Title: ACASA newsletter
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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
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Publication Date: August 1994
Subjects / Keywords: Arts -- Periodicals -- Africa   ( lcsh )
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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.
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General Note: Latest issue consulted: No. 34 (Aug. 1992).
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 Related Items
Preceded by: Newsletter of the Arts Council of the African Studies Association

Full Text

ACASA Newsletter
No. 40, August 1994

The Arts Council of the
African Studies Association



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 Tayo Adenaike entitled "The Unending Gaze" (1994) pen-&-ink. Adenaike is a
Nigerian painter and graphic designer.


ACASA Newsletter

No. 40, August 1994

African Studies Association, Toronto, November
1994. The 1994 ASA annual meeting will convene in
Toronto, Canada, November 3rd to 6th in conjunction
with the Canadian African Studies Association; the
theme is "Africa Reconfigured." The preliminary
program will be published in the next ASA News.

Tenth Triennial Symposium on African Art,
April 19-25, 1995. Call for Papers. Twenty-nine
panels and roundtables have been proposed for the Tenth
Triennial Symposium on African Art to be held April
19-23, 1995 in New York City. The Program
Coordinators of the Tenth Triennial invite papers on any
of the panels or roundtables listed below. The deadline
for submission of paper proposals is OCTOBER 1,
1994. The Panel Chairs will be responsible for
forwarding all abstracts to the Triennial Program
Coordinators, Lisa Aronson or Jean Borgatti. The Chairs
may also propose participants for their own panels.
However, all abstracts will be reviewed by the Program
Committee for final selection.
Please Note: To participate in the 1995 Triennial,
one must be an ACASA member in good standing.
Individuals may serve in only one capacity-as Chair,
Presenter or Discussant. There will be eighteen
panels/roundtables plus two plenary sessions in the final
program. Thus, not all of the panels proposed below
will be finally accepted, although it may be possible to
combine two panels into a roundtable format. The
Program Committee will seek a balance between areas,
disciplines and approaches. Final decisions will be made
at the ASA meetings in Toronto in November and will
be published in the December ACASA Newsletter. Chairs
will be notified directly by mail.
To submit a paper proposal, use the printed form
provided at the end of this issue of the newsletter and
Proposals and abstracts may be submitted on disk
(WordPerfect or Microsoft Word) in addition to
completing the printed form. For further details, contact
Program Coordinators Lisa Aronson at (518) 458-2491
or Jean Borgatti at (508) 793-9695.
Plenary Session #1: Rubbing Shoulders with Theory.
Jean Borgatti, Chair, 295 Maple Avenue, Shrewsbury,
MA 01545, USA. Telephone: (508) 793-9695.
A theory makes a general statement about a whole
class of phenomena, only some of which you observe. It
serves to loosen ties to specific empirical observations in

1994 ASA in Toronto 1
1995 Triennial Symposium 2
Book Distribution Program 8
Housing Exchange 8
People in the News 8
Obituaries 8
Career, Research &
Publishing Opportunities 9
West African Archaeological
Association 12
African Archaeology in the
21st Century 13
International News Round-Up 14
Noteworthy New Publications 21
Serial Notes 22
Video Notes 23
African Art on the Internet 23
Forthcoming Conferences 23
1994 Directory of ACASA
Members: Addendum 25
Triennial Symposium:
Individual Paper Proposal Forms 29

order to allow new perspectives. It further serves to
provide a common vocabulary to discuss varied
phenomena and generate new ideas. The purpose of this
session, consisting of plenary speaker and four to five
panelists, is to assess our use of theory as an analytical
tool in African art studies. If theory is conceived as a
tool to develop a better understanding of the universal
principles underlying cultural expression, as well as to
render with greater clarity the extent and range of the
phenomena that cluster around those principles, how

ACASA Newsletter I No. 40, August 1994 1

have we succeeded (what constructs have been useful),
how have we failed, what constructs have become ends
in themselves, and where are we going? What constructs
continue to have value and what new constructs are
Papers may take a particular theoretical stance
current in a given discipline and apply it to African or
Diaspora data or explore a range of theoretical
propositions in relation to non-western (preferably
African or African Diaspora visual data) to assess their
continued viability.

Plenary Session #2: The Boundaries of African Art
Studies. Lisa Aronson, Chair, 107 Melrose Avenue,
Albany, NY 12203, USA. Telephone: (518) 458-2491.
Scholars of African art focus primarily if not solely
on cultures of West and Central Africa and their
derivatives within the Diaspora. Only minimal attention
is ever given to African societies living to the North,
South and East of this broadly-defined region, the
implication being that their arts and cultures have little
bearing on the study and history of African art as we
traditionally define it. This historically-rooted if not
narrow view of African art studies is now being
challenged by afrocentric scholars, among others, as
interest in the arts and cultures of other areas of Africa
gain attention.
The purpose of this plenary session is to debate the
merits and/or limitations of broadening the boundaries of
African art studies to incorporate these outlying regions.
It considers, for example, the relevance that ancient art
from Egypt and Nubia has to the study of art from the
sub-Saharan region. In addition, it could address such
issues as the Islamic interface (North and East Africa),
the Christian/Jewish interface (Ethiopia), or the art of
Madagascar. The panel will consist of one 45-minute
keynote address followed by four fifteen-minute or five
ten-minute presentations, ten-minute comments from one
or two discussants and, finally, open discussion from the

History and Vernacular Architecture in West Africa:
Changing Identities, Changing Styles? Peter Mark,
Chair, Art Department, Wesleyan University,
Middletown, CT 06457, USA. Telephone: (203)
The historical dimension has been emphasized in
studies of pre-colonial architecture in West Africa only
for limited regions (Prussin, Maas, Bourgeois, Bourdier,
Blier) and much remains to be done in this respect.
Historical sources for architecture are available, and
include published and unpublished European travel
narratives, secondary sources written by individuals who
never visited Africa (Fernandes, Dapper), unpublished
records in state archives (in Aix-en-Provence, Lisbon,
Copenhagen), missionary archives (Basel Mission and
many more) and both published and unpublished
drawings. For the very end of the pre-colonial era,

photographs also enter the record (Basel Mission, Socidt6
de Gdographie). All these need to be brought into
relation to oral traditions about building, to twentieth
century architecture, and to archaeology.
This panel presents a series of case studies that fill
some of the 'lacunae' in the historical record. Panelists
will focus on Akwapim (Ghana), Guinea-Bissau and
Cameroon. Prominent in the panel's presentations will be
the problem of complementarity-or not-of different
categories of source materials. Some papers will consider
the critical interpretation of specific historical documents
for the history of architecture. Other papers will
emphasize oral tradition and methods for relating and
cross-checking different sources (e.g., oral history vs.
written sources; images vs. written sources).
The panel moderator, Paul Jenkins, Archivist of the
Basel Mission and lecturer in Pre-colonial African
History at the University of Basel, is responsible for a
collection of historical photographs which includes ca.
6000 images from West Africa dating from the 1860s to
1914. Questions of critical perspective and the
interpretation of historical source materials, especially
visual imagery, are central to the project currently being
carried out at the Basel Mission Archive to allow
enhanced international access to this class of source.
Among the issues which the panelists will consider
are: the study of architecture as indicator of intercultural
contact among Africans and between Africans and
Europeans; the spread of architectural styles, construction
techniques and motifs as symbols of social status and
wealth; and architectural style as symbol of cultural
identity and index of cultural change,

Reshaping the boundaries of Tradition. Vicki Rovine,
Chair, 559 Ninth Street, 2nd Floor, Brooklyn, NY
11215, USA. Telephone: (718) 965-0904.
During the past decade, increasing numbers of
historians of African art have turned their attention to art
produced in contemporary Africa. In many parts of
Africa, tourism, the globalization of mass-media and a
resurgence of cultural pride have created new markets,
new products and new audiences. One important aspect
of this production is its complex relationship to that
which art historians have labelled "traditional." Past
studies have tended to neatly separate contemporary
African art from traditional art, assuming that "tradition"
exists in an unchanging past that contemporary artists
may draw from but never enter.
This panel will examine contemporary artistic
production with the aim of problematizing the distinction
between traditional and contemporary art.
Acknowledgement of the possibility that tradition is not
static, that it is negotiable, has important implications for
the study of contemporary African artists, who, whether
they work in art galleries, tourist markets or in villages,
can take part in the production and reproduction of
traditional African art. Papers will address a wide range

ACASA Newsletter / No. 40, August 1994

of topics, including hand-made and factory-printed
textiles and cultural festivals.
Continuity and History: Rethinking Aspects of Yoruba
Art and Aesthetics. Nkiru Nzegwu, Chair, 331
Antoinette Drive, Endicott, NY 13760, USA. Telephone:
(607) 786-5040.
This panel will focus on the interface between Art,
Philosophy and Religion. Taking the Olojo festival as the
point of departure, it will examine how and why religion
has been one of the principle sources of art, and why its
central area of manifestation has been the political arena.
While acknowledging the importance of religious ideas in
the construction of art objects, the panel will also
examine the divergence of religion and aesthetic concepts
through analyzing the transformative of aesthetic
concepts that circulate in the secular fields of drama,
music and poetry. The shift into the secular domain
opens up a discussion of the wider aspects of Yoruba
arts and contemporary society as they relate to Nigeria's
colonial history, issues of identity, class and culture.

African Art in History. W. A. Hart, University of
Ulster, Coleraine Co, Londonderry, BT52 ISA, Northern
Ireland. Telephone: Coleraine 0265-44141. FAX:

Do All Currents Flow to the Delta? (Roundtable).
Martha Anderson, Chair, School of Art & Design,
Alfred University, Alfred, NY 14802, USA. Telephone:
(607) 871-2468.
The roundtable will investigate similarities and
differences in art forms and styles in and around the
Niger Delta, up the Niger River, and along the adjacent
coasts. The presentations will address the'arole water has
played in the transmission of art forms and ideas. They
may also discuss how the coastal/riverain nature of the
region has affected the type of art produced, and the
ways that art reflects, and often celebrates this unusual
environment. Presenters may focus on a particular group,
but should make comparisons to others in this region.
The discussion will consider ways in which the area
is unique, and those in which it is typical of African
art. It will also address theories of a "Niger Valley
Proto-culture" and a "Creek International Style" which
account for the distribution of certain art forms by
proposing contact between geographically distant peoples,
such as the mainland and Delta Edo subgroups, and Ijo
and Kru mariners. The panelists will try to identify
threads which suggest patterns of contact, and consider
whether it is possible to reconstruct routes of
transmission from the available evidence.

Negotiating Ideology: Performative Processes of
Chokwe, Lunda, Luvale and related peoples of
Angola, Zaire and Zambia. Manuel A. Jordan, Chair,
1132 East Washington Street, Iowa City, IA 52245,
USA. Telephone: (319) 358-8776.

This panel addresses various expressive forms
through which African peoples negotiate and construct
meaning. Following the Durkheimian tradition, studies on
African expression have often interpreted "ideology" as a
body of static and prescriptive knowledge which
functions as a reference system for all kinds of social
action. Rather than viewing it as a fixed set of ideas
and beliefs, the panelists assert that ideology is
essentially a system characterized by ambiguity and by
an inexhaustible repertoire of possibilities, which allows
scope for maneuvering and flexibility. We discuss
expressive forms by examining interactions during
particular moments of social life through which people
constantly recreate and define their worlds. Papers focus
on the dynamic processes of performance such as rituals,
narrations and divination in Zaire, Zambia and Angola.
Apprenticeship as a Research Method. Eli Bentor,
Chair, Department of Art & Design, Winthrop
University, Rockhill, SC 29733, USA. Telephone: (803)
This panel seeks to explore the advantages and
difficulties of incorporating apprenticeship as part of a
research project on the study of art in Africa. The
standard method of ethnographic study involves a
combination of interviews and direct observation. At
times, scholars choose to take a hands-on approach and
to be involved in the making of art works by becoming
apprentices to artists. Contributors are invited to discuss
different facets of such an involvement. Discussions may
focus on the experiential aspects, the added information
gained thanks to the apprenticeship, or the pitfalls of
such a research method.

History and Art in Ethiopia. Ray Silverman, Chair,
Art Department, 313 Kresge Art Center, Michigan State
University, East Lansing, MI 48824, USA. Telephone:
(517) 353-9114.
This panel follows a presentation given by Ray
Silverman at the last Triennial Symposium on African
Art, "Bringing Ethiopia into the Fold: An Overview of
Ethiopian Art Studies." Ethiopia continues to be a little
known area for scholars and teachers who deal with the
arts of Africa. This panel offers four papers that deal
with specific aspects of Ethiopian art and history. Each
paper focuses on the analysis of aesthetic tradition as a
means for enhancing our understanding of cultural and
social history in Ethiopia. In addition to offering
contributions to Ethiopian art scholarship, we hope that
the panel will stimulate interest in the rich and varied
aesthetic traditions of Ethiopia.

