Title: ACASA newsletter
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Permanent Link: http://ufdc.ufl.edu/UF00103115/00035
 Material Information
Title: ACASA newsletter newsletter of the Arts Council of the African Studies Association
Alternate Title: Newsletter
Physical Description: v. : ; 28 cm.
Language: English
Creator: African Studies Association -- Arts Council
Publisher: The Council
Place of Publication: S.l
S.l
Publication Date: December 1993
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Subjects / Keywords: Arts -- Periodicals -- Africa   ( lcsh )
Genre: periodical   ( marcgt )
 Notes
Dates or Sequential Designation: Vol. 1, no. 2 (winter 1982)-
Numbering Peculiarities: Vol. designation dropped with no. 3 (spring 1983).
General Note: Title from caption.
General Note: Vols. for Aug. 1992- include Directory of members: addendum.
General Note: Latest issue consulted: No. 34 (Aug. 1992).
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Bibliographic ID: UF00103115
Volume ID: VID00035
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 Newlsetter
No. 38, December 1993


The Arts Council of the
African Studies Association


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ACASA Board of Directors


Rowland Abiodun, President
Simon Ottenberg, Past President
Barbara Frank, Secretary-Treasurer

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

Directors Retiring at the ASA Meeting 1996
Kathy Curnow-Nasara
William Dewey
Nii Quarcoopome
Janet Stanley




Membership Information (for residents of North America, Europe, Asia):
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 Obiora Udechukwu entitled "Who Are You" (1993).


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ACASA Newsletter


December 1993


President's Report by Simon Ottenberg. This
is my last report as ACASA President, as my
term is now over. I have the pleasure to
inform you that Rowland Abiodun has been
appointed President by the ACASA Board, and
will hold the office until the Triennial Meeting
in New York in April 1995. I wish to thank
the board for all the assistance that they have
provided me. Margaret Drewal, Maria Berns,
Acha Debela and Janet Stanley have finished
their terms on the Board and been replaced by
Kathy Curnow-Nasara, Bill Dewey and Nii
Quarcoopome, and Janet Stanley has been
returned to the Board and will continue to act
as Editor of our newsletter.
Fundraising. You may remember that as a
Sponsored Organization of the African Studies
Association we were not permitted to go
ahead with our own endowment fund drive
until the end of their ASA Endowment Drive,
based on an NEH Challenge Grant, which was
to terminate this December. The Challenge
Grant has now been extended until July 31,
1995. However, in discussions with the ASA
Board on December 7th, I was told that we
were free to do fundraising around specific
projects, but should keep in touch with the
ASA so as to avoid competition in both
applying to the same agency or person.
Furthermore, we can go ahead with plans for
a membership drive. I look forward to these
efforts being implemented.
Ethics. The ethics round table at the ASA
Boston meeting, ably organized by Mary Jo
Arnoldi and Warren d'Azevedo, drew a good
crowd. It is clear that there are quite diverse
views within ACASA on developing ethical
principals or a code of ethics, including the
view that there should not be such a statement
at all. Warren and Mary Jo are collecting
written opinions on this topic, which will
appear a future ACASA Newsletter, and
members are invited to send their opinions to
either of them. To what extent it will be
possible to reach an agreed-upon statement is
not clear.


Contents
ACASA News


President's Report
1993 ASA in Boston
1994 ASA in Toronto:
Call for Papers
1995 CAA: Call for Papers
1995 Triennial Symposium
Book Distribution Program
African Art Text Project
House and Apartment Exchange
Profile of ACASA Members
People in the News
Obituaries
Career & Research Opportunities
African Archives and
Museum Project
Collaboration between African
and American institutions
Queries
International News Round-Up
Noteworthy New Publications
Serial Notes
Exhibitions
Forthcoming Conferences
Recent Past Conferences
1994 ASA Paper Proposal Form
1993 Directory of ACASA Members:
Second Addendum


10
12
12

16

18
22
22
32
35
36
37
39
41

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ACASA Newsletter / No. 38, December 1993


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Bill Siegmann has been nominated for the
ASA Board, and ACASA members who are
also ASA members should consider, when the
election occurs next year, the considerable
advantage of having an ACASA member on
the ASA Board, when they vote.
Ethnomusicologists. Some scholars
interested in African ethnomusicology are
becoming active in ACASA and yet at the
same time wish to have some sort of
organization of their own. Barbara Frank and
I have been discussing with them how this
might be arranged.
Triennial. Preparations for the April 19-23,
1995 Triennial Symposium in New York City
are going ahead. The ACASA Board is
selecting a program committee, and further
information will appear in a future ACASA
Newsletter on panels and programs.
By-Laws. The revised voting regulations to
be placed in our By-Laws passed without
dissent at our annual Business Meeting. This
must be followed by a mail ballot, which if,
passed, will ensure the possibility of broader
representation on the ACASA Board.

1993 African Studies Association
Meetings, Boston, December 4-7
Minutes of the [First] ACASA Board Meeting,
Sunday, December 5, 1993. Present: Simon
Ottenberg, Marla Berns, Barbara Frank,
Rowland Abiodun, Acha Debela, Nancy
Nooter, Ray Silverman, Janet Stanley. Absent:
Margaret Thompson Drewal, Freida
High-Tesfagiorgis.
1. Financial report (Frank). While our bank
balance appears healthy, note was made that
without the income from the Triennial (to
be used for the next Triennial), our annual
expenses are approximately the same as our
income from memberships. In addition, the
cost of producing the newsletter has steadily
risen as our print run increases with both
complimentary and paying members.
2. Fund raising (Ottenberg). Report from ASA
that NEH has extended the time period for
ASA to raise the needed matching funds for
their endowment drive until July 30, 1995.
Although we can proceed with a
membership drive, ASA has requested we
refrain from fund raising until after their
own endowment drive has ended.
3. Membership issues (Frank). Discussion of
need to raise the percentage of our


members who are also members of ASA in
order to maintain our status as an
ASA-sponsored organization included
possibility of exploring other
non-membership categories such as "Friends
of ACASA." Also discussed ways of
soliciting new members through contact with
African Studies Centers and advertising in
their newsletters. Agreed to take ASA up
on their offer to send out letters to ACASA
members who are presently not members of
ASA.
Discussion of problems our European
colleagues have when paying membership
dues. Solutions discussed included finding
out whether an account might be opened
abroad, whether a US bank would accept
the relatively new Eurochecks. Frank agreed
to look into these possibilities.
4. Code of ethics. Tabled until second Board
meeting, following the round table later in
the day, December 5th.
5. ASA meetings. Discussion of clarification of
ASA policy on sponsored organizations'
submission of panels: ACASA is allowed to
submit two "sponsored" panels not subject
to the review of the ASA program
committee, while all other panels and papers
submitted by ACASA will be reviewed;
those accepted will be identified as having
been "organized under the auspices of"
ACASA. Also discussed need to take a
more active role in proposing African
scholars through ASA's visitors program.
Ottenberg announced that the 1994 ASA
will be in Toronto; 1995 in Orlando,
Florida; 1996 in San Francisco; and 1997 in
Norfolk, Virginia.
6. Arnold Rubin Outstanding Publication
Award. Discussion of possible change in
criteria for books to be considered for the
award to include multiple authors. One
possibility would be to have two awards,
one for multiple authors, and one for single
or co-authored works.
7. Brochure. Mock-up of a brochure designed
by the Fowler Museum of Cultural History
was distributed for Board review.
8. College Art Association. Panel proposed by
Monica Visona on behalf of ACASA for the
1995 San Antonio CAA meeting has been
accepted. An announcement will be made at
the business meeting.
9. Triennial (Ezra and Thompson). Discussion
of plans to have the Triennial at different
institutions in New York, with a more


ACASA Newsletter / No. 38, December 1993









varied format than the standard four-paper
panels. Board agreed to appoint a program
committee after asking for volunteers at the
business meeting. An expanded registration
fee schedule was proposed to be revised
dependent on development of a more
accurate budget. Ezra reported that she was
meeting with Curtis Huff concerning a
proposal to USIA to provide the funding to
bring a variety of artists, museum
professionals, and teachers of art and art
history to the states for these meetings.
Otherwise, the Board agreed that it should
be responsible for part of the fund raising
for the Triennial. Discussion included
possibility of finding a sponsor for a
contemporary African art exhibit.
Minutes of the [Second] ACASA Board
Meeting, Monday, December 6, 1993.
Present: Simon Ottenberg, Barbara Frank,
Rowland Abiodun, Nancy Nooter, Ray
Silverman, Janet Stanley, Freida
High-Tesfagiorgis, Bill Dewey, Kathy
Curnow-Nasara. Absent: Nii Quarcoopome.
1. Election of new ACASA President. The
Board unanimously selected Rowland
Abiodun as the new President of ACASA.
Question raised about possible change in
status of newsletter editor to be elected in
the same way that the Secretary-Treasurer
would be elected, rather than selected from
the newly constituted board. The board is
delighted to have Janet back as newsletter
editor for another three years, but decided
that the issue of a separate position was
worth pursuing.
2. Membership issues. Board discussed
possible non-voting, non-member categories
to reduce the number of members who are
not members of ASA, including a "Friends
of ACASA" category, as well as independent
subscription to the newsletter, and possibility
of excluding institutional memberships. The
"Friends" category needs further
consideration and approval by ASA.
Subscriptions without membership might
cause unnecessary confusion and since most
of our institutional members are also likely
to be ASA members, these do not seem like
viable solutions. Reaffirmed need to get our
members to become ASA members.
3. Fund raising/endowment drive
(Ottenberg/Nooter). Some discussion of
creating a t-shirt to sell to make money.


The board agreed it would be worthwhile to
look into possible production costs.
4. Triennial. Discussion of plans for the 1995
Triennial. Announcement that Manthia
Diawara (Director of the African Studies
Program at New York University) had
indicated a willingness to help with
sponsorship of the Triennial which might
allow us to hold all or most of the program
at NYU. This possibility will be pursued.
Concern over proposed format included
reminder that there was some sentiment that
the 10 slides/10 minutes format used at the
1989 Triennial tended to marginalize
younger, less well known scholars as not
worthy of a full 20-minute paper time slot.
Program committee will be asked to guard
against such marginalization in putting the
program together. However, it was also
noted that graduate students at the Iowa
Triennial benefited from interaction with
their immediate peers in a less stressful
context, especially for pre-fieldwork
sessions. Suggestion made of possible
workshops for teaching, including exchange
of syllabi, as well as importance of keeping
museum issues as a major focus even if
there is no separate museum day. Also a
concern that ethical issues continue to be
addressed in a focused way. Board prepared
a list of people to be appointed to a
program committee pending confirmation of
willingness to serve.
5. Arnold Rubin Outstanding Publication
Award. Board agreed to open up the criteria
for books to be considered for the award to
include multiple authors for this next round
and to explore the possibility of a second
book award category in the future. Board
selected a committee pending confirmation
of willingness to serve.
6. Leadership Award. Board appointed a
committee pending confirmation of
willingness to serve.
7. Code of ethics. Board agreed that the
question of whether or not to have a code
of ethics should be addressed before
proceeding. However, regardless of outcome
of such a vote, the board also strongly
recommends that ACASA continue to
sponsor a least one panel for the ASA
meeting on ethical issues.
8. 1994 ASA panel ideas. The Board agreed
that one of the two officially sponsored
ACASA panels should address ethical
concerns. The second sponsored panel


ACASA Newsletter / No. 38, December 1993









should in some way address the general
conference theme of "Africa Reconfigured."
Ray Silverman agreed to act as coordinator
of the ACASA panels and paper
submissions. Ottenberg reported that the
program committee for the 1995 ASA
meeting in Orlando may be taking a new
approach by having each member of the
committee in charge of reviewing the
proposals in their particular field. Also
reported that even sponsored organizations
may have to pay part of the ever increasing
costs of audio-visual materials at ASA.
9. ext Book Project. Discussion of need to
address question of ACASA endorsement of
publications and issue of royalties.
Discussion of concern over the content
especially if ACASA sponsorship is
involved. One board member who had seen
the outline noted that the coverage was quite
extensive including areas such as North
Africa and Egypt, and topics such as
contemporary art.
10. Archiving of ACASA records. Discussion
of possible locations for archiving records
now scattered. Two possibilities are
Northwestern and the Smithsonian. These
institutions will be contacted for more
information concerning types of materials to
be archived, access and other issues.
11. Ethnomusicology group. Report of a series
of conversations with Steve Friedson and
Cynthia Schmidt concerning a group of
ethnomusicologists forming itself into an
organization tentatively called Association
for the Study of African Performance
(ASAP). They have approached ACASA for
possible affiliation. Discussion focused on
concern that ACASA already has a major
emphasis on performance and that our
charge explicitly states our focus on the arts
of Africa in all its many forms (thus
including music) and, therefore, that we
would rather have such a group as part of
ACASA. Concern also voiced that ACASA
retain its core emphasis on the visual arts
as the only organization focused in such a
way. Decision made to encourage individuals
within the emergent group to become active
as ACASA members and for the group to
provide a more specific proposal of
demands/desires concerning their relationship
as a defined group within ACASA.


Minutes of the ACASA Business Meeting,
Monday, December 6, 1993.
1. President's remarks. Outgoing president
Simon Ottenberg opened the meeting and
welcomed ACASA members (of whom there
were approximately 55 present).
2. Financial report (Frank). While our current
bank balance ($12,069.00) appears healthy,
note was made that without the income
from the last Triennial registration fees
($4,680.00 to be used for the next
Triennial), our annual expenses are
approximately the same as our income from
memberships. In addition, the cost of
producing the newsletter has steadily risen
as our print run increases with both
complimentary and paying members.
3. Membership issues (Frank). Current paid
memberships are 255 (up from 222 at this
time last year) including three Lifetime, 192
Regular, 44 Special, and 16 institutional
members (including ASA and CAA as
non-paying institutional members).
Warning to members that our
relationship with ASA as a sponsored
organization is in jeopardy. ASA rules
require that at least 66% of our members
also be members of ASA. For the 1992
calendar year, only slightly over 50% had
joint memberships. (See August newsletter
for fuller description of consequences as
well as benefits of ASA membership).
ACASA members who are not current
members of ASA are strongly encouraged to
become members. The Board intends to
take up ASA's offer to send out letters to
ACASA members who are not ASA
members, to explore other ways to boost
ASA membership, and provide non-member
alternatives for current members who have
no interest/reason to become ASA members
(such as a non-voting "Friends of ACASA."
4. Fund raising/endowment drive
(Ottenberg/Nooter). Ottenberg reported that
NEH has extended the time period for ASA
to raise the needed matching funds for their
endowment drive until July 30, 1995.
Although we can proceed with a
membership drive, ASA has requested we
refrain from fund raising until after their
own endowment drive has ended.
Nooter reminded members of the report
of the task force in the December 1992
issue of the newsletter and announced that
these ideas were discussed and approved by


4 ACASA Newsletter / No. 38, December 1993









the Board, but that they would have to
remain on hold until we get the go-ahead
from ASA.
5. bote on change in election by-Laws. The
change in the by-laws was approved by
unanimous vote. A mail ballot is required
for all by-laws changes and will be included
in your 1994 membership renewal requests.
(Please return these even if you were
present at the business meeting). If
approved, the new procedures will apply to
the election to be held at the Business
meeting of the 1995 Triennial.
6. Election of new Board members. Following
the current procedures for election of board
members, Janet Stanley, Nii Quarcoopome,
Kathy Curnow-Nasara and Bill Dewey were
unanimously voted in by the members
present.
7. Triennial. Plans for the 1995 Triennial are
beginning to take shape. The planning
committee reflects the collaboration of
different institutions in this effort and
includes the Museum for African Art, the
Metropolitan Museum of Art, the American
Museum of Natural History, the Brooklyn
Museum, and the Studio Museum in Harlem
(among others). Tentative plans have been
working around the idea of panels held at
different institutions on different days, in
part due to the lack of institutional support
at an academic setting of the kind we have
had in the past, and the exorbitant rates for
such a conference at a New York hotel, but
also due to a desire to take advantage of
what these institutions (and New York
generally) has to offer. Other issues
addressed by the local planning committee
include opening up/varying the format of the
panel sessions to encourage more dialogue
by having more in the way of round table
discussions and fewer of the standard four
paper/one discussant sessions, integrating
museum issues into the program rather than
having a separate museum workshop day,
and continuing the success of the Iowa
Triennial in facilitating the participation of
African colleagues by seeking funding from
USIA and other sources. To raise the
necessary funds to pay for the meetings, the
planning committee has proposed an
increase in registration fees with different
rates for regular vs. special members,
pre-registration vs. on-site registration,
members vs. non-members as well as a


daily rate. The Board agreed that it should
take on the responsibility for at least part of
the fund raising for the Triennial and will
appoint a program committee.
Discussion centered on concern over
potential for lack of coherence and logistical
problems as a result of the multiple
locations. The local committee has discussed
these issues at some length and is
continuing to pursue the possibility of a
single location (see minutes from second
Board meeting). Volunteers were solicited to
serve on the program committee to be
appointed by the Board.
8. Arnold Rubin Outstanding Publication
Award (Ottenberg). Discussion of possible
change in criteria for books to be
considered for the award to include multiple
authors. Consensus was that the award
should be opened up to include publications
with multiple authors, but there were
concerns raised over difficulty of fairly
evaluating the very different nature of single
author works versus edited volumes.
9. Code of ethics (Arnoldi/d'Azevedo). A
report on the roundtable on ethics,
incorporating written statements from
members on principles or concerns, will be
prepared by Arnoldi and d'Azevedo and
submitted to the Board. The report will also
be published in the April 1994 ACASA
newsletter.
10. Call for 1994 ASA panel ideas. See call
for papers for the 1994 ASA meetings (page
7 below).
11. College Art Association (Frank/Visona).
Announcement that CAA is encouraging
affiliated societies to submit proposals for
regular (2 hour) panel sessions for special
consideration by the program committee in
additional to the traditional (1 hour) time
slot for a session or business meeting. The
proposal submitted by Monica Visona on
behalf of ACASA for the 1995 CAA in San
Antonio has been accepted: "How
Trustworthy is Your Text? The
Representation of Non-Western Art in
Survey Textbooks." Paper proposals for this
session are due on April 15, 1994. Panel
Proposals for the 1996 CAA meetings to be
held in Boston will be due on September 1,
1994.
12. Textbook project (Poynor). Report made as
to the status of the textbook project. The
process began in a 1988 roundtable
discussion (Binkley, Blackmun, Blier,


