Jari, A Proposal for the
Establishment of a Salon des Refuses"
in Nigeria.
Jimo Akolo, A Systematic Criticism of
Contemporary Nigerian Art: Theories,
Trends and Evaluation.
C. Kyrdz Ikwuemesi, Critique of
Critics: A Personal Look a Criticism
of Contemporary Nigerian Art.
Toyin Akinosho, The 'Zaria Rebels' in
the Evolution of Contemporary
Nigerian Art.
Bankole Ojo, Contemporary Printmakers
in Nigeria: An Update.
Sunday Etim Ekwere, Udo-Ema: His
Pioneering Role in Modern Nigerian
Norbert Aas, Uche Okeke, the German
Experience: An Interim Report on
Frank A. Ugiomoh, Motive Line and
Form: An Excursion into Uche
Okeke's World of Line.

ACASA Newsletter / No. 37, August 1993

Nigerian Artists: A Who's Who and
Bibliography was launched in Lagos by
Bernice M. Kelly, the compiler, when she
formally presented the book to the Second
International Symposium on Contemporary
Nigerian Art on May 1, 1993. Kelly, who
spent twelve years compiling this book, has
been a volunteer research associate in the
National Museum of African Art Library since
1980. Nigerian Artists is published by Hans
Zell Publishers for the Smithsonian Institution
Libraries (SIL). SIL presented fifty copies of
Nigerian Artists to libraries and cultural
organizations throughout Nigeria and ten
additional copies to libraries elsewhere in
"Nogh-Nogh" Art Movement, Zaria. In 1990
a new art movement emerged almost
unconsciously in response to the constant
attacks on works of individuals artists,
especially painters and sculptors in Zaria.
These attacks gave rise to the movement called
"Nogh-Nogh" whose name is coined from
slang that is spoken widely in Nigeria,
meaning nonsense; it ironically suits the art,
which has been termed nonsensical.
The movement believes in individualism in
self expression and consciously rejects
articulate, straightforward and easy to
comprehend works of art. The movement also
believes that existing norms in art kills
creativity. "Nogh-Nogh" art movement has in
its membership teaching staffs of both fine
arts and industrial design departments of
Ahmadu Bello University. Since its
inauguration, the movement has mounted two
exhibitions in the Kashim Ibrahim Library at
Ahmadu Bello University. contributed by
Toni Eseagwu, Department of Industrial
Design, Ahmadu Bello University, Zaria,
New Director for Archaeology Institute. The
curator of the National War Museum,
Umuahia, James Arhuidese, has been
appointed director of the newly-established
Institute of Archaeology and Museum Studies.
The Institute, located in Jos, will help Nigeria
conserve scare foreign exchange hitherto spent
to train the much needed manpower for the
nation's museums. Arhuidese said necessary
facilities were being put in place to facilitate
admission of students in September this year,
adding that the Institute would operate
temporarily from the Jos Museum before

moving to its permanent site. announcement
in the Lagos Daily Times, Saturday, May 1,
1993, page 2.
International Centre for the Arts (ICAL) was
established in Lagos in April 1993 by Gbenga
Sonuga, who was formerly the director of the
Lagos State Council for Arts and Culture and
who worked with Demas Nwoko at New
Culture Studios, Ibadan. Some of the ICAL's
aims and objectives are to serve as a forum
where artists, writers and performers can
regularly interact; to promote international
cultural cooperation and exchanges; to
collaborate with similar organizations, both in
Nigeria and worldwide, in promoting design
and performing arts; to raise funds for the
arts and cultural projects; to educate the young
on the role and value of the arts; to organize
seminars, conferences, and festivals connected
with cultural development, as well as
performances and exhibitions which promote
artists and the arts; and to provide
administrative, managerial, and secretarial
services to registered artists, performers, and
For more information contact: ICAL, 41
Commercial Avenue, P.O. Box 777, Sabo,
Yaba, Lagos State, Nigeria. Telephone: (234-1)
Two new cultural journals are launched:
Nigerian Heritage; Journal of the National
Commission for Museums and Monuments and
The Eye: A Journal of Contemporary Art. See
below under Serial Notes.

News from South Africa
The Community Arts Project (CAP) in Cape
Town is a progressive education and training
organization which seeks to promote and
develop the arts and crafts and media as
vehicles for social transformation and as a
means for community development. Its four
projects visual arts and crafts, media,
children's art and popular theatre offer full-
and part-time training courses and workshops.
CAP follows in the tradition of earlier
community-based art centers in South Africa
- Polly Street Art Centre, Rorke's Drift Fine
Arts School, and Nyanga Art Centre -
providing opportunities for instruction and
hands-on experience in painting, printmaking
and graphics, sculpture, ceramics, and
photography. To support these activities, CAP

ACASA Newsletter I No. 37, August 1993

maintains an information resource center
covering not only the visual arts, but also
literature, poetry, theatre, media, African
history and culture. The resource centre also
contains an archival collection of works on
paper by past and present CAP artists.
CAP is a recipient in the ACASA Book
Distribution Program. We recently received a
letter from Mario Pissarra, the Visual Arts
and Crafts Coordinator at CAP, who writes to
thanks ACASA: "These publications would not
otherwise be easily accessible to us and are
greatly appreciated by all at CAP. You may be
interested to know that these publications have
strengthened our resolve to develop our
resource centre so that it can be more
accessible to our constituency. At present the
resources centre is staffed on a part-time basis
by a volunteer, and we are attempting to raise
funds so that we can employ someone on a
full-time basis so that valuable resources, such
as the publications which you send us, can be
made more widely accessible."
ACASA members who would like to
contribute books or slides to CAP or who just
want more information about their programs
may contact: Visual Arts and Crafts
Coordinator, Community Arts Project, P. 0.
Box 13140, Sir Lowry Road, Woodstock 7900,
Cape Town, South Africa or the editor of
ACASA Newsletter. CAP has particular interests
in African-American art and artists and in
literature on Afrocentrism and
multiculturalism. contributed by Janet
Stanley, who visited CAP in October 1992.
Zaireans in South Africa. The sound of
French voices on the streets of central
Johannesburg is becoming more and more
common as thousands of Zaireans have
flocked to Johannesburg in search of political
and economic stability. The idea of seeking
political stability in South Africa may seem
ironic, but the prospect of making a little
money is a real one. Zaireans are importing
goods from their homeland villages and selling
them in the Johannesburg flea markets. One
pair of brothers, who have a stall at the flea
market outside Market Theatre, claim to earn
around Rand 200 (circa $61) a day. Their
wares include masks, musical instruments,
traditional Zairean weapons, and wooden
carvings, far removed from the polished
glossy curios usually found in the souvenir
shops. The Zairians do not live in Soweto, but
choose instead to live in areas of Hillbrow and

Berea. Long isolated from the rest of the
continent, Johannesburg, with the aid of the
Zairean traders, has helped put South Africa
back on the African map. culled from an
article by Justin Pearce in South (Cape Town)
January 16-20, 1993, page 5.