Representing Southern Africa: The Intersection of
African Art and Colonial Perceptions. Karen Brown
and Elizabeth Dell, Co-Chairs, [after August 20th, Karen
Brown]: 1823 Fillmore Street, Caldwell, ID 83605, USA.
This panel is concerned with the production and use
of African art during the colonial period (before 1910 in
South Africa) and in other southern African countries

ACASA Newsletter / No. 40, August 1994 3

before World War I. This period saw a tremendous
growth in the white population of the country,
accompanied by an increasing interest by educated whites
in the cultural productions of the native population. This
interest, which had many facets, included the training
and patronage of African artists, the commissioning and
collecting of artworks as well as their display on
international exhibitions. All of this helped form an
image of Africans and African art which contrasts with
(and occasionally abets) the social and economic policies
that were simultaneously directed at restricting the
opportunities available to the African population. Thus
the panel will examine the complex motives of the
colonists, the nature of the images of African culture
that resulted, and the response by Africans to this

Representation in Contemporary African Art. Bennetta
Jules-Rosette, Chair, Department of Sociology,
UCSD-0102, 9500 Gilman Drive, La Jolla, CA 92093,
USA. Telephone: (619) 436-5882.
This panel addresses problems of representation in
contemporary African art and cinema. Papers will
analyze representation as a theoretical issue and will
provide empirical data from artworks and interviews with
artists in Zaire, West Africa and France. We shall also
examine the invention of memory and tradition as
components of image construction in contemporary
African art. The papers will explore how iconic images
and representations are constructed in their local African
context and in the West. Topics include: (1) popular
African painting in local and international contexts; (2)
African art production and distribution in France; (3)
issues of representation in African cinema in Africa and
the West; (4) the construction, circulation and
interpretation of representations in painting, sculpture and
literature as they move from Africa to the West. We
wish to define representation in terms of the
juxtaposition of ideas, images and social content in the
production and distribution of African art.

Art or Artifice: Post-Colonial Art in Africa. Dele
Jegede, Chair, 101 Crawford Street, #406, Terra Haute,
IN 47807, USA. Telephone: (812) 232-0038.
In the last decade or so, there has been an upsurge
of interest in modern African art. Major exhibitions in
this area-Magiciens de la Terra (France), Contemporary
African Artists (U.S.) and Africa Explores (U.S.)-have
generated adulation and criticism, admittedly in
disproportionate measures. It would appear that the
scholarship of post-colonial African art, by which we
imply the art of post-1960s, is in need of theoretical
underpinnings without which the romanticization of
contemporary African art will obfuscate appreciation and
promote dilettantism. This panel will catalyze discourse
along theoretical, methodological and historical channels.
The absence of solid art criticism from Africans and
Africanists has contributed to the notion of the nouveau

savage in contemporary African art. The presentation of
historical and evaluative research that is derived from
first-hand study of African artists promises to enrich our
understanding of the socio-cultural, economic and
political conditions which define artistic manifestations on
the continent. Interpretive analysis is another thing. Who
are post-colonial African artists and what stimuli are
they responding to? What are the objectives of the
magicians that charm and hypnotize audiences through
provocative exhibitions? This panel will bring together
scholars who will contemplate the issue of presentation
and mis-representation of the other, as well as provide
insightful hints about the direction that 21st century
scholarship of post-colonial African art will assume.

Modern African Artists and the West: A Counter
Penetration. Salah Hassan, Chair, Africana Studies &
Research Center, 310 Triphammer Road, Comell
University, Ithaca, NY 14850, USA. Telephone: (607)
Today, the story of European artists, such as Braque
or Picasso, seeking inspiration from African and other
non-western artistic traditions, is well-known. Yet, not as
much is known of the African artists' journeys into
Western centers of modernism (Paris, London...etc.)
since the turn of the century, journeys exemplifying a
construct Ali Mazrui coins "counter penetration."
Although the story of the influence of European
expatriate-art teachers and art schools in Africa has been
gradually revealed, little is known about the experiences
of African artists studying, living and working in the
West. In the few cases where the story has started to be
told, the African artist has been perceived as a "passive
receptor" of inevitable Western influences and '-aditions.
We have yet to recognize not only that African artists
have been living in Western centers of artistic
production, but they have also been in the forefront of
modernism and even "post-modernism." In some cases,
their artwork has been indistinguishable from their
Western colleagues. Yet, their work has been reflective
and expressive of their problematic relationship with the
Western world they live in and with modernism as well.
Worthy of consideration are the implications of the
history of modernism from a Western perspective,
which, as argued by Araeen, tends to exclude from its
recognition not only the plurality of cultures, but the
objects of "high" culture produced by the "other" as
well. Works by African artists reflect a diverse human
heritage, Western and non-western, and are informed by
their own past and present predicament. They are thus
expressive of the differing approaches to modernity,
colonialism and resistance to Western hegemony.
This panel will address the problematic relationship
between modern African artists and the West through the
African artists' work and words. The panel will
emphasize the two way flow of influences and traffic that
has existed between Africa and the West. It seeks to
reverse what has been perceived as a one way influence

4 ACASA Newsletter / No. 40, August 1994

in which Africa and African art serves as an appendix
to Western appropriation and affirmation. Through a
combination of presentations by practicing artists, critics
and art historians, this panel seeks to revert a story in
which African artists remained passive, silent, invisible
and anonymous. The panel is structured to facilitate the
participating artists response to, or reflection on (but not
limited to) papers presented by art historians or critics
on their own or other artist' work and experiences.
Photography in Africa: Contemporary Photographers
Discuss Their Work (Roundtable). Chris Geary, Chair,
National Museum of African Art, MRC-708, 950
Independence Avenue SW, Washington, DC 20560, USA.
Telephone: (202) 357-4600 extension 280.
The participants in this roundtable will explore
contemporary photographic practice in Africa and discuss
their own work. The goal is to bring together
professional photographers whose work has made an
impact through publication or exhibition and is shaping
our contemporary image of Africa. Questions that will
be raised will deal with the photographer's intent in his
or her work, the motivation that inspires and shapes
particular photographic projects, and the actual execution
of such projects, among others.
The format of the roundtable will be short slide
presentations by each photographer followed by a
discussion with the audience. In addition, photographers
will be encouraged to bring portfolios.

Imaging Africa. David Binkley, Chair, Nelson-Atkins
Museum of Art, 4525 Oak Street, Kansas City, MO
64111, USA. Telephone: (816) 751-1210.
This panel wishes to move beyond the generalities
and discourse on the appropriation of African imagery to
represent the exotic, the primitive and the grotesque. It
plans to examine the historical, political, economic and
aesthetic processes which give rise to the use of African
artistic forms as emblematic of African cultures in the
West and Africa. Of particular interest are studies related
to specific categories of objects and particular "voices"
which have historically imaged and defined Africa for
broad, relatively uninformed audiences. Artistic
expression which may be discussed include sculpture,
costume, bodies and body decoration, dance, music and
their representation in popular culture and the fine arts.
Afro-Brazil Arts, History and Hegemony. Henry
Drewal, Chair, Department of Art History, Elvehjem
Museum, University of Wisconsin-Madison, Madison,
WI 53706, USA. Telephone: (608) 263-9362, extension
2340 or 2341.
The interactions of Europeans, indigenous peoples
and Africans in the Americas created distinctive cultural
forms and art histories. Past research and writing have
tended either to emphasize continuities or to privilege
inventions and traditions-approaches that imply issues of
hegemony and resistance-yet are these adequate? Are
such terms as "syncreticism," "creolization,"

"mestizaje," and "hybridization" able to convey the
dynamics of global histories of engagement and
confrontation? The complex logics of social processes
and cultural contact would seem to require other
conceptual and methodological frames. We need to pose
different questions differently.
The field of African art has tended to concentrate
on the visual arts (primarily sculpture) of West and
Central Africa, slighting other regions and avoiding
historical matters. Additionally, the field has generally
ignored the full range of artistic and cultural productions
of dispersed Africans and failed to examine the complex
socio-cultural and historical forces that have shaped
them. Yet such histories illuminate the dynamics of
cultural interactions and transformations generally, and
therefore may shed light on such processes in Africa and
In "Latin" America, a term which itself raises
issues of hegemony, Africans and their descendants had
to devise new strategies and tactics to ensure the
continued vitality of their cultural heritages in the face
of hegemonic forces-slavery, conversion and oppression.
For example, Yorubas and other Africans in the
Americas used Catholic icons "saints' statues and
lithographs" to "camouflage" devotions to ancestral
deities, and other preserved an African martial arts form
(capoeira) by disguising it as a "dance." The study and
analysis of African art traditions-the forms, images and
ideas that persisted as well as those that disappeared or
were largely transformed in specific situations-can thus
provide keys to understanding the internal social
dynamics operating in histories of artistic and cultural
Cross-Cultural Currents in Modernism (Roundtable).
Freida High W. Tesfagiorgis, Chair, Department of
Afro-American Studies, Room 4219 Humanities Bldg.,
University of Wisconsin, 455 North Park Street,
Madison, WI 53706, USA. Telephone: (608) 263-1642.
The theme of cross-cultural linkages between peoples
of Africa and African descent and their art objects have
remained essential to the practice, theory and art history
of African-Americans in the United States. African art as
a source of influence on modern art by
African-Americans has been simplistically examined in
terms of retentions, reclamations and transformations.
Among modern African artists, questions pertaining to
the influence of African traditions are continually
foregrounded. This panel plans to expand the dialogue of
cross-cultural currents within Africa and the African
Diaspora by examining aspects of its complexity through
focusing on a few of the many questions that could be
investigated in this under-studied area. By bringing
together artists, curators and art historians who have
participated in the cross-currents at various levels and in
diverse periods, the panel expects to reveal specific ways
in which modern art has been enriched by the particular
marks of Black artists working cross-culturally. Art

ACASA Newsletter / No. 40, August 1994 5

historical evidence of cross-cultural enrichment will be
examined in works by major artists Lois Jones, Wilfredo
Lam and Ben Enwonwu. Among emerging artists, an
identity and ideology will-be investigated by
artists/scholars from the different sides of the Atlantic,
i.e., Harris' gaze on the modern Ife "school" and
Okediji's gaze on Yoruba influence in the art of the U.S.
This forum deflects notions of the postmodernist "other"
and more insightfully focuses on diverse questions of the
self and its critical marks. It also stimulates the audience
to ask how the speaking subjects also register distinctive
critical marks influenced by the depth of their
participation in cross-cultural currents.
Kreolization & Hybridity: Acts of Cultural Resistance
within the African Diaspora. Lois Mailou Jones,
Honorary Chair. For information, contact Dorothy
D6sir-Davis, 1220 The Grand Concourse, Bronx, NY
10456, USA. Telephone: (718) 588-5167.
The collision of indigenous American, African and
European cultures has generated two distinct phenomena,
one historical, the other social, which become acts of
cultural resistance. Identified as hybridity and
kreolization, they are respectively defined as (a) the
result of the encounter of different cultures which create
an entity that does not necessarily privilege one source
over the other, and (b) the secondary socialization
process experienced by Diasporic communities in western
Cultural "globalism" and the current adaptations of
capitalism are channeled through new technologies.
These elements are establishing the foundation of the
"New World Order." On the other hand, globalism
charters new ground for the economic and political
implications of cultural pluralism. It also serves as the
platform for nurturing enclaves of cultural resistance.
These enclaves, both hybrid and kreole, challenge the
concept of center and periphery in drawing from the
many origins of the contemporary cultural map. The
processes of hybridity and kreolization are catalysts for
creating radical opportunities for presenting and
accommodating Africanized sensibilities in this global
The objective of this panel will be to examine
various cultural constructs that have emerged as acts of
reclamation and redefinition of the Self in the material
cultures of the African Diaspora. An interdisciplinary
panel, it will present kreolized sensibilities as a willful
form of cultural resistance; examine the manifestations of
hybridity in the contemporary art of the African
Diaspora; survey the evolution of traditional African
religious practices as a foundation for current political
ideologies; the role of cultural institutions in the
re-configuration of the cultural map; as well as
investigate the impact of contemporary African American
architecture in shaping a sense of place in the world for
members of the Diaspora.

The Place of Pbpular Culture in the Art of the
African Americas. Judith Bettelheim, Chair, 5308
Manila Avenue, Oakland, CA 94618, USA. Telephone:
(510) 653-1769.
This session seeks to explore the multiple ways
popular culture (however interpreted) has been used by
contemporary artists or performance groups to comment,
take a stand, or deliberately destabilize. The artists thus
can provoke multiple interpretations and understandings,
often enabling them to continue production under
difficult circumstances.
The Aesthetics of Display: Exhibitions in Africa and
of Africa
Allen F. Roberts and Mary Nooter Roberts,
Co-Chairs, 1410 Muscatine Avenue, Iowa City, IA
52240, USA. Telephone: (319) 351-1885.
The participants of this panel will discuss African
concepts of exhibiting and approaches to display from
market stalls to domestic altars, and from communal
shrines to palace museums. Examples will be drawn
from recent field research that documents the "life
histories" of objects from one context to another.
Translating these concepts into western museum settings
and related issues of representation will be addressed.
Museums and the New South Africa (SSRC will
contribute two round-trip tickets for South Africans).
Doran Ross, Chair, Fowler Museum of Cultural History,
UCLA, 405 Hilgard Avenue, Los Angeles, CA
90024-1549, USA. Telephone: (310) 825-4259.
Panel proposes to explore the responsibilities of
museums and archives in the redefinition of South
Africa. These institutions have great potential for playing
significant interventionist roles in the multi-cultural
debates that will shape the structure and identity of the
new state. The ANC has long endorsed the idea that
"culture is a weapon of resistance" and that "art should
be seen as an instrument of the struggle." Nevertheless,
it has been questioned whether these positions should be
carried over into the reformation of South Africa's
cultural institutions. The immense task of making
museums and archives representative of and relevant to
the country's various populations, is not a problem
unique to South Africa. What is unique is the very real
opportunity for change. Within the framework of these
debates, potential paper topics may address one or more
of the following subjects: (1) museums and the shaping
of national identities; (2) recovering lost histories; (3)
preserving the arts of resistance; (4) rethinking
exhibitions; (5) reformulating collections policies; (6)
fostering artistic production; (7) education outreach; (8)
museums and curriculum development.

African Art Collecting and Aesthetic Judgment in the
West. Christa Clarke, Chair, 3828 Livingston Street NW,
Washington DC 20015, USA. Telephone: (202) 537-0908.