ACASA Newsletter / No. 38, December 1993 5










Bourgeois, Frank and Poynor); ACASA
committee then formed to explore the idea
of a text and/or anthology as one of its
educational initiatives (including Binkley,
Blackmun, Bourgeois, Curnow-Nasara,
Dewey, Frank, Poynor, Soppelsa, Visona)
which led to five years of discussion.
Poynor and Visona were elected as
coordinators to write prospectus and seek
other writers. Writing team selected as of
now: Blier, Cole, Poynor, Visona and still
looking for a couple of people to assist with
specific chapters. A prospectus was sent to
Abrams with a favorable response but as yet
no contract. ACASA members asked to
support the project in several ways: make
photographs available with no or low fees
for first edition; advise on organization,
ideas and sources for areas of specialization;
be willing to review select sections; be
ready to order the text for classes when
available.
Discussion included concerns raised over
relationship of ACASA to this project as a
publication under the auspices of ACASA or
as a text that happens to be written by
several of our members with the general
support of ACASA. Implications include the
question of who will collect any royalties
and whether or not a percentage will be
earmarked for ACASA. Also concerns over
absence of an anthropologist on the team.
Information was collected identifying courses
taught by members. Mention made of the
importance of contacting non-ACASA,
non-Africanist teachers of African art who
might order such a text for their classes as
well.
13. Coverage of African art in general survey
texts. Monica Visona reported the good
news that the publishers of Janson's widely
used History of Vlbrld Art had finally agreed
to revise the text in ways which reflect the
concerns of ACASA members. Barbara
Blackmun distributed a statement she has
prepared concerning the coverage of African
art in the popular survey art history text by
Delacroix and Tansey (formerly Gardner).
Problems were not in the actual text about
African art, but in the presentation of the
larger section, the conclusions and amount
of coverage vis-a-vis other art traditions.
14. Slide project (Silverman). After a year or
so of respite, the pilot slide project is back
on track. Those of you who have
contributed duplicate slides for consideration


will be contacted this spring to provide the
original slides in order to make the master
duplicates. Chris Geary will be handling the
production and coordination of both the
making of the masters and the slide sets
themselves. The pilot will include four sets
of twenty slides each for the following
groups: Bamana/Malinke; Akan;
Samburu/Pokot/Maasai; and Luba/Hemba.
15. Newsletter (Stanley). Now includes 326
mailings to members resident in Africa and
the Caribbean, which exceeds the number of
dues-paying members.
16. Book distribution project (Stanley).
Successfully completed the fourth year with
mailings of four quarterly issues of African
arts, three exhibition catalogues, one book,
one bibliography and one newsletter to 125
recipients.
17. ACASA brochure (Frank). Thanks to
Doran Ross and the Fowler Museum of
Cultural History, we are poised to send an
order to the printer for an ACASA
brochure. Barring unforeseen delays, these
will be sent out with your membership
renewals in January. Please pass them to
others who may wish to join and contact
Barbara Frank for additional copies to
distribute.
18. Announcements:
a. Bill Siegmann has been nominated to
ASA board, so let's get out the vote!
b. Fund for African Archaeology (Drewal).
A group of concerned scholars has been
working to establish a foundation to fund
archaeological initiatives by African
institutions, particularly rescue work for iron
age sites being looted. The search for
potential sources of funding continues. Also
trying to link African colleagues with
American institutions to collaborate on
projects such as those suggested by the
USIA funded visitors to the last Triennial.
See report on collaboration between African
and American institutions (page 18).
c. SSRC African Archives and Museums
Project (Stanley; see report above, page 16).
d. Announcement of a celebration in honor
of the retirement of Roy Sieber to be held
in Bloomington, February 25-26, 1994 (see
page 38).
e. Iowa Museum of Art is seeking a
Curator of African, Pacific and New World
Cultures (see announcement, page 13).
f. An international conference on African
pottery organized by PASALA at the


6 ACASA Newsletter / No. 38, December 1993









University of Iowa will be held on April
8-9, 1994. (Dewey; see announcement, page
37).
g. The Fourth Annual Pasala Graduate
Student Symposium will be held on April
10, 1994 following the Stanley Conference
on African Pottery (see announcement page
38).
h. Announcement of a part-time position at
Cleveland State University for spring term
1994.
i. Those interested in getting involved in the
newly formed ethnomusicology group,
contact Cynthia Schmidt (712) 487-3735 or
Steve Friedson (817) 565-3751.

1994 African Studies Association
Meetings, Toronto, November 3-6:
Call for papers.
The 1994 ASA meetings will be held in
Tbronto, November 3rd to 6th in conjunction
with the Canadian African Studies Association
meeting; the theme is "Africa Reconfigured."
ACASA will officially sponsor two panels to
be determined by the Board and will
coordinate the submission of other panels to
be identified as "organized under the auspices
of" ACASA. Please mail three copies of all
panel and paper proposals on the forms
provided in the ASA News to arrive no later
than March 1st to: Ray Silverman, Art
Department, Michigan State University, East
Lansing, MI 48834, USA. Telephone: (517)
353-9114 (office). Fax: (517) 336-9230.
Proposals may also be submitted by e-mail.
All presenters must be members of the
African Studies Association. Please follow the
instructions in the ASA News and cc: Ray
(bonduku@msu.bitnet). A copy of the paper
proposal form in appended to this issue of the
newsletter.
The following panels have been tentatively
proposed. Please contact the individuals
identified if you wish to participate, and/or
Ray Silverman if you have other ideas for
panels or if you wish to organize, chair or
contribute a paper for any of the suggested
panels.

* "The Effects of Structural Adjustment
Programs on African Art." Organized by
Elisha Renne. Papers may address
innovations in new materials, new
production techniques, new ideas. Contact:
Elisha Renne, Art History Department,


Emory University, Atlanta, GA 30322,
USA. Telephone: (404) 727-6282. Fax:
(404) 727-4292.
* "Temporal and Spiritual Control of
Festivals/Performance." Organized by Eli
Bentor. Discussion of the inherent problems
of control resulting from the notion that
masked performers are spirits. This may
include state-sponsored festivals, "folkloric
dances" and rural-based festivals. Contact:
Eli Bentor, Department of Art and Design,
School of Visual and Performing Arts,
Winthrop University, Rock Hill, SC 29733,
USA. Telephone: (803) 325-1534 (home);
(803) 323-2126 work. Fax: (803) 323-2333.
e-mail: bentore@winthrop.edu [or] Carol
Ann Lorenz, 7097 Indian Opening Road,
Madison, NY 13402, USA. Telephone:
(315) 893-7296 (home); (315) 824-7635
(work). Fax: (315) 824-7787.
* "Imaging Africa." Organized by David
Binkley. This panel wishes to move beyond
the description of the appropriation of
African imagery to represent the exotic to
examine the historical, political, economic
and aesthetic processes which give rise to
the use of African artistic forms as emblems
of African cultures in the West and in
Africa. African artistic forms which may be
discussed include sculpture, costume, body
decoration and music and their
representation in popular culture and the
fine arts. Contact: David Binkley, National
Museum of African Art, Smithsonian
Institution, Washington DC 20560, USA.
Telephone: (202) 357-4600 ext. 235.

* "The Art of Sacrifice." Organized by
Martha Anderson. This panel proposes to
explore objects of material culture and/or
aspects of aesthetic action and performance
in sacrificial offerings. We want to explore
the category of sacrifice and consider at
what point or to what extent it becomes art.
Contact: Martha Anderson, School of Art,
New York State College of Ceramics,
Alfred University, Alfred, NY 14802, USA.
Telephone: (607) 587-9550 (home); (607)
871-2468 (work). Fax: (607) 871-2490 [or]
Christine Mullen Kreamer, Anthropology
Department, MRC 112, National Museum
of Natural History, Smithsonian Institution,
Washington, DC 20560, USA. Telephone:
(202) 357-4733.


ACASA Newsletter / No. 38, December 1993










* "Contexts of Creativity in African Art."
Organized by Suzanne Preston Blier. Seeks
papers which examine specific historical and
social contexts in which artistic innovation
have been fostered in various arts in Africa.
Among issues to be addressed: the
importance of war; dynastic change; empire
expansion; and religious conversion.
Contact: Suzanne Blier, Department of Fine
Arts, Sackler Museum, Harvard University,
Cambridge, MA 02138, USA. Telephone:
(617) 495-0781.
* "Do All Roads Really Lead to Benin? The
Bights of Benin and Biafra, and the Islands"
Roundtable III. Organized by Barbara
Blackmun and Kathy Curnow-Nasara. Short
papers are sought for the third
ACASA-sponsored roundtable discussion
dealing with historical interactions that have
affected the arts associated with leadership
in coastal Nigeria. Roundtable III is the last
of three related discussions focusing
attention on mutual cultural influences
among the Kingdom of Benin's neighbors,
allies, and tributary states from the
15th-19th centuries. The papers should
consider economic, political and cultural
interactions in the past among the
populations of the Niger Delta, the southern
lagoons of the coastal regions, and the
islands in the Gulf of Guinea: the Isoko,
Urhobo, Western Igbo, Itsekiri, Ijaw, and
Ijebu, the people of Lagos, Allada,
Whydah, Calabar, the Cameroon coast,
Fernando Po, Principe, and Sao Tome.
Among the areas of inquiry that will be
addressed for these groups: 1. The nature
and periods of political/economic contact
with other populations or states, suggested
by archaeology, oral or documentary history,
linguistics, or other evidence. 2.
Comparative international traditions
concerning history and leadership. 3. The
objects, ceremonies, and performances
associated with authority, and local
interpretation of their symbolism. Please
communicate your intention to participate by
January 1, 1994 via telephone, letter,
e-mail, or Fax. Abstracts must be submitted
no later than February 1 1994 to: Barbara
W. Blackmun, 9850 Ogram Drive, La
Mesa, CA 91941. Telephone: (619)
461-5930 (home), (619) 627-2928 (office
voice mail). Fax: (619) 279-5668 (Dean's


office, San Diego Mesa College). e-mail:
Compuserve 76256,2123.
"Sacred Space." Organized by Jean
Borgatti. "That place deemed by a culture
as the arena for interaction between god(s)
and humans may be called 'sacred.' It may
be set aside permanently, as a shrine or
temple complex, or be movable, as a
religious dance performance. It may be
humble as a domestic altar or threshold, or
it may be an elaborately evolved artistic
expression. While the concept of sacred
space is universal, how it takes form and is
utilized must be regarded in its context."
Thus begins the abstract for a College Art
Association panel in which I will be the
only participating Africanist. In the process
of working on my own paper, I discovered
that we might want to look more closely at
the ways in which sacred space is created,
designated and articulated in Africa and the
Diaspora. Those interested, contact: Jean
Borgatti, Art History, Clark University.
Telephone (508) 799-2570 extension 416;
(508) 793-9695.
"Reconfiguring the Arts of Africa." Seeks
papers for a panel on the general 1994 ASA
conference theme, as possibly one of
ACASA's officially sponsored panels.
Contact Ray Silverman.

Panel on any aspect of ethics, as possibly
the second of ACASA's officially sponsored
panels. This panel may be viewed as part of
ACASA's ongoing dialogue on professional
ethical concerns. Contact Ray Silverman.

1995 College Art Association Annual
Meetings: ACASA Session Proposal
Monica Visona will be chairing a session at
the 1995 CAA meetings on the topic: "How
trustworthy is your text? The representation of
non-Western art in survey textbooks." What
are students learning about the arts of Asia,
Africa, the American, and the Pacific from
introductory survey courses of art history? Are
the most commonly used textbooks, such as
Janson's History of 'brld Art or Gardner's Art
Through the Ages, accurate in their
presentation of the history of these art forms?
Do their comparisons of Western and
non-Western art works (explicit or implicit)
encourage sophisticated critical analysis?


8 ACASA Newsletter / No. 38, December 1993









Survey textbooks have recently come
under scrutiny for their treatment of Western
art. We would like to broaden these
discussions by highlighting the factual
inaccuracies and questionable theoretical
constructs found in their treatment of
non-Western art. Scholars who specialize in
the study of African, indigenous American,
Pacific or Asian art are invited to give short
(ten-minute) presentations on pedagogical
problems raised by one or more major survey
textbooks. Possible solutions for handling those
problems should be proposed. Suggestions
should take into account the practical needs of
instructors whom wish to incorporate a limited
amount of non-Western material into
introductory courses. If interested, contact:
Monica Visona, Art Department, Campus Box
59, P. 0. Box 173362, Metropolitan State
College of Denver, Denver, CO 80217-3362.
Telephone: (303) 556-3090. e-mail:
visonam@mscd.edu.

The Tenth (1995) Triennial Symposium
on African Art
The Tenth (1995) Triennial Symposium on
African Art sponsored by ACASA will be held
on April 19-23, 1995 in New York City.
Proposals for panel and round table sessions
on all aspects of the arts of Africa and the
African Diaspora are due on June 15, 1994.
Individual paper proposals are due on
October 1, 1994. Please submit all materials
to: 1995 Triennial, c/o Carol Thompson, The
Museum for African Art, 593 Broadway, New
York, NY 10012, USA. For information about
the symposium, contact Carol Thompson.
Telephone: (212) 966-1313, ext. 111. Fax:
(212) 966-1432, or Kate Ezra at the
Metropolitan Museum of Art. Telephone:
(212) 879-5500 ext. 3057. Fax: (212)
472-2872. See also the report on the Triennial
in the minutes of the Business Meeting, item
#7, above.

ACASA Book Distribution Program
The following publications were sent in
August and November 1993 under the auspices
of the ACASA Book Distribution Program:
Astonishment and Power: The Eyes of
Understanding: Kongo Minkisi / by Wyatt
MacGaffey & The Art of Renee Stout / by
Michael D. Harris. Washington, DC:


Published for the National Museum of
African Art by the Smithsonian Institution
Press, 1993. (courtesy of the museum
publisher)
Sleeping Beauties: The Jerome L. Joss
Collection of African Headrests at UCLA.
Los Angeles: Fowler Museum of Cultural
History, UCLA, 1993. (courtesy of the
museum publisher)

African Arts (Los Angeles) volume 26,
no. 2, April 1993; volume 26, no. 3, July
1993; volume 26, no. 4, October 1993.
(courtesy of Doran Ross and the African
Studies Program, UCLA)

Pan-African Circle of Artists. First
newsletter of the Pan-African Circle of
Artists. April 25, 1993. (courtesy of the
Pan-African Circle of Artists, P. O. Box
9228, Enugu, Nigeria)

African Art Text Project Update
The African Art Text Committee of ACASA
has approved the selection of co-editors Robin
Poynor and Monica Visona and a writing team
including Suzanne Preston Blier, Herbert Cole,
Poynor and Visona as primary writers. Other
writers are still being considered. The writing
team has forwarded a prospectus to a
publisher and has had initial discussions with
them. At present, discussions center on length
of the text and the number of illustrations.
Other information will be forthcoming. See
also report of discussion in the Business
Meeting minutes, item #12, above.

ACASA 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 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, from 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


ACASA Newsletter / No. 38, December 1993 9










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 mail.

Profile of ACASA members
Some of you may have wondered as to the
usefulness of the "additional information"
requested on membership renewal forms.
Barbara Frank has summarized and analyzed
these data for more than 250 individual
memberships, the results of which are given
below. Although in no way definitive, let alone
particularly accurate, they do suggest an
overall profile of our North American-
European individual memberships. (Note: This
analysis does not include the 330 members in
Africa and the Caribbean, who are not
required to fill a renewal form).
Education. There are 122 PhDs, 61 MAs,
15 MFAs, 12 BAs and a few medical, legal,
and business degrees among our members.
Areas of Specialization. 113 art history, 31
anthropology, 11 art history/anthropology, 7
fine arts, 7 history, 5 art history/fine arts, 3
folklore, 2 photography, 2 performance and
drama, others in French literature, law,
international business, sociology.
Profession. 88 college/university teaching,
33 museology, 27 research, 17


museology/research, 10 dealers/gallery owners,
9 teaching/research, 8 teaching/museology, 5
collectors, 3 book dealers, at least one
administrator, editor/publisher, art appraiser,
media specialist, architect, librarian,
conservator, and several graduate students.
Memberships. 146 ASA, 74 CAA, 15
AAA, 6 MANSA, 5 AAM, 4 SAfA, 4 RAI,
4 AES, 3 TSA, 3 SAA, 2 in each of the
following NYASA, IIC, AIC, ICOM, ALA,
AFS, CSA, MAHS, and single members
indicating a host of other association acronyms.
Regional Focus. 97 identified West Africa,
26 West Africa/Diaspora, 21 Central Africa,
17 General, 17 West and Central Africa, 9
East Africa, 5 Southern Africa, 5 Diaspora, 3
West and East Africa, 3 West and North
Africa, 2 Central and Southern Africa, 2 West
and Central Africa/Diaspora, the remainder a
variety of combinations of the above. (Note:
this last category reflects the information
written in by members, rather than choices
circled. As a result, there was a great deal of
variation in content, level of specificity and
manner of indicating research focus.)
Country/Ethnic Focus. 56 indicated
Nigeria, 22 Zaire, 16 Ghana, 14 Mali, 13
C6te d'Ivoire, 9 Liberia, 8 Sierra Leone, 7
Kenya, 7 Tanzania, 7 Cameroon, 6 Zambia, 5
Benin, 5 Caribbean, 4 Burkina Faso, 4
Malawi, 3 Guinea, 3 Togo, 3 Mozambique,
and 2 for each of the following: Gabon,
Sen6gal, Niger, Brazil, Chad, Zimbabwe,
South Africa, Haiti and the United States. A
handful of other countries were mentioned by
single respondents. As for ethnic focus, the
Yoruba scholars top the list with 25, followed
by 13 Akan, 10 Igbo, 6 Benin, 5
Contemporary, all others with two or three
members identifying other ethnic groups or
topics (i.e. textiles).




S. A. Adetoro, a fabric artist and faculty
member from Ahmadu Bello University in
Zaria, is available to teach and conduct
workshops in textile design and decoration,
mostly in the area of batik, tie-dye and flat
screen printing, during his forthcoming
sabbatical leave scheduled to start in
November or December 1994. Workshop
participants would be taught various ways of
Azoic dyes for textile decoration.