News From Sweden
The Swedish-African Museum Program
(SAMP), recently established in Stockholm,
has the goal to develop and establish the
friendship museum idea on a firm foundation;
to create friendship museum relations through
the exchange of skills, information and
experience between museums in Africa and
Sweden; to work for solidarity across borders;
and to develop a model for cooperation
between museums. SAMP has published a
report entitled Report on the Activities of the
Swedish-African Museum Programme 1984-92.
(176pp.). Price: SEK 200 (SEK 120 for
ICOM members). For more information
contact: SAMP-coordinator, Elisabet Olofsson,
Katarina bangata 51 4tr, S-11639 Stockholm,
Sweden. Telephone: +46 8 714 8123. FAX:
+46 8 702 0739.

News from the United States
UCLA'S Fowler Museum of Cultural History
Announces Sleeping Beauties: A Juried Art
WHAT: UCLA's Fowler Museum of
Cultural History announces a juried art and
design exhibition held in conjunction with the
exhibition "Sleeping Beauties: African
Headrests and Other Highlights from the
Jerome L. Joss Collection at UCLA." Entrants
art invited to create an original headrest. The
competition is divided into four divisions:
middle school, high school, college, and open,
and will be reviewed by the panel of judges.
Museum guidelines and entry forms are
required to participate and a visit to the
exhibition is recommended. Entrants are not
limited to the Los Angeles area.
THEME & GUIDE: The challenge is to
design a headrest or "rigid pillow" in any
material that is artistically compelling and
functions as support for the head while resting
or sleeping. Some of the uses for headrests
include: protection of elaborate coiffures,
facilitating dreams, and storage of valuables.
Entrants will be challenged to create a

ACASA Newsletter / No. 37, August 1993

contemporary interpretation of a headrest that
reflects one's own personal aesthetic or
cultural background.
AWARDS: Trophies and cash prizes will
be awarded to three winners in each category.
Open division: one first place award of
$2,000, one second place award of $1,000,
and one third place award of $500. Each
student division: one first place award of
$500, one second place award of $250, and
one third place award of $100 (these nine
student winners will then be eligible to
compete in the open divisions as well). The
top twelve winning entries in each division
will be exhibited at the Museum from January
23 to May 15, 1994.
WHEN: Deadline for all entries:
December 4, 1993. Winners will be notified
beginning December 13, 1993. The opening of
the juried art exhibition and the awards
ceremony will be held on Sunday, January 23,
1994, 2:00 p.m. at the Fowler Museum.
For information and official guidelines and
entry forms, contact Christine Sellin (310)
825-4288 or Karen Mack (310) 206-1458.
Address: Fowler Museum of Cultural History,
UCLA, Los Angeles 90024.
Library of Congress on Internet. Remote
access to the online files of the Library of
Congress is now available over the Internet.
This includes the library's online catalog of
more than 15 million records. The host
address for telnet access to the Library of
Congress Information System (LOCIS) is
locis.loc.gov( The library
supports both 3270 and line mode for access.

News from Zimbabwe
In February 1993, the Chapungu Sculpture
Park, Harare opened the 1993 Chapungu
Annual Exhibition at the enlarged and
completely redesigned Imba Yematombo
Exhibition Arena. The Chapungu Annual
exhibition displays the best work produced in
the preceding twelve months by sculptors in
the new Chapungu Residency Programme. In
this year's Annual, forty-eight works by
sixteen sculptors were featured. Established
artists such as Ndale Wilo, Ephraim Chaurika,
Saidi Sabiti, and Boira Mteki exhibited
alongside younger artists like Agnes
Nyanhongo and Arthur Fata. Most of the
artists were Zimbabwean, but a few sculptors
were born in Malawi and Mozambique.

The 1993 Chapungu Annual marked the
end of the original system by which sculptors
worked within the grounds of the sculpture
park. The new twelve month Residency offers
artists greater security, easier access to good
stone and tools, as well as exposure in the
Park's galleries and gardens, and ultimately
the Chapungu Annual. This year's residents
include: Dominic Benhura, Crispen June,
Colleen Madamombe, Wenceslous Marufu,
Moses Masaya, Boniface Mashave, Boira
Mteki, Agnes Nyanhongo, Gideon Nyanhongo,
Saidi Sabiti, and Ndale Wilo.
In April-May 1993 the Chapunga Sculpture
Park held a retrospective exhibition of Joseph
Ndandarika. A book on Ndandarika was
published on the occasion as part of the
"Prominent Sculptors of Zimbabwe" series.
The quarterly Chapungu Newsletter invites
anyone interested to become a free "Friend of
Chapungu." Members will automatically
receive the newsletter, as well as other updates
on activities. For more information on
exhibitions, residencies or the newsletter,
contact: Jos Mawdsley, Chapungu Sculpture
Park, P. 0. Box 2863, 1 Harrow Road,
Msasa, Harare, Zimbabwe. Telephone: (263-4)
47472 or 47533. FAX: (263-4) 734125.

IF Notewiorth NewPublicto

From Africa
Andah, Bassey W. Nigeria's Indigenous
Technology. Ibadan: Ibadan University
Press, 1992. 141pp. ISBN 978-121-2330.
$15.00/8.50. [available through African
Book Collective, The Jam Factory, 27
Park End Street, Oxford OX11HU,
England. FAX: +44 (0)865-793298].
The essence of the indigenous
technological systems and traditions of
Nigerian peoples, told in relation to the
basic facets of life and drawing attention
to the harmful impact of colonial inroads.

Noy, Ilse. The Art of the Weya WRomen.
Harare: Baobab Books, 1992. 184pp.
ISBN 0908311508. $45.00/25.00.
[available through African Book
Collective, The Jam Factory, 27 Park
End Street, Oxford OX11HU, England.
FAX: +44 (0)865-793298]. This
beautifully produced book, with many
color photographs, is a collaboration

ACASA Newsletter / No. 37, August 1993

between rural Zimbabwean women and a
European artist, Ilse Noy. Noy originally
taught Zimbabwean women sewing and
painting, to help them supplement their
subsistence farming earnings. Through
their art, the women revealed aspects of
their lives and traditions. They talk about
their work in the captions than run
alongside the color photographs of the
best of their artwork. In the
accompanying text, the women talk about
their worlds of marriage and children,
sexuality and death, spirits and ancestors,
hopes and worries. The book is at once
a book about the art of the women, and
a glimpse into the fabric of the artists'

Sultan, Oliver. Life in Stone: Zimbabwean
Sculpture; Birth of a Contemporary Art
Form. Harare: Baobab Books, 1992.
86pp. ISBN 090831146X. $38/21.50.
[available through African Book
Collective, The Jam Factory, 27 Park
End Street, Oxford OX11HU, England.
FAX: +44 (0)865-793298]. Describes the
genesis of this important art movement
and highlights the works of fifteen
prominent Zimbabwean sculptors.
Addresses their struggle against the
cliche and imitation that now threatens to
inundate the movement.