6 ACASA Newsletter / No. 40, August 1994

This panel seeks to examine the reciprocal
relationships between the collecting of Africa art in the
West and the subjective nature of taste. Among the
topics that might be addressed in this.session are: the
role of the individual in the formation of African art
collections, both public and private; the history of
collecting certain object types/genres and the effects of
changes in taste on these genres; motivations of the
African art collector and factors (historical, political and
aesthetic) that might condition this interest; and, the
influence of a specific collector and/or collection in
shaping public perception of and taste in African art.
Accessing African Art: Databases and Digital Imaging
Projects for the Study of African Art (Roundtable).
Virginia-Lee Webb, Chair, Robert Goldwater Library,
Metropolitan Museum of Art, 1000 Fifth Avenue, New
York, NY 10028-0198, USA. Telephone: (212) 879-5500
extension 3063.
The widespread use of the computer has changed
the way we read, write and study. Art historians now
use libraries that are connected to on-line services that
share cataloging and bibliographic resources. The
computer has also changed the way art collections are
managed and how information is retrieved by the public.
Teaching art history has also been touched, as digital
technologies for computer driven imaging systems
threaten to make the slide library obsolete or at least
change its form. This roundtable/demonstration will
present the many issues involved in the automation of
collection records and imaging of existing archival
collections. Views from experts in related fields will be
presented. Also, we hope to provide demonstrations of
the various projects that are now in progress at several

Recent Research Panel. Robert Soppelsa, Chair, 1655
Illinois Street, Lawrence, KS 66044, USA. Telephone:
(913) 841-1935.
The Ethnomusicology Caucus of ASA has proposed the
following four panels for the Triennial:

Spectacle and Display in African Performance.
Erlmann Veit, Chair, Halbe Hohe 33, 45147 Essen,
Germany. Telephone: 49 + 201-731630.
The production of spectacle and display will be
discussed in regard to African expressive culture. The
form and medium of "display" will vary for each paper
and will include festival, military bands, masquerades
and music videos. Discussion in these papers will
include theoretical and descriptive analysis of spectacle
as part of tradition, both newly invented and ongoing.
One of the issues will be to examine how these
"spectacles" are shaped, by responding to, reacting
against and transcending colonialism.

Hearing, Seeing and Moving: Music, Dance and the
Visual Arts in East Africa. Lois Anderson, Chair,

School of Music, University of Wisconsin-Madison, 455
N. Park Street, Madison, WI 53706, USA.
In this session, primary focus will be on the
interrelationships of music, dance and the visual arts in
Uganda, especially those of Buganda. In Kiganda
tradition, the same word is used for both hearing and
feeling (emotions). Some of the participants will
incorporate the interrelationship of the arts in other
African cultures will be incorporated for comparison.

South African Music in Transition. Johann Buis, Chair,
College of Education, School of Music, 232 Aderhold
Hall, University of Georgia, Athens, GA 30602, USA.
Telephone: (706) 548-2777.
The first portion of this session will consist of two
papers which examine the realities of political change in
South Africa and the role of music and dance in this
process. They argue that the expressive arts of South
Africa, in general, and music in particular, will come of
age in this new political dispensation. The recording
industry is already flourishing as popular music becomes
a valuable export commodity. The influence of
commercialism, the balance of power, place and identity
will be discussed by two insiders examining a pluralistic
tradition from the outside. In discussing the priority
given to various South African music, they will
examine Mbube, how it defines gender roles and reflects
a complex South African identity. It will be placed
within the historical framework of apartheid and the
rising political clout of the black majority.
The second portion of this session will consist of a
performance of Mbube and Isicathamiya musical genres
as examples of Zulu traditional genres of vocal music
and dance which have gained international popularity
since the Ladysmith Black Mombaza were recorded by
Paul Simon. The five-man South African group
"VUKA!" will perform these styles.
The Guitar in Africa: New Directions in Music Since
Independence. Cynthia Schmidt, Chair, P.O. Box A,
Treynor, IA 51575, USA. Telephone: (712) 487-3735.
This panel focuses attention on the role of a musical
instrument, the guitar (acoustic and electric), in shaping
popular and national consciousness in Africa in
post-independence years. The guitar has been viewed as
a symbol of modern society, a desirable social marker,
and in some cultures it is associated with national
identity (as in Zaire). Among the Mande, it has been
the instrument of choice used by the jeli or "griot," to
usher ancient traditions into the modern world. The
so-called traditional and modern music continue to
co-exist and griots carry over their professionalism
transferring kora and balophone traditions to the guitar,
at times combining them in ensembles. In Zimbabwe,
the revolutionary music, chimurenga, duplicates the
sound of the mbira (amellophone) on the guitar.
Although the guitar is a western instrument, it is often
considered "indigenous" (Zulu maskanda) in parts of

ACASA Newsletter / No. 40, August 1994 7

Africa, where its repertoire is based on instruments no
longer in use. By focusing on the guitar, various relevant
issues can be addressed along with cultural tendencies,
such as transformation and resilience, assimilation and
Pan-Africanism in music and the arts. The impact of the
media and recording industry also introduces
problematic for discussion. The members of the panel
will perform their examples on the guitar, balophone,
mbira and will also play recorded examples.

Film Program at the Triennial. Individuals who
have films or videos to be considered for screening
during the Triennial Symposium, please contact: Carol
Thompson at (212) 966-1313, extension 111, or Tanya
Serdiuk at (212) 998-2662, or Bill Siegmann at (718)
638-5000 extension 280.

ACASA Book Distribution Program. Beaded
Splendor (National Museum of African Art) and African
Arts, April 1994, were sent to recipient institutions in
the ACASA Book Distribution Program in July.

ACASA Housing Exchange. ACASA 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 prerequisite for searching for housing. To offer a
house or apartment, send name, address, telephone
number, dates of availability, and any other specifications
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. To insure security, no
names, addresses, or telephone numbers will be
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 recieved 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. Please
keep in mind that four weeks normally expire between
the newsletter deadline and its receipt in the mail.

Kate Ezra has resigned as Associate Curator,
Department of the Arts of Africa, Oceania and the
Americas, The Metropolitan Museum of Art, New York.
She is moving to Chicago, where she has taken a
teaching appointment in Columbia College's Department
of Art & Design.

Barbara Frank has been awarded an NEH Fellowship
for College Teachers and Independent Scholars for
preparation of a book manuscript, which brings together
her earlier research on Mande leatherworkers and her
more recent work with women potters. She will take her
leave in academic year 1995-1996.
Dan Mato has been invited to present a paper on
"Proverb and symbol: traditional denominators of chiefly
virtues, duties and authority: art as an element of polity"
at a conference at the University of Ghana, September
1-7, 1994. The conference is on "The Contribution of
Traditional Authority to Development, Democracy,
Human Rights and Environmental Protection: Strategies
for Africa."

Elisha Renne will be teaching in the Department of
Sociology, Ahmadu Bello University, Zaria, during the
academic year 1994-1995. She will be in Nigeria under
the auspices of the Fulbright program.
Christopher Steiner, Assistant Curator of Anthropology
at the Natural History Museum of Los Angeles County
and Adjunct Assistant Professor of Art History at
UCLA, has been awarded a 1994-95 NEH Resident
Scholar Fellowship at the School of American Research
in Santa Fe, New Mexico, to complete a book project
entitled "Graven images: idols and ideals in the visual
representation of 'primitive' societies."

Kenneth F Campbell died following heart surgery in
Eau Claire, Wisconsin on April 12, 1994. Born in Utah
in 1925, he had varied interests including designing
museums and the study of Native Americans. He was
also a professional sculptor. He taught in the Art
Department, University of Wisconsin, Eau Claire from
1966 to 1992, and was head of department, 1964-1967.
From the University of Utah he received both a BFA in
painting in 1950 and an MFA in sculpture in 1951.
Other degrees received were an M.A. in art history
from the University of Iowa in 1953, and a DPhil from
Oxford University in anthropology in 1983.
In the African art field he is best known for three
articles published in Arts d'Afrique noire: "Le leopard,
le serpent et le crocodile," 1981, no. 38, on these
animals in West African art; "Nsibidi update," 1983, no.
47, and "L'Agwe, masque specifiquement Widekum,"
1988, no. 67. Reluctant to publish, he leaves behind a
number of manuscripts, including a lexicon of some one
thousand nsibidi motifs, largely drawn from designs on
the Cross River skin masks. Another of his manuscripts
is a study on the masks based on research at the
National Museum, Lagos, the Museum of Mankind,
London, the Pitt-Rivers Museum, Oxford and elsewhere.

8 ACASA Newsletter / No. 40, August 1994

He created tthnographie -illustrations for a number of
works, including Arts of Eastern Nigeria by G. 1. Jones.
Eva Lewin-Richter Meyerowitz died on June 1, 1994,
at her home in England. She was the author of several
books on the Akan and wrote articles on Ife and Benin
Colin M. Turnbull, 69, anthropologist and authority on
cultures of central Africa, died of pneumonia on July
28, 1994 in Kilmarnock, Virginia. From 1959 to 1969
Turnbull was curator of African ethnology at the
American Museum of Natural History, New York. He
later taught at a number of universities, including
George Washington University in Washington, DC. He
was the author of several books, notably the 1961 title
The Forest People.

Deputy Director, The West African Museums
Programme (WAMP). Based on anticipated funding,
WAMP seeks to recruit a Deputy Director whose tasks
and duties are as follows:
Under the supervision of the Executive Director:
* Prepares and carries out WAMP fundraising activities,
according to the policies and strategies adopted by
WAMP Board.
* Supervises other programs, according to the needs, as
may be dispatched by the Executive Director and
approved by WAMP Board.
* Responsible for monitoring and liaison of pilot
projects funded by WAMP, and of projects funded
under WAMP Small Grants Programme.
* Coordinates publication activities, in liaison with the
Publication Committee under WAMP Board.
* Carries out any other management and representation
duties and missions given by the Executive Director.
* Acts as WAMP Director in the absence of the
Executive Director.
Required training and experience:
* University graduate degree or equivalent level
professional training in one of the following
disciplines: anthropology, archaeology, history, art
history, sociology, museum studies, education,
archives, cultural heritage management
* 3-year institutional experience in one of the following
fields: museum or museum related activities, archives,
research, university teaching or professional training
in museum related disciplines, photography and
audiovisuals, cultural heritage management (all
activities fitting into these categories must be listed
and described).

* Any other experience in museum or cultural heritage
related activities.
Nationality: Of any West African country.
Language requirement: Fluency in two official
languages in West Africa, one of which should be
French or English. Position location: Dakar, S6negal.
Salary: According to experience. Starting from $12,000
per annum, including all social benefits. Local tax
exempted if non-Senegalese. Other benefits: If
non-S6n6galese, housing allowance to be determined.
Duration: Two-year position, renewable according to
funding. Starting: January 1995. Deadline of
application: October 31, 1994. Interviews and
selection: November, 1994. Letter of application,
extensive C.V. and three reference letters to be sent to:
Claude Daniel Ardouin, Executive Director, Wkst African
Museums Programme, 140 rue Mousse Diop, B. P 357
Dakar, Sentgal.

Associate Curator, Department of the Arts of
Africa, Oceania and the Americas, The
Metropolitan Museum of Art, New York. Ph.D. in
art history or anthropology required, 3 to 5 years
museum experience, specialty in the art of sub-Saharan
Africa. Duties include management of permanent African
collections (acquisition, conservation, exhibition), and the
development and supervision of special exhibitions and
related activities. Lecturing and writing skills essential,
and the ability to work closely with an experienced,
specialized museum staff, with museum supporters and
donors, and with the academic community. French and
computer familiarity (word processing and database)
required. Contact: The Metropolitan Museum of Art,
Human Resources Department, New York. Telephone:
(212) 879-5500 extension 3195.

Curator of African Art, The Department of
Africa, Oceania and the Americas, The Art
Institute of Chicago. Applicants with Ph.D. and
experience in the creation and management of exhibitions
and educational programs will be preferred. Salary will
be commensurate with experience. The curator will
attend to the installation of the collection and the
preparation and display of new exhibitions as well as the
writing of catalogues, related gallery information, and
other scholarly publications in the field of African art.
In consultation with the department curator and the
director of the Art Institute, the African curator will also
find and help to acquire works of art for the permanent
collection. The position also entails lecturing to the
general public and to students, and assisting in training
volunteers and docents from the department of museum
education. The curator of African art will play a vital
role in planning teacher workshops, young people's
programs, family programs, and related educational
endeavors, in connection with the broader civic goals of
The Art Institute of Chicago. Send letter and resume to:

ACASA Newsletter / No. 40, August 1994 9

Richard E Tbwnsend, Curator, Department of Africa,
Oceania and the Americas, The Art Institute of Chicago,
111 South Michigan Avenue, Chicago, ll 60603, USA.

Curator of African, Native American and-
Pre-Columbian Art, The Birmingham Museum
of Art, Birmingham, Alabama. To oversee all
aspects of the Museum's African, Native American and
pre-Columbian permanent collections. The strength of the
collection is the African, which numbers over 1,500
objects and represents a variety of cultural groups.
Identifying and scheduling traveling exhibitions.
Organizing special exhibitions and developing the
permanent collections. Research, lecturing and
publication. M.A. or Ph.D. in art history or related
field. Minimum two years experience in a curatorial or
academic position. Demonstrated skills of organization,
research, connoisseurship, and demonstrated ability in
grant writing. Send letter, resume and a transcript to
Larry Baldwin, Birmingham Museum of Art, 2000 8th
Avenue North, Birmingham, AL 35203, USA. Telephone:
(205) 254-2566.