ACASA Newsletter I No. 38, December 1993









Craftspersons or students in colleges and
universities wishing to improve their skills in
African designs and prints would benefit
immensely. Currently, Professor Adetoro is an
Education Attache for Nigerian Universities in
London. Institutions, individuals or workshop
organizers wishing to host Professor Adetoro
should contact him directly: 253 Kilburn Lane,
London W10 BQ, UK. Telephone:
081-964-0644. Fax: 081-960-2484.
Chike Aniakor, Department of Fine and
Applied Arts, University of Nigeria, Nsukka,
plans a sabbatical for the 1994-1995 academic
year and seeks an African art teaching
position at an American college or university
for the year. He is able to teach courses on
both traditional and contemporary African art.
Anikaor, a painter and art historian with a
degree from Indiana University, has served as
director of the Institute of African Studies at
Nsukka. Contact address: Department of Fine
and Applied Arts, University of Nigeria,
Nsukka, Enugu State, Nigeria.
Mary Jo Arnoldi, National Museum of
Natural History, and Terry Childs, National
Park Service, have received funding through
the Smithsonian Institution's Scholarly Studies
Program Grants to conduct a study entitled:
"A framework for integrating style and
technology: an analysis of the Ward collection
of African knives."
Patricia Davison, curator at the South African
Museum, Cape Town, was in the United States
in September 1993 on the USIA International
Visitors Program, meeting with museum
colleagues around the country. Davison had
recently worked on a Robbin Island exhibition
at the South African Museum.
Acha Debela and Ray Silverman attended the
Third International Conference on the History
of Ethiopian Art, held in Addis Ababa in
November 1993.
David Binkley is a senior post-doctoral fellow
at the National Museum of African Art for
the academic year beginning October 1993.
His research topic is: "The faces of Africa:
exploring the representation and interpretation
of African masks in the West." He may be
reached at (202) 357-4600 extension 235.
Kojo Fosu, University of Science and
Technology, Kumasi, has been named
chairman of a committee to establish the


Ghana National Gallery of Art, to be sited at
the National Theatre Complex in Accra. See
report under "News from Ghana" below.
Phyllis Galembo, Associate Professor of Fine
Arts, University at Albany, State University of
New York, has received a Fulbright Senior
Scholar award under the African Regional
Research Program for the 1993-94 academic
year. She will document photographically
chiefs and women of power in Nigeria from
December 1993-June 1994.
Marilyn A. Heldman has been awarded a
Scholarship in the History of Art by the J.
Paul Getty Trust for publication of her work:
The Marion Icons of the Painter Fert Seyon:
A Study in Fifteenth-Century Ethiopian Art,
Patronage and Spirituality. J. J. Augustin will
be the publisher.
Betty LaDuke, Professor of Art at Southern
Oregon State College, was honored on May
26, 1993, as a recipient of the 1993
Governor's Arts Award, sponsored by the
Oregon Arts Commission. Among LaDuke's
published writings are the book Africa
Through the Eyes of 'ibmen Artists and
Women Artists: Multi-Cultural Visions. She is
working on another book titled An Artist's
Journey From the Bronx to Timbuktu. Her
research has focused on women, art, and
social change. An exhibition of her paintings,
"Africa: Between Myth and Reality," will be
on view at the Crealde School of Art in
Winter Park, Winter Park, FL, from January
21-March 4, 1994.
Tony Mhonda, art critic of the Harare
newspaper The Herald, has been appointed
associate editor of Southern African Art, the
new journal of the National Gallery of
Zimbabwe, which deals with the visual and
related arts of the SADC Region. He has also
been appointed Deputy Head of Exhibitions
and Assistant to the Acting Director of the
National Gallery of Zimbabwe. During his
tenure at the Gallery he has been involved in
administering, curating and documenting the
first Zimbabwe Women's Exhibition of Visual
Arts (sponsored by Longmans Publishers,
Zimbabwe) which is currently touring the
country.
Tonie Okpe, Nigerian sculptor on the faculty
of Ahmadu Bello University, Zaria, attended
the Shave Artists' Workshop in Somerset,
England in August 1993. The two-week


ACASA Newsletter / No. 38, December 1993 )I









international artists' retreat is similar to the
Pachipampwe Artists Workshop held annually
in Zimbabwe.
From January 1994, All Ould Sidi of the
Centre Ahmed Baba in Timbuktu will be
appointed to a new office, the Timbuktu
cultural mission, dealing with historical sites,
museums, mosques, explorers' and scholars'
homes. In his new position, Sidi is interested
in establishing collaborative relationships with
American museums and academic institutions
toward these goals of preservation of
Timbuktu's cultural patrimony. Sidi, a graduate
of Ecole Normale Supdrieure, Bamako, and
Western Illinois University, Macomb, Illinois,
where he studied history and geography, is
presently a researcher at the Centre Ahmed
Baba de Tombouctou, B. P. 14, Timbuktu,
Mali. Telephone: 92-10-81.
Roy Sieber retired in June 1993 from his
position as the Rudy Professor of Fine Arts at
Indiana University and will retire at the end
of 1993 as Associate Director at the National
Museum of African Art, Washington, DC. On
February 25-26, 1994, Professor Sieber will
be honored with a symposium at Indiana
University, organized by former students and
colleagues. Speakers will include Robert Farris
Thompson, Eugenia Herbert, Kate Ezra and
Nii Quarcoopome. For more information,
contact: Eugene Kleinbauer, Hope School of
Fine Arts, Indiana University. Telephone:
(812) 855-9556.
Bill Siegmann's travels to West Africa last
summer gave him the opportunity to revisit
Liberia, where he found that while the
museum building in Monrovia survived the
civil wars, the museum itself was looted of all
but fourteen of three thousand objects. The
national archives building was destroyed, but
forty percent of the collections were salvaged.
Siegmann was in West Africa making
preparation for the Brooklyn Museum's
scheduled winter trip to C6te d'Ivoire and
neighboring countries.
Obiora Udechukwu, University of Nigeria,
Nsukka, visited the United States in early
December through the USIA's International
Visitors Program. From June until September
1993, he was an artist-in-residence in Bonn,
Germany.
Monica Visona recently delivered a paper on
"Cross-cultural and cross-disciplinary


perceptions of African contemporary art" at
the Institute for Advanced Study and Research
in the African Humanities, Northwestern
University, as a 1993 Zora Neale Hurston
Fellow.
In December 1992 Celia Winter-Irving,
editor, Southern African Art, launched her
book Stone Sculpture in Zimbabwe: Context,
Content and Form (Roblaw Publishers, Harare,
October 1992) in a full color international
edition by Craftsmen House, Fine Arts Press,
Australia. The book was later launched in
Britain in June 1993 at the Contemporary Fine
Art Gallery in Eton by Tom Blomefield,
Director of the Tengenenge Sculpture
Community. The book will be present at an
exhibition opening in Wuppertal, Germany, on
January 15, 1994, and plans are being made
for its translation into German.


Sam Joseph Ntiro, a prolific painter and
former High Commissioner of Tanzania to
Britain, died on January 1, 1993 at Kimara in
the outskirts of Dar es Salaam. Profesor Ntiro
exhibited in New York City in 1960 and 1969
under the sponsorship of the Harmon
Foundation. Born in April 1923, Ntiro was
educated at the Margaret Trowell School of
Fine Art, Makerere University, where he
taught briefly, and at the Slade School of Art,
London. He taught at the University of Dar es
Salaam from 1975-1985.
Report was received of the violent death of
Alex R. Willcox, well known South African
rock art researcher and author. Willcox, who
was 81 years old, was shot at his home in the
Drakensberg, Natal, on August 28, 1993 and
died in hospital on September 1st.




African Art Curator. The Smithsonian
Institution's National Museum of African Art
seeks a curator to address the arts of Northern
Africa -the region north of and including the
Sahara. The Museum is searching for an
individual with a demonstrated scholarly
interest in the arts of the peoples of Northern
Africa with an emphasis of the Islamic
cultures of that region. PhD preferred.


12 ACASA Newsletter / No. 38, December 1993


Obitu^^^^









Museum experience a plus. Federal civil
service position. Salary range $40,298 to
$47,920. For complete application package call
(202) 287-3102 (24-hour automated touchtone
line) press 9 and request announcement
#93-1163R. EOE. Applications must be
postmarked by January 10, 1994 to be
considered.
Curator of African, Pacific and New World
Cultures, The University of Iowa Museum of
Art. Funding tentative. To begin July 1, 1994.
Art History MA and three to five years
museum experience required, PhD preferred
or an equivalent combination of education and
experience. Competitive salary. The museum
benefits from one of the largest and most
widely published collections of African art in
America; there is also a large collection of
pre-Columbian art; Oceanic and American
Indian collections are smaller but growing.
Responsibilities include care and research of
these collections; organizing exhibitions;
preparing scholarly publications and working
in an active program with museum staff and
with faculty in Art History and Anthropology.
Screening begins March 1, 1994. Send letter
and resume to: Stephen Prokopoff, Director,
The University of Iowa Museum of Art, 150
North Riverside Drive, Iowa City, IA
52242-1789, USA. EOE/Affirmative Action
Employer. Women and minorities are
encouraged to apply.
Eminent Scholar Chair in Art History. The
University of Florida, Gainesville announces
the establishment of an Eminent Scholar Chair
in Art History, which will be a rotating
position. The first holder of the position will
occupy it for one academic year. Areas of
specialization will vary, but the position for
1994-95 will be filled by an Africanist. The
Eminent Scholar Search Committee invites
nominations and recommendations for the
position. Responsibilities: The Eminent Scholar
will work in the Department of Art and the
Ham Museum of Art. During the first
semester of residency, he or she will direct a
graduate seminar of presenting African art in
a museum setting and begin developing the
conceptual framework for an exhibition of
African art. He or she will direct graduate
students in researching the exhibition and
organizing a catalog. During the second
semester, the scholar will supervise individual
students on research projects related to the


exhibition and to the Ham's collection, serve
as an advisor to the Ham Museum, and carry
out his/her own research. Qualifications: The
Eminent Scholar should be an internationally
recognized scholar in the field of African art
history, with a distinguished record of
teaching, scholarship, publication and research.
Field experience in Africa is required and
notable practical experience in museum work is
essential. Salary: A minium of $65,000 plus
provisions for staff, travel, library, and
research support. Application Deadline:
Review of completed applications will begin
January 14, 1994, and will continue until the
position is filled. Application Procedure:
Submit a letter of interest, a current
professional resume, and the names of three
professional references to: Robin Poynor,
Chair, Eminent Scholar Search Committee,
College of Fine Arts, 101 FAA, University of
Florida, Gainesville, FL 32611, USA.
Sainsbury Research Unit, University of East
Anglia offers visiting research fellowships
tenable for three months during the period
January-July 1995. Open to those undertaking
research for publication in the arts of Africa,
Oceania or the Americas, who hold a
doctorate (or appropriate final degree) or who
have five years professional experience in the
fields of art history, anthropology, archaeology,
or a related discipline. Fellowship is 3,600
sterling, plus fare to and from the University
of East Anglia (500 maximum). For
information: Admissions Secretary, Sainsbury
Research Unit, Sainsbury Center for Visual
Arts, University of East Anglia, Norwich NR4
7TJ, UK. Telephone: 06-03-592498. Fax:
06-03-259401. Deadline: April 1, 1994.
African Art Historian, Assistant Professor,
Columbia University. PhD required,
publications and relevant experience. To teach
graduate and undergraduate courses in African
art and culture. Responsibilities include
leadership of an active graduate program in
African art as well as development of new
undergraduate offerings, including an African
Art Humanities course ("Masterpieces of
African Art") as part of extended core
curriculum of Columbia College. Application
deadline: January 7, 1994. Send letter of
application, with statement, curriculum vitae,
three letters of recommendation to: David
Rosand, Chair, Department of Art History and
Archaeology, 826 Schermerhorn Hall,


ACASA Newsletter / No. 38, December 1993









Columbia University, New York, NY 10027,
USA. Women and minorities are encouraged
to apply. EOE/AA.
Art Historian, Christopher Newport
University. Tenure-track position available in
August 1994 at the Assistant Professor level.
Salary and benefits competitive. Position
subject to final approval. PhD preferred but
consideration given to ABD at instructor rank.
Teaching experience required with
demonstrated commitment to research and
publication. Generalist to teach world survey
and specialization with emphasis in one or
more of the following areas: Greek/Roman,
Medieval, Renaissance, Baroque, or
non-Western (Asian, Pre-Columbian, African).
Strong interest in curriculum development and
administrative experience desirable. Send letter
of application, curriculum vitae, official
transcripts, and three letters of
recommendation to Professor Belle Pendelton,
Director of Art, Christopher Newport
University, 50 Shoe Lane, Newport News,
Virginia 23606. Screening of applications will
begin January 28, 1994. Applications will be
accepted until the position is filled. CNU hires
only U.S. citizens and aliens legally authorized
to work in the U.S. Women, minorities and
individuals with disabilities are encouraged to
apply. EOE/AA.
The Rockefeller Foundation 1994-95
Humanities Fellowships support scholars and
writers engaged in research on transnational
social and cultural issues, non-western
cultures, and the diverse cultural heritage of
the United States. For 1994-95, individuals
can apply for resident fellowships at
twenty-four host institutions, three of which
have special Africa-related interests. Scholars
interested in applying may obtain complete
information about eligibility, stipends,
deadlines, and procedures for application
directly from the host institutions:
(1) Center for Latin American Studies and
Center for African Studies, University of
Florida. Contact: Dr. Helen I. Safa,
Professor of Anthropology and Latin
American Studie, Center for Latin American
Studies, 319 Grinter Hall University of
Florida, Gainesville, FL 32611-2037.
Telephone: (904) 392-0375. Deadline:
February 3, 1994.
(2) "African Peoples in the Industrial Age,
Center for Afroamerican and African


Studies, University of Michigan, Ann Arbor.
Contact: Earl Lewis, Director, Center of
Afroamerican and African Studies, 200 West
Engineering Building, University of
Michagan, Ann Arbor, MI 48109-1092.
Telephone: (313) 764-5513. Deadline:
January 14, 1994.
(3) Center for the Study of Culture and
Development in Africa, Howard University.
Contact: Dr. Mbye Cham, Department of
African Studies, Howard Univeristy, Box
231, Washington, D.C. 20059. Telephone:
(202) 806-7115. Fax: (202) 806-4425.
Deadline: February 28, 1994.
The Schomburg Center for Research in
Black Culture, a unit of the New York Public
Library's Research Libraries, announces its
Scholars-in-Residence Program for the
academic year 1994-95. The residency
program assists those scholars and
professionals whose research in the black
experience can benefit from extended research
in the Center's collections. The fellowship
Program encompasses projects in African,
Afro-American, and Afro-Caribbean history
and culture. The Program is also open to
professionals in fields related to the
Schomburg Center's collections and program
activities-librarianship, archives and museum
administration, special collections,
photographs, audiovisual material, and
publications. Fellows are required to be in
full-time residence at the Schomburg Center
during the period of the award. They are
expected to substantially complete research on
their project, present their findings in the form
of a presentation at the Schomburg Center's
Colloquia on Biography, Social History and
African-American Cultures, and prepare a
report on work accomplished at the end of
their residency. Foreign nationals are ineligible
unless they have resided in the United States
for three years immediately preceding the
award date of the fellowship. The fellowship
stipend is $15,000 for six months and up to
$30,000 for twelve months. For brochure and
application form, write to the Scholars-in-
Residence Program, Schomburg Center for
Research in Black Culture, 515 Malcolm X
Boulevard, New York, NY 10037-1801.
Telephone: (212) 491-2203. Application
deadline is January 15, 1994.
Fellowships for Museum Professionals. The
Museum Program of the National Endowment


14 ACASA Newsletter / No. 38, December 1993









for the Arts announces reinstated funding for
its Fellowships for Museum Professionals.
Full-time professionals who have served at-
least one year on a museum staff may apply
for grants for arts-related independent
research, travel, or writing. For information,
contact: Museum Program, National
Endowment for the Arts, 1100 Pennsylvania
Avenue NW, Washington, DC 10506.
Telephone: (202) 682-5442. The deadline is
February 1, 1994.
Drew in West Africa is a unique summer
study program in C6te d'Ivoire exploring the
rich culture and artistic traditions of West
Africa. Under the directorship of Jerry Vogel,
the program includes courses in African
culture and the history of West African art
and architecture. Students are able to
apprentice with artists in their villages and
workshops in the areas of ceramics, fibers,
and metals. Program dates: July 19-August 20,
1994. Costs $3,950 (includes 6 credit tuition,
air fare, lodging, and some meals).
Application deadline: April 1, 1994.
Applications are welcome from teachers,
students, artists and others interested in
African art and culture. For more information
contact: Off-campus Programs Office, Drew
University, Madison, NJ 07940, USA.
Telephone: (201) 408-3438. Fax: (201)
408-3768.
Yoruba arts at Ife. The Department of Fine
Arts at the Obafemi Awolowo University
Ile-Ife Nigeria will be organizing an
educational program in the summer 1994,
which will focus mainly on Yoruba art and
cultural heritage. This will include Yoruba
language study with the involvement of the
African Languages and Literatures Department
at the Obafemi Awolowo University. The
program will enable the participants to meet
local artists who specialeze in woodcarving,
textile design, and other areas of Yoruba art
and crafts.
Individuals will be responsible for
arranging their own transportation to Lagos;
the organizers will provide transportation to
Ile-Ife. Accommodation will be arranged at
students hotels, local hotels or guest houses on
campus or in nearby Ife town. This program
is open to the lovers of Yoruba art and crafts,
art historians and artists. Students in colleges
and universities who are interested in learning
about an African way of life are encouraged


to participate in the program. Duration: Four
weeks. Final Dates will be published in our
brochure. For further information, contact:
Paxton S. O. Aremu, Department of Fine
Arts, Obafemi Awolowo University, Ile-Ife,
Nigeria.
The Library of African Peoples is a new
multi-volume reference project by the Rosen
Publishing Group, Inc. They are now looking
for qualified scholars of Africa to write 8,000
word essays on eleven different African
peoples of East Africa. Rosen Publishing
Group, Inc. will conduct the needed photo
research and design and turn these essentially
long essays into monographs for junior high
and high school students. The eleven
communities for which thay are seeking essays
are Pokot, Samburu, Gabbra, Thrkana,
Kikuyu, Rendille, Molo, Kipsigs, Meru,
Mijikinda and Borana. For more information,
contact: Roger Rosen, President, The Rosen
Publishing Group, Inc., 29 East 21st Street,
New York, NY 10010, USA. Telephone: (212)
777-3107. Fax (212) 777-0277.
The Wenner Gren Foundation funds small
grants for undergraduate and graduate study in
all branches of anthropology. For more
detailed information, contact: Anne Therese
Hirth, Office and Programs Manager, Wenner
Gren Foundation, 1865 Broadway, New York,
NY 10023-7596, USA.
WARA West African Research
Association Fellowships for research in West
Africa and the United States 1994. The West
African Research Association invites
applications for fellowships made possible by
support from the Fulbright Program of the
United States Information Agency. Fields of
study: All areas of the humanities and social
sciences. Eligibility: Doctoral candidates and
established scholars from American and West
Africa universities. Affiliation: Fellows will be
affiliated with the West African Research
Center (WARC), Dakar. In the United States,
affiliation may be with any sponsoring
academic institution on Africa- or African
Diaspora-related topics.
Fellowships in West Africa for American
Scholars. U.S. doctoral candidates and
established scholars who wish to conduct
research in West Africa in any field of
academic study are eligible. Small grants not
exceeding $4,000 are available for travel and
partial support. All applicants should submit in


ACASA Newsletter / No. 38, December 1993 15









triplicate: vitae, indicating language ability and
institutional affliations; university transcript if
PhD candidate; names of two referees; a
maximum 1,500-word proposal including
indication of the nature of the final product; "
proposed itinerary with dates; proposed budget
from all sources; evidence of U.S. citizenship.
Fellowships in the U.S. for African
scholars. One award of up to $5,000 will be
offered to a West African PhD candidate or
post-doctoral scholar to conduct research at a
U.S. academic institution of African or African
Diaspora related topics. Application should be
made jointly by the scholar, who should be
resident in Africa at the time of application,
and faculty member of the sponsoring
American institution. All applications should
submit in triplicate: vitae, indicating language
ability and institutional affiliations; university
transcript if PhD candidate; names of two
referees; a maximum 1,500-word proposal
including indication of the nature of the final
product; indication of need for collaboration,
and anticipated positive results on both sides;
budget and commitment of additional funds/in
kind contributions from the U.S. institutions.
The application deadline is February 1,
1994. All applications should be sent to:
Professor Joseph E. Harris, Box 682, Howard
University, Washington, DC 20059, USA.
Upcoming Earthwatch expeditions. (1)
"Jamaica's Freedom Fighters," led by Kofi
Agorsah, Nanny Town, Blue Mountains, north
of Kingston. Agrosah will continue his search
for evidence of life in the Maroon stronghold
of Nanny Town. How long did the Maroons
stick to their African traditions before adapting
their culture to the new environment? By
locating, mapping, excavating, and
documenting sites, August teams will begin to
show how Jamaica's legends really lived. (2)
"The Gibraltar of the West Indies," led by
Lydia Pulsipher, St. Kitts, West Indies. The
British fort on Brimeston Hill is now under
consideration as a World Heritage Site. How
did the lives of the African slaves who
actually built the fort compare with those of
slaves on the rich sugar-cane plantations the
colonists were defending? Running in
December and January crews will clear
vegetation, map, surface, collect, excavate, and
survey the site as well as process and record
finds. (3) "Tanzania's Epic Folklore," led by
Joseph Mbele, near the shores of Lake
Victoria, volunteers from June through August


will interview villagers and attend local
ceremonies. (4) "Drums of S6n6gal," led by
Mark Sunkett. In S6n6gal, there has been
almost no formal study of drumming
traditions. To fill that gap, Sunkett will take
spring and summer teams to several villages,
where they will attend celebrations to learn
how drums are made and used and what role
the drumming as well as the drummer play in
the community. Volunteers will make audio
and video recordings. For information on
Earthwatch expeditions, call 1-800-776-0188.