Jemkur, J. F. Aspects of Nok Culture. Zaria:
Ahmadu Bello University Press, 1992.
103pp. Price not stated.

Onobrakpeya, Bruce. Bruce Onobrakpeya: The
Spirit in Ascent / introduction by Dele
Jegede. Lagos: Ovuomaroro Gallery
Production, 1993. 271pp. 269 illus.
ISBN 978-2509-24-8. $30.00 + postage:
express mail $20.00 / air $10.00 /
surface $8.00. Available from:
Ovuomaroro Gallery, 41 Oloje Street,
Papa-Ajao, Mushin, Lagos, Nigeria. This
book is a documentation of
Onobrakpeya's paintings and engravings
from 1967 to 1978.

Yoruba Culture. Ibadan: The Nigerian Field
Society, Ibadan Branch, November 1992.
64pp. Reprints articles from Nigerian
Field on aspects of Yoruba culture,
including adire-eleko, pottery, patterns on
woodcarvings, women's weaving, Oshun

people, dog magic, and hunters' salutes.
It also contains a new article by C. 0.
Adepegba on the aesthetic concept of ona.

From Europe and North America
Amadou Ba, Souleymane Keita, Serigne Mbaye
Camara, Ousmane Sow; [exhibition] 5
fevrier-24 mars 1993, Le Monde de
l'Art, Paris / curated by Raphael Doueb.
Paris: Le Monde de l'Art, 1993.
Available: Le Monde de l'Art, 18 rue de
Paradis, 75010 Paris. Telephone: FAX: Price
not stated.

Art, Anthropology and the Modes of
Re-presentation: Museums and
Contemporary Non-Western Art / edited
by Harrie Leyten and Bibi Damen.
Amsterdam: KIT Press, 1993. 80pp.
ISBN 90-6832-245-1. 25 Dfl. Address:
KIT Press, Royal Tropical Institute,
Mauritskade 63, 1092 AD Amsterdam,
The Netherlands. Telephone: (0)20)-5688
272. FAX: (0) 20-5688-286. Addresses
issues of the display of non-Western
modern art in art museums and
ethnographic museums.

Athiopien in der Volksttlmlichen Malerei;
[exhibition] Institut fir
Auslandsbeziehungen, Stuttgart, 1993.
Address of IFA: Charlottenplatz 17, 7000
Stuttgart 1, Federal Republic of
Germany. Price not stated.

Cuban Festivals: An Illustrated Anthology I
edited by Judith Bettelheim. (Studies in
Ethnic Art, 3). Garland Publishing, May
1993. 200pp. illus. ISBN 0-8153-0310-6.
$30.00. This anthology includes
Fernando Ortiz's 1925 article "The
Afro-Cuban Festival Day of Kings" and
contributions by Judith Bettelheim, David
Brown, Pedro Perez Sarduy, Jean Stubbs
and others. The Studies in Ethnic Arts
series, edited by ACASA member Judith
Bettelheim, includes works on
contemporary and traditional arts in
non-European cultures. All aspects of the
visual arts, from architecture to the
festival arts to craft production will be
considered. Contact: Judith Bettelheim,
Department of Art, San Francisco State

ACASA Newsletter / No. 37, August 1993

University, San Francisco, CA 94132.
Telephone: (415) 338-2176.

Diallo, Aly. Die Rolle des kulturgeschichtlichen
Museums in Afrika am Beispiel Mali.
(Europlische Hochschulschriften: Reihe
28, Kunstgeschichte, Bd., 152).
Frankfurt: Lang, 1993. ISBN
3-631-45449-X. DM89.00.

Faik-Nzuji, Clementine M. La Puissance du
Sacre: I'Homme, la Nature et l'Art en
Afrique Noire. Paris: Editions
Maisonneuve & Larose, 1992. 196pp.
ISBN 2-7068-1079-3. 355FF.

Falgayrettes-Leveau, Christiane and Lucien
St6phan. Formes et Couleurs. Paris:
Musee Dapper, 1993. 208pp. 190FF.
Available: Mus6e Dapper, 50, avenue
Victor Hugo, 75116 Paris, France.
Telephone: (1) This
exhibition catalogue highlights the
importance of monochromatic and
polychromatic sculpture in Africa. The
exhibition runs at the Mus6e Dapper
from April 1-September 15, 1993.

Home and the W'rld: Architectural Sculpture
by Aboudramane and Bodys Isek
Kinglelez. (Focus on African Art series).
New York: Museum for African Art,
1993. $19.95 (paper). Includes interviews
with the artists as well as essays by
Ismail Serageldin, Celeste Olalquiaga,
Jean-Louis Pinte, and Jean-Marc Patras.
Order from The Museum for African
Art, 593 Broadway, New York, NY
10012, USA. Telephone: (212) 966-1313.
Fax (212) 966-1432.

Horton, Robin. Patterns of Thought in Africa
and the WVst: Essays on Magic, Religion
and Science. Cambridge University
Press, 1993. 440pp. ISBN 0 521 36087
0. 37.50. Collection of Horton's classic
papers, written between 1960 and 1990,
on African religion. Horton criticizes
recent orthodoxies in this area and
proposes an intellectualistt" alternative
that stresses similarities between the
religious and the scientific.

Lerer, Susan. African Metalwork and Ivory I
by Susan Lerer. Newport Beach, CA:
Images of Culture, 1992. 48pp. 67 color

illus. ISBN 0-9635857-0-3. $22.00 +
$2.00 shipping. Available from: Images
of Culture, P.O. Box 9625, Newport
Beach, CA 92660. FAX: 1-(714)

Mercier, Jacques and Henri Marchal. Le Roi
Salomon et les Mattres du Regard: Art et
Medicine en Ethiopia; [exhibition, Musde
national des arts d'Afrique et d'Oc6anie,
Paris, 1992]. Paris: Editions de la
Reunion des Mus6es nationaux [49 rue
Etienne Marcel, 75001 Paris], 1992.