Education Specialist, National Museum of
African Art, Smithsonian Institution,
Washington, DC. Seeks an education specialist to
assist in the continued improvement and expansion of the
museum's educational programming. The Education
Department currently offers a broad range of general
and exhibit specific educational programming for
audiences of all ages as well as tours, workshops,
gallery lectures and active outreach programs.
The education specialist will develop concepts, write
program material, and present educational programs
related to the museum's collections in addition to
evaluating and improving existing programs. Specialists
work closely with the docent program and host weekend
and evening public programs on behalf of the Museum.
This is a federal civil service position. Salary range:
$28,964-$37,691. To obtain a complete application
package, telephone (202) 287-3102, press 9, and request
number 94-1115Y

Children's Masquerades in Africa: Call for
Papers. Simon Ottenberg and David Binkley are
co-editing a volume on Children's Masquerades in
Africa. Contributors to the edited volume will discuss the
variety of forms that children's masquerades take and the
cultural processes which account for these forms,
including the relationship between children and adult
forms of masquerade in both rural and urban settings.
Although the editors have a number of firm
commitments to the volume, they would like to announce
this project once more.
The literature on African masquerade has primarily
focused on the study of fully developed traditions;
African masks that are made by adults for adult
consumption. Little interest has been directed to the

study of the socialization to mask making and use.
Technical and aesthetic training is usually explained as
being undertaken by institutions such as initiation
societies. While these institutions undoubtedly play a part
in this knowledge acquisition, recent evidence attributes
the acquisition of these skills in large part to the
resourcefulness of young people themselves. Through
observation and imitation, including the patterning of
aesthetic behavior on adult models, the youth of many
African cultures acquire a degree of technical and
aesthetic competence often before adult-sanctioned
activities such as initiation rituals take place.
The deadline for abstracts is September 15, 1994
and for the final papers, January 10, 1995. To be
considered for this volume, send an abstract to David
Binkley, Nelson-Atkins Museum of Art, 4525 Oak Street,
Kansas City MO 64113, USA. Telephone: (816)
751-1520. The editors are also looking for examples of
children's masks and costumes in any media as well as
historical and contemporary photographs of children's
masks and masquerades.

Art of the Baga: Call for Papers. A symposium is
planned for September 1996 at the Museum for African
Art, New York, in conjunction with the opening of the
exhibition, "Art of the Baga: A Drama of Cultural
Re-invention," guest curated by Frederick Lamp. We are
seeking papers for two symposium panels to address two
themes: (1) Evaluating the Sources of our Knowledge,
and (2) The Renewal of Art and Ritual Traditions. A
third panel, to address the art history of the Baga, will
include, provisionally, Seku Beka Bangura (Conakry),
Marie-Yvonne Curtis (Conakry), and Djibril Tamsir
Niane (Conakry), and is entitled "The Changing World
of the Baga."
Panel 1: "Evaluating the Sources of our
Knowledge"-Any researcher studying culture in Africa
or elsewhere eventually confronts the issue of
perspective. The panelists here will discuss the peculiar
problems they have encountered in attempting to piece
together objectively a picture of a society and its art.
Whose voices are heard? What is the role of
ethnohistory, of the documents, of memory and
reconstitution, of secrecy and its violation, of scholarly
analysis, or of exegesis? How does one evaluate,
synthesize and integrate the myriad and often opposing
points of views received even from the people under
studying themselves? Is there such a thing as false
exegesis? How do we know what we think we know?
We will entertain a broad geographical spread in paper
proposals, within Black Africa, in which the questions
help us to better understand the problems addressed in
the exhibition.
Panel 2: "The Renewal of Art and Ritual
Traditions"-The focus of this panel will be on societies
that have gone, or are going through a quest to regain
their art and ritual traditions which have been interrupted
in part or in whole. An assumption to be accepted or

ACASA Newsletter I No. 40, August 1994

challenged is that culture is an objective reality that can
be described within a temporal framework. Do cultural
systems bear an integrity in which, once violated, the
culture can be said to be "destroyed?" When does
"change" become "destruction?" How is it possible to
regain a lost culture? What aspects can be regained?
Under what circumstances is it meaningful? Can a
renaissance ever profoundly regain what is lost, or can it
be only surface decoration? What of the diachronic
continuity of forms and their meanings? Is there a
consensus in the society for renewal, or if not, who
favors it and who does not? How does the movement for
renewal begin? How does it gain acceptance? Are there
outside stimuli? Does scholarship have a role in cultural
renaissance? How are the results of scholarship
instrumental; how are books, articles, films, and other
ethnographic materials used by the movement? What are
the special problems of specific societies in renaissance?
The scope of this panel will include, but is not limited
to, Africa.
Paper proposals of no more than one page must be
received by November 1, 1994, to be considered. They
must be sent to: Frederick Lamp, The Baltinore Museum
of Art, Art Museum Drive, Baltimore, MD 21218, or by
FAX to (410) 396-6562.

Galerie Amrad African Art Publications plans to
publish two series of ten books each: one on "The
Spirit's Dance in Africa," and the second on "African
Contemporary Artists." The publisher seeks
interdisciplinary Ph.D. Africanist scholars who would
like to join other committed scholars and participate in
these exciting productions as editor or essay contributor.
Apply by sending a short resume with a synopsis of the
idea to: Esther A. Dagan, Galerie Amrad African Art
Publications, 42 Anwoth, Wkstmount, Montreal, Quebec,
H3Y 2E7, Canada. Telephone/FAX: (514) 931-4747

The Indiana University Art History Association is
accepting proposals for its Sixth Annual Graduate
Symposium to be held November 12, 1994. This year's
symposium features an open topic for interested
participants. Proposals which expand or challenge the
current discourse in art history, criticism or theory are
encouraged, including papers which cross academic
boundaries. Submit a 250-word abstract to: Lisa Murphy
and Keith Romaine, Art History Association, Indiana
University, Henry Radford Hope School of Fine Arts,
Room 132, Bloomington, IN 47405, USA. Deadline:
September 9, 1994.

Primitivism. The editor of a proposed multidisciplinary
volume seeks essays on primitivism in the arts,
anthropology, museum studies, popular culture and
critical theory. Of special interest are postcolonial,
feminist, ethno-aesthetic, cross-cultural, and
interdisciplinary approaches that reveal the problematic
of primitivism. Reflections from artists are welcome.

Send manuscripts of up to 20 pages (5,000 words) to:
Nancy Fredricks, Humanities Dept., Campus Box 331,
University of Colorado at Boulder, Boulder, CO 80309,
USA. Deadline: December 1, 1994.

Indigenous Mapping in Africa. Mapping as it is
practiced by indigenous cultures on the African continent
is being explored as part of an ongoing multi-volume
history of maps and mapmaking published by the
University of Chicago Press. The definition of "map" is
extremely broad: Maps are graphic representations that
facilitate a spatial understanding of things, concepts,
conditions, processes, or events in the human world.
More than practical records of locations, maps are a
visual shorthand for society's perceptions of
space-culture bound documents with social, political and
religious meanings. Worlds of mapmaking can range
from records of ephemeral images to conventional
aspects of material culture such as painted surfaces or
carved objects. Rock art is clearly an important medium.
Architectural manifestations of spatial awareness (such as
cardinal directions and axis mundu) are of interest but
necessarily at the margins of our scope.
The editors would very much appreciate hearing
from art historians, anthropologists, archaeologists,
geographers, or historians who have worked on (or close
to) this topic for African cultures. If anyone has
information, articles, or books that address these issues,
contact: David Woodward, editor, History of
Cartography, 550 North Park Street, Madison, WI
53706-1491, USA. Telephone: (608) 263-3992. e-mail:
histcart@geography. wisc. edu

Michigan Society of Fellows Postdoctoral
Fellowships, 1995-98: 3-year postdoctoral fellowships
in the arts and humanities, social sciences and the
professions are available. Candidates should be near the
beginning of their professional careers and must have
received the Ph.D. or comparable professional or artistic
degree between January 1, 1992, and September 1,
1995. The purpose of the fellowships is to provide
financial and intellectual support to individuals selected
for scholarly or artistic achievement, professional
promise and interdisciplinary interests. Fellows are
appointed assistant professors in appropriate departments
and as postdoctoral scholars in the Michigan Society of
Fellows. They are expected to be in residence in Ann
Arbor during the academic years of the fellowship, to
teach for the equivalent of one academic year, to
participate in the informal intellectual life of the society,
and to devote time to their independent research. Stipend
is $31,000. For information: Michigan Society of
Fellows, 3030 Rackham Building, University of
Michigan, Ann Arbor, MI 48109-1070. Telephone: (313)
763-1259. e-mail: lmb@umich.edu. Deadline: October
12, 1994.

ACASA Newsletter I No. 40, August 1994 11

Fellowships for Museum Professionals. The
Museum Program of the National Endowment 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 Endowmentfor the Arts, 1100 Pennsylvania
Avenue NW, Wishington, DC 10506. Telephone: (202)
682-5442. Deadline: February 1, 1995.

The American Research Center in Egypt
announces fellowships for study in Egypt for 1995-96.
Grants will be made in the areas of archaeology, art,
development, Egyptology, history, the humanities, Islamic
studies, and the social sciences. Included among the
awards to be made are a Kress predoctoral fellowship in
Egyptian art and architecture and five Egyptian
Development Fellowships earmarked for Egyptian
predoctoral candidates enrolled in North American
universities. Also available are funds for senior scholars
to work in Egypt. Scholars with doctorates and/or
substantial teaching experience are encouraged to apply.
For information: American Research Center in Egypt,
New York University, 50 Washington Square South, New
York, NY 10012, USA. Telephone: (212) 998-8890. FAX
(212) 995-4144. Deadline: November 1, 1994.

VIe Colloque de l'Association Ouest-Africaine
d'Archeologie (A.O.A.A.) Cotonou, 28 mars-2
avril 1994-Report by Alexis B. A. Adand6. Pendant
pres d'une semaine, se sont r6unis dans la ville
universitaire et principal centre conomique de la
Republique du B6nin, a Cotonou, une cinquantaine de
chercheurs, de conservateurs de muses et d'6tudiants en
archeologie, venus de douze pays (Benin, Burkina Faso,
Cameroun, France, Guin6e, Mali, Maroc, Niger,
Nigeria, Togo, USA et Zimbabwe). Le theme de ce
colloque: "Archeologie et sauvegarde du patrimoine" est
d'actualite, particulierement en Afrique de I'Ouest oh la
rdcente devaluation qui a frapp6 plusieurs Etats membres
de la zone C.F.A., aggrave les problems conomiques
auxquels sont deja confrontdes les populations.
Le lien entire la degradation des milieux de vie
(environnement) et celle du patrimoine archeologique,
d'une part, et la crise eonomique g6enralis6e, d'autre
part, n'a pas echapp6e la perspicacity des participants
au colloque de I'A.O.A.A. Afin de poser des diagnostics
assures, une suite de trente communications a dote les
d6bats d'un large eventail d'etudes de cas ou de
definitions de concepts op6ratoires. Des travaux en

commissions ont permis d'approfondir la r6flexion et de
degager des resolutions sous forme d'6nonc6s de
programme d'activit6s pour les deux annees I venir. Un
bilan des actions men6es, dans ce delai, sera fait h
l'occasion du VIIC colloque qui correspondra au XXe
anniversaire de I'Association. En hommage a la
Republique F6d6rale du Nigeria qui l'a vue naitre en
1976, l'Assemblee G6enrale rdnie le 30 mars 1994, a
decide que le prochain colloque et la commemoration
auront lieu dans ce pays. Il se trouve aussi que la Revue
Ouest Africaine d'Archeologie, mieux connue sous le
sigle WA.J.A. (West African Journal of Archaeology)
fetera, I ce moment-la, son quart de siecle d'existence.
Un nouveau bureau executif de dix membres a e6t
constitu6, avec I sa tate, pour la premiere fois dans
I'histoire de cette organisation, une femme, M. A.
Sowunmi, de l'Universit6 d'Ibadan (Nigeria). Par
ailleurs, I'Assembl6e Gen6rale a adopt des measures
6nergiques de nature A assainir la gestion financiere de
l'Association et I developper en son sein une 6thique
professionnelle plus grande. A ce sujet, I'A.O.A.A.
collabore avec 1' ICMAH a l'elaboration d'un Code de
deontologie en matiere de pratique archeologique en
Afrique. Avec son VIe colloque. I'A.O.A.A. prend un
nouveau depart; il etait temps, vu l'ampleur des tAches
qui attendent les archeologues de I'Ouest africain.
On notera, avec int6ret, l'identification de trois
themes majeurs d'int6rat regional ou sous regional
retenus & Cotonou: (1) archeologie fundraire; (2) habitats
perches d'Afrique de I'Ouest; (3) archeologie de
Des r6seaux de chercheurs se constitueront author
de ces themes, places chacun sous la responsabilit6 d'un
coordinateurs -respectivement Boube Gado, J. B.
Kiethega et Bassey W. Andah. L'Association se dotera
d'un bulletin semestriel de liaison et deploiera ses efforts
vers la mobilisation des chercheurs et de fonds et aussi,
pour la sensibilisation des pouvoirs publics, des
administrations et des communaut6s de base afi de
reduire les agents de destruction qui entament
dangereusement le patrimoine en surface ou enfoui.
Les participants au VIe colloque ont eu 6galement a
entendre les messages d'organisations-soeurs comme
l'Association panafricaine de Pr6histoire et des Etudes
associ6es (PAA) repr6sentee par Gilbert Pwiti qui a fait
part k I'assistance de l'avancement de l'organisation de la
conference pr6vue I Harare en septembre 1995; la
Soci6t6 des Archeologues Africanistes (SAFA) et le
Conseil des Arts de l'Association des Etudes Africaines
(ACASA) repr6sentde par le Merrick Posnansky et le
Congress Mondial d'Archeologie (WAC) represents par le
Professeur Bassey W. Andah.
Le colloque s'est achevd par une excursion organis6e
vers l'une ou l'autres des vieilles cites de Porto-Novo et
de Ouidah oh I'attention des participants a 6et port6e
tant sur les questions du patrimoine culture (jardin
botanique d'un c6te, fort relicte de l'autre, erosion

ACASA Newsletter / No. 40, August 1994

c6tibre, etc.) que sur les problemes de maintien et de
conservation du patrimoine culture physique
(architectures locales, ffro-br6siliemie, colonial; muses;
collections historiques ou archeologiques, etc.). Au total,
le VIe colloque s'est deroulW dans une atmosphere
stimulante d'6changes et de franchise dans les propos.
Malgrd les moyens assez modestes don't a dispose le
Comitd national pr6paratoire, des conditions d'accueil et
de travail d6centes ont e6t offertes a chacun des
participants grAce aux effort conjugues du gouvernement
bdninois, de l'Universit6 Nationale du B6nin et de
quelques oplrateurs 6conomiques de Is place.
Enfin, signalons la parution (en pr6tirage) des Aces
du Ve colloque Dix ans de recherches archologiques
en Afrique de l'Ouest: perspectives de cooperation
rigionale (Ouagadougou, 27juillet-ler aoit 1992) qui
sont disponibles aux conditions suivantes: France et
Europe Occidentale: 125 FF (tous frais compris);
Etats-Unis et Canada: $25.00 (emballage et expedition
compris). Command a passer aupres de: Obare B.
Bagodo, Trdsorier de I'A.O.A.A., B.P 82, Porto-Novo,
Binin. Mode de rfglement, de prdefrence par mandate
postal; en cas de pavement par cheque, prdvoir les frais
de transfer bancaire en sus.
Autres documents disponibles:
Repertoire provisoire des archdologues travaillant en
Afrique de l'Ouest, 1993, Porto-Novo, AOAA/WAAA.
26pp. 25 FF / $5.00.
Documents de travail du Ve colloque (Cotonou, 28
mars-2 avril 1994), AOAA/WAAA. 29pp. (versions
franCaise et anglaise disponibles). 25 FF / $5.00.