Call for proposals, 1994. The African
Archives and Museums Project (AAMP) is a
program administered by the joint Committee
of African Studies of the Social Science
Research Council and the American Council
of Learned Societies with core funding from
the Ford Foundation and supplementary
funding from the Rockefeller Foundation. The
project aims to strengthen and invigorate the
work of archives and museum in Africa.
Background: AAMP is designed to help
museums and archives in their efforts to
overcome these problems of conservation and
accessibility by awarding grants up to $15,000
in support of activities that will preserve
significant but especially endangered
collections; document, catalog, and display
special holdings; and enhance public access to
museum and archival resources. The capacity
of the institution to effectively administer both
newly-collected materials and existing holdings
will be a key criterion in evaluating the merit
of such requests. AAMP is especially
receptive to projects that draw on local
expertise and community resources and bring
together different institutions in cooperative
ventures. Proposals from archives for
exhibition and outreach programs are
especially welcome. AAMP seeks to assist
archives and museums in strengthening the
management of and access to collections they
already have.
Types of awards: AAMP awards two
types of grants: seed grants and
implementation grants. Seed grants up to
$5,000 are intended to advance the conceptual
and logistical development of conservation,
documentation, or exhibition/outreach/education
projects. Seed grants allow the institution to


16 ACASA Newsletter / No. 38, December 1993









consult with experts from other institutions, to
assess the feasibility of a large project, or to
carry out a small-scale project. Receipt of a
seed grant does not guarantee receipt of an
implementation grant at a later date.
Implementation grants from $5,000 up to
$15,000 are intended to support conservation,
documentation, and exhibition/outreach
/education activities. The application
procedures and review process for both types
of grants are the same.
Elements of the application:
1. Cover letter from the project director.
2. Statement (1,500 words) describing the
proposed project, including profile of the
institution: a description of the institution's
mandate; sources of support; age and size;
number and categories of staff; audiences;
special characteristics and facilities; the
type, extent, importance, and condition of
the holdings or collections; project
description: the content, activities and goals
of the project; the products that will result
from the project (e.g., catalog, exhibition,
storage system); the ways in which the
project will enhance scholarly and public
access to the institution and its resources;
work plan: a month-by-month schedule that
indicates when project tasks will be
conducted and which persons) will be
involved in executing them. Projects should
be completed within one year; project
personnel: the qualifications of the project
personnel and the specific roles they will
play in executing the project; project
budget: a breakdown of the costs. Please
indicate the extent of existing sources of
support (both local and non-local) for the
project.
3. Resumes for each key person who will be
involved in the project.
4. Two letters of support from representatives
of relevant institutions or from scholars
familiar with the significance of the
collection and the ability of the archive or
the museum to carry out the project it has
proposed.
Deadlines: Archives and museums in
sub-Saharan Africa are invited to submit
applications by June 17, 1994. Awards will
be announced in October 1994. Address
applications and inquires to: African Archives
and Museums Project, Social Science Research
Council, 605 Third Avenue, New York, New
York, 10158, USA. Telephone: (212)
661-0280. Fax: 1 (212) 370-7896.


Social Science Research Council announces its
1993 awards in the African Archives and
Museums Project:

* Research and Documentation Center, Eritrea
To conserve endangered materials
pertaining to the history of the
newly-independent Eritrea.

Fort Jesus Museum, Kenya To rehabilitate
the exhibition hall so as to relate the history
of the Kenyan coast in a clear and concise
manner.

* National Archives, Kenya To microfilm
Kenyan newspapers dating from the 1980s
to the present.

* National Archives, Kenya To publish an
archival guide on the administrative history
of Kenya.

* Mus6e de l'Universit6 d'Antananarivo,
Madagascar To conserve and manage
ethnographic collections.

* Arquivo do Patrimonio Cultural (ARPAC),
Mozambique For consultancy visits to
other African archives to seek input in
devising a long-range plan to strengthen
archival services.

* Mobile Museum Service, Namibia To
support a travelling museum program for
Namibian school children.

* Museums Association (MAN), Namibia -
To support a workshop on policies for
Namibian museums.

* Centre for Trans-African Studies, University
of Maiduguri, Nigeria To provide for
microfilming and conservation of Arabic
manuscripts relating to the Trans-Saharan
area.

* National Museums Libraries, Nigeria To
complete the microfilming and conservation
of Arabic manuscripts at the National
Museum Library in Jos.

* Centre de Recherches et de Documentation
du S6engal (CRDS), S6engal To support
the conservation of photographic collections.


ACASA Newsletter / No. 38, December 1993 17










* National Archives and Museums, Seychelles
For the microfilming and conservation of
archival documents.

Mayibuye Centre, University of the Western
Cape, South Africa For the conservation
of the Eli Weinberg photographic collection
and the cataloging of the Robben Island
papers.

Fort Hare Centre for Cultural Studies,
University of Fort Hare, South Africa For
the creation of a repository of records of
the liberation movement.

National Gallery, Zimbabwe To create a
computerized data base of the permanent
collection.

Opportunities for Collaboration between
African and American Institutions
At the 1992 Triennial Symposium of African
Art, ACASA organized a Museum Day
roundtable entitled "Prospects for
Collaboration between African and American
Institutions." Fourteen African archaeologists
and museum officials were there as part of the
USIA-subsidized program entitled "Cultural
Preservation: Art and Archaeology in Africa."
Other African participants included colleagues
funded by ACASA and the University of Iowa.
In addition to the discussions that took place,
the co-chairs of the panel, Joseph Adande of
B6nin and Bill Siegmann of the Brooklyn
Museum, asked the African participants to
specify some of their institution's long- and
short-term goals, and to propose small-scale
projects of one or two thousand dollars that
US institutions could help with. Part of the
rationale was that Americans needed to hear
what our African colleagues' goals and needs
are, instead of always pursuing our own
research priorities. Secondly, given that many
American academic institutions and museums
are feeling financially pinched, larger projects
may not be feasible, but the resources may be
found to help in modest "do-able" ways.
While ACASA does not endorse any these
projects over others that could have been
proposed, they are presented here as
possibilities for collaboration. The implicit
understanding is that individuals will contact
the named colleagues and make their own
agreements. Bill Dewey at the University of
Iowa has the complete texts from which these


proposals were abstracted and can supply
more details. Merrick Posnansky of UCLA
and Bill Dewey also paid return visits to
many of these colleagues in their home
institutions and would be happy to supply
further details. Several projects are already
underway as a result of this initiative (for
example, at UCLA and the University of
Iowa). An initial selection of these proposals
appear in this issue of the ACASA Newlsetter;
more will be published in future issues.
BENIN. Colette Gounou, Ethnographic
Museum, Porto Novo. Projects:
1. "School at the Museum" was started at the
Ethnographic Museum in Porto Novo in
1987 by the late Mary Kujawski and Allen
F. Roberts, which we hope to continue. It
involves bringing school children to the
museum and using the resources of the
museum as teaching tools. Needed are
audio-visual equipment for the school
program (VCR, color television, tape
recorder, antenna). Cost: CFA 875,000
($3,000).
2. Re-inventory the objects on display and in
storage. Cost: CFA 300,000 ($1,017).
3. Improve the exhibition format. Cost: CFA
300,000 ($1,017).
BENIN. Hounsinou Aubin, Director, Honme
Museum, Porto Novo. Project: Creation of a
Documentation Center in the Museum, which
will go a long way to making the study of the
kingdom of Abomey and of the general
culture of the area more accessible. Goals and
strategies: (i) Identify and collect documents
written on the Adja-Tado culture and prepare a
bibliography of the Adja-Tado people; (ii)
Collect and preserve for research and for
teaching the oral history of the communities
that make up Adja-Tado by locating and
making copies of all documents of the colonial
period related to the Adja-Tado people; (iii)
Inventory and collect, where possible, films,
videos, photographs, records, cassette tapes,
microfilms on the Adja-Tado people in
collaboration with the various national training
establishments that have important holdings on
Adja-Tado; and (iv) Institute a system of
exchange of information with other B6ninoise
centers of research and training. Cost:
Shelves, CFA 200,000; Furniture, CFA
100,000. Total = CFA 300,000 ($1,017).
BURKINA FASO. Boureima Tiekoroni
Diamitani, Directeur du Patrimoine Culturel,


18 ACASA Newsletter / No. 38, December 1993









Secretariat D'Etat a la Culture, 08 B.P. 11289,
Ouagadougou. (currently at the University of
Iowa). Projects:
1. Construction of a Lobi-Dagari house at the
Crasua museum.
2. Rehabilitation of the Da Bindute building
which is 30km from Craona. The traditional
Da Bindute dwelling house is made up of
sixty rooms.
3. Develop for publication an inventory of all
the festivals and traditional ceremonies of
Burkina Faso.
4. Automate information about the collection
in the National Museum, for which a
computer will be needed.
5. Make a special collection for the Bobo
Dioulasso and Craona museums.
6. Strengthen the work of the artisans at the
Bobo Dioulasso museum.
CAMEROON. Raymond Asombang,
D6partement de l'Histoire, Universit6 of
Yaound6, Yaound6, writes that in the
Cameroon, "our immediate concern is to
establish the National Museum. The
Commission in charge of this project was
created just a few months ago. I personally
think that here is a good basis for
co-operation with American institutions, which
can provide technical counsel on how best to
set up a National Museum tailored to the
aspirations of the diverse Cameroonian public.
This museum needs to look into the
twenty-first century rather than just being
another "National Museum," such as those of
the early independence years in Africa which
were conceived of and set up to project the
newly won independence or the country's new
identity.
"Besides this National Museum project,
which I believe we will be working on for the
next decade at least, we have small projects,
which include the continuous education of the
rural masses through TV programs, film/slide
shows, public lectures and talking to school
children, school teachers, clergy men, local
chiefs, etc., about the need to preserve our
cultural heritage. We intend to use the exercise
to locate and map important historical sites
and monuments with the ultimate goal of
securing official legislation for their protection.
"The cost of this project is difficult to
estimate, but all it takes is a means of
transportation to go into the rural areas. We
do possess some basic equipment for drawing,
photography and slide projection but this


might need to be increased and or upgraded.
One can certainly cover a sizable area with a
grant of $1,000. We are nevertheless hopeful
that the Cameroon government will sooner or
later realize the need to invest in this endeavor.
"I think that African and American
Institutions working together within the
framework of real cooperation to preserve
African culture will sooner or later realize that
it is a mutually beneficial enterprise. The
bases for co-operation are there, and I believe
the will for co-operation is not too difficult to
garner. We both need each other, so what are
we waiting for?"
CAMEROON. Joseph-Marie Essomba,
D6partement de l'Histoire, Universit6 de
Yaound6, Yaound6. Projects:
1. An archaeological laboratory. Cost: FF
60,000 ($12,000). UNESCO is being asked
to help start the project. We believe that
once begun, there will be support from the
public as well as from the private sector.
2. An exhibit at the Oliga archaeological site.
Earlier archaeological digs at Oliga give
important information on iron-smelting in
Central Africa. A furnace discovered on the
site has been dated to the first millennium
B.C. The showcase on the site would enable
visitors to see "in situ" how it might have
been. We have requested FF40,000 ($8,000)
from the French Cooperation Mission in
Yaound6 and also from Action Culturelle.
$1,000 seed money for the above two
projects will go a long way to help in
getting them done.
NIGER. Haladou Maman, Mus6e National,
P.O. Box 248, Niamey. Projects: To reorganize
collection storage facilities at the Mus6e
National, Niamey. Cost: $1,000 to repair the
leaking roof, to buy disinfectants and
insecticides and so be able to fumigate the
holdings, to improve the filing system, assure
the better preservation and care of
photographs, and insure that care is taken of
important documents. The collection comprises
around 3,050 objects.
NIGERIA. Anthonia Fatunsin, Assistant
National Director, Archaeology, National
Museum, P.M.B. 12556, Onikan, Lagos. The
National Commission for Museums and
Monuments (NCMM), Lagos seeks
collaboration with American institutions for the
short-term project entitled "Research into
Yoruba musical instruments." This project will


ACASA Newsletter / No. 38, December 1993 19









look into the different types of instruments,
their manufacture and the occasions when they
are used. It will also record sounds produced
by these instruments. The instruments collected
will eventually be exhibited at the Ibadan
Museum.
Other ongoing projects which would
benefit from international collaboration:
NCMM project on the Archaeology of the
Komadugu/Yobe Valley, which had started but
had to be halted because of lack of funds.
This project aims to reconstruct the history of
settlements on the Kome/Yobe valley from
prehistoric times to the end of the 16th
century, the pattern and sequence of human
occupation, and changes in population
composition on both banks of the rivers.
Equally important is the documentation of
the fast disappearing iron-smelting sites in
Nigeria. During the reconnaissance activities
which Fatunsin conducted in Kano State in
1988, a number of these furnaces were found
already eroding. These sites need to be
documented both on paper and on video
before the evidence disappears. An
archaeologist working on Iron Age could come
to Nigeria to study the variety of forms and
structure of the furnaces and the methods used
for smelting; some excavations, too, would
need to be conducted in order to examine the
structure of the interior of the furnaces and
their contents and to get datable materials for
the purpose of establishing chronology. The
video documentation affords the Commission a
means of raising money and if in the future
some of these sites are declared national
monuments, the video could serve as an
introduction to the sites for tourists.
TANZANIA. Abdu Rahman Mohammed
Juma, Head, Antiquities Unit, Department of
Museums, Tourism and Archives, P.O. Box
116, Zanzibar. Projects:
1. Conservation of stucco work in the
Persian-style baths at Kichichi.
2. Documentation of collections and
improvement of storage conditions of the
existing museum.
3. Upgrading the existing museum displays.
4. Developing outreach programs.
These projects can be carried out without
relying on continuous funding, and each can
be accomplished with a small budget ($1,000).
TOGO. Dola A. Aguigah, University of
B6nin, Lom6. Projects:


1. Establish a suitable place on the University
campus where the objects can be properly
displayed, while arrangements are continuing
for the creation of the University Museum.
2. Urgent measures to save sites that are in
danger of destruction or of being lost.
These include the potsherd pavements in
Notse, the pottery middens (dumps) of
Tado, and the stylized paintings of Dapaong.
A related objective is to make
archaeological and ethnological films of
these sites.
3. There is need to urgently get cases and
shelves to exhibit new materials brought
from the field. Since there is no proper
place to keep the objects, there is the
danger of deterioration and breaking-up of
the fragile ones.
Costs: While the exact budget for each project
has to be worked out in Togo, some estimates
can be given. The exhibition showcases would
cost around $1,000. The selling of
reproductions in the form of cards of
important museum holdings and support from
artisans work should yield some revenue.
UGANDA. Iphrahim Kamuhangire, Uganda
Museum, 5-7 Kira Road, P.O. Box 365,
Kampala. Short-term projects:
1. Computerized accessioning and
documentation of the museum collections.
These include ethnographic, art, musical,
archaeological, palaeontological and archival
collections. Although expensive, this is
extremely important because the museum
collections are manually recorded and some
of the records are not easily traced.
Automated records will help in keeping the
records of the collections properly and in
making them accessible to researchers. The
computer facility itself will help in the
training of the Museum and Antiquities
personnel in basic computer programming
and data analysis.
2. Survey of archaeological sites in Uganda.
The project will be beneficial to the
community in that a proper record of the
archaeological and historical sites in Uganda
will be established and published and some
of the sites may not only be considered for
gazetting and preservation as Government
protected sites, but they will also be subject
to research.
Long-term projects:
During the years 1981 to 1985, Uganda
experienced a traumatic period in which


20 ACASA Newsletter / No. 38, December 1993









atrocities were committed in what is
commonly known as the Luwero Triangle
-that is, the Districts of Luwero, Mplgi,
Mubende, Mukono and Kiboga. After the
1986 National Resistance Movement/Army
victory and takeover, human skeletal remains
(bones, clothing, instruments of torture etc.)
were collected, photographs of the destroyed
homes, churches and schools were taken, and
graffiti by the neurotic government soldiers
who committed the acts of violence and
desecration were recorded. The present NRM
government intends to bury the bones in
selected mass graves and erect commemorative
monuments on the sites.
In addition, a National Monument is to be
erected in Kampala and within it, a Museum'
of Holocausts is to be established, which will
not only display the photographs and the other
human remains from the Luwero Triangle, but
also those other aspects of Ugandan history in
which human atrocities were committed, right
from the late 1880's massacre of the Christian
converts in Buganda, who were canonized as
martyrs in 1969, to the present. The Museum
will act as a deterrent against future inhumane
and senseless atrocities.
ZAIRE. Tshikala K. Biaya, Kinshasa Social
Analysis Laboratory (KSAL), Kananga Institute
of Pedagogy, c/o D1partement de l'Histoire,
University de Montreal, C.P. 6128, Succ. A.,
Montr6al, Quebec H3C 3J7, Canada. Projects:
In the city of Kinshasa there is no gallery or
art center linked to a democratic institution
which opens its doors to both the intelligentsia
and the other members of the middle class,
including civil servants, self-employed people,
students and teachers. As a result of
cooperation with the Department of History of
Laval University, KSAL plans to open a center
which will include a gallery for contemporary
art. Until now all art exhibitions have been
held in exclusive locations, like banks, which
ordinary citizens do not frequent. We hope to
change that situation.
In Kananga there is plenty of artistic
activity, but the museum in the town has been
abandoned. With help and assistance from the
Laval History Department and KSAL, the
museum can be revitalized and a section for
contemporary art created. At present the only
place that one can buy any work of art is at
the Catholic priory, despite the fact that there
is a secondary school in town together with
the Mweka and Ilebo production centers.


Copies of art work leaving the country can
also be made here.
Short-term projects:
1. Workshop and residency for three artists (a
painter, sculpture and a toy maker) to
ensure year round exhibitions. Cost: $4,500.
2. Refurbishing and opening of a section on
the contemporary arts of Zaire at the
Kananga Museum with small funds for
acquisitions of a few art objects with which
to start the collection. Cost: $3,000.
3. Artists' workshop and residency in
Kananga. Cost: $1,500.
4. A special publication of social analysis of
contemporary arts of Zaire with photos and
illustrations. Cost: $3,000.
5. Laser printer and a laser photocopier. Cost:
$2,500.
6. Storage shelves and exhibit cases. Cost:
$2,500.
Mid-and long-term projects:
7. Organize two or three art exhibitions
annually of contemporary art of Zaire.
Cost: $15,000 per exhibition. In return for
financial support for the artists' residency
and workshops, we propose to donate a
certain number of the works produced.
8. National colloquium on the arts at the time
of the exhibition. Cost: $10,000 per
colloquium.
9. International Colloquium. Cost: $45,000.
10. Three workshops for artists coming from
different regions of the country and from
different branches of the arts. Cost: $10,000
for each workshop.
11. A three-year project to publish an annual
review of the contemporary art of Zaire.
Cost: $3,000 per annum.
12. Acquisition of exhibition shelves and
showcases. Cost: $12,000.
ZAMBIA. Manyando Mukela, Director,
Nayuma Museum, PO Box 96, Limulunga,
Western Province. Projects:
1. Documentation of Traditional Music and
Dance. Nayuma Museum in Mongu,
Western Province has started developing a
music archive of cassettes. We would like to
cooperate with an American institution to
continue the collection of instruments,
recording of music, and documentation of
dance.
2. Craft Sales Project. Western Province of
Zambia is rich in crafts, saleable in
American museum shops. They include a
large variety of baskets, wood carvings of


ACASA Newsletter / No. 38, December 1993 21









different sizes and styles, and straw hats
and mats, all of them of exceptional quality.
Our objectives are: (a) To strengthen the
museum's crafts project as a
income-generating venture; and (b) To
increase research capability of the museum
through injection of funds from the craft
sales project. Initial cost: $1,000 for the
purchase of a large quantity of various
crafts for sale to willing museum shops
would be a good start.