Ridinger, Robert B. Marks. African
Archaeology: A Selected Bibliography.
New York: G. K. Hall/Macmillan, 1993.
311pp. ISBN 0-8161-9086-0. $55.00

Spring, Christopher. African Arms and Armor.
Washington, DC: Smithsonian Institution
Press, November 1993. 192pp. ISBN
1-56098-317-5H. $45.00. Contents: Arab
and Berber: North Africa and the
Sahara; Knights of the Savanna: Warfare
in Sudanic Africa; The Forest Kingdoms
of West Africa; The Shining Mystery:
Throwing Knives of Africa; Royal
Blacksmiths: The Kuba Kingdom and the
Congo Basin; The Horn of Africa; Cattle
and Conflict: East African Pastoralists
and their Neighbors; Mfecane: The Zulu
and the Nguni Diaspora in Southern

StrOter-Bender, Jutta. ZeitgenOssische Kunst
der Dritten *Ilt: Athiopien, Australien
(Aboriginals), Indien, Indonesien,
Jamaica, Kenia, Nigeria, Senegal und
Tansania. Cologne: DuMont Buchverlag,
1991. 244pp., 28pp. of plates. Price not

Waudou d'Africa: l'arte nera della costa degli
schiavi; [exhibition, Fiera internazionale
di Genova, 1992] / curated by Carlo
Massarini. Rome: Carte segrete, 1992.
147pp. illus. ISBN 88-85203-64-7. Lira

Verger, Pierre. Le Messager = The
Go-Between: Photographies 1932-1962.
Paris: Editions Revue Noire, 1993.
240pp. ISBN 2-909571-04-1. 340FF
(outside Europe 390FF). Contains more

ACASA Newsletter / No. 37, August 1993

than two hundred of Pierre Verger's
photographs to accompany an exhibition
in Lausanne and Paris in 1993-1994.

Discount book sale from Hacker Art Books,
45 West 57 Street, New York, NY, 10019:

Art of the South African Townships / by
Gavin Young. New York, 1988.
96pp. 100 color illus. Sale price:
The Art of Central Africa: Masterpieces
from the Berlin Ethnographic Museum
I by Hans-Joachin Koloss. New
York, 1990. 96pp. 71 illus. Sale
price: $12.95.
The Arts of Zarre: Eastern Zarre I by
Daniel Biebuyck. Berkeley, 1986.
314pp. Sale price: $39.95.
Praise Poems: The Katherine White
Collection I by Robert Farris
Thompson and Roy Sieber. Seattle,
1984. 122pp. 53 illus. Sale price:
Rediscovered Masterpieces of African Art
I by Fondation Dapper. Bologna,
1987. 321pp. ca.300 illus. Sale price:

Out of print African art books offered by:

Thomas Heneage Art Books, 42 Duke
Street, St. James's, London SW1Y
6DJ. Telephone: 071 930 9223.
FAX: 071 839 9223.
Ars Libri, Ltd., 560 Harrison Avenue,
Boston, MA 02118. Telephone: (617)
357-5212. FAX: (617) 338-5763.

Vide Not

Magdalene Odundo on video. "Craft on
Video: Magdalene Odundo" Produced by
Audio Visual Arts for East Midlands Arts and
Crafts Council. 15 minutes., sound, color.
U-matic, VHS videocassettes. Price not stated.
Distributed by Midlands Arts, Mountfields
House, Forest Road, Loughborough,
Leicstershire LE11 3HU, England.

ADA: Art, Design, Architecture features the
Cape Town art scene in its latest number. An
earlier number focused on the arts in
Johannesburg. ADA is one of the best sources
for information on contemporary South
African arts. Contact: Jennifer Sorrell, editor,
ADA magazine, P. O. Box 16093, Vlaeburg
8018, South Africa. Telephone: (021)
The Eye: a Journal of Contemporary Art
(ISSN 1116-7254) is a newly launched journal
focusing on Nigerian and other contemporary
arts. Published twice a year by a group of
artists known as The Eye Society, The Eye's
inaugural issue, December 1992, featured
articles by Edwin Debebs on the irrelevance of
traditional themes and motifs, Krydz
Ikwuemesi on modern uli, Chika Okeke on
the role of the artist in society, Felix Ekeada
on mbari houses, Osa Egonwa on public art in
Delta nad Edo states, a profile of sculptor
Isiaka Osunde, a portfolio of Richard Baye,
and more. The editorial board is comprised of
Zaria-based artists Jerry Buhari, Matt Ehizele,
Jacob Jari, Gani Odutokun, and Tonie Okpe.
Write: The Eye, P. O. Box 1441, Zaria,
Kaduna State, Nigeria. Subscription price: 40
naira (outside Nigeria, 50 naira).
The Ford Foundation Report, spring 1993,
carried an article by Theodora Lurie on "The
struggle to conserve and communicate" (pages
10-14), which discusses the new models that
museum curators in Africa are seeking to
reflect an African vision. It also illuminates
the work of the West African Museums
Project, which the Ford Foundation funds.
The Journal of the Anthropological Society
of Oxford 23 (3) 1992 contains an article by
Nicolas Argenti, "African aesthetics: moving
to see the mask" (pages 197-215).
Nigerian Heritage; Journal of the National
Commission for Museums and Monuments.
Nigeria's National Commission for Museum
and Monuments announces a new annual
journal, Nigerian Heritage (ISSN 1116-607X),
which publishes articles on Nigerian material
and non-material culture, including
archaeology, anthropology, art, ethnography,
history, linguistics, natural history, cultural
resource management, museology, religion,
and drama. The first volume, dated December

ACASA Newsletter / No. 37, August 1993 21

I Seria Note

1992, carries articles on the village square in
Igbo cosmology, Anang and Ibibio funerary
art, calabash carving in Oyo, Ngas (Angas)
smoking pipes, cultural resource management
in Nigeria, recent excavations in Owo, among
other articles. Nigerian Heritage is edited by
L. I. Izuakor. Overseas subscriptions including
postage: $30 (individuals) and $45
(institutions). Domestic subscriptions including
postage: 50 naira (individuals) and 70 naira
institutions) Address: National Commission
for Museums and Monuments, Onikan, P.M.B.
12556, Lagos, Nigeria. FAX: (234-1)
Open House International, a journal
concerned with housing, design, and
architectural preservation, published a special
issue devoted to sub-Saharan Africa, with
guest editors Paul Syagga and Anna Muller.
The issue (volume 17, nos. 3-4, 1992)
includes articles on rural architecture in
southern Africa, urban conservation in
Namibia and in Gambia, and historic
architecture in Lagos, among others. For more
information contact: Editor-in-Chief, Nicholas
Wilkinson, University of Newcastle upon
Tyne, CARDO, School of Architecture,
Newcastle upon Tyne, NE1 7RU, UK.
Telephone: (091) 222 6008. Telex:
53654(UNNEW G).
Orator is a quarterly newsletter published by
the National African American Museum
Project at the Smithsonian Institution to
document new developments and progress in
that project. The Orator began publication
with the February 1993 issue. To get on the
mailing list, write: National African American
Museum Project, Smithsonian Institution, A &
I 2279, MRC 431, Washington, DC 20560,
Revue noire is offering back issues of its
journal, numbers 1 through 5, repackaged and
bound as a set with index. 330pp. ISBN
2-909571-03-3. 800FF (outside Europe 900FF).
The Art Bulletin, the quarterly journal of the
College Art Association, is still searching for
a broader variety of articles than it has
published in the past. The majority of its
submissions have been on twentieth-century art
or art theory, but editor Richard Brilliant has
repeatedly expressed an eagerness for articles
on non-Western art. This is not the first time
this appeal has gone out. Brilliant's successor,