African Archaeology in the 21st Century-Report
by Fekri A. Hassan. A roundtable discussion on
"African Archaeology in the 21st Century" was held at
Indiana University on May 2, 1994, following the
biannual meeting of the Society of Africanist
Archaeologists (SAfA).
The discussion focused primarily on the future
course of archaeological research, training and
development in Africa. The discussants emphasized the
importance of linking archaeological activities with the
pressing needs and aspirations of the peoples of Africa.
Key issues include archaeological investigations of the
impact of environmental change on social, demographic
and economic conditions; the political and social
dynamics of ethnicity, plural states and national unity;
the conservation of cultural heritage; and economic
The lack of adequate research funds and facilities,
adequate training, public education and even jobs, in
some cases, was underscored. Means to remedy these
gripping inadequacies engaged the discussants in a

constructive dialogue. The discussants presented ideas,
provided show-case examples and comparisons, debated
alternatives, and unanimously agreed to develop a master
plan with specific priorities and task forces.
One of the high priorities is the establishment of a
"Small Grants Research Fund" to provide modest sums
($200 to $500) for African scholars. The grants will be
allocated to provide supplies, goods, or services that are
indispensable for research, but are otherwise unavailable.
Donations from members will provide the initial
contributions to this fund. Requests for donations will be
solicited in the next issue of Nyame akuma and will be
featured in the applications for membership. Pierre de
Maret and Peter Robertshaw will coordinate and oversee
efforts to establish, maintain and develop this Small
Grants Research Fund (SGRF).
Suggestions to generate funds for the SGRF and
other needs included the extension of membership to
non-professionals. A membership drive to recruit new
members could substantially add to the revenues required
for research and training. Members from the interested
public will not only provide funding, but will also create
public support for the objectives of SAfA. It will also
provide a forum for highlighting African contributions to
world cultural heritage and for shaping public
perceptions of African heritage.
Members from the public would receive Nyamne
akunia, which would have a section on events, exhibits,
opportunities for fieldwork, and archaeological tours of
Africa. SAfA may also request a grant from NEH in
order to mount an exhibition on the theme "Out of
Africa" to acquaint the public with the role of African
heritage in global civilization and the origins of
humanity. The exhibition may tour several U.S. cities
and then go to Africa. The exhibition could generate
funds through donations, fees, publications and gift sales.
It could also increase membership. Theresa A. Singleton
was nominated to coordinate the membership drive.
SAfA may also consider the establishment of a public
symposium to be held annually or in conjunction with
the professional SAfA meeting on issues of broad
interest (e.g., African Eve, African Identity, or African
Kingdoms: Continuity and Change). A one-day session
to which public speakers will be invited could be a very
rewarding experience for professionals and the public
Since opportunities for employment in universities
and museums are limited, it was suggested that
archaeologists should seek work through Cultural
Research Management (CRM). A short manual or
guidebook introducing CRM and giving some successful
examples in Africa will be developed by Thomas
Huffman. Funding for CRM projects depends upon
national and international principles and laws that
allocate a certain percentage for development projects
(e.g., building dams, roads, or other installations). A
compendium of model national and international

ACASA Newsletter / No. 40, August 1994 13

guidelines and laws will be compiled by Pierre de Maret
who will prepare a statement on the conservation and
preservation of African patrimony. -
There is a strong need to familiarize African
students with the preparation of proposals for U.S.,
European and international funding agencies and to
provide them with a list of such agencies. John Yellen
was nominated to prepare a short guidebook for this
purpose. Christopher deCorse will also draft a document
for USAID with a list of institutions and professionals
that can participate in archaeological rescue and salvage
Andrew Smith and John Denbow were entrusted
with the preparation of a guidebook for public
archaeology. This and other guidebooks are conceived as
short (approximately 40 to 60 pages). For users they
will be practical guides intended to provide clear and
programmatic instructions. A list of key sources and
readings would also be useful. The guidebooks can serve
as the first in a series of short texts on specific technical
issues, such as museum exhibits, conservation, research
management and professional writing. The guidebooks
may also be used in conjunction with workshops aimed
at intensive training.
Workshops accompanying the Pan-African Congress
or organized independently by research institutions or
universities can provide an excellent opportunity for
training African students in Africa. Training may also be
achieved through specialized research centers in various
parts of the continent. These centers (e.g., with
specializations in rock art, palaeoanthropology,
information technology, environmental archaeology,
archaeometry, etc.) can also serve as institutions for
hosting scholars, interns and trainees.
Support for workshops and research centers will be
investigated by Pierre de Maret and Fekri Hassan. The
possibility of contributions from the World Bank, African
Development Bank, UNESCO, Wenner Gren Foundation,
the Ford Foundation and other agencies will be explored.
The first workshop will be on CRM and will be held in
conjunction with the Pan-African Congress in Zimbabwe
in 1995. Because of the successful conference held in
Zimbabwe (Gilbert Pwiti), a donor conference at the
time of the Pan-African Congress has also been proposed.
Joan Catapano, Indiana University Press, discussed
with the participants possibilities for the publication of
results of archaeological research, particularly
monographs and reports. Publishers are reluctant to
publish monographs unless they are part of a package
that may include a popular book or some other
publication that will sell. Nick Toth emphasized the need
for a coffee-table book. Revenues from the book could
be contributed to the development fund (perhaps to
support completion and publication of reports by
Africans). Joan Catapano welcomed the idea. A proposal
by Nick Toth for the publication of a package of a
coffee-table book on "African Heritage," a series of

research monographs, and the reprints of outstanding
out-of-print publications (using a new technology that
can make them available at approximately $25 to $30)
will be presented to Indiana University Press for
consideration. The participants also supported publication
of research monographs or journals in Africa, but they
realize that this cannot be done without subsidies. The
likelihood of electronic journals and CD-ROM is a
matter of the future.
The participants were of one mind concerning the
urgency and necessity of collaboration between African
archaeologists and their colleagues abroad. Individual
initiatives, such as collaborative research projects,
employment of African students in archaeological
projects in Africa or abroad, in CRM or other projects,
and U.S. donations of books and periodicals, are
essential as an expression of partnership and solidarity.
The role of organizations, such as the Leakey
Foundation, and government agencies, such as the
Swedish Agency for Research Cooperation with
Developing Countries (SAREC), in training Africans,
and the development of research facilities in Africa was
lauded. SAREC's promise to provide support for the
Pan-African Congress was acknowledged with
The participants are grateful to Kathy Schick and
Nick Toth for organizing the roundtable discussion. They
look forward to a better future that can only materialize
when individuals in Africa and abroad take the initiative
individually and in task forces to circumvent an
otherwise imminent crisis. Africa faces many dangers,
but the loss of its cultural heritage and the obfuscation
of its indigenous past contributions and social
experiences present perhaps the greatest danger. For
more information, contact: Fekri A. Hassan, Department
of Anthropology, Washington State University, Pullman,
WA 99164-4910. Telephone: (509) 335-2397.

News from Angola
Emily Hanna-Vergara, who teaches art history at
Spelman College, Atlanta, received a small grant from
the Ford Foundation Diversity Project at Historically
Black Colleges. She used the funds to travel to Angola
for three weeks in late May and early June where she
met with officials from the Ministry of Culture in
Luanda, the National Museum of Anthropology and the
Institute for Artistic and Cultural Training (INFAC) to
explore a possible exchange between the Department of
Art at Spelman College and these institutions. She also
interviewed ten painters and sculptors in Luanda and
photographed their work for a forthcoming article. An
exhibition of contemporary Angolan art and a concurrent
symposium are in the planning stages at Spelman
(contingent upon funding). The Director of the INFAC

14 ACASA Newsletter / No. 40, August 1994

invited Hanna-Vergara to return to Luanda and teach art
history seminars on African-American and African
Diaspora art, which she plans to do next summer, if
funding comes through. For more information, contact:
Emily Hanna-ekrgara in Atlanta (404) 934-5071.

News from Benin
Bas-Reliefs at Abomey to be Conserved. The Getty
Conservation Institute is joining with the Ministry of
Culture and Communication of the Republic of B6nin to
conserve the original bas-reliefs from the Salle des
Bijoux of the Mus6e Historique d'Abomey. The
conservation team will include two professional wall
painting conservators, a training program coordinator and
three local trainees, who will perform the work in four
phases: data collection and analysis; development of a
conservation treatment and training plan; implementation
of the plan; and establishment of appropriate storage and
exhibition space, together with a program for
maintenance and monitoring.
Founded in A.D. 1625 by the Fon people, the West
African kingdom of Abomey (or Dahomey) was a
powerful and wealthy center of trade and culture. In the
17th, 18th and 19th centuries, the Fon kings built a
series of royal palaces of packed earth. Earthen
bas-reliefs depicting significant events in the history of
the Fon were used as an integral decorative feature of
the palaces. The surviving bas-reliefs are thus an
important record of the Fon's rich cultural heritage,
complex mythology, customs and rituals. The site has
been on UNESCO's World Heritage List since 1985.
Most of Abomey was burned in 1892 before French
occupation of the city. The Salle des Bijoux, one of the
palace buildings, is thought to be one of the few
structures to have survived, making the bas-reliefs
adorning its exterior of particular importance. Over the
years, the bas-reliefs have been repaired and repainted,
and when the Salle des Bijoux was dismantled in 1988,
they were saved and remounted as separate panels in
heavy cement casing. The 49 surviving bas-relief panels
are in extremely fragile condition and vulnerable to
mechanical damage when moved.
Results will be documented in campaign reports and
disseminated through scholarly journals. Work at
Abomey began in November 1993 and will continue
with two campaigns yearly in February and November
over the next four years.-from the J. Paul Getty Trust

News from France
Rencontres Africaines, Exposition d'art actuel du 6
avril au 15 aoit 1994, au Mus&e de I'Institut du
Monde Arabe. L'Institut du Monde Arabe, lieu de
mediation culturelle, s'associe a la Fondation Afrique en
Creations, don't la vocation est I'aide a la creation
artistique en Afrique, pour presenter "Recontres

africaines," une exposition qui r6unit des oeuvres
d'artistes vivants du continent africain. Cette exposition
sera l'occasion d'un dialogue entire des cr6ateurs de
I'Afrique arabophone et de l'Afrique subsaharienne.
Cette experience original repose sur un concept
novateur: confier aux interesses eux-memes la
responsabilit6 du choix des oeuvres h exposer, avec la
particularity supplementaire que la selection est le
resultat de regards croises entire le Nord et le Sud. En
effet, un artiste maghr6bin est parti I la recontre
d'artistes de plusieurs pays d'Afrique noire, tandis qu'un
crateur africain a parcouru le Maghreb et l'Egypte dans
le mbme but.
Ce concept elabore part Brahim
Alaoui-responsable de l'art contemporain au musee de
l'IMA-et Jean Hubert Martin-ex-directeur du
MNAM Georges Pompidou, directeur artistique du
chateau d'Oiron-est n6 de la volont6 de rompre le
schema classique qui limited les expositions internationales
a I'art occidental. Comme I'a montr6 "Magiciens de la
Terre" (Centre Pompidou, 1989), I'art qui ne relive pas
de la modernity occidentale se doit d'8tre expose.
Jusqu i present les rares examples
d'ouverture--mme les plus ambitieux-se sont heurt6s a
la critique d'ethno-centrisme. En confiant le choix a des
natifs du continent africain, les commissaires de
"Rencontres africaines" tentent d'apporter une forme de
reponse a cette question. Cette decision s'est, en outre,
appuy6e sur la conviction, partagee par Brahim Alaoui et
Jean-Hubert Martin, que les artistes eux-memes portent
un regard pertinent sur I'art. Sur un plan pratique, cette
demarche a permis de pallier le manque de relais
(conservateurs, mediateurs et critiques d'art) sur place.
Ainsi la selection des oeuvres a etd r6alis6e par Farid
Belkahia et Abdoulaye Konate.
Cette exposition est l'occasion pour I'IMA
d'affirmer une fois de plus que les changes et les
interference entire les deux Afriques ont forg6 leurs
cultures respective. Le terme de "rencontres" est
essential: ces rencontres permettront de multiplier les
contacts Nord/Sud et plus encore les contacts Sud/Sud.
Dans le cadre de ce project, Farid Belkahia a
sillonn6 une parties de l'Afrique et a choisi les artistes
* Frederic Bruly Bouabre (C6te d'Ivoire)
* Gera (Ethiopie)
* Kivuthi Mbuno (Kenya)
* Cyprien Tokoudagba (Benin)
A ces noms il faut ajouter celui de Abdoulaye
Pour l'exposition, Abdoulaye Konat6, apres s'etre
rendu en Egypte et au Maghreb, a selectionne les
artistes suivants:
* Rachid Koraichi (Alg6rie)