Henry Drewal is working on a Yoruba bead
and beadworking project and would appreciate
hearing from persons who have worked (or
know of others who have worked) on the
history, creation, uses and significance of
beads in the Yoruba world -from Ife to L.A.
Please send information/suggestions to Henry
Drewal, Department of Art History, Elvehjem
Museum, University of Wisconsin-Madison,
WI 53706, USA.
Jeremy Coote, Area Editor for Africa at The
Dictionary of Art (London, Macmillan), writes
to say that the final edit of the multi-partite
survey entry on African art, to which many
ACASA members have contributed, is now
underway. The first proofs will begin to
emerge early in 1994, although some may not
be available until the summer of 1994.
Unsurprisingly, given the size and complexity
of the project, the final edit is involving a
substantial amount of reconstructing and
reorganization. Contributors are asked to bear
this in mind when correcting their proofs. The
proof stage will also, however, provide
contributors with the chance to submit extra
and/or new information for their entries. Any
such extra information will be gratefully
received and incorporated wherever possible.
Moreover, anyone who has already returned
the proofs of a 'stand alone' country or
'people' entry and now has some important
information (or bibliographical references)
should also feel free to send it in. Jeremy is
also still in need of a few enthusiastic authors
to help complete The Dictionary's coverage of
African art and architecture. The response to
the 'hit list' published in the last issue of the
newsletter was disappointing. Apart from
'ornament and pattern', all the entries listed on
page 9 of that issue (August 1993) are still


uncommissioned. Jeremy would like anyone
who can help to either telephone him at home
(010-44-865-243426) or write/fax him at The
Dictionary of Art, Macmillan Publishers Ltd,
4 Little Essex Street, London, WC2R 3EP,
UK. Fax 010-44-71-240-4671. He will be very
grateful for any help that ACASA members
can give him in completing the coverage of
African art and architecture in this major work.
Esther A. Dagan, the editor of Galerie
Amrad African Art Publications, is looking for
contributing authors for the next book to be
published in 1994, The spirit's dance in
Africa. As the concept of this book is based
on an interdisciplinary approach, Africanist
PhD scholars from diverse disciplines,
including the performing arts,
ethnomusicology, dance, anthropology,
ethnology, sociology, folklore and art history
(particularly experts in rock art) are invited to
submit essays, which in final form will not
exceed 2,000 words, and may include a few
illustrations. The authors whose titles are
chosen will be immediately informed and
should be able to send their finished essays
within four weeks. If interested, fax your
synopsis to (514) 931-4747 (begin transmission
after second beep) or send to: Galerie Amrad
African Arts Publications, 42 Anworth,
Westmount, Quebec, H3Y 2E7 Canada.


I. ti N


News from C6te d'Ivoire
Henry Drewal, University of Wisconsin-
Madison, consulted earlier this year with
members of the Mus6e National, Abidjan, and
the West African Museum Programme about
the revision of their program of exhibitions
and the evaluation of their collection.

News from Ethiopia
"Ethiopia: Traditions of Creativity," the first
major exhibition of Ethiopian art and culture
in the United States, is scheduled to open at
Michigan State University in August 1994. A
cooperative project with the Fowler Museum
of Cultural History, UCLA, the exhibition will
coincide with the 12th International Conference
of Ethiopian Studies hosted by MSU, the first
time this meeting will be held in the United
States. Project director and curator Raymond


22 ACASA Newsletter / No. 38, December 1993


I Queri









Silverman established a working relationship
with the Museum of the Institute of Ethiopian
Studies in Addis Ababa'under a 1991 award
from the International Partnerships Among
Museums (IPAM) program, funded by the
Creative Arts Exchanges Division, USIA. His
IPAM partner, Girma Kidane, who spent time
in residence at MSU, is a member of the
interdisciplinary team developing the
exhibition. The exhibition's interpretive
program will be sent to Addis Ababa
University for eventual display in the Institute's
Museum.
Third International Conference on the
History of Ethiopian Art, Addis Ababa,
November 1993-Report from an article byR.
Barrington, "Save Heritages Scholars Plead"
in The Monitor (Addis Ababa) November
13-14, 1993. "Ethiopia's cultural and
architectural heritage must be documented,
catalogued and conserved before it is
destroyed. This was the clear message from
the Third International Conference on the
History of Ethiopian Art, held at Addis Ababa
University this week. The conference,
convened by Professor Richard Pankhurst of
the Institute of Ethiopian Studies, heard papers
delivered by scholars and enthusiasts from a
dozen countries. Subjects ranged from
rock-hewn churches to anti-Derg paintings,
and included a moving tribute to the late
painter Gebre Kristos Desta by his former
pupil, Achameleh Debela. The large audience
heard a lively debate on the need to act
quickly for the preservation of Ethiopia's
historic buildings. As tourism and construction
development increases, several speakers
warned that historic buildings will be destroyed
unless they are protected by a state listing
scheme and public education about their
importance.
"Participants spoke of old buildings in
Addis Ababa which have already been
destroyed or are under imminent threat of
destruction. To counter this, the conference
heard, a new initiative is being launched with
the aim of protecting buildings and lobbying
for their conservation.

News from Ghana
National Art Gallery for Ghana. A National
Art Gallery is to be established, the chairman
of the National Commission on Culture, Dr.
Mohammed Ben Abdallah, has announced in


Accra. A five-member committee, headed by
Professor Kojo Fosu, dean of the College of
Art at the University of Science and
Technology, Kumasi, will undertake the work
of setting up and running the gallery. Dr.
Abdallah noted that "most valuable Ghanaian
art works have slipped out of our hands into
foreign galleries because of the lack of
national art gallery to house them." Dr.
Abdallah said that for the last seven years his
commission had been gathering art works
dating back to the pre-colonial era for the
gallery. The gallery will be housed at the
Ghana National Theatre until a permanent site
is built.-from West Africa, September 20-26,
1993.
Kojo Fosu writes us a letter dated
November 16th confirming his appointment
and his fellow committee members-I. K.
Debrah, E. B. Owusu, Charlotte Hagan and
Tsatsu Doku. The objectives of the gallery are
to serve as repository for artistic creations of
Ghana since the birth of the country as a
nation; to promote the creative genius in
Ghanaian artists; and to promote research, art
education and appreciation. To these ends, he
seeks collaboration with American museums
and academic institutions in programs relating
to staff training, collection development, and
artistic exchanges. Contact Professor Fosu at
the College of Art, University of Science and
Technology, P. 0. Box 50, University Post
Office, Kumasi, Ghana. Telephone: Kumasi
5331 extension 225.

News from Kenya
The ACASA Newsletter of August 1993 (page
14) mentioned the article in Art and Antiques
on the controversy surrounding the Gillies
Turle collection of Maasai art. Enid
Schildkrout, who was seriously misrepresented
in that article, replied to the editor of Art and
Antiques with a letter that was published in
the April issue of that magazine. She shares
that letter with ACASA members:
"I was distressed to see myself cited in
January 1993 "Letter from Kenya" by Jon
Bowermeister. Had Mr. Bowermeister, or a
member of your editorial staff, called me to
ask my opinion of Gillies Turle's Collection,
you would have found out that I basically
share Richard Leakey's reservations. In no
way am I prepared to vouch for the antiquity
or authenticity of these artifacts. When


ACASA Newsletter / No. 38, December 1993









Roderick Blackburn and Gillies Turle first
showed me a few pieces, along with
Blackburn's notes, I expressed interest in these
objects from the point of view of ethnography.
Blackburn's original reseach was on the
Okiek, not the Maasai, and he was proposing
at the time that these artifacts had been made
by the Okiek for the Maasai. I felt this was
an interesting hypothesis and worthy of further
field research. I agreed with Blackburn that
research among the Maasai was also in order
to determine their knowledge and use, or
non-use, of these objects. I also felt that some
specimens should be studied to determine the
nature of the bones and their surface patinas.
Only after this meeting did I learn that
hundreds of the artifacts were appearing and
that my initial expression of interest was being
misused, as in your article, as a confirmation
of authenticity.
"There are two further points to be made
about the museum collections, including that
of the American Museum of Natural History.
First, we do not knowingly acquire or exhibit
objects exported or collected in violation of
national and international laws. Second, our
collections, like those of the Kenya National
Museums and the British Museum, include
many objects that are of interest for study
purposes, including some objects of
controversy. These are acquired for many
reasons, but without regard to the very
different criteria used by art collectors."

News from Mali
Mali's cultural heritage receives U.S.
protection. In response to a request from the
Government of Mali, the United States is
imposing emergency import restrictions on
archaeological material from the region of the
Niger River Valley. Sites in this region
represent a continuum of civilizations from the
Neolithic period to the eighteenth century,
lending archaeological significance to the
region. Also covered under the import
restriction is material from the Tellem burial
caves of the Bandiagara Escarpment in the
Niger River region.
The Cultural Property Advisory
Committee, a presidentially-appointed
committee of experts in archaeology and the
international sale of art, as well as
representatives of the museum community
supported this decision. Mali is the first


African country to request and receive this
form of U.S. protection. In submitting its
request, the Government of Mali stated that
"the pillage and illicit traffic of cultural
property of Malian patrimony continue with an
intensity that constitutes a serious menace to
an understanding of entire chapters of the
history of Mali." Mali's request was submitted
under Article 9 of the 1970 UNESCO
Convention on the unauthorized movement of
cultural property across international borders.
This is the fifth emergency import restriction
imposed by the United States under the
UNESCO Convention. Other restrictions are in
place on certain pre-Columbian artifacts from
El Salvador, antique Andean textiles from
Bolivia, Moche artifacts from the Sipan region
of Peru, and Maya artifacts from the Peten
region of Guatemala.-USIA press release,
September 23, 1993.

News from Mauritius
IPAM Exchange Transforms Mauritius
Institute. The Mauritius Institute will be
undergoing a reorganization accompanied by
increased government and grant funding as a
result of the work undertaken during its
International Partnerships Among Museums
(IPAM) exchange with the Dallas Museum of
Natural History. Richard Fullington, of the
Dallas Museum Natural History, reports that,
according to a recent fax from his partner,
Sehezahan Abdoolrahaman, of the Mauritius
Institute, the Mauritius government has
approved a major reorganization of the
institute and has authorized and funded
positions for a curator, conservator, and
technical assistant as outlined in the
management plan that was written during the
IPAM project. It also appears that as a result
of a proposal written during the exchange, the
institute will receive a $15,000 grant from the
African Archives and Museums Project to help
establish a conservation laboratory at the
institute and develop and fund a complete
renovation of the permanent exhibits.-from
Aviso, September 1993.

News from Nigeria
Ife Centre for African Studies (ICAS) is an
independent, non-governmental and non-profit
organization dedicated to research, teaching
and cultural activities. Located in Ile-Ife the


24 ACASA Newsletter / No. 38, December 1993









home of an indigenous African artistic culture
in terracotta and brass works, the Centre will
be a coordinating academic and cultural
establishment. Collaborative programs are
being worked out with institutions in the U.S.,
the West Indies, Brazil and Germany in the
arts, humanities, the social sciences and
cultural studies. One special project of ICAS
in the area of cultural studies is the Ife
Summer Institute (ISI) through which are
offered formal academic courses and
participation in cultural activities in the months
of June, July and August. Programs are
designed in such a way that course credits
may be transferred to home institutions of the
participating students.
ICAS research efforts will focus on
relevant themes in the arts humanities and
social sciences. The Center will organize
lectures, seminars, colloquia, briefings,
training courses and cultural activities. The
staff is drawn from a pool of seasoned
university teachers. For information, write: Ife
Centre for African Studies, Express Way, P.O.
Box 1045, Obafemi Awolowo Univeristy,
Ile-Ife, Oshun State, Nigeria. Telephone: (234)
36-233457, 36-233457.
Niger Delta Art and Culture History Group.
A number of ACASA members in the U.S.,
who have worked in the Niger Delta region of
Nigeria, have decided to form themselves into
a more formal group, whose spiritual leader is
Professor E. J. Alagoa. They are planning a
meeting at the 1994 ASA in Toronto and a
round table for the 1995 Triennial. They
would like to include persons who feel their
interests might overlap with theirs. For
example, a scholar whose research focuses on
coastal Cameroon has expressed interest in
joining. Please send letters of interest or
suggestion to: Martha Anderson, School of
Art, New York State College of Ceramics,
Alfred University, Alfred, NY 14802, USA.
Telephone: (607) 871-2468 (office); (607)
587-9550 (home).
The traditional ruler of Nri in Anambra State,
Igwe Obidegwu Onyeso, has said that a high
level investigation will be conducted to
determine how a famous artifact, the Eze Nri
golden stool, found its way to Britain. He told
newsmen in Lagos recently that he did not
know when the stool was taken to Britain, as
claimed by historians.-from Nigeria News


Update (New York) 2 (22) November 16-29,
1993.

News from S6n6gal
CIAO. The ICOM West Africa Co-ordinating
Committee (CIAO) has the mission of
encouraging exchanges between museum
professionals from the region. As a regional
organization of ICOM, CIAO embarked on a
regional programme of actions, some of which
have already begun. One is the "The Mande
Cultural Area" exhibition project which is
being supported by the AFRICOM project.
Samuel Sidibe is the president of CIAO. The
CIAO liaison bulletin, CIAO news, is another
of the programme's projects. For information:
CIAO news, c/o Ahmed Dawelbeit,
Programme Ecopole/ENDAT-M4 & 5 rue
Klber, P. O. Box 3370, Dakar, S6n6gal.
Christraud Geary of the National Museum of
African Art consulted with the West African
Museums Programme and the Institut
Fondamental d'Afrique Noire in Dakar to
develop a strategy to survey, preserve and
catalogue existing photo archives in West
Africa.

News from South Africa
"Ezakwantu: Beadwork from Eastern
Cape," from the South African National
Gallery's permanent collection, opened
September 1993 in Cape Town. Ezakwantu is
a Xhosa word meaning "things from the house
of the people." The terms embraces beadwork,
which for the past 150 years has been the
major form of aesthetic production amongst
the Xhosa-speaking peoples. In recent years
the South African National Gallery has
broadened its acquisition policy to include the
extremely significant aesthetic production of
Southern African peoples. The art/craft issue,
which has been extensively debated in recent
years, questions the perceptions that art is
more significant than craft; it also highlights
the production of black people and of women,
in particular, that has been neglected. In view
of this history, the emphasis on beadwork at
the SANG is timely. This exhibition is the
first in a number of activities exploring this
important field, which include acquisitions,
research, exhibitions and education projects.
The eastern Cape has been selected as an area
of focus because of its proximity to Cape


ACASA Newsletter / No. 38, December 1993









Town and because the majority of our
audience are Xhosa-speakers. A wide range of
beadwork-from rare items dating back to the
last century to contemporary pieces using
plastic and found objects-will be on display.
The spotlight will fall both on their formal
beauty and on their historical, social, cultural
and political significance; these aspects of
beadwork will be explored within the
exhibition and the catalogue.
South African National Gallery, Cape Town
announces an "African Forum" of exhibitions,
lectures, and debates on the art of Africa
from 1993 through to 1994. The proposed
exhibitions include: "Ezakwantu: Beadwork
from the Eastern Cape" (see preceding news
item), "The Ideology of Meaning and the
Lydenburg Heads," "Transformed Fibres,"
"Africa at Rest," "Symbols of Power: Sticks,
Staffs and Insignia from Central and Southern
Africa," "Rock Art" and "Ndebele Art and
Architecture." Initial lectures included "Art,
Artefacts and Archaeology in Southern Africa"
by John Parkington, University of Cape Town
(May 27, 1993) and "Architecture of the
Highveld: Archaeology and Contemporary
Art" by Gary van Wyk, Columbia University
(June 5, 1993).
Music and Musical Instruments from the
Transvaal. Pedro Espi-Sanchis, a musician
and teacher in Giyani, South Africa, has
developed several audio-visual materials on
South African musical traditions in northern
Transvaal. Available so far are three story
tapes for children with titles: "The Magic
Lekolilo Bird," "Cowbells and Tortoise
Shells," and "Another Lion on the Path."
These serve as a very entertaining introduction
to African music by means of stories. Each
story introduces a different a different
instrument played in Africa: the Lekolilo flute,
the Xizambi mouth resonated bow, the Xitende
gourd resonated bow, the Tshikona pipe
ensemble, the Zwingelengele bell ensemble,
the Kundi harp and many more. The
"Instuments of Africa" audio-visual series
number now four: "The Chopi Timbila
Xylophone," "The Venda Ngoma Drum,"
"The Xizamba Mouth Drum," and "The
Tshikona Pipe Ensemble." The audio-visual
materials show in detail the making of African
instruments by master musicians and end with
the instrument used in its usual context. The
program are available for one or two projector


systems or as video copies. Also, the
instruments dealt with in those programs are
available for purchase, thus making the
programs a complete exhibit. Espi-Sanchis has
also started a series of audio-visual programs
on craft persons in Southern Africa and has
produced one such program on the pottery
tradition of Gazankulu, "Mashamba: a potters
village." For information, contact: Pedro
Espi-Sanchis, P. O. Box 2559, Giyani 0026,
South Africa. Fax and Phone 0158-24025.

News from Southern Africa
"Cultural Preservation and Archaeology in
Africa" follow-up trip to eastern and
southern Africa.-report by Bill Dewey, The
University of Iowa:
In March through May 1992, fourteen
African archaeologists and museum officials
visited the United States as part of a
USIA-subsidized program entitled "Cultural
Preservation: Art and Archaeology in Africa."
This program, organized by Merrick
Posnansky, Mary Jo Arnoldi and me with the
help of numerous museums, government
agencies and African studies centers
universities, sought to familiarize our African
colleagues with some American programs and
facilities and involve them in the Triennial
Symposium on African Art and the Society of
Africanist Archaeologists Biennial Meetings.
One of the major goals of the program was to
encourage collaboration and cooperation
between African and American institutions.
In the fall of 1992 Merrick Posnansky
visited some of the West African participants
and this past summer I visited some of the
East African participants. We wanted to visit
the African archaeologists and museologists in
their own institutions in order to see firsthand
their successes and problems and to
demonstrate our commitment to inform
ourselves of their needs and priorities and
confirm our committmtent to help them
achieve their cultural preservation goals. A
few of the small-scale projects submitted by
those African participants for possible funding
are listed elsewhere in the ACASA Newslettu-
(see page 18), but I will also give a brief
report on my trip with hopes that it will
encourage interest in further cooperative
ventures.
The only participating East African
country I was not able to visit was Rwanda.