Nancy J. Troy, Northwestern University, plans
to go one step further and commission articles
to diversify the journal.

"Face of the Gods: Art and Altars of Africa
and the African Americas." Opening on
September 24, 1993, at the Museum for
African Art, "Faces of the Gods" is the
Museum's first exhibition focusing on the arts
of the African Diaspora. It includes works
from both sides of the Atlantic, from Bahia
and the Bronx to villages in Suriname and
backyards in the American Deep South. The
exhibition is being guest-curated by Robert
Farris Thompson, Professor of African and
Afro-American Art History at Yale University.
Representing the culmination of
twenty-five years of field research, "Face of
the Gods" explores the altar as a focus of
ritual and art-making, and as a visual and
expressive document of the enduring impact of
African civilizations in the New World. The
exhibition surveys the ancient cosmologies of
African religious art from four distinctive
visual traditions Yoruba, Fon, Ejagham, and
Kongo and traces their creative
transformations in the African Americas. In
addition to borrowing contemporary altars
from around the world, Thompson has
commissioned a number of practicing altar
artists to create and consecrate altars inside
the museum and to help reconstruct historical
altars using loan objects from public and
private collections.
"Face of the Gods" accompanied by a
fully-illustrated catalogue written by
Thompson, will travel to several museums in
the United States following its showing at the
Museum for African Art from September 24,
1993-January 7, 1994. Call the Museum for
African Art's Education Department for details
on public programs and educational events:
(212) 966-1336.
"Fusion: African Artists at the 1993 Venice
Biennale." The 45th Venice Biennale, June
13-October 10, 1993, features an exhibition of
contemporary art from Francophone Africa.
The exhibition, located in the Italian pavilion,
includes five artists from Senegal and C6te
d'Ivoire. Susan Vogel, Museum for African
Art, organized the show with Senegalese
sculptor Ousmane Sow, and Ivoirean artist

ACASA Newsletter / No. 37, August 1993

Gerard Santoni. The exhibition will open at
the Museum for African Art, New York, in
February 1994 and will be accompanied by a
catalog featuring color photography by Jerry
L. Thompson.
aDivine Inspiration: From Benin to Bahia."
Photographs by Phyllis Galembo. Exhibition
for hire. Providing ground-breaking scholarly
material in the study of African Diaspora,
Phyllis Galembo's photographs examine the
ancient religious traditions of Nigeria that
were brought to Brazil, via the slave trade of
the sixteenth century, and became known as
Candomble. The thirty-four striking images of
ritual objects and shrines, as well as portraits
of priests and priestesses, reflect the artist's
highly refined aesthetic sense thoughtfully
present the spiritual traditions still being
practiced in these two lands. Phyllis Galembo,
University of Albany, first traveled to Nigeria
in 1985 and to Brazil in 1987 to document the
roots of the orisha tradition as practiced in
West Africa and Brazil's assimilation of this
African religious heritage.
The exhibition has been organized in
conjunction with Galembo's book of the same
title, published by The University of New
Mexico Press. The 192 page book contains 83
color reproductions with as introduction by
David Byrne and essays by Norma Rosen,
Robert Farris Thompson, Joseph Nevadomsky,
and Zeca Ligiero.
The exhibition premiered at the
International Center of Photography (ICP) in
New York City from February 5-March 28,
1993 and is now available for four- to
eight-week bookings through December 1995.
Consisting of thirty-four (15x15" and 20x20")
Cibachrome prints, "Divine Inspiration"
requires approximately 100 to 125 running feet
for installation. Costs include a $1,500 loan
fee for North American venues, plus shipping
expenses. Contact ICP's Traveling Exhibitions
Department for loan fee information for
venues outside of the U.S. and Canada.
This exhibition is made possible with
public funds from the New York State Council
on the Arts. For further information contact:
Traveling Exhibitions Department, International
Center of Photography, 1130 Fifth Avenue,
New York City, 10128, USA. Telephone:
(212) 860-1773. FAX (212) 360-6490.
"Sleeping Beauties: African Headrests and
Other Highlights from the Jerome L. Joss

Collection at UCLA" has been extended
through May 15, 1994. Nearly two hundred
"rigid pillows" join a broad cross-section of
African masks and figurative sculpture in this
exhibit; also included is an African sleeping
platform and a Western-style bed with a
selection of contemporary headrests for visitors
to 'rest their heads.' An illustrated catalog is

August 1993. "Conversations on African Art
and Its Context" the theme of a one-day
symposium organized by the Bowers Museum
of Cultural Art in Santa Ana, California, on
August 14, 1993. Scheduled speakers include
ACASA members Polly Nooter, Henry
Drewal, and Barbara Blackmun. The
concurrent exhibition at the Bowers Museum
features the Tishman Collection.
September 1993. "Uniting Ethiopian World
Scholars and Creative Artists" is the theme of
the Ethiopian Research Council's third annual
convention to be held at Florida State
University from September 9th-12th. Abstracts
for papers or panels may be submitted to
Professor Ashenafi Kebede, Center for African
American Culture, Florida State University,
210 South Woodward Street B-105,
Tallahassee, FL 32306.
October 1993. The 11th Valcamonica
Symposium Prehistoric and Tribal Art:
Symbol and Myth will be held from October
6-11, 1993. Sessions are planned on: 1)
General Problems; 2) Geographical- Eurasia,
America, Africa, Oceania; 3) Phenomenology;
and 4) Prehistoric and Tribal Art as Means of
Communication. For information, contact:
Secretariat, Centro Camuno di Studi
Preistorici, 25044 capo di Ponte, Valcamonica
(BS), Italy. Telephone: 0364/42091. FAX
November 1993. "Third International
Conference on the History of the Ethiopian
Art" is to be held at the Institute of Ethiopian
Studies, Addis Ababa University, November
9-11, 1993. The conference will cover all
fields of Ethiopian art, both traditional and
modern. Participants will have the opportunity
to view paintings in chuches in the vicinity of
Addis Ababa, as well as in the Institute of