ACASA Newsletter / No. 40, August 1994 15

* Adel El Siwi (Egypte)
* Gouider Triki (Tunisie)
L'exposition regroup plus d'une centaine d'oeuvres. Un
catalogue r6unissant une parties des oeuvres exposes est
public & cette occasion et propose une reflexion sur I'art
contemporain en Afrique (76 pages, 70FF).
Cette exposition est organis6e grace au soutien de
I'Association FranCaise d'Action Artistique, du minister
de la Cooperation et de Total Outremer. A l'initiative de
I'AFAA "Rencontres africaines" sera pr6sentie fin 1994
& Johannesburg (Afrique du Sud). For more information
contact: Fondation Afrique en Creations, 51 rue
Sainte-Anne, 75002 Paris, France. Telephone: FAX:

News from Ghana
PANAFEST '94: 2nd Pan-African Historical Theatre
Festival. Dates: December 9-18, 1994. Venues: Cape
Coast and Accra. Themes: (1) "The Re-Emergence of
African Civilization"; (2) "Uniting the African Family."
Participation: Key international performers, intellectuals,
visual artists, film makers and tourists from over 40
Durbar of chiefs & carnivals
Events to mark holocaust of slave trade
Major performance in music, dance, drama &
S5-day Pan-African Colloquium Pan-African Visual
Arts Exhibition with focus on African housing and
* PANAFEST Expo & Bazaar
* 18-hour international music concert
* Accra Film Festival seminars, workshops, etc.
* tour programs.
For information: Director, Panafest Secretariat,
Accra Office, c/o National Commission on Culture, 1,
Gamel Abdul Nasser Avenue, PMB, Ministries Post
Office, Accra, Ghana. Telephone: (233-21) 668359,
668360, Fax (233-21) 662047, Telex (093) 2132 SCALE
GH, Attention: National Commission on Culture.

News from Germany
At the Haus der Kulturen der Welt in Berlin, the
hands-on exhibition "Der fliegende Koffer: eine Reise in
die Fremde" will open on September 4, 1994 and run
through October 16, 1994. Aspects of Ghanaian
traditional and modern life as well as popular culture
will be displayed for children between 4 and 12 years
old. There is 1000 sq.m. space available for original
objects collected recently in Ghana, workshops,

interactive play, sound installations and visual media.
The show has been prepared by the "Neues Universum
e.V." and the Museumspidagogischer Dienst in Berlin,
and has been curated by Yvonne Leonard and Kerstin
Volker. For information: Haus der Kulturen der Welt,
John-Foster-Dulles-Alle 10, 10557 Berlin. Telephone:

News from Great Britain
"Africa: The Art of a Continent," September
15-December 17, 1995, will be the first comprehensive
celebration of African art ever held in Britain. Even
more ambitiously, it will be the first attempt anywhere
in the world to mount a major exhibition of the
spectacular artistic achievements of the whole of the
continent, including its northern and southern
extremeties. It will consider Egypt and its neighbors to
the north of the Sahara in the context of Africa as a
whole, and will put new emphasis on the often neglected
art of the southern regions. As the probable birthplace
of the human race, Africa has a cultural history of
immense length. This will also be emphasized in the
exhibition, whose earliest artifacts will date from 20,000
BC and whose most recent will have been made within
living memory.
Such a show, occupying huge tracts of time and
territory, will necessarily be selective, concentrating on
the major civilizations, in some of which (Nigeria and
Mali for example) high culture has been continuous for
over a millennium. The primary criterion in all cases
will be aesthetic quality, but the sequence of exhibits, as
well as marking out a journey through the continent,
will also provide, via metaphors of its life and spiritual u
identity, a praise-poem of Africa. Varied though the
content will be in scale, style and material construction
(from stone to ivory and wood to iron and bronze), the
show will have a single purpose to unify its many
themes-to assert that in Africa throughout the centuries
marvelous things were made.
A substantial catalogue will cover the geographical,
archaeological, historical and ritual background of the art
and relate the individual pieces to the people who made
them. The selection will be chaired by Tom Phillips,
member of the Royal Academy, who has himself been a
collector of African art for over twenty years and has
travelled widely in the continent. He will be supported
by a distinguished international committee of scholars
and experts in the field, who will ensure that a fresh yet
authoritative vision of African art will emerge. He will
also be assisted by the Royal Academy's own experts
who have been responsible in recent years for great
synoptic exhibitions of the arts of different epochs and
For further information, contact: Katharine Jones,
Press Officer, or Victoria Tagg, Press Assistant.
Telephone: 44 (0) 071-494 5615.

16 ACASA Newsletter / No. 40, August 1994

Africa '95 Royal African Society Conference. The
Royal African Society will be holding a major
two-and-a-half-day conference entitled "Mediums of
Change: The Arts in Africa, 95" in London from
September 29 to October 1, 1995. Leading practitioners
and scholars from Africa, the Diaspora and Europe will
be discussing new directions in the visual and
performing arts, music, literature and film. Attendance
will be limited to around 300. The opening keynote
address will be given by Wole Soyinka. There will be a
musical evening on September 30th. The conference will
be held in the new conference centre of the School of
Oriental and African Studies (SOAS), University of
London, and will be one of the events of Africa '95,
which is a nationwide UK season being held in the last
quarter of 1995 celebrating all the arts of the African
continent-music, theatre, dance, visual arts, literature,
film and broadcasting.
The conference will be held to coincide with three
major exhibitions of classical African art at the Royal
Academy, of modem African art and 20th century
textiles. African film, photographic, performing arts,
dance and other events will be taking place in London.
For further information contact: Conference
Coordinator, The Royal African Society, SOAS
Thornbaugh Street, Russell Square, London WC1H OXG,
UK. Telephone: +44 (0) 71 323 6035. FAX: +44 (0) 71
323 6118.

Jeremy Coote, Assistant Curator, Pitt Rivers Museum,
Oxford, reports that interest in studying African art is
on the increase at the University of Oxford. Four
postgraduate students took the Africa option in the "Art
in Society" paper in the MSc and MPhil Ethnology and
Museum Ethnography qualifying examinations this year,
and two of these are hoping to go on to do further
research in African art. Two doctoral students have
recently returned from the field. Jeremy Avis, an
ethnomusicologist, has been working in Kom, Cameroon,
and is currently planning his return to the field. He has
been working with local musicians at masquerade
performances and in consequence is currently exploring
the literature on the relations between music and the
visual arts in Africa. He would be delighted to hear
from anyone with similar concerns. Karel Arnaut has
completed his fieldwork in Bondoukou region, C6te
d'Ivoire, and is now based in Oxford, where he will be
writing his doctoral thesis on inter-ethnic exchange of
material culture, festivals and masquerades (see ACASA
Newsletter No. 39, April 1994, page 14).
Two ACASA members have recently visited the Pitt
Rivers Museum. Ephrim R. Kamuhangtre, Senior
Conservator in the Department of Antiquities and
Museums, Kampala, Uganda, visited as part of a
programme arranged by the British Council. Paula
Girshick came to see the Museum's new Benin display
incorporating the Dumas-Egerton Trust Collection.

Despite the fact that Paula cast doubt on the provenance
of one of the "Benin" objects that has been in the
collections since 1908, Jeremy still looks forward to
more visits from ACASA members.
An exhibition of Kuba textiles is planned at the Pitt
Rivers Museum for early 1995. This will include
examples collected by Emil Torday and M. W.
Hilton-Simpson early this century and others collected in
South Africa in recent years. Among other issues the
exhibition will explore are the journeys the textiles have
taken from Central Africa to Oxford. For more
information, contact: Jeremy Coote, Pitt Rivers Museum,
South Parks Road, Oxford OX1 3PP, UK. Telephone:
0865 270929. FAX: 0865 270943.
Jeremy Coote, Area Editor for Africa at The Dictionary
of Art (Macmillan, London) writes to say that all the
Dictionary's entries will be on their way to the
typesetters by the end of September 1994. Thus all
first-stage proofs should have been received by
contributors by early 1995 at the latest. Due to taking
up a half-time curatorial post at the Pitt Rivers Museum
in February, Jeremy has not been able to oversee the
editing of the last entries as closely as he would have
liked. Moreover, as it is not yet clear whether
contributors will be sent second-stage proofs, he would
encourage everyone to take the initiative in bringing to
his attention any changes that they would like to make
to their entries before publication, e.g., new or
previously missing information, new bibliographical
references, etc, He hopes to be able to oversee all
significant proof corrections. As Jeremy is doing his
Dictionary work from home, it is quickest to write to
him at 41 Alexandra Road, Oxford OX2 ODD, UK.
Telephone/FAX: 0865 243426.

The Green Centre for Non-Western Art and Culture,
the Royal Pavilion Art Gallery and Museums,
Brighton, will be staging "Kinyozi," an exhibition of
hairdressing signs from Nairobi, from mid-September
1994 to the end of January 1995. "Kinyozi" will then
go on a short tour. An illustrated catalogue is in
preparation. For further details, contact: Anthony
Shelton, Royal Pavilion Art Gallery and Museums,
Brighton, East Sussex, BNI 1UE.

News from Namibia
The Caprivi Art Centre Pottery Workshops. The long
established and well managed Caprivi Art Centre,
directed by Moses Nasilele, requested a potter's
workshop on clay preparation and firing techniques at
the Namibian Arts Association (now the National Art
Gallery of Namibia (NAG). Annaleen Eins, curator of
the NAG, arranged with the experienced ceramicist Yenz
Kyl to facilitate a workshop course in the Hatsamas Art
Guild's studio on the farm Hatsamas, near Dordabis,
80km east of Windhoek.

ACASA Newsletter / No. 40, August 1994 17

The workshop took place from May 10-21, 1993
with seven women and one man participating. The
potters learnt some ways and means of eliminating the
problem of so-called lime pop-outs in the already fragile
pit-fired pots they used to make. The women from
Caprivi come from different villages. The one male
participant is the secretary of the Caprivi Art Centre and
a potter himself, which is an exception to the traditional
custom as well as present day practice. He served
mainly as translator.
Only two of the participants regard themselves as
full-time potters. The others do pottery between
housework, family care and agricultural chores. All of
them were initiated into pottery by older relatives or
friends in the traditional way. In the old days the pots
were made for daily usage in the household, to fetch
water, store and prepare food. Nowadays the selling of
the pots to tourists and other visitors, mainly at the
Caprivi Art Centre, has become a source of income to
the women in that area. The new market brings new
demands on the processing of the raw material, the
durability of the pots, and on the design.
The results of the 1993 workshop:
The demonstration of clay improvement by screening
to eliminate lime particles of a certain size. This
greatly reduced the "pop-out" problem.
The demonstration of two different kiln systems in
operation-an up draft and a cross draft kiln on
The stimulating feeling of working together in a
group. The women had so far only worked
individually, and they disucssed the idea of
establishing a potters' village where pottery could
become a real community interaction.
Through the Caprivi Art Centre, Eins heard of the
impact the course has had on the continuous daily life of
the potters. After a year of their own experimentation,
the potters returned for more help to investigate
alternatives to their traditional pit firing. They plan to
do this by holding another workshop where participants
will learn how to build a kiln from local materials, close
to their living and working places.
The second workshop, scheudled for four weeks in
August 1994, will focus on kiln building and the firing
cycle. Ten potters from Caprivi are to be selected by the
Caprivi Art Centre, NAG, or the potter community
themselves. For more information, contact: Annaleen
Eins, National Art Gallery of Namibia, P 0. Box 994,
Windhoek, Namibia. Telephone: (061) 231160. Fax: (061)

News from Nigeria
The Plundering of Nigeria's Heritage. Africa is
becoming a paradise for art thieves set on the
indiscriminate pillage of a continent's treasures, Michble

Maringues reports from Lagos. During the night of
April 18-19, 1993, persons unknown broke into the
National Museum in Ife, Nigeria, and stole ten terracotta
and two bronze human heads. These exceptional items,
which rank among Africa's greatest masterpieces of
statuary, have still not been recovered fourteen months
later. Nor have the thieves been caught.
A handful of specialists know about the stolen
sculptures. But nothing has filtered through to public
opinion in Nigeria, let alone the rest of the world. Yet
the theft at Ife was one of the most serious ever
committed on the African continent, which has
nonetheless had plenty of experience of pillage . .
Investigations by Interpol suggest that the thieves
probably had accomplices within the museum itself (a
small building that enjoys little protection, apart from the
fact that it is near the Oni's Palace). But the sculptures
have not yet been recovered.
"We think some of the items were sent abroad, and
others kept here," says Dr. Yaro Gella, head of Nigeria's
museums and monuments. "What we're most afraid of is
that the terracotta heads, which are much more fragile
than the others, may have been permanently damaged" .