26 ACASA Newsletter / No. 38, December 1993









In all of the countries I held formal or
informal discussions on cultural preservation
with museum and university officials,
archaeologists, government officials and US
embassy personnel. I also presented formal
lectures on topics of my own recent research
(African headrests and/or iron in the art and
archaeology of Africa) to general audiences.
Zimbabwe. Of the countries visited,
Zimbabwe is clearly the best off financially
and has the largest and most advanced system
of museums and archives. In Harare I visited
the Queen Victoria Museum, the National
Gallery, the National Archives, and the
University of Zimbabwe's History and
Archaeology department. With the recent
change in leadership at both the Queen
Victoria Museum of Human Sciences in
Harare and the National Director's office of
National Museums and Monuments, there
should soon be some dynamic new programs.
A third archaeologist has just been hired by
the university, and they have agreed to host
(in conjuction with the Queen Victoria
Museum) the 10th Congress of the Pan
African Association of Prehistory and Related
Studies conference in 1995. The primary focus
of my visit was the Great Zimbabwe ruins
where program participant George Mvenge is
headquartered as Regional Director. The
re-designed museum has just opened and a
new publication launched, Conservation News.
Part of the plan for development of Great
Zimbabwe includes building a new
living-history museum near the ruins to give
visitors a sense of what nineteenth-century
Shona life was like. The University of Iowa is
cooperating with them to develop this.
Zambia. In Livingstone I visited the
National Heritage Conservation Commission
and the Livingstone Museum. I also had a
chance to visit with Fulbright researcher,
Indiana University archaeology graduate
student, Kinmarie Murphy. Despite the fact
that Zambia is strapped with severe economic
problems and the museums are struggling to
get by, some positive developments are being
made. These include the publication of the
Zambia Heritage News, aimed at the general
public, and the development of the Railway
museum in Livingstone, which hopes to lure
steam engine enthusiasts. In Lusaka I visited
the Department of Cultural Services, the
National Art Collection, the Political Museum
and the Zintu Crafts/Museum Foundation.
Regional museums are also being developed,


such as the Nayuma Museum in the Lozi area
of Western Zambia where Manyando Mukela,
program participant, is the curator. Many of
the newer museums, such as Nayuma and
Zintu Crafts, are private initiatives funded
primarily by international aid organizations or
private businesses.
Uganda. In Uganda most of my time was
spent at the Uganda Museum, but I also saw
the Kasubi tombs and Katwe, the
blacksmithing area of Kampala. Ephrahim
Kamuhangire escorted me on a trip to Ntusi
and Bigo bya Muganyi archaeological sites.
The situation of the museums in Uganda is
very difficult, as the whole country is
undergoing reconstruction following years of
internal strife. The museums have recently
received aid from the UNDP to repair the
roof of the main museum, which is nearly
complete, but plans to replace the electrical
and plumbing system, reinstall exhibits, or
renovate storage have no source of funding.
Many of the outlying historical monuments
and rock art sites are rumored to have been
damaged during the civil war, but there are
not even resources for someone to go and
check. Kasubi tombs seem to be one of the
success stories in that the site is well
maintained and quite popular, but with the the
recent reinstatement of the Kabaka of the
Buganda this may change, as there are
questions whether the government should
continue to be in charge of the site. When
Obote outlawed Uganda's monarchies in 1966,
all their regalia, royal drums, etc. were placed
for safekeeping in the museum. Now the
kingdoms are demanding that the items be
given back, and the museums will have to
deal with restitution issues.
Tanzania. In my one day in Dar es
Salaam I visited the University of Dar es
Salaam Archaeology Unit, the Village Museum
and the National Museum of Tanzania. The
bulk of my trip, however, was spent on
Zanzibar with program participant
Abdurahman Mohammed Juma. Although
Zanzibar's Department of Archives, Museums
and Monuments is relatively small compared
to many countries, they have a very dedicated .
staff that are accomplishing many of the
ambitious goals they have set for themselves.
Museums and monuments are such a high
priority on the island that they have been
placed under the President's Office. The most
prominent building on the sea front, the
House of Wonders, is being renovated with


ACASA Newsletter / No. 38, December 1993 27









EEC money to become the Beit al-Ajaib
Museum of History and Culture. The old
Peace Museum, where all of the ethnographic
and historical collections are presently housed,
will be converted into the Natural History
Museum. Preservation of stone town is being
actively encouraged and several of the
historical monuments, such as the Turkish
Baths of Hamamni and Kidichi, are being
restored. I also took a short trip to Pemba
Island with Juma to visit the archaeological
site of Pujini, which was being excavated by
Adria LaViolette and a group of students from
the University of Virginia
Madagascar. Most of my visit to
Madagascar was spent in Tananarivo where I
worked with the University of Madagascar's
Mus6e d'Art et d'Archdologie. One of the
highlights of the trip was a visit with Rebecca
Green, Fulbright art history scholar from
Indiana University, and some of the museum
staff, to Arivonimamo, where Rebecca had
been doing research on burial traditions and
weaving. The museum staff also took me to
visit Ambonimanga (the King's palace) and
nearby archaeological site of Ankadivory,
followed by a visit to Rova (the Queen's
Palace) and site museums.
South Africa. South Africa was not
originally on my itinerary but it is almost
impossible to get from Madagascar to
Mozambique directly, so I spent a few days in
Johannesburg. Courtesy of my hosts Karen
Brown and Garth Claassen, formerly of
Indiana University, I was able to visit to the
Standard Bank Gallery exhibition of ceramics,
"Emhlabeni From the Earth," the
Johannesburg Art Gallery show of Brenthurst
and Horstmann collections of southern Africa
materials and the University of Witwatersrand
Art History collections.
Mozambique. Despite the severe economic
restrictions caused by the recent drought and
the civil war, the museums and archaeological
department of Eduardo Mondlane University
are doing reasonably well. In Maputo I visited
the Museum of Natural History which was
closed for renovations. The EEC is helping to
pay for roof repairs. At the Archaeology
Department at Eduardo Mondlane University
there is a young committed group of
archaeologists, many receiving funding for the
Swedish "Urban Origins" project. I also
visited the Museum of Art and ARPAC
(Arquivo do Patrimonio Cultural) in Maputo. I
then travelled to northern Mozambique to the


Nampula Museum, which has just reopened
with an exhibit of ethnographic material and
then travelled on to MoCambique Island,
which has recently been designated a World
Heritage Site: A very ambitious plan of
restoration has been established for the
museums and old Portuguese fort, the latter
which is now sadly in a very delapidated
state. There are plans to establish a marine
archaeology and history museum on the island,
the MoCambique Island Association has
undertaken a program to preserve the island's
unique architecture.
I would be glad to supply other details for
anyone wanting to travel to, or establish
cooperative programs with any of these
countries: Bill Dewey, School of Art and Art
History, University of Iowa, Iowa City, IA
52242, USA. Telephone: (319) 335-1784.

News from Switzerland
The Basel Mission tentatively plans to
produce an American-system videodisc
containing about 28,000 images from
photographs in its archives taken in Asia and
Africa between 1860 and 1945. Approximately
one-half of these images are directly relevant
to Africa. The disc would contain the Basel
Mission's major holdings of photographs from
Ghana and Cameroon, and a full reproduction
of the sample-book of engravings used in
Basel Mission publications at the end of the
nineteenth century. Access to the disc will be
provided by an interactive link with a
data-base which can be run from most PCs
using DOS. The disc would sell for about SFr
2,000. However, the disc cannot be made
without sufficient assured purchasers to cover
costs. Interested institutions are asked to
contact the Basel Mission Archive, CH-4003
Basel, Switzerland. Fax (41) 61-26-88-268.

News from United Kingdom
Africa '95 is a "nationwide celebration of the
work of African artists" taking place in Britain
between August and December 1995, with
individual events scheduled in many of the
UK's leading art galleries, concert halls,
theatres and cinemas. This will be the first
time that both the historical and contemporary
arts of Africa will be brought centre stage in
this way in Britain in what is in effect a kind
of festival of Africa, involving many of the


28 ACASA Newsletter / No. 38, December 1993









major British arts institutions. The Royal
Academy two years ago began to plan for an
exhibition of classical African art from Egypt
to the Cape, to be held in 1995. It was
Robert Loder, who has been the "prime
motivator" of artist-led workshops in southern
Africa, who felt that the RA show should be
complemented by exhibitions showing
contemporary art from Africa. Cl6mentine
Deliss was roped in to help devise a program
of events to coincide with the RA event.
From there, as more people became
involved, the project snowballed into a
"season," with a wide range of art forms "to
reflect the true depth of African creativity";
the emphasis has very much been on an
"artist-led event." This is seen in the fact that
one of Africa '95's most important institutions
is its International Council of Artists which
has Manu Dibango in the chair, and includes
King Sunny Ade, Nadine Gordimer, Thomas
Mapfumo and Youssou Ndour. Among those
involved in devising of programmes have been
the coordinators: June Givanni of the British
Film Institute (cinema), Margaret Busby
(literature), Charles Easmon (music), Helen
Denniston (performing arts) and Mark Sealy
(photography). The list of projects to be
sponsored range from the very large, such as
the Royal Academy exhibition (an estimated
850,000), to much more modest but
nonetheless vital items like workshops and
information packets at a fraction of that cost.
In addition to the RA exhibition, there
will be a parallel show at the Whitechapel Art
Gallery titled "Africa and the Modernist
Experience," recognizing the two-way traffic
that has always existed between Africa and
Europe. A first forum of curators to discuss
the proposed exhibition took place in October
1993. There will also be exhibitions at the
Barbican (textiles), the ICA ("cross artform,
multi-media installations"), and many other
venues, extending to Oxford, Leeds and
Liverpool. It is hoped that some events and
exhibitions will not only tour in the UK, but
will go on to Africa.-culled from IWst
Africa, 15-21 November 1993. For information
on Africa '95, contact Cl6mentine Deliss,
Africa '95, Richard House, 30-32 Mortimer
Street, London WIN 7RA, UK. Telephone:
(071) 637-4389. Fax: (071) 637-4580.


News from the United States
The Harn Museum of Art and the
Department of Art at the University of
Florida, Gainesville, is sponsoring a 1994
lecture series coordinated with a graduate
seminar entitled "Presenting The Art of Other
Cultures." The seminar, directed by Robin
Poynor, will address issues of interpreting and
exhibiting the arts of Africa, the South Pacific,
and the Americas. Participants will include
Aldona Jonaitus (January 10, 11) Betty Benson
(January 24, 25), Fred Wilson (January 31,
February 1), Sally Price (February 7, 8),
Adrienne Kaeppler (February 14, 15), Enid
Schildkrout (February 28, March 1), Roy
Sieber (March 14, 15), Ruth Phillips (March
21, 22), Susan Vogel (April 4, 5) and Ivan
Karp (April 11, 12).
Museum of African-American Life and
Culture, Dallas, Texas, opened a six million,
38,000 square-foot facility in November 1993.
The new building's design materials echo
pre-industrialized Africa, and it is the only
museum in the southwestern United States to
devoted to the preservation and display of
African American artistic, cultural, and
historical materials. Its permanent collection
includes African art, African American fine
art and folk art, and a historical collection and
archives. Started in 1974 as part of Bishop
College, the institution has operated
independently since 1979.-Museum News,
November-December 1993.

News from Zimbabwe
Elizabeth Orchardson-Mazrui, artist and
faculty member at Kenyatta University, was
one of a panel of judges at the 1993
"Zimbabwe Heritage" exhibition. She shares
some of her reflections on the overall quality
of art works submitted for this year's
competition:
Sculpture (stone). "I was a judge in 1988
and 1989. Overall, the sculptural works
continue to express the strong sculptural
tradition of Zimbabwe. However, I sense a
gradual development of sculptures that tend
toward 'tourist art' that is, objects that are
common place and repetitive in style and
execution; these types of sculptures lack the
care and artistic attention that truly expresses
an artist's love of his/her medium and choice
of subject. With the opening up of Zimbabwe


ACASA Newsletter / No. 38, December 1993










to tourists, the development of 'curio' arts is
bound to take place. There are lots of
sculptures selling in these curio shops, and
they do not reflect the artistic tradition of
Zimbabwean sculpture. One cannot blame an
individual who has no other alternative of
making a living; nonetheless, artists must
guard against producing works that are likely
to erode their artistic integrity. The
well-known sculptors of Zimbabwe continue to
produce outstanding works. It is good to see
sculptors exploring stone in a more innovative
way. Artistic innovation leads to a greater
understanding of materials and techniques, and
ultimately to 'standards of excellence' which
the National Gallery aims at."
Mbod sculpture. "This is still a very
underdeveloped area. Overall, the works
submitted were far too few in number to be
able to give a picture of the state of wood
sculpture in Zimbabwe. What was submitted
was disappointing, artistically. In the past,
sculptors such as Tapfuma Gusta and Joe
Muli, for example, have submitted interesting
wood sculptures, which demonstrated the
potential of wood sculpture in Zimbabwe. Of
course, a major concern to note is the
environmental issue: where do sculptors get
wood for their sculptures? Are they felling
trees on purpose; if so, are trees being
replanted? This is of concern, particularly in
Africa where forests are being destroyed. The
future wood sculpture in Zimbabwe needs to
be addressed in a forum where debates
between artists and environmentalists can chart
a course for, or against, the development of
wood sculptures."
Metal sculpture (weldart). "Metal sculpture
(weldart) continues to develop. There were
some very good pieces-innovative and
interesting. This is a medium which has the
potential to expand since there is so much
'junk'-that is, waste metal and other weldable
materials -which can be found and utilized.
Some of the more innovative and creative
pieces were a combination of stone-and-metal
and metal-and-mixed media. The young
weldart sculptors art to be commended for
their innovative use of metal."
Painting. "Many of the paintings submitted
were not impressive. In 1988 and 1989 there
were a lot more paintings to select from and
it made our tasks as judges more challenging.
I am particularly disappointed and perturbed
by the absence of so many established artists.
If the National Gallery is to survive, then it is


beholden upon artists to submit their very best
works, and to support the Gallery. The judges
can only make a selection of works that
expresses the state of Zimbabwean painting if
there is a large pool of work to select from.
A small pool of mediocre works will yield
nothing impressive. Neither will 'standards of
excellence' be promoted. I know that in the
past, a certain section of Zimbabwean painters
have criticized the judges' selections of
paintings which these painters perceived to be
an inferior quality. We as judges always give
every piece of work individual attention and
select or reject a piece of work only after
careful consideration of several factors which
may include overall impression, interests,
innovation, creativity, and so forth -the
question always being: has the artists moved
forward or is she/he stuck in a groove she/he
is unable to leap out of? A work of art can
be academically correct in technique,
proportion, colour, harmony, and so forth, yet
show a spark of creativity and potential for
further development. Paintings by black
Zimbabweans obviously haven't 'developed' in
the same manner that paintings by trained
white artists in Zimbabwe have. Yet, despite
the lack of materials and technical expertise,
some black Zimbabweans produce paintings
that are interesting and which express their
cultural heritage. Both groups of painters
-black and white artists-must learn to
appreciate each other's degress of perception
and must understand each other's cultural
sources and experiences. Who is to determine
what constitutes an 'inferior' painting? What
constitutes a 'good' painting? For example, I
would be interested to know what is behind
the development of what I would call a 'naive'
style by trained by white artists. I noticed
paintings in this style which could easily have
passed for paintings by untrained 'naive' black
artists. Is there a message here? What are we
to make of these types of paintings-is this an
exploration of a technique by white artists or
is it a test of 'good' art versus 'bad' art?
Perhaps an artist painting in this style would
enlighten me?
"I must strongly react to one or two
pieces of work that I saw which had racist
overtones in them. This is something which
must not be allowed to creep into the works
of art. Censorship of the arts is a very
delicate matter, but the production of racist art
-whether by black or white artists-is
something not to be condoned, especially in a


30 ACASA Newsletter / No. 38, December 1993










country like Zimbabwe where so much blood
was shed during long years of the liberation
struggle. I must question the depiction of the
national flag in works that clearly are not
meant to portray national pride, but to rather
undermine it. Again, how far can artists go
without being offensive? Despite the above,
we as judges have not 'censored' works of
art, but have left them as works that show
creativity or are technically good, and
hopefully, some artistic critic will raise the
issue of how far an artists can go without
offending society. After all, an artist does not
work in vacuum; he/she works within a social
context and environment."
Graphics. "There were many excellent
pieces in this category. Both formally trained
and informally trained artists had interesting
pieces. There were some very good prints by
the BAT students -some well-excuted and
interesting in subject matter. Some of the
collages were beautifully done. It would be
good to see more drawings-this area seems to
be lacking.
Photography. "There were some very
good black-and-white photographs which
showed an imaginative use of the camera to
produce some interesting works. The
introduction of photography to the BAT
students will no doubt lead to the development
of the medium. It will be nice if more
established photographers also submit for the
next Heritage Zimbabwe."
Ceramics. "I was disappointed in the
works submitted. In 1988 and 1989 I saw
many outstanding pieces of ceramics, both
traditional ware and studio pottery. The works
submitted this year were simply not good
enough; again, as with painting, why didn't
the more established studio potters submit
works? Where they did, the works were not
that good. It is only fair to highly commend
Sitra Pottery for the excellent pieces they
submitted; the works are technically good,
good glazing, and the sheer size the pieces
will demonstrate the Zimbabwean pottery has
the potential to reach high standards,
technically and artistically. Ceramicists working
in the traditional manner must re-examine
themselves and question why their standards
are declining-if other 'traditional' potters can
produce beautifully formed and fired works,
why can't they? There is a history of a strong
tradition of earthenware pottery in Zimbabwe.
It is not good enough for ceramicists working
in the traditional manner to submit works that


are badly formed and shaped and not properly
fired. Traditional pottery techniques must not
be allowed to die. As for the studio potters,
what has gone wrong? The National Gallery
deserves your best works; the nation deserves
to see the best of your works. It would also
be nice for the international judges to see the
best of Zimbabwean studio pottery."
Textiles (printed or batiked or
mixed-media). "In light of what I saw in 1988
and 1989, I am amazed at the tremendous
leap that textiles have made. There was a
great variety of work and many of the pieces
were well-printed or batiked with interesting
designs. That was evidence of a great deal of
work in each textile piece. The patterns were
often intricate and imaginative. The major
problems with the fabrics was that in most
cases, they had not been properly 'finished'
-that is, the wax had not been removed and
the excess dye had not been washed out. As
far as the 'sadza' paintings are concerned, I
saw far better pieces at the Weya training
centre than what was submitted. The Weya
training centre should encouraged their artists
to produce their best works for the Heritage
Zimbabwe event. Submitting inferior works
only lowers the overall standards of the artists
themselves."
1bven textiles. "This area was extremely
disappointing. In 1988 and 1989 (at the
expense of sounding like a broken disc!) I saw
a great variety of exciting and imaginative
woven textiles. This year, there were very few
pieces to select from. Even the works by Cold
Comfort Farm were insignificant compared to
what they submitted in 1988 and 1989. Where
are the weavers of Zimbabwe? Like any
medium, woven textiles can be artistically
stimulating and exciting. Weaving should be
introduced to the BAT students: at some future
date, weaving industries in Zimbabwe may
require woven designs. In addition, weaving
has plenty of room to develop and expand."
The Pachipamwe International Artists'
Workshop was held at Cyrene Secondary
School outside of Bulawayo from 14 to 28
August, 1993. Pachipamwe is part of a series
of art workshops which will take place
throughout the SADC Region and South
Africa. The workshops are loosely structured
on the International Triangle Workshop which
was established in New York in 1982 by
British sculptor Anthony Caro, and British art
collector, Robert Loder. The first workshop


ACASA Newsletter / No. 38, December 1993









took place in Southern Africa in 1985. The
workshops provide the necessary interface for
the shared experience which removes artists
from Southern Africafrom a socially,
politically and culturally defined isolation.
Workshops have taken place in Zimbabwe,
Botswana, Mozambique, Zambia, and South
Africa and one will take place Namibia in
1994. At Pachipamwe VI twenty-two painters,
sculptors and ceramicists participated, eleven
Zimbabweans plus artists from South Africa,
Canada, Mozambique, Botswana, Namibia,
Zambia, UK, USA, Sweden, Denmark and
Jamaica. At Pachipamwe 1993, the presence
of women artists was strong, both in the
statements made their work and their advocacy
for the need of acceptance of women artists in
southern Africa by their male peers and
society at large. For women artists outside of
southern Africa, the eurocentric stereotype of
the African women artists gave ways to
realities through interaction, observation and
interchange of ideas. The workshop culminated
in an exhibition at Douslin House, which will
be the new Bulawayo Art Gallery serving the
SADC Region. It will then be shown at the
National Gallery in Harare.
Regional Art Gallery. Zimbabwe will from
next year be home to the first Southern Africa
Development Community (SADC) regional art
gallery. The gallery was unveiled in Bulawayo,
Zimbabwe's second city, on September 1, 1993
and is scheduled for opening next June when
the city celebrates 100 years as a municipality.
The gallery aims to bring together artists'
works from the ten SADC nations for
exhibition, providing a diversity of fine art
derived from varying inspirational backgrounds
and experiences. The projection is that
regional artists will hold periodic workshops
here, create their pieces, hold joint exhibitions
and sell their works.-from a report by
Tambayi Nyika in West Africa.