Ethiopian Studies' newly re-installed art
gallery. The registration fee is $50 for
participants from abroad. Accommodation is
available in one of Addis Ababa's numerous
hotels, or, if available at the time, at the
University's guest house. Contact: Richard
Pankhurst, Institute of Ethiopian Studies, Addis
Ababa University, P.O.B. 1176, Addis Ababa,
Ethiopia. Telephone: 71.29.01.
December 1993. The African Studies
Association 1993 annual meetings are
scheduled to take place in Boston, December
4th-7th. ACASA is sponsoring several panels
at these meetings.
February 1994. The 1994 College Art
Association annual conference will take place
in New York City from February 17-19, 1994.
March 1994. The West African
Archaeological Association
(WAAA)/Association Africaine d'Archeologie
(AOAA) has set March 28 to April 2, 1994 as
the dates for its Sixth Colloquium to be held
in Cotonou, B1nin. The theme of the
conference is "Archaeology and Protection of
Patrimony." The conference is open to
members of the organization as well as to
archaeologists, art historians, conservators,
researchers, students, tourist and cultural
officers, and representatives of development
organizations. Persons interested in presenting
papers are asked to contact: VIe Colloque de
I'A.O.A.A./W.A.A.A., Ddpartement d'Histoire
et d'Archeologie, B.P. 526, Cotonou,
Republique du Benin by September 15, 1993.
For general information about the conference,
contact: Alexis B. A. Adande, B. P. 1057,
Porto-Novo, R6publique du Benin. Telephone
(229) 21 43 63. FAX (229) 21 25 25.
April 1994. The Society of Africanist
Archaeologists biennial meeting will take place
April 28-May 1, 1994, at Indiana University.
Details of the meeting and forms for
submitting panels and papers will be provided
in the June 1993 issue of Nyame Akuma
(#39). For further information contact:
Nicholas Toth, Secretary, SAfA, Indiana
University, Department of Anthropology,
Rawles Hall 108, Bloomington, IN 47405,
January 1995. The 1995 College Art
Association annual conference will be held in
San Antonio, Texas, from January 26-January
28, 1995 at the Marriott Rivercenter. The art

history program will be co-chaired by John R.
Clarke and Mari Carmen Ramirez, and the
studio art program by Kathy Vargas and
Liliana Wilson. CAA members should submit
session proposals by September 1, 1993, to
the program chairs. Proposals should be one-
to two-page essays framing the session topic,
and accompanied by a session proposal
submission, biographical statement, mailing
address, and home and work numbers. CAA
welcomes submissions from affiliated societies
- which ACASA is.
April 1995. The Tenth Triennial Symposium
on African Art is tentatively scheduled to take
place in New York City from April 20-23,
1995. The Museum for African Art, working
with other New York City institutions, is
coordinating the meeting. Further
announcements will appear in the ACASA
Newsletter as plans for the Triennial develop.
For information, suggestions, or questions call
Carol Thompson (212) 966-1313.
September 1995. Pan African Association of
Prehistory and Related Studies 10th Congress,
September 1995 makes its first announcement.
The University of Zimbabwe History
Department, and the National Museums and
Monuments of Zimbabwe will jointly host the
10th Congress of the Pan African Association
of Prehistory and Related Studies. The last
Congress was held in Jos, Nigeria, ten years
The Congress will be held over five days
at the University of Zimbabwe in early
September 1995. The actual dates will be
given in the second announcement. The
provisional list of the proposed themes
includes: Quaternary Geology; Hominid
Evolution; Palaeo-environmental Studies; The
African Stone Age; The African Iron Age;
Early African Food Production; Spatial
Analysis; Interpretation of Cultural Change;
The Development of Complexity;
Ethno-archaeology; Information Technology
and Archaeology; Cultural Resource
Management. Suggestions of additional themes
are welcome.
To receive further announcements for the
Congress, write: Gilbert Pwiti, History
Department (PAA) University of Zimbabwe, P.
0. Box MP167, Mount Pleasant, Harare,

24 ACASA Newsletter / No. 37, August 1993

Reen. IP Co feen

Although only a few ACASA members were
able to attend, the Santa Fe conference Arts
and Goods; Possession, Commoditization,
Representation, co-sponsored by the American
Ethnological Society and the Council for
Museum Anthropology on April 15-18, 1993,
was highly relevant for scholars interested in
the issue of commoditization of African art.
Most papers were situated in the Native
American arts field, where commoditization
began earlier than in Africa and where many
more scholars have given it serious attention.
Of the Africanists giving papers, Enid
Schildkrout discussed the collecting strategies
of Frederick Starr and Herbert Lang during
their Congo Expedition of 1906-1915 and its
impact upon local artists, Chris Steiner
critiqued Walter Benjamin's classic essay on art
in the age of mechanical reproduction, and
Sidney Kasfir discussed Samburu postcards
and souvenirs with regard to theories of
collecting and representation. Nelson Graburn
and Paula Girshick, whose earlier work
framed the questions for this debate, were also
present. Ruth Phillips and Chris Steiner are
editing a volume of essays which will include
subjects, developed out of their double panel
entitled "Hybrid/Purebred: Authenticity and
Touristic Production in Colonial Contexts."
The conference Cloth, the World Economy
and the Artisan held at Dartmouth College on
April 23-25, 1993, was well-attended by
Africanists and Indianist historians, art
historians and anthropologists from North
America, the UK and India. Of greatest
interest to ACASA members were the several
papers dealing with the importation of Indian
textiles into West Africa under the British Raj
and French colonial regime, and on a more
local level, the exporting of Hausa, Yoruba,
and Ndoki Igbo cloths to neighboring
communities and the issues surrounding the
construction of taste, proliferation of
meanings, and the patronage niches which
these cloths filled.
Papers were presented by the following
ACASA members: Joanne Eicher and Tbnye
Erekosima, Judith Perani, Lisa Aronson,
and Elisha Renne, as well as by Africanist
historians Judith Byfield, Marica Wright and
Richard Roberts. Chris Steiner and Sidney
Kasfir were among the discussant/wrap up
speakers. A volume of conference papers is

being planned under the editorship of Doug
Haynes and Judith Byfield, both of the
Dartmouth College's History Department.
Representing Nomadic Cultures was the theme
of a symposium held at the University of
Iowa, Iowa City, April 1-4, 1993.
Presentations on a range of issues relating to
nomads and the perceptions and
representations of nomads were given. Among
the presented topics was: "Innovation and
Continuity in Tuareg Jewelry Production," by
Kristyne Loughran, Ph.D. candidate, African
art history, Indiana University. Evan Mauer
was the keynote speaker.
International Conference on Mande
Studies/Congres International des Etudes
Mand&, Bamako, March 1993. See News
from Mali above.