Probably the best way of ensuring that the Ife
sculptures are recovered one day is to give the theft
plenty of publicity. It is odd, then, that the Nigerian
press has kept so silent about the theft. It took over a
year for a leading weekly like the African Guardian just
to hint at this major plundering of the national cultural
heritage, and then without publishing any photographic
But the paper did report that thefts are on the
increase, particularly in the southwest of the country, the
heartland of Yoruba culture. At the beginning of this
year, the whole collection at the Institute of African
Studies at Ibadan University (114 objects, mostly of
ethnological interest) were removed by thieves, who also
cleared out the Museum of Antiquities at Owo, a town
half way between Ife and Benin City.-excerpted from
Le Monde, May 29-30, 1994, reprinted in Manchester
Guardian Vekly, June 26, 1994.

Echane Masquerade Festival in Ebiraland. The Kogi
State government has banned the annual Echane
masquerade festival in Ebiraland. Mr. Olusola
Akanmode, the secretary to the government, said in a
signed statement that the ban was approved by Colonel
Paul Omeruo, under the Masquerades and Other Festivals
and Ceremonies Control Edict Number 2 of 1994. Mr.
Akanmode disclosed that the government had to take the
stern measure in order to put an end to the incessant
violence usually associated with the festival-from Wst
Africa (London) June 13-19, 1994.

Theft at National Museum, Oron. Ididem Inyang
Nyong, the paramount ruler of Oron, has called for an
investigation into the disappearance of indigenous

18 ACASA Newsletter / No. 40, August 1994

carvings from the National Museum in Oron. Making
the call while welcoming Lieutenant Colonel Yakubu
Bako, the Administrator, to his palace, the paramount
ruler said that some of the stolen carvings were
produced over 700 years ago. He added that his people
had been deeply disburbed by the theft, saying that the
missing art works were priceless, historical objects
bequeathed by their forefathers.-from Wkst Africa
(London) April 4-10, 1994.

News from South Africa
The 1993 First National Bank Vita Art Now exhibition
took place recently at the Johannesburg Art Gallery. This
annual competition, in its eighth year, draws its entrants
from artists who have exhibited works in solo or group
shows in the Johannesburg area during 1993. Artists
chosen to be represented in the annual exhibition were
invited to make their own selections (from their
respective individual exhibitions) for the annual
exhibition. Of the 31 South African artists who
participated in the exhibition, Guy du Toit (bronze, steel
and sandstone sculptures) was selected as the Annual
Winner. Allina Ndebele (Karakul wool and Irish linen
tapestries) and Belinda Blignaut (mixed media sculptural
pieces) were chosen as Merit Award Winners. The
exhibition runs from May 10th through July 1994.

The Newtown Galleries (Market Theatre Precinct,
Johannesburg) hosted an exhibition from May 15-June
12, 1994 of works by Jackson Hlungwani entitled "The
Smalle Collection." The exhibition of carved wood
sculptures includes works from the 1980s that have not
been exhibited before, as well as selected recent works.

News from the United States
"Ethiopia: Traditions of Creativity" Exhibition. The
Michigan State University Museum is organizing the first
major exhibition in the United States that offers a
comprehensive survey of the peoples and cultural
heritage of Ethiopia. "Ethiopia: Traditions of Creativity"
opens July 24, 1994, at the MSU Museum and Kresge
Art Museum and runs through December 16th.
According to Ray Silverman, curator of "Ethiopia:
Traditions of Creativity," there has been a tendency in
Western interpretations of African aesthetic tradition to
play down the significance of the artists, presenting the
material object as a product of a society, as opposed to
an individual. "Ethiopia: Traditions of Creativity" offers
another approach that will demonstrate, in a number of
contexts, that the creative act is not anonymous, that
there are specific individuals who are known and
recognized in the communities in which they live and
work. The objects they create are unique from both a
formal and functional view point. "Ethiopia: Traditions
of Creativity" focuses on the creators of objects, rather
than the objects themselves.

Eleven Ethiopian artists will be featured:
* Amina Ismail Sherif, a woman who makes baskets
in the ancient city of Harar;
* Elema Boru, a woman from the Borana area of
southeastern Ethiopia who makes basketry containers;
* Ilto Indale, a man from the Doko region of south
central Ethiopia who weaves;
* Bogine Shala, a Me'en man from the Omo River
area of southwestern Ethiopia who carves a variety of
wood objects;
* Tabita Hantute, a female member of a special
"caste" of the Wolayta people of south central
Ethiopia who make pots;
* Menjiya Tabata, a man belonging to the Fuga caste
group of the Gurage region of western Ethiopia who
makes various types of wood objects;
* Tolera Tafa, a young Oromo man from the village of
Yehudgebaye near Addis Ababa who produces models
of cars, trucks, airplanes and buildings from the stalk
of the sorgum plant;
* Gezahegn Yohannes, a man born in Aksum, the
ancient capital of northern Ethiopia, who now lives in
Addis Ababa where he maintains a thriving gold and
silver jewelry workshop;
* Jembere Hailu, a man born in the northern city of
Gonder but now lives in Addis Ababa who paints
religious and secular subjects for both Christian
churches and tourists;
* Zehirun Yetmgeta, a man who received his formal
artistic training at the Fine Art School in Addis
Ababa and is now one of Ethiopia's leading
contemporary artists;
* Adamu Tesfaw, a priest of the Ethiopian Church,
born in the northern province of Gojjam, but now
living in Addis Ababa, who paints religious and
historical scenes for churches and tourists.
"Ethiopia: Traditions of Creativity" is presented in
conjunction with the 12th International Conference of
Ethiopian Studies being held September 5-10, 1994, at
Michigan State University. This important meeting will
bring several hundred scholars from around the world to
MSU. An exhibition reception, "Enqutatash! Ethiopian
New Year Celebration," will be held September 18,
1994. For more information, contact the MSU Museum
at (517) 355-2370.

"Displacements: South African Works on Paper,
1984-1994." On September 22, 1994, the Mary and
Leigh Block Gallery of Northwestern University will
open "Displacements: South African Works on Paper,
1984-1994," curated by David Bunn and Jane Taylor,
University of Western Cape, Bellville, South Africa. To
coincide with the exhibition, there will be a symposium

ACASA Newsletter / No. 40, August 1994 19

entitled "Landscape and Identity in South African Art,"
which will be held September 23-25, 1994.
During the symposium, eleven South African artists
and academics will share a platform with American
scholars. Together they will discuss the nature of art
practice in South Africa as well as introduce us to their
own art"In addition to talks by practicing artists, the
symposium will include panel discussions of
pre-circulated papers grouped under umbrella topics such
as: "The Settler Tradition and Its Legacy in South
African Landscape Painting," "The Effect on the Artist
of Segregation in Public and Private Spaces," and "The
Afrikaner Landscape Tradition and the Development of
Apartheid Space."
Mark your calendar and notify fellow staff,
colleagues and students about this symposium. A
nominal fee of $35.00 (lunch not included) will be
charged for this 2 day event (students are free). Contact
Rhoda Rosen at (708) 467-2005, for registration
information and copies of pre-circulated papers:
Friday, September 23-Art Making in South Africa.
9:00 to 5:30.
Practicing artists including Robert Hodgins, Colin
Richards, lecturer, Fine Art Department, University of
the Witwatersrand and Clive van den Berg, lecturer,
Fine Art Department, University of Witwatersrand, will
speak about their art and show slides from their oeuvres.
In addition, community leaders and art educators will
address the nature of South African art practice and the
role of community art centers in the cultural and
political lives of the communities they serve. Speakers
include: Jane Taylor, co-curator of "Displacements";
Pitika Ntuli, poet, sculptor and lecturer, Sussex
University; Tony Morphet, lecturer, Department of
Education, University of Cape Town, and Motapela
Malebana, principal of a secondary school in Sebokeng.
Moderator: Carol Becker, Dean, School of the Art
Institute of Chicago.
* Saturday, September 24,-9:00 to 5:00. Morning:
The Settler Tradition and Its Legacy. Afternoon:
The Afrikaner Landscape Tradition and the
Development of Apartheid Space.
Panels will discuss and address pre-circulated papers.
Speakers include: David Bunn, co-curator of
"Displacements"; Michael Godby, Department of Art
History, University of Cape Town; Liz Delmont,
Lecturer, Art History Department, University of
Witwatersrand; artist William Kentridge; Nico Coetzee,
lecturer, University of South Africa and Fassile
Demissie, Professor, De Paul University, Chicago.
Moderator: Rhoda Rosen, Visiting Scholar,
Northwestern University.
* Sunday, September 25-Exhibition Walk-through.
10:30 a.m.-Noon.
A catalogue of the exhibition "Displacements: South
African Works on Paper, 1984-1994," edited by David

Bunn and Jane Taylor, will be available in spring 1995
(300pp., 125 images, $40.00). For information contact:
Northwestern University Press, 625 Colfax Street,
Evanston, Illinois 60208-4210 or phone 708/491-5313.
"Contemporary Uli Art from Nigeria" is a travelling
exhibition scheduled to open at Skoto Gallery, New
York, April 18-June 10, 1995, to coincide with the
Triennial Symposium on African Art. This exhibition
will give insight to the work of some of the artists who
trained at or are affiliated with the University of
Nigeria, Nsukka. Participating artists include: Uche
Okeke, Obiora Udechukwu, Obiora Anidi, Tayo
Adenaike, Marcia Kure, Kaego Uche-Okeke, Chinwe
Uwatse, El Anatsui, Benjo Igwilo, Sylvester Ogbechie,
Chika Okeke and Barthosa Nkurumeh. The curators are
Simon Ottenberg (University of Washington), Barthosa
Nkurumeh (Cheyney State University), and Sylvester
Ogbechie (Northwestern University).
There will be a catalogue as well as lectures, slide
presentations and workshops conducted by some of the
artists. Museums, university galleries and organizations
interested in hosting this travelling exhibition should
contact the Skoto Gallery for an introductory package:
The Director, Skoto Gallery, 25 Prince Street, New York,
NY 10012, USA. Telephone: (212) 226-8519. FAX (212)
Smithsonian Research Expedition, The Lamb
Collection. The Alastair and Venice Lamb Collection of
West African textiles, is jointly owned by the National
Museum of Natural History and the National Museum of
African Art. The collection consists of over 1,500
objects, including textiles, weaver's samples and looms.
This collection of objects comes from Senegal, Mali,
Ivory Coast, Ghana, Togo, Nigeria and Cameroon.
From July 31-August 13, 1994, Mary Jo Arnoldi,
Curator, Greta Hansen, Conservator, and Stephen
Mellor, Conservator, National Museum of African Art,
Smithsonian Institution, will conduct a hands-on project
which gives volunteers an opportunity to learn the
techniques involved in conservation of objects for proper
storage. Volunteers will roll, tag and prepare this
collection of textiles for storage at the new Museum
Support Center in suburban Maryland. Conservators
from the museums will direct the project, and the
curator will be on hand to answer any questions about
the history and use of the textiles. Volunteers will
receive training in conservation techniques, as well as a
background on the history of this collection.
Contribution: $1,700.
For information on this and future projects, contact:
The Smithsonian Research Expeditions, The Smithsonian
Associates, 490 L'Enfant Plaza, SW Suite 4210,
Washington, DC 20560, USA.

"Uncommon Beauty in Common Objects: The Legacy
of African American Craft" is a ground-breaking
exhibition, organized by the National Afro-American

ACASA Newsletter / No. 40, August 1994

Museum and Cultural Center, Wilberforce, Ohio.
"Uncommon Beauty" presents a wide-ranging survey of
contemporary work in a long-neglected arts genre. Until
recently, African American craft art-has been largely
ignored by the arts community. The genre's cultural
content and connection to ancient African traditions are
only now gaining the appreciation of mainstream
museums and galleries. The traveling exhibition includes
over one hundred works by more than fifty artists. Artist
Willis Bing Davis is the guest curator. The show, which
opened in Wilberforce last October is currently touring
five venues around the country. Future venues include
African American Panoramic Experience Museum,
Atlanta; Museum of African American Life and Culture,
Dallas; African American Museum of Fine Arts, San
Diego; and Renwick Gallery, Smithsonian Institution,
Washington, DC. The exhibition catalog (112pp.) is
available at $19.95 from the National Afro-American
Museum and Cultural Center, P O. Box 578,
Wilberforce, OH 45384, USA. Telephone: (800)
BLK-HIST FAX: (513) 376-2007.

News from Zimbabwe
Chapungu Sculpture Park, Harare, announces three
1994 European exhibitions of Zimbabwe stone sculpture:
"Modern African Art: The Sculptors of Zimbabwe,"
Palmengarten, Frankfurt am Main, Germany, March
4-October 2, 1994.
"Tengenenge Old and New," Kasteel Groeneveld,
Baarn and Afrika Museum, Berg en Dal (Near
Nymegen), The Netherlands, Mat 21-September 25,
"Zimbabwe Sculpture: The Second Generation,"
Millfied School, Near Street, Somerset, England, June
6-August 20, 1994.

The aesthetics of primitive art / by H. Gene Blocker.
University Press of America, 1994. 330pp. Price:
cloth ISBN 0-8191-9316-X, $57.50; paper ISBN
0-8191-9317-8, $34.50.

African vodun: art, psychology and power / Suzanne
Preston Blier. Chicago: University of Chicago
Press, October 1994. Price not stated.

Amulets of ancient Egypt / by Carol Andrews. London:
British Museum, 1994. Price: 9.95.

Art from Nigeria; [exhibition, May 7-June 25, 1994] /
by Hans Witte. Gallery Kathy van der Pas &
Steven van de Raadt, 1994. ISBN 90-801397-2-6.
Price not stated.

Batcham: sculptures du Cameroun; nouvelles perspectives
anthropologiques / by J.-P. Notu6. Marseilles,
1993. Price: $85.00.