, Notewrthy N.w Publicatio


From Africa
Directory of museum professionals in Africa.
Paris: International Council of Museums
(ICOM); Dakar: West African Museums
Programme (WAMP), 1993. 220pp.
ISBN 92-9012-016-9. Includes the names
and full addresses of more than 850


museum professionals on the African
continent, indicating for each professional
basic training, field of expertise,
specialty and experience. More than 300
museums or institutions dealing with
museum activities or programmes are
included in the directory. Available from:
ICOM, Maison de l'Unesco, 1, rue
Miollis, 75732 Paris Cedex 15, France.
Telephone: (33.1) 47.34.05.00. Fax:
(33.1) 43.06.78.62 [or] WAMP, B.P.
357, Dakar, Sen6gal. Telephone: (221)
22.50.57. Fax: (221) 22.12.33

Fosu, Kojo. 20th century art of Africa.
Revised edition. Accra: Artist Alliance,
1993. Originally published in 1986.
$15/8. Available from the publisher:
Artist Alliance, P. 0. Box 718,
Teshie-Nungua, Accra, Ghana.

From Europe and North America
Africa and the disciplines: the contributions of
research in Africa to the social sciences
and humanities / edited by Robert H.
Bates, V. Y. Mudimbe, and Jean O'Barr.
Chicago: University of Chicago Press,
1993. 232pp. ISBN 0-226-03900-5.
$24.95 cloth. ISBN 0-226-03901-3.
$9.95 paper. Why should Africa be
studied in the American university? This
question was put to distinguished scholars
in the social sciences and humanities,
prominent Africanists who are also
leaders in their various disciplines. Art
historian Suzanne Preston Blier, one of
the contributors, uses the terms and
concepts that her discipline has applied
to Africa to analyze the habits of mind
and social practice of her own field.

African Zion: the sacred art of Ethiopia /
catalog by Marilyn Heldman with Stuart
C. Munro-Hay; edited by Rocerick
Grierson. Yale University Press in
association with InterCultura, Fort Worth;
The Walters Art Gallery, Baltimore, and
the Institute of Ethiopian Studies, Addis
Ababa, 1993. ISBN 0-300-05819-5.
$68.00, cloth; ISBN 0-300-05915-0,
paper.

Appleyard, David. Ethiopian manuscripts.
London: The Jed Press [12 Old Bond
Street], 1993. 142 pages, 32 color


32 ACASA Newsletter / No. 38, December 1993










plates, 101 b&w illus. ISBN
0-9520501-1-0. 35.00.

Apter, Emily and William Pietz. Fetishism as
cultural discourse. Ithaca: Cornell
University Press, 1993. 395pp. $42.50
cloth; $15.95 paper.

The archaeology of Africa: foods, metals, and
towns / edited by Thurston Shaw [and
others]. London; New York: Routledge,
1993. xxxvi, 857pp. illus. (One world
archaeology, 20). ISBN 0-41508-444-X.
75.00. A major compendium of African
archaeology covering all regions of the
continent and all prehistoric periods.

Beach, David. The Shona. (Peoples of Africa).
Oxford: Blackwell, 1993. 256pp., 35
illus. ISBN 0-631-17678-0. 30.00. This
study of the Shona, the Ndebele, Gaza
Nguni and others discusses their origins,
geographical distribution, social structures
and cultures.

Berlo, Janet Catherine, editor. Arts of Africa,
Oceania, and the Americas: selected
readings. Englewood Cliffs, NJ:
Prentice-Hall, 1993. 392pp. ISBN
0-13-756230-6. $29.33.

Brandon, George. Santeria from Africa to the
New World: the dead sell memories.
(Blacks in the Diaspora). Bloomington:
Indiana University Press, 1993. 206pp.
ISBN 0-253-31257-4. $29.95.

Dak'Art 92. The catalogue of the international
art exhibition "Dak'Art 92," which took
place during the Second Dakar Biennial,
December 14-20, 1992, has been
published as a special issue of the
review Beaux Arts. For more information
on the exhibition, or for a catalogue,
contact: Tereza Wagner, Division of the
Arts and Cultural Life, UNESCO, 1 rue
Miollis, 75015 Paris, France.

Directory of people of color in the visual arts
has been published by College Art
Association. The 72-page publication
identifies over 750 individuals of African
American/black, Asian, Hispanic/Latino,
Native American, and other nonwhite
descent who are artists, art historians,
museum professionals, arts


administrators, art students, or other arts
professionals. Listings are indexed by
state, discipline, and ethnicity. Copies are
available from the CAA, 275 Seventh
Avenue, New York, NY 10001, USA,
for $7.50 ($9.00 nonmembers).

Dress and gender: making and meaning /
edited by Ruth Barnes and Joanne B.
Eicher. Oxford: Berg Publishers, 1993.
304pp. 12.95/$19.95. ISBN
0-85496-856-2. This volume addresses
the relationship between gender and
dress, covering a great variety of
ethnographic areas from Asia, Europe
and Africa to North and South America.
Includes papers by M. C. Daly and S.
Michelman on Kalabari women's dress
and by H. Callaway on dress in colonial
Nigeria.

Drums: the heartbeat of Africa / edited by
Esther A. Dagan. Montr6al: Galerie
Amrad African Art Publications, 1993.
275 b&w, four color photographs and
192 drawings. Thirty-six essays written
by African, European and American
scholars from the fields of ethno-
musicology, art history, anthropology,
performing arts, museology and folklore
cover different aspects of drumming in
African societies. Limited edition of 900,
in English only. Price: $80.00 U.S. +
$6.50 handling (North America) $8.50
(overseas). Contact Galerie Amrad
African Art Publications, 42 Anwoth,
Westmount, Quebec, H3Y 2E7 Canada.

Face of the spirits: masks from the Zarre basin
I edited by Frank Herrrman and C.
Petridis. Antwerpen, 1993. 1261pp. $105.

Gill, Stephen J., Lucas G. A. Smits, Tobias T.
Schmitz and Myrtle Karstel. Lesotho,
kingdom in the sky / edited by Johanna
A. M. Giesen. Berg en Dal, The
Netherlands: Afrika Museum, 1993.
ISBN 90-71611-03-5.

Hammoudi, Abdellah. The victim and its
masks: an essay on sacrifice and
masquerade in the Maghreb / translated
by Paula Wissing. Chicago: University of
Chicago Press, 1993. ISBN
0-226-31525-8 cloth. ISBN
0-226-31526-6 paper.


ACASA Newsletter / No. 38, December 1993 33









Herbert, Eugenia W. Iron, gender, and power:
ritual of transformations in African
societies. (African systems of thought).
Bloomington: Indiana University Press,
November 1993. 304pp., 42 b-&-w
photographs. ISBN 0-253-32733-4.
$39.95 cloth. ISBN 0-253-20833-5.
$18.95 paper. Herbert relates the beliefs
and practices associated with ironworking
in African cultures to other
transformation activities to propose a
gender/age-based theory of power.

Hultgren, Mary L. and Jeanne Zeidler. Taste
for the beautiful: Zarrian art from the
Hampton University Museum. Hampton,
VA: Hampton University Museum, 1993.
116pp, 36 color, 54 b&w. $28.
Catalogue of the university's extensive
and varied collection of Kuba art,
including clothing, jewelry, weapons,
cloths, and household objects.

Kramer, Fritz W. The red fez: art and spirit
possession in Africa / translate by
Malcolm Green. London: Verso, 1993.
292pp. Translation of: Der rote Fes:
Uber Besessenheit und Kunst in Afrika.
ISBN 0-86091-4658. $34.95/19.95.
While European explorers saw Africans
as savages, so Africans viewed the
Europeans as barbarians and incorporated
details from the invaders, especially those
objects like the fez that emphasized their
otherness, into "curious cultic systems."
Surveying a range of art and cultures
from Sudan to South Africa, Kramer, a
German professor of art theory, has
constructed an erudite but dense study of
African representation of colonial
Europeans. In the modern day, according
to Kramer, the "flattened reality" of
photography provides images for the
surviving spirit possession cults.

Nicklin, Keith. African masks. London: Studio
Editions, 1993. 112pp., 112 illus. ISBN
1-85891-023-4. 14.95. Explores the
traditions of African mask-making and
masquerade. Shows the part this art form
plays in African dance, drama and daily
life. Written for general audiences.

Perrois, Louis. Les rois sculpteurs: legs Pierre
Harter; art et pouvoir dans le Grassland
camerounais. Paris: Editions de la


Reunion des Mus6es Nationaux, 1993.
224pp. 26 color plates; 110 b&w
photographs. ISBN 2-7118-2792-5.
290FF. Features fifty-three sculptures
from the Cameroon Grassfields
-kingdoms of Bamil6ke, Bamum, Kom,
Oku and others-from the collection of
the late Pierre Harter, bequeathed to the
Mus6e national des arts d'Afrique et
d'Oceanie.

Savi: poterie et architecture en Afrique de
l'Ouest I text by Labelle Prussin and
Rogier M. A. Bedaux. Tampere,
Finland: Pyynikinlinna, 1993. 104 color
illus. $25. Payment in advance through
bank order to: Kannus Production Oy;
bank: Kansallis-Osake-Pankki;
swift-address: KOPI FI HH; account:
114630-874062. Prussin's essay is
entitled: "Architecture and pottery:
sacred earth; the earth as symbol and
metaphor"; Bedaux's essay is entitled:
"La poterie africaine." The Pyynikinlinna
has also published Arkilla kerka: textiles
de l'Afrique de l'Ouest (1991) and
Naamion takana: au-deld des masques
(1989). Both are $25.00.

Scanzi, Giovanni Franco. L'art traditionnel
Lobi = Lobi traditional art. 419pp. illus.
(123 color and 248 b&w). Limited
edition of 2,000. Distributors in Europe
and C6te d'Ivoire: Bernd Schulz,
Dachsberger Weg, 15, 47475
Kamp-Lintfort, Germany. Price: FF 780.
Telephone: (0) 2842-6498. Fax (0)
2842-8381. Distributor for North
America, Asia, Pacific Area, and Africa
(excluding C6te d'Ivoire): O.A.N., 15
West 39th Street, New York, NY
10018-3806. Price: $220 + shipping $8
(U.S.) or $35 (all other countries).

Stanley, Janet L. The arts of Africa: an
annotated bibliography. Volume 3: 1989.
Atlanta: African Studies Association
Press, 1994. 424pp. ISSN 1044-8640.
$45. Publisher's address: African Studies
Association Press, Credit Union
Building, Emory University, Atlanta, GA
30322, USA.

Steiner, Christopher B. African art in transit.
Cambridge: Cambridge University Press,
1993. 230pp. illus. ISBN 0-521-43447-5.


34 ACASA Newsletter / No. 38, December 1993









$54.94/40.00 cloth. ISBN
0-521-45752-1. $19.95/16.95 paper. On
the commodification and circulation of
Africa art objects in the international art
market. Analysis of the role of the
African middleman in linking those who
produce and supply works of art in
Africa with those who buy and collect
so-called 'primitive' art in Europe and
America, based on field research among
the art traders in C6te d'Ivoire. Provides
a lucid interpretation which reveals not
only a complex economic network with
its own internal logic, and rules, but also
an elaborate process of transcultural
valuation and exchange. Questions
conventional definitions of authenticity' in
African art, by demonstrating how the
categories 'authentic' and 'traditional' are
continually redefined.

Thompson, Robert Farris. Face of the Gods:
art and altars of the Black Atlantic
World. Munich: Prestel Art Books;
distributed by te Neues Pub. Co., 1993.
256pp. ISBN 3-7913-1281-2. $70.00.

Valldes du Niger; [exhibition, Mus6e des Arts
d'Afrique et d'Oc6anie, Paris, October
13, 1933-January 10, 1994] / edited by
Jean Devisse, Jean Polet, and Samuel
Sidib6. Paris: Editions de la R6union des
Mus6es Nationaux, 1993. 575pp. $130
cloth.

Vogel, Susan. African artists 1993: the Venice
Biennal. (Focus: Afrikanische Kunst im
Brennpunkt). Munich: Prestel Art Books;
distributed by te Neues Pub. Co., 1993.
100pp. 70 illus. (30 in color). ISBN
3-7913-1327-4. $19.95/DM 29.80 paper.

Willett, Frank. African Art. (World of art).
Revised edition. New York: Thames &
Hudson, 1993. 261 illus., 61 in color.
$12.95 paper.

Atrium Bookshop, Ltd., 5 Cork Street,
London W1X 1PB, offers current
African art books and catalogues.
Telephone: 071-495-0073. Fax:
071-409-7417.


The summer 1993 issue of Third text: Third
obrld perspectives on contemporary art &
culture (London) is a special number on
modern African art, edited by Olu Oguibe.
Among the features are articles by Rhoda
Rosen on Azaria Mbatha; Pitika Ntuli on
Albie Sachs and cultural policy in South
Africa; David Koloane on Black South African
artists; interviews with El Anatsui, Skunder
Boghossian, and Ibrahim El Salahi; poetry by
Odia Ofeimun on John Muafangejo;
commentary by John Picton, Gavin Jantjes,
Everlyn Nicodemus, Abdul Simone and David
Hecht; exhibition reviews by Olu Oguibe and
Clementine Deliss. Available: Carfax
Publishing Company, P. 0. Box 25, Abingdon,
Oxfordshire OX14 3UE, UK.
Back issues of Black art; an international
quarterly and the International review of
African American art are now available from
the Hampton University Museum. Also
available, The 1993 Guide to Black Art: an
international quarterly/international review of
African American art. The guide contains
indexes and complete listings of contents for
each issue in the ten-volume series.
The Eye is published bi-annually by the Eye
Society, P.O. Box 1411, Zaria, Nigeria (ISSN
1116-7254). The June 1993 (volume 2, no. 1)
issue contains articles on Bruce Onobrakpeya's
60th birthday retrospective; Uche Okeke's 60th
birthday retrospective; the visual image of the
women in contemporary Nigerian art, by
Bolaji Campbell; polychrome sculptures; a
portfolio of painter Nsikak Essien; and a
critique of "Best of Ife '93" exhibition.
African American archaeology newsletter.
Editor, Thomas R. Wheaton. Annual
subscriptions: $5.00. Checks payable to "AAA
Newsletter." Address: Thomas R. Wheaton,
New South Associates, Inc., 4889 Lewis
Road, Stone Mountain, GA 30083.
Kalabash no. 1, a new biannual magazine on
Namibian culture is published by the Ministry
of Education and Culture, P. B. 13186,
Windhoek, Namibia.
In case you missed it, see William Hart and
Christopher Fyfe's article "The stone
sculptures of the Upper Guinea Coast,"
History in Africa (Atlanta) 20: 71-87, 1993,


ACASA Newsletter / No. 38, December 1993


IHrSeril|Ntsr









for a critical review of publications written
from 1952 to 1990 on the so-called nomoli
stone figures.


Vll6es du Niger is a major exhibition now on
view at the Mus6e des Arts d'Afrique et
d'Oc6anie, Paris, from October 13,
1993-January 10, 1994. The exhibition,
organized in collaboration with the
governments of Mauritania, Guinea, Mali,
Burkina Faso, Niger and Nigeria, features
antiquities from national collections of all of
these countries. A 575-page catalog
accompanies the exhibition. See also the
article by curator Jean Polet in Geo no. 175,
Septembre 1993, pp. 110-121 and another
article in Connaissance des arts no. 499,
Octobre 1993, pp. 103-125. Raoul Lehuard
also has a review in Arts d'Afrique noire no.
88, hiver 1993.
Brooklyn Museum in Brooklyn, NY, will
open its redesigned and renovated West Wing
in December 1993, providing 30,000 square
feet of additional modern gallery space. One
floor will house the museum's reinstalled
Egyptian collection, which has not been on
view for the past three and a half years.
Highlights of the collection, which contains
more than 500 objects, are sarcophagi,
coffins, and a wrapped 2,600-year old
mummy never before displayed at the
museum.-from Museum news,
September-October 1993.
Sierra Leone-Gullah Connection. Linda O.
King, director of the Museum of Coastal
History, writes that she is currently in the
planning stage of an exhibition on the Sierra
Leone-Gullah connection. Her proposal
includes preparing a low-security travelling
exhibit for 1995. She will be using
contemporary material culture from Sierra
Leone and the Georgia-South Carolina sea
islands. The purpose in using contemporary
material culture is to make the exhibit
available and affordable to small museums that
normally would not have the funds or the
security or environmental controls available for
a high-security exhibit. The exhibition has two
objectives: (1) To tell the story of the
repatriation of sea island slaves by the British;
and (2) To explore the present day connections


I Exhib tions


36 ACASA Newsletter / No. 38, December 1993


between the west coast of Africa, specifically
Sierra Leone, and the sea islands. For more
information: Coastal Georgia Historical Society
Museum of Coastal History, P.O. Box 1136,
St. Simons Island, GA 31522, USA.
Telephone: (912) 638-4666.
Spirit Eyes, Human Hands. The National
Endowment for the Arts has awarded the Har
Museum of Art in Gainesville, Florida, a
grant to support the tour of objects from the
museum's permanent collection of West
African art. The exhibition, titled "Spirit
Eyes, Human Hands: African Art from the
Samuel P. Har Museum of Art," will
showcase approximately ninety out of 400
works from the permanent collection. Robin
Poynor, associate professor of art history,
Univeristy of Florida, is the guest curator.
The Ham Museum is producing a catalog in
conjunction with "Spirit Eyes, Human Hands,"
which will be the first major publication
related to one of the museum's permanent
collections. The exhibition is scheduled to
open at the University of Georgia Museum of
Art in the fall of 1994 and will travel to three
additional venues in 1995.
Upcoming Exhibitions at the Hampton
University Museum: (1) "Africobra: The
Silver Jubilee Exhibition," January 14,
1994-February 28, 1994, will commemorate
the 25th anniversary of this seminal African
American arts collective. (2) "More Than Just
Something To Keep You Warm: Tradition and
Change in African American Quilting," March
10, 1994-July 31, 1994. Curated by noted
photographer and folklorist, Roland Freeman,
this exhibit will examine quiltmaking as a
unique folk art.
African and Oceanic Sculpture; Treasures
from a Private Collection is a new exhibition
at the Museum of Fine Arts, Boston. Curated
by Allen Wardwell, it marks the museum's
introduction of new areas to its permanent
collections. In lieu of a printed catalog, the
museum offers a brochure, paragraph-long
captions in large type, and a series of lectures
by Rowland Abiodun, Robert Farris
Thompson, Monni Adams, Allen Wardwell,
and others. Among African objects of special
interest are a large Djenne terracotta ewe,
Cross River akwanshi, Benin heads, Kalabari
ancestor screen figures, an Igbo ikenga, an
Areogun divination bowl, and a Fon asen
altar. The exhibition continues until July 1994.