Scholars, Collectors and Looted Art. Ricardo
J. Ella takes Colin Renfrew to task in his
review of Renfrew's book The Cycladic Spirit:
Masterpieces from the Nicholas P. Goulandris
Collection (New York: Harry N. Abrams, in
association with the N. P. Goulandris
Foundation), which he calls "a seductive and
troubling work." The review appeared in
Archaeology, January-February 1993. The case
of the Cycladic figures resonates with
Africanists' concerns about Malian terracottas
and other antiquities which were first looted,
then copied and faked.
According to Ella, who is the Director of
the Office of Public Archaeology at Boston
University, prominent British archaeologist,
Colin Renfrew, offers an uncritical, idealized
look at the Cycladic marble figures of the
Goulandris collection, which Dolly and
Nicholas Goulandris assembled in Athens in
the 1960s. The appetite of the world art
market for these Early Bronze Age figurines
was at a high at this time and consequently
led to the rampant looting of Cycladic graves
to satisfy the collectors' demands. Inevitably,
the dwindling supply of figurines led to the
production of a vast forgery industry which
flooded the market with fakes. Today
approximately 1,600 figurines are scattered
throughout private collections and museums
around the world, with little or no information
about their origin or authenticity.

ACASA Newsletter / No. 37, August 1993

I End^^^

Renfrew never suggests that the act of
collecting might be directly responsible for the
mass pillaging of grave sites. Instead he
praises the Goulandris' enthusiasm for
obtaining and keeping many Cycladic figurines
within Greece. In fact they were purchased in
Greece or from the international market;-not a
single specimen has an archaeological
provenance. Nor does he address the issue of
forgery production, or question whether some
of the Goulandris' marbles could indeed be
Renfrew does provide some useful
speculation and discussion on who may have
made the figurines, what they represented, if
rules of proportions existed for sculpting, and
to what degree they were originally painted.
Ella points out, however, that Renfrew missed
a great opportunity to educate the public about
the "barbarity of collecting," and Renfrew's
book points up the pitfalls facing scholars who
choose to study looted collections. The
personal relationship between art historian and
collector further compromises the researcher's
objectivity. Ella writes: "Unfortunately, many
art historians choose to ignore the corruptive
effects of the illegal art market on their study.
Their basic assumption seems to be that
looters are bad but collectors are good.
Scholars who work with looted material
regularly condemn looting, while in the same
breath, they laud the enthusiasm of the
collector who, directly or indirectly, financed
the looting." What Renfrew created was a
beautifully illustrated book without the
thoughtful criticism to move it beyond the
non-specialist's coffee-table. Ella concludes
that "The Cycladic Spirit is a disturbing book
because the author, a prominent archaeologist,
perpetuates an attitude that is sadly all too
typical of the way art historians treat
collections of looted material. Those who have
personal and professional ties to the art market
tend to lose a fundamental and priceless
element of their objectivity and, in certain
areas of inquiry, their critical acumen as
scholars is diminished. This book, written for
a non-specialist audience, can only reinforce
the notion that looting is something that just
happens, while collecting is a noble and
worthwhile pursuit. The truth is that collectors
are the real looters."

The Editor thanks contributors to this August
issue of the newsletter: Mary Jo Arnoldi,
National Museum of Natural History; Judith
Bettelheim, San Francisco State University;
Elizabeth Bigham, Museum for African Art;
Barbara Blackmun, San Diego Mesa
College; Jeremy Coote, Macmillan Dictionary
of Art; Lisa Dirks, International Center of
Photography; Toni Eseagwu, Ahmadu Bello
University; Chris Geary, National Museum of
African Art; R. 0. Rom Kalilu, Ladoke
Akintola University of Technology,
Ogbomosho; Sidney Kasfir, Emory
University; Fred Lamp, Baltimore Museum of
Art; Dan Mato, University of Calgary;
Christine Sellin, UCLA; Ray Silverman,
Michigan State University. We would also like
to acknowledge the assistance of Trevor
Schoonmaker and Karen Finch at the
National Museum of African Art Library in
putting together this issue of the newsletter.
ACASA Newsletter seeks items of interest for
publication. Our newsletter reaches many who
are not able to attend meetings. Linking our
members via the newsletter is, therefore,
crucial. Suggested news items you can send:
news of members (job changes, new staff);
activities (fieldwork, travel, research in
progress); conferences; exhibitions; jobs
openings; fellowship opportunities; new
publications. We are particularly eager to
receive contributions from members in Africa.
Mail, phone, Fax or e-mail. The next ACASA
Newsletter will be December 1993. Deadline
for submitting news items is November 15,

Janet L. Stanley
National Museum of African Art Library
Smithsonian Institution
Washington, DC 20560, USA
Telephone: (202) 357-4600 extension 285
Fax: (202) 357-4879
E-mail: LIBEM010@SIVM (Bitnet)
or LIBEM010@SIVM.SI.EDU (Internet).

* *

26 ACASA Newsletter / No. 37, August 1993

1993 Directory of ACASA Members

[Current as of July 1993. See April 1993 ACASA Newsletter
for full Directory of ACASA Members]

Rowland Abiodun
Amherst College
Department of Fine Arts
Amherst, MA 01002
work: 413-542-5801
Tavy D. Aherne
103 E. Southern Drive
Bloomington, IN 47401-6505
home: 812-339-8837
email: taherne@indiana.edu

Gilbert Amegatcher
B-9 Rowe Housing
Bloomington, IN 47406
home: 812-857-4857

Karel A. C. Arnaut
Linacre College
OX1 3JA Oxford
home: 0865-271650
fax: 0865-271668

Mus6e Barbier-Mueller
10, rue Jean Calvin
Geneva, CH-1204
work: 022-312-02-70
fax: 022-312-01-90

James 0. Bellis
University of Notre Dame
Department of Anthropology
Notre Dame, IN 46556
home: 219-232-3438
work: 219-631-5645

Maria Berns
University Art Museum
University of California-Santa Barbara
Santa Barbara, CA 93106
home: 805-564-0847
work: 805-893-2951
fax: 805-893-7206
email: berns@humanitas.ucsb.edu

Boston University
African Studies Library
771 Commonwealth Avenue
Boston, MA 02215
Jacqueline Chanda
5687 Saranec Drive
Columbus, OH 43232
home: 614-861-4407
work: 614-292-0253