Corps sublime; [exhibition, Musde Dapper, May
19-October 3, 1994] / by Christiane
Falgayrettes-Leveau. Paris: Mus6e Dapper, 1994.
280pp. 147 color plates, 45 b-&-w illus. Price:
ISBN 2-906067-26-1 (edition broch6e), 170 FF.
ISBN 2-906067-27-X (edition reli6e), 240 FF.

A cultural view on planning: the case of weaving in
Ivory Coast / by Fabienne Thanon. Tilburg:
University Press, 1994. 94pp. (Cross-cultural
psychology monographs, 4). Price: DM38.00.

Dogon statuary: a unique study on Dogon statuary / by
H6elne Leloup; translated by Brunhilde Biebuyck;
additional texts by Richard Serra and Georg
Baselitz. Strasbourg: Editions Amez, October
1994. 560pp. Available from: Editions Amez, 18
rue des Pontonniers, 67000 Strasbourg, France.
Price: before August 31, 1994: $180.00 + $10.00
shipping and handling; after August 31, 1994,

"Ere ibeji": Beelden van tweelingen, in het bijzonder
van de Yoruba van Nigeria I by Jacques
Vogelzang. Berg en Dal: Afrika Museum, 1994.
64pp. Available from: Afrika Museum, Postweg 6,
6571 CS Berg en Dal, The Netherlands. Price:
Dfl 39.50 + shipping.

The history an4 conservation of Zanzibar stone town /
edited by Abdul Sheriff. London: James Currey
Publisher, September 1994. 224pp. Price: cloth
$35.00; paper $12.95.

Kunst aus Benin: Afrikanische Meisterwerke aus der
Sammlung Hans Meyer / text by Peter G6bel,
Christine Seige, and Giselher Blesse. Leipzig:
Museum fir Vl6kerkunde, 1994. ISBN
3-89473-976-2. Price not stated.

Kunstforum international. Bd. 122, 1993. Special issue
of "Afrika-Iwalewa." Available from:
RZS-Abo-Verweltung, Postfach 100, D-6330,
Witzlar 1, Federal Republic of Germany. Price:

Masques Dogon / by Marcel Griaule. 4th edition. Paris:
Musde de l'Homme, 1994. (Collection travaux et
m6moires). Price: 241.70 FF.

Material culture of Kenya / by Sultan Somjee. Oxford:
East African Educational Publishers, 1993;
distributed by African Books Collective, Oxford.
116pp. ISBN 9966467491. Price: $17.00 / 9.50.

Museums and the community in VWst Africa / edited by
Claude Daniel Ardouin and Emmanuel Arinze.
London: James Currey Publisher, September 1994.
160pp. Price: cloth $30.00; paper $12.95.

ACASA Newsletter / No. 40, August 1994 21

A new internationalism. London: INIVA/Black Umbrella
Publication, 1994. Papers presented at the
Symposium on the New Internationalism in the
Visual Arts, held at the Tate Gallery, London,
April 1994. Available from: Institute of New
International Visual Arts, Arts.Council of Great
Britain, 14 Great Peter Street, London SW1P
3NQ, UK. Telephone: 44 (0) 71-976-7098. Price:
11.95. Contains contributions by Hal Foster,
Rasheed Araeen, Gordon Bennett, Geeta Kapur,
Gerarado Mosquera, Sarat Maharaj, Jimmie
Durham, Raiji Kuroda and Elizabeth Sussman.

Painting in South Africa / by Esm6 Berman.
Johannesburg: Southern Book Publishers, 1993.
Price not stated.

Race, sex and gender in contemporary art / by Edward
Lucie-Smith. London: Art Books International,
1994. ISBN 1-8740044-06-6. Price: 40.00. New
York: Harry Abrams, 1994. ISBN 0-8109-3767-0.
Price: $55.00.

Reinventing Africa: museums, material culture and
popular imagination in late Victorian and
Edwardian England / by Anne Coombes. New
Haven: Yale University Press, July 1994. 256pp.
Price: $45.00.

Rencontre africaines; exposition d'art actuel du 6 avril
au 15 aoft 1994. Paris: Institut du Monde Arabe,
1994. ISBN 2906062634. Available from: Institut
du Monde Arabe, 1 rue des Foss6s-St.-Bernard,
Paris. Price: 70 FF.

Rock engravings of southern Africa / by Thomas A.
Dowson. Johannesburg: Witwatersrand University
Press, 1'92; Bloomington: Indiana University
Press, 1994. 124pp. ISBN 1-86814-120-9. Price:

Sao Jorge da Mina 1482-1637. La vie d'un comptoire
portugais en Afrique occidental / by J. Bato'ora
Ballong-wen-Mewuda. Lisbon/Paris: Fondation
Calouste Gulbenkian, 1993. 2 volumes (642pp.)
Price not stated.

Smashing pots: feats of clay from Africa / by Nigel
Barley. London: British Museum, 1994. 168pp. 75
color and 50 b-&-w illus. ISBN 0-7141-2513X.
Price: 14.95.

Tanzania: Meisterwerke Afrikanische Skulptur = Sanaa
Za Mabingwa Wi Kiafrika I herausgegeben von
Jens Jahn fur das Haus der Kulturen der Welt,
Berlin, und die Stidtische Galerie im Lenbachhaus,
Miinchen. Ausstellungen im Haus der Kulturen der
Welt, Berlin, 29.April-7.August 1994 und Kunstbau
Lenbachhaus, Miinchen,
29.September-27.November 1994. Miinchen: Verlag
Fred Jahn, 1994. ISBN 3-88645-118-6. Price not
stated. With contributions by Marc L. Felix, Maria
Kecskdsi, Giselher Blesse, Enrico Castelli, Charles

Meur, Georges Meurant, Nancy Ingram Nooter,
and Allen F Roberts.

The Yoruba artist: new theoretical perspectives on
African arts / edited by Rowland Abiodun, Henry
J. Drewal and John Pemberton. Washington, DC:
Smithsonian Institution Press, September 1994.
287pp. Price: cloth ISBN 1-56098-339-6H $65.00;
paper ISBN 1-56098-340-XP $29.95.

Zimbabwe heritage 1993; annual exhibition of
contemporary visual arts. Harare: National Gallery
of Zimbabwe, [1994]. 48pp. Available from:
National Gallery of Zimbabwe, P. O. Box CT 848,
Causeway, Harare, Zimbabwe. Price not stated.
Recent publications from Chapungu Sculpture Park,
Sylvester Mubayi, exhibition catalogue. 20pp. 25
The Chapungu Annual 1993, exhibition catalogue.
20pp. 33 plates.
Nicholas and Family, exhibition catalogue. 20pp. 30
Bernard Takawira, exhibition catalogue. 20pp. 28
Price for each: Zim $18.00 (+ shipping and
handling: air mail, Zim $21.67; surface mail, Zim
$2.53). Available from: Chapungu Sculpture Park, 1
Harrow Road, P O. Box 2863, Msasa, Harare,

Work has begun on Encyclopedia of African
Archaeology, to be edited by Joseph O. Vogel and
published by Garland Publishing, New York. Scheduled
to appear in mid-1996, the book will comprise
alphabetical entries on all aspects of the subject and is
intended to provide an overview of current scholarship in
this active field. The study of the history of Africa has
attracted much popular interest while undergoing
considerable scholarly attention in recent years. This
encyclopedia is conceived as synthesizing the various
threads of current research, making them easily available
to students and the general public as well as fellow
professionals. Inquiries should be addressed to Joseph O.
b1gel, Department of Anthropology, University of
Alabama, PO. Box 870210, Tuscaloosa, AL 35487-0210,

African archaeological review, an annual since 1983,
will become a quarterly journal from 1995 and will be
published by Plenum.

"The rape of Mali," by Michael Brent and "The plight
of ancient Jenne," by Roderick J. Mclntosh, appeared in
Archaeology volume 47, number 3 May-June 1994,
pages 26-35.

22 ACASA Newsletter / No. 40, August 1994

Philosopher Larry Shiner takes on the subject of
"'Primitive fakes,' 'tourist art,' and the ideology of
authenticity" in the Journal of aesthetics and art
criticism (volume 52, no. 2, spring 1994, pp. 225-234).

Cornelius O. Adepegba writes on "A Nigerian treasure
in Ibadan," in Museum international (Paris) no. 183,
1994, pages 42-45. Apparently this was written before
the major art theft at the Institute of African Studies
Museum (see above under "News from Nigeria"), as he
makes no reference to the recent heist.

Journal of the Ghana Bead Society. Volume 1, May
1994. Accra: Ghana Bead Society, P.O. Box C 788,
Cantonments, Accra, Ghana.
Revue noire (Paris) no. 11, December
1993-January-February 1994, is a special issue devoted
to South African artists. ISSN 1157-4127. Address:
Revue Noire, 8 rue Cels, 75014 Paris FAX
33/1/43229260. Price per single issue: 120FF / $22.00 /

Also on South African artists, The New York Times
Magazine of March 27, 1994, carried a feature by
Andrew Solomon, "Separate, and equal." Among the
artists highlighted were Noria Mabasa, Godwin Ndou,
Jackson Hlungwani, David Koloane, Durant Sihlali,
Trevor Makoba, Willie Bester, Beezy Bailey, Sue
Williamson, and William Kentridge.

Video Notes

Some recent videos available from Films for the
Humanities & Social Sciences, P. 0. Box 2053,
Princeton, NJ 08543-2053. Telephone: 1-800-257-5126:
Indigo (Guinea). 13 minutes. Videocassette. VHS.
$89.95. On indigo-dyed cloth in West Africa.
Portrait of an African artist: Elimo Njau the
antelope-man. 21 minutes. Videocassette. VHS.
$149.00. A portrait of one of Kenya's best
known artists.
Zimbabwe: talking stones. 58 minutes. Videocassette.
VHS. $149.00. A look at the Shona people and
the wealth of stone sculpture they are creating.

University of Virginia's African Art Collection is
available on the Internet through the University's Digital
Image Center. The electronic catalog, entitled "African
Art: Aesthetics and Meaning," is accessible through
MOSAIC software with the following command:
http://www.lib.virginia.edu. For more information, contact
Benjamin Ray at bcr(faraday. clas.virginia.edu.

Rock Art Listserv. Announcing a new Internet listserv
called ROCK-ART, dedicated to investigations of rock art
in all its manifestations. Anyone interested in or actively
conducting research on rock art in any part of the world
and of any period is encouraged to sign on. The
planners hope that this list will support the growing
interest in the subject and that it will be used by people
of all levels of experience.
To subscribe, mail the command: SUB ROCK-ART
your name to listserv@asuvm.
If you have any questions, contact: Peter Vklsh at
Peter. klsh@asu.edu or Leslie Nelson at
aslmn@asuvm. inre. asu. edu

August 1994: Conferences on Automating Museums.
From August 28 through Setpember 3, 1994, two
conferences are being held in Washington, DC, to
explore the theme "Cultures Connected: Automating
Museums in the Americas and Beyond." These
consecutively scheduled meetings are organized by
ICOM's International Documentation Committee
(CIDOC) and the Museum Computer Network (MCN) to
explore the many facets of automation in the museum
CIDOC's conference, August 28 to August 31,
1994, focuses on new developments in museum
documentation standards and practices from around the
globe with emphasis on the Americas. Updates of the
CIDOC working groups in archaeology, terminology,
database surveys, data modeling, iconography,
multimedia, museum information centers, and member
services will be presented.
The MCN annual meeting, to be held August 31 to
September 3, 1994, emphasizes interchange standards,
imaging, multimedia applications, collections management
and networking. Workshops on Image Databases,
Planning for Museum Automation, the Internet,
Contracting and Licensing for Multi-media Products,
Multi-lingual Thesaurus Construction and more are
For more information about the conferences, or to
obtain registration materials, contact: Museum Computer
Network, 8720 Georgia Avenue, Suite 501, Silver Spring,
MD 20910, USA. Telephone: 301-585-4413. FAX:
301-495-0810. e-mail: mdevine @cni.org.

September 1994: 12th International Conference of
Ethiopian Studies is being held September 5-10, 1994,
at Michigan State University. In conjunction with the
conference, the exhibition "Ethiopia: Traditions of
Creativity" will open (see above under "News from the
United States").

ACASA Newsletter / No. 40, August 1994 23

September 1994: The Textile Society of America
(TSA) Fourth Biennial Symposium, entitled "Contact,
Crossover and Continuity," will discuss a wide range of
textiles that have changed over time. The symposium is
hosted by the UCLA Fowler Museum of Cultural
History, Los Angeles. It is a three-day event beginning
Thursday, September 22, through Saturday, September
24, 1994. In addition to a program of stimulating
papers, the registration fee covers a seated luncheon in
the UCLA Faculty Center; a box lunch in the beautiful
Franklin Murphy Sculpture Garden on the UCLA
campus; a Thursday evening visit to Neutrogena
Corporation's renowned textile collection. Registration
also includes an invitation to a Saturday night opening
reception for an Indonesian textile exhibition at the
Fowler Museum, followed by a closing dinner at UCLA's
new Sunset Village complex.
Conference rates for TSA members, non-members
and students are available, ranging from $140 to $170.
One-day-only conference rates are also available. For
information, accommodations and registration guidelines,
call the TSA co-chairs: Patricia Anawalt, Fowler
Museum, at (310) 206-7005; or Louise Mackie, Royal
Ontario Museum, Toronto, Canada, at (416) 596-8055.

September 1995: Symposium on Landscape and
Identity in South African Art, Evanston, September
23-25, 1994. See above under "New from United

November 1994: African Studies Association, Toronto,
Canada, November 3-6.

January 1995: College Art Association, San Antonio,
TX, January 26-28.
April 1995: Triennial Symposium on African Art,
New York, April 23-25.

September 1995: 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 O. Box MP167,
Mount Pleasant, Harare, Zimbabwe.