The Sacred Arts of Vodou. UCLA's Fowler
Museum of Cultural History was awarded
major grant by the National Endowment for
the Humanities for the April 1995 exhibition
"The Sacred Arts of Vodou" and for a major
publication on the ritual arts and material
culture of Haitian Vodou. The project is being
undertaken in collaboration with the National
Museum of Ethnology, Port au Prince, Haiti,
and the UCLA African Studies Center and
Center for Afro-American Studies. The
exhibition is co-curated by Donald Cosentino
and Marilyn Houlberg. After its premiere in
Los Angeles, the exhibition will travel to at
least four venues in the United States in 1996
and 1997. "The Sacred Arts of Vodou" will
present historically, culturally and aesthetically
significant examples of Vodou ritual art, much
of it collected during the the 1940s through
the 1980s, and never previously exhibited.
Objects from the Fowler Museum's collection,
and those borrowed from Haitian, American
and European museums, Vodou temples in
Haiti and distinguished private collections, will
be presented in clear interdisciplinary frames
and then integrated into ritually significant
contexts.
The project will also explore the cultural
problems caused by "voodoo" stereotyping,
ensuring that the exhibition is responsive in
signage and interpretative materials to Vodou
and its defamation. Research of the impact of
Vodou art on diverse community groups is
currently being conducted. Several consultants
-priests and priestesses of Afro-Caribbean
religions-will offer an insider's view on
Vodou and related religions. The Fowler
Museum hosted a project conference in Port
au Prince from June 21 to 23, 1993. The
project co-curators, along with the Fowler
exhibitions designer and publication to a
editor, presented plans for the exhibition and
publication to a group of twenty-one Haitian
consultants. These consultants included
academics, scholars, museologists, art
specialists were vodou priests and priestesses.
In 1991, the Fowler Museum was awarded a
$100,000 planning grant for "The Sacred Art
of Vodou" by the Rockefeller Foundation.
Pan-African Circle of Artists International
Exhibition, 1994. The Pan-African Circle of
Artists (PACA) plans an international exhibition
to be held in Lagos in April 1994. PACA was
founded in 1991 as a forum for the promotion


of African art and culture and currently has
members in Nigeria, C6te d'Ivoire, Tanzania
and Ghana. Mr. Krydz Ikwuemesi, the acting
international secretary for PACA, is seeking
support for this exhibition, financial and
otherwise, from colleagues in North America,
Europe and Africa, in addition to ongoing
fund-raising activities in Nigeria. He writes,
"All donations shall be duly acknowledged on
all exhibition materials. We hope you will be
glad to support the promotion of contemporary
art in Africa." For information, contact Krydz
Ikwuemesi, The Pan-African Circle of Artists,
P. O. Box 9228, Enugu, Enugu State, Nigeria;
or Janet Stanley, National Museum of African
Art Library, Washington, DC 20560.




International Conference on African Pottery,
The University of Iowa, April 8-9, 1994, is
organized by The Program for Advanced
Study of Art and Life in Africa (PASALA)
and sponsored by The University of Iowa
School of Art and Art History, The University
of Iowa Museum of Art, and by PASALA.
Among the questions the conference will
address is the validity of comparing pottery
forming and decorating techniques as evidence
of ancient contact and influence between
peoples. What is the role of gender in
determining who may make pots? What is the
changing economic role of the potter in her
community? Why are pots decorated, and
what do these decorations mean? Can ancient
techniques be reconstructed based on
contemporary potters' work? Are potters
always resistant to change, and is this a
problem or a virtue? What are some of the
religious roles of potters, and how is gender
involved? Are there a limited number of
techniques used to make pots, and what does
this mean? What is the environmental impact
of pottery making, especially on sources of
fuel?
There will be two days of papers, the first
devoted to technical issues, including pottery
forming and decorating techniques and firing
technology, and the second day devoted to
more theoretical issues, such as gender,
symbolism, contextualization of pottery in
religious, social and economic life. Papers
devoted to pottery in archaeological contexts
and historical studies will be placed depending


ACASA Newsletter / No. 38, December 1993 37









on subject and approach. Anyone who has
made films or videos is encouraged to bring
them. The conference papers will be published
in volume four of Iowa Studies in African Art
in combination with the papers from the
conference "Iron, Master of the All" held at
University of Iowa in March 1993.
Make reservations early, at least two week
in advance, and plan to arrive Thursday
afternoon or evening and to stay over Saturday
night. For information contact: Christopher
Roy, Pottery Conference, The School of Art
and Art History, The University of Iowa, Iowa
City, IA 52242, USA. Telephone: (319)
335-1777 (office); (319) 354-9033 (home);
e-mail: cdroy@umaxc.uiowa.weeg.edu [or]
William Dewey (319) 335-1784; Fax (319)
335-3677.
The Project for Advanced Study of Art and
Life in Africa at the University of Iowa
invites submissions for its Fourth Annual
PASALA Graduate Student Symposium. The
symposium will be held on April 10, 1994. It
is open to graduate students in all areas of
African studies to present and discuss their
own research on expressive culture of Africa.
Students should submit a one-page typewritten
abstract and a cover letter (complete with
name, institutional affiliation, address, and
telephone number) for a twenty minute
presentation. All proposals must be
postmarked by February 1, 1994. Candidates
will be notified by February 15 and papers
must be submitted by March 15, 1993. Travel
scholarships will be available on a competitive
basis. Direct abstracts and inquiries to:
PASALA Graduate Student Symposium, School
of Art and Art History, W-150 Art Building,
The University of Iowa, Iowa City, IA 52242.
Telephone: (319) 335-1777.
A New Internationalism, a two-day
symposium at the Tate Gallery, London, on
27-28 April 1994, will address questions of
recoding the international; art, history and the
modern museum; cultural diversity and art
practice; curatorship and international
exhibitions. The symposium is organized by
the Institute of New Internationalism in the
Visual Arts (INIVA). Chair is Sandy Nairne;
symposium consultant is Gavin Jantjes.
Speakers include: Hal Foster, Sarat Maharaj,
Rasheed Araeen, Guillermo Santamarina, Hou
Hanru, Geeta Kapur, Olu Oguibe, Judith
Wilson, Jimmie Durham, Gordon Bennett,


Gilane Tawadros, Everlyn Nicodemus, Gerado
Mosquera, Fred Wilson, Raiji Kuroda,
Elizabeth Sussman and Stuart Hall.
Reservation forms and further information are
available from: INIVA, 14 Great Peter Street,
London SW1P 3NQ, UK. Telephone:
+44(0)71-973-6471. Fax +44(0)71-973-6590.
The Society of Africanist Archaeologists
(SAfA) 12th Biennial Conference will be held
at Indiana University, Bloomington, from April
28-May 1, 1994. There will be no single
conferecne theme-papers, reports and posters
are welcome from researchers in all aspects of
African archaeology and prehistoric studies.
Proposals for organized symposia along with
abstracts should be received by January 1,
1994. Proposals and abstracts for individual
papers, reports and poster sessions are due by
January 21, 1994. For more information
contact: Nicholas Toth, Anthropology
Department, Student Building 130, Indiana
University, Bloomington, IN 47405, USA.
Telephone: (812) 855-7536. Fax:
(812)-855-7574. e-mail: Tothindiana.edu.
Busaries for African graduate students.
Some funds are available for travel bursaries
for African nationals presently studying
archaeology at the graduate level at the
universities in North America. Preference will
be given to students in doctoral programs and
those presenting a paper, but all interested
African students should apply in writing to the
President of the Society, Kathy Schick,
Anthropology Department, Student Building
130, Indiana University, Bloomington, IN
47405, USA. Telephone: (812) 855-7568. Fax:
(812) 855-7574. Applicants, please include
your name, home country, university, degree
being sought, year in graduate program, and
whether you have submitted a paper or
research report. Student bursary applications
must be received no later than January 31,
1994.
Roy Sieber Symposium. A symposium and
celebration in honor of Rudy Professor of
Fine Arts Emeritus Roy Sieber will be held on
February 25-26, 1994 in Bloomington,
Indiana. Speakers will include Robert Farris
Thompson, Eugenia Herbert, Kate Ezra and
Nii Quarcoopome. For more information,
contact: Eugene Kleinbauer, Hope School of
Fine Arts, Indiana University. Telephone:
(812) 855-9556.


ACASA Newsletter / No. 38, December 1993









Textile Society of America will hold its
fourth biennial symposium September 22-24,
1994, at the Fowler Museum of Cultural
lHistory, UCLA, Los Angeles. The theme will
be "Contact, Crossover, Continuity." For
information, contact: Louise W. Mackie,
Textile Department, Royal Ontario Museum,
100 Queen's Park, Toronto, Ontario M5S 2C6,
Canada. Telephone: (416) 586-8055. Fax (416)
586-5863.
Fourth Conference of the International
Association for the Study of Traditional
Environments (IASTE) will be held in Tunis,
Tunisia, from December 17-20, 1994. Its
theme is "Value in Tradition: The Utility of
Research on Identity and Substainabilty in
Dwellings and Settlements." Deadline for
receipt of abstracts: February 15, 1994.
Notification of accepted papers: April 15,
1994. Deadline for receipt of completed
papers: July 15, 1994. Notification of accepted
papers for possible publication in IASTE
Working Paper Series: October 1, 1994.
Deadline for receipt for revised papers:
November 15, 1994. Send all inquiries to
IASTE '94 Conference Center for
Environmental Design Research, University of
California, 390 Wurster Hall, Berkeley, CA
94720, USA. Telephone: (510) 642-2896. Fax:
(510) 643-5571.
Pan African Association of Prehistory and
Related Studies 10th Congress will be held
in early September 1995. The University of
Zimbabwe History Department, and the
National Museums and Monuments of
Zimbabwe will jointly host the congress. The
actual dates will be given later. The
provisional list of the proposed themes
includes: Quaternary Geology; Hominid
Evolution; Palaeoenvironmental Studies; The
African Stone Age; The African Iron Age;
Early African Food Production; Spatial
Analysis; Interpretation of Cultural Change;
The Development of Complexity;
Ethnoarchaeology; 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, Mout Pleasant, Harare,
Zimbabwe.


I oc t P Co feene

Transformations, Technology and Gender in
African Metallurgy / report by David Zeitlyn
(Wolfson College, Oxford). Under the auspices
of the Centre for Cross-Cultural Research on
Women (CCCRW), a group of archaeologists,
anthropologists and historians united by a
common interest in African metallurgy spent
two happy days. in Oxford comparing their
field results and trying to make sense of the
variations and the commonalities of African
metal work. The papers ranged from technical
discussion of the relationship of chimney effect
to efficiency and profitability, to a wide-ranging
survey of generative themes that provide a
metaphorical base across the whole central
Bantu zone. Pots are cooked, pregnant women
are hot, the child is born when fully cooked,
twins are over-cooked. The smelter is husband
to the furnace, which is constructed with the
scarifications and other visible signs of an
adult, fertile women. The smelt complete, the
iron worker delivers iron to the rest of the
population and may be called the wife of the
village. The richness of the conceptual
universe in which smiths, potters, smelters,
diviners and mortuary specialists are linked
and variously distinguished was brought out by
a set of papers discussing different groups in
the Mandara mountains of North Cameroon
and northeastern Nigeria. Here we could see
the challenges facing any broad synthesis: the
degress of variation between immediate
neighbors, and the intense debate between the
ethnographers and ethno-archaeologists who
have worked within sight of one another on
their different hilltop kingdoms requires a
different scale of explanation from that offered
by the generalizing overviews. Ian Fowler, in
one of the opening papers, linked metallurgy
and metal workers to the varying, constructed
nature of West African personhood. The
smith, stigmatized as transformer, fits within a
pattern already delineated by Fortes and
Horton. Eugenia Herbert initially widened the
scope by pointing to the role music has to
play in metallurgy, especially the connections
between drums and bellows. In her concluding
remarks she pointed up the antiphony of the
discussions between the micro and the macro
levels of analysis, as well as those between
the synchrony of the anthropologists and the
diachrony of the archaeologists. Our
generalizing vocabulary needs to be refined


ACASA Newsletter / No. 38, December 1993 39









(like ore); words such as iron, woman, castes
are all inadequate to the task. Once they have
been tempered in the fire of debate, as -
occurred at this meeting, they may emerge
transformed and able to help us understand
both the intricacies of the particular cases and
the concerns that are shared over much of the
continent. We eagerly await the publication of
a collection of these papers that Dr. Fowler
will edit. The CCCRW, Shirley Arderner and
Fowler must be congratulated on gathering
such a varied mix of views and making them
fuse in such a stimulating and enjoyable
conference.-from Anthropology today.



The Editor thanks contributors to this
December issue of the newsletter: Paxton
Aremu (Obafemi Awolowo University);
Elizabeth Chilver (Oxford); Jeremy Coote,
(Macmillan Dictionary of Art, London); Esther
Dagan (Galerie Amrad African Arts
Publications, Montreal); Acha Debela (North
Carolina Central University); Bill Dewey
(University of Iowa); Henry Drewal
(University of Wisconsin-Madison); Pedro
Espi-Sanchis (Giyani, South Africa); Kojo


Fosu (University of Science and Technology,
Kumasi); Barbara Frank (SUNY-Stony
Brooke); Elias Jengo (University of Dar es
Salaam); Linda King (Museum of Coastal
History); Betty LaDuke (Southern Oregon
State College); Tonie Okpe (Ahmadu Bello
University); Elizabeth Orchardson-Mazrui
(Kenyatta University); Robin Poynor
(University of Florida); Chris Roy (University
of Iowa); Enid Schildkrout (American Museum
of Natural History); Celia Winter-Irving
(National Gallery of Zimbabwe).
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 April 1994. Deadline for
submitting news items is March 15, 1994.


Editor
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: LIBEMO10@SIVM (Bitnet)
or LIBEM010@SIVM.SI.EDU (Internet)


40 ACASA Newsletter / No. 38, December 1993












PAPER PROPOSAL
37th Annual Meeting of the African Studies Association
Toronto, Ontario, Canada November 3-6, 1994
READ ACCOMPANYING INSTRUCTIONS BEFORE COMPLETING THIS FORM.

Mail three copies of this form to: 1994 Annual Meeting, African Studies Association, Emory University, Credit Union Building,
Atlanta, Georgia 30322. Proposals may be submitted between January 1 and March 15, 1994. Materials submitted after
that period will not be acknowledged or accepted.
Membership dues for 1994 must be paid at the time of submission. Exceptions to the membership requirement are made for
non-resident international scholars and persons whose major area of expertise is not Africa. Such persons must submit their
non-member preregistration fees with their paper proposals ($60 regular; $35 for persons currently teaching in African
universities). Persons unable to submit fees in advance because of currency difficulties must notify the ASA and may pay
their fees upon arrival in Toronto.

PART ONE


Name


Affiliation

Telephone


Address


Author Signature

Paper Title


Affiliation


Telephone

Fax


Check one individual proposal __ part of organized panel

If part of organized panel:

Panel Chair

Panel Title


Audiovisual equipment required:

16mm projector

__ podium light


___ overhead projector

VCR & monitor s

electric pointer __


slide projector

screen blackboard


cassettee player


Mail three copies of both Part One and Part Two of this form to: 1994 Annual Meeting, African Studies Association, Emory
University, Credit Union Building, Atlanta, Georgia 30322.
DO NOT SEND PROPOSALS BY FAX. PROPOSALS RECEIVED BY FAX WILL NOT BE
ACKNOWLEDGED OR ACCEPTED. THEY WILL BE DISCARDED UPON RECEIPT.


For ASA office use only: Panel No.


Co-author

Address


Date received














PAPER PROPOSAL
PART TWO
Panels Committee Copy

Do not write your name or affiliation on this form.

Paper Title:


If part of organized panel:

Panel Title


Provide an abstract of the proposed paper. Identify the topic; indicate the nature and extent of data on which the paper is
based; and summarize the argument presented in your work.
































Mail three copies of both Part One and Part Two of this form to: 1994 Annual Meeting, African Studies Association, Emory
University, Credit Union Building, Atlanta, Georgia 30322.
DO NOT SEND PROPOSALS BY FAX. PROPOSALS RECEIVED BY FAX WILL NOT BE
ACKNOWLEDGED OR ACCEPTED. THEY WILL BE DISCARDED UPON RECEIPT.


For ASA office use only: Panel No.


Date received











'1993 Directory of ACASA Members
Second Addendum


Norbert Aas
Adolf-von-Gross-Str. 8
8580 Bayreuth, 95445, Germany
home 0921-22781
fax 0921-8512506
Tunde Akinwumi
Department of Design
Yaba College of Technology
Lagos, Nigeria

John Bankston
22 Liberty Street
San Francisco, CA 94110
Meg Bernstein
North Country Community College
20 Winona Avenue
P.O. Box 89
Saranac Lake, NY 12983
work 518-891-2915 x215


Tshikala K. Biaya
D6partement d'Histoire
University de Montr6al
C.P. 6128, Succ. A
Montreal, Qu6bec H3C
home 514-487-6234
work 514-343-6234
fax 514-343-2483


David C. Conrad
History Department
SUNY Oswego
Oswego, NY 13126
home 315-343-4660
work 315-341-3445
fax 315-341-5444

Kathy Curnow-Nasara
3233 Bradford Road
Cleveland Heights, OH 44118
home 216-932-3213
work 216-687-2105
fax 216-932-1315
Haig David-West
208 West 23rd Street, #1201
New York, NY 10011
home 212-243-1669
work 212-243-1669
fax 212-243-1669

Acha Debela
North Carolina Central University
Computing Center for the Arts
Box 19555
Durham, NC 27707
home 919-419-0250
work 919-560-5308
fax 919-560-5012
email acha@nccu7.acc.nccu.edu

Rashid Diab
Melendez Valdes (36) 5-C Dch
Madrid 28015 Spain
Margaret Thompson Drewal
Department of Performance Studies
1979 Sheridan Road
Northwestern University
Evanston, IL 60657
work 708-491-3171
fax 708-491-5090

Nancy E. Forgione
46 Melville Road
Illovo 2196
South Africa


3J7, Canada


Suzanne Preston Blier [new address]
Department of Fine Arts
Sackler Museum
Harvard University
Cambridge, MA 02138
work 617-495-0781
Elisabeth L. Cameron
1425 S. Westgate
Los Angeles, CA 90025
home 310-479-2096

Bolaji Campbell
Department of Fine Arts
Obafemi Awolowo University
Ile-Ife, Oshun State, Nigeria

Martin Chembere
5 Chatima Road
P. O. Mbare
Harare, Zimbabwe











Dunja Hersak
University Libre de Bruxelles
Sec. d'listoire de 1'Art et Archadologie
50, Avenue Franklin D.Roosevelt
B-1050 Brussels, Belgium
home 322-538-6027
work 322-650-2419
fax 322-538-6027
Christine Mullen Kreamer
1830 Saint Roman Drive
Vienna, VA 22182
work (202) 357-4733

Charles Loving
Utah Museum of Fine Arts
101 AAC/University of Utah
Lake City, UT 84112
home 801-272-8563
work 801-585-5356
fax 801-585-5198
Kevin Mbayu
1011 East Adams Street, Apt 14
Syracuse, NY 13210
home 315-423-4342

Susan Mickiewicz
Ethnic Arts
2937 College Avenue
Berkeley, CA 94705
home 510-841-9702
work 510-549-3781
fax 510-549-1046
Charles D. Miller III
455 North Country Road
St. James, NY 11780-1704

Ginger Moraczewski
LOR 302 Art History Department
University of St. Thomas
St. Paul, MN 55105
work 612-962-5562

Robert Nicholls
Division of Education
University of the Virgin Islands
Charlotte Amalie
St. Thomas, Virgin Islands 00802-9990

Mr. Billy Nkunika
Centre for the Arts
University of Zambia
P. O. Box 32379
10101 Lusaka, Zambia
work: 213221


Tonie Okpe
Department of Fine Arts
Ahmadu Bello University
Zaria, Nigeria
Elisha Renne
Department of Art History
Emory University
Atlanta, GA 30322
work 404-727-6282
fax 404-727-4292
Christopher Roy
University of Iowa
School of Art and Art History
Iowa City, IA 52242
work 319-335-1777/1727

Sainsbury Research Unit
Arts of Africa, Oceania & the Americas
Sainsbury Centre
University of East Anglia
Norwich, NR4 7TJ, England
work 0603-592659
fax 0603-259401
email T230@uk.ac.uea

Ali Ould Sidi
Centre Ahmed Baba de Tombouctou
B. P. 14
Timbuktu, Mali
work: 92-10-81

Stephanie Smutz
10062 Maclura Court
Fairfax, VA 22032
home 703-978-5009

George J. Taylor
575 Easton Avenue, # 9D
Somerset, NJ 08873

Dil Humphrey Umezulike
Department of Fine and Applied Arts
University of Benin
Benin City, Edo State, Nigeria

Jeri B. Williams
308 Westwood Plaza #143
Los Angeles, CA 90024
home 310-836-7335

Ahmed Zekaria
Institute of Ethiopian Studies Museum
Addis Ababa University
P. O. Box 1176
Addis Ababa, Ethiopia




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