Daniel J. Crowley
Department of Anthropology
University of California
Davis, CA 95616
home: 916-756-4116
work: 916-752-8885

Esther A. Dagan
42 Anwoth
Westmount, Quebec
work: 514-931-4747
fax: 514-931-4747

Diggs Gallery
Winston-Salem State University
601 Martin Luther King, Jr. Drive
Winston-Salem, NC 27110
work: 919-750-2458
fax: 919-750-2459

Barbara Elsbeth
P. 0. Box 373
Burlington, VT 05402
home: 802-826-0013
work: 802-863-3659

Ekpo Eyo
6609 23rd Avenue
Hyattsville, MD 20782
home: 301-422-2767
work: 301-405-1485
fax: 301-314-9652

Claire Gerhard
285 13th Street
Brooklyn, NY 11215
home: 718-788-0889
Barry Hallen
UNESCO: Southern Crossroads
Via San Maurilio 24
Milan 20123, ITALY
home: 39-2-8055122
work: 39-2-8053189
fax: 39-2-8053189

Freida High W. Tesfagiorgis
Department of Afro-American Studies
University of Wisconsin
4231 Humanities Building
455 North Park Street
Madison, WI 53711
home: 608-274-5055
work: 608-263-1642
fax: 608-262-2159
email: high@macc.wisc.edu

Bayo Ijagbemi
P.O. Box 31144
Tuscon, AR 85751-1144

Louise Lincoln
Minneapolis Institute of Arts
2400 Third Avenue South
Minneapolis, MN 55404
work: 612-870-3175
fax: 612-870-3004

Susan Mickiewicz
Ethnic Arts
2939 College Avenue
Berkeley, CA 94705
home: 510-841-9702
work: 510-549-3781
fax: 510-549-1046

Cyril Miles
17711 Hamilton Road
Detroit, MI 48203
home: 313-863-4863

Mary (Polly) H. Nooter
15 Claremont Avenue #1
New York, NY 10027
home: 212-864-1988
work: 212-966-1313
fax: 212-966-1432

North Carolina Museum of Art
Education Department
c/o Rebecca Martin Nagy
2110 Blue Ridge Road
Raleigh, NC 27607
work: 919-833-1935
fax: 919-733-8034

John Nunley
St. Louis Art Museum
Forest Park
St. Louis, MO 63110
home: 314-727-3671
work: 314-721-0072 x 217

Olu Oguibe
Africa Research and Information Bureau
5 Westminster Bridge Road, Room 202-204
London SE1 7PW
work: 081-694-1320
fax: 081-694-1320

Cheryl Olkes
Harmattan Arts of Africa
228 Seventh Street, SE
Washington, DC 20003
home: 202-547-0615
work: 202-544-8444

Sharon E Patton
University of Michigan
Department of History of Art
110 Tappan Hall
Ann Arbor, MI 48109
home: 313-662-8944
work: 313-763-5917
fax: 313-763-0543

Louis Perrois
19 rue Esquirol
Paris 75013, FRANCE
work: 148-03-76-15
fax: 140-34-69-13

Robin Poynor
102A FAA
University of Florida
Gainesville, FL 32610
home: 904-372-2499
work: 904-392-9332
fax: 904-392-3802
email: poynorr@nervm.bitnet

Elisha Renne
NCEPfI Health Transition Centre
The Australian National University
Canberra ACT 2601, AUSTRALIA
work: 06-249-2395
fax: 06-249-7926
Enid Schildkraut
American Museum of Natural History
Anthropology Department
Central Park West
New York, NY 10024
home: 212-362-0491
work: 212-769-5432
fax: 212-769-5334

Cynthia Schmidt
209 S. Eyberg Avenue
Treynor, IA 51575
home: 712-487-3735

Sasha Stollman
Glenn Wharton and Associates
549 Hot Springs Road
Santa Barbara, CA 93108
home: 805-969-1990
work: 805-565-3639
fax: 805-565-3649

Betty Wass
1450 Van Hise
1220 Linden Drive
University of Wisconsin
Madison, WI 53705
home: 608-233-9259
work: 608-262-4458
fax: 608-262-6998
email: wass@macc.wisc.edu

Ingrid C. Wehrle-Ray
108 S. Mt.Vernon Drive
Iowa City, IA 52245
home: 319-351-6798

Ellen C. Hvatum Werner
Department of AOA
M. H. de Young Memorial Museum
Golden Gate Park
San Francisco, CA 94118
home: 415-461-9392
work: 415-750-3617

Hans Witte
Museum Kamstraat 55
6522 GB Nijmegen
home: 080-238930

Carol Thompson
The Museum for African Art
593 Broadway
New York, NY 10012
home: 212-505-6557
work: 212-966-1313
fax: 212-966-1432

Monica Blackmun Visona
220 Wright Street #304
Lakewood, CO 80228
home: 303-989-7748
work: 303-556-3090
fax: 303-556-4941
email: visonam@mscd.edu

Maude Southwell Wahlman
Art Department
University of Central Florida
Orlando, FL 32816
home: 407-699-6777
work: 407-823-5925
fax: 699-1002/823-5156

ACASA Members E-mail Addresses
[corrections and addendum; unconfirmed]

Tavy Aherne
* taherne@ucs.indiana.edu

G. A. Anderson
* andersonj@alpha.hendrix.edu

Mary Jo Arnoldi

Lisa Aronson

Eli Bentor

Maria Berns

Barbara W. Blackmun

Alice Burmeister
* aburmeis@ucs.indiana.edu

S. Terry Childs

Kathy Curnow-Nasara
* 76507.3654@compuserve.com

Fowler Museum of Cultural History
* eqw4her@vms.oac.ucla.edu

Barbara Frank
new fax #: 516-632-7261

Paula Girshick

Rosalind I. J. Hackett
pal27008 %utkvml.bitnet. @uga.cc.uga.edu

Eugenia Herbert

Ivan Karp

Sidney Kasfir
new fax # 404-727-2358

Corinne Kratz

Robert S. Leopold

Daniel Mato
* dmato@acs.ucalgary.ca

Rita McCaslin
* jmcc@vax1.acs.jmu.edu

Patrick McNaughton

Ann O'Hear

Robin Poyner

Betsy Cogger Rezelman
* brez@slumus.bitnet

Raymond A. Silverman

Janet L. Stanley
libemO 10@sivm.bitnet

Christopher B. Steiner
* steiner@mizar.usc.edu

Frieda High-Tesfagiorgis

Monica Blackmun Visona
* visonam@mscd.edu

Betty Wass
* wass@macc.wisc.edu

1//LL/AADe -eX ( LciOWADL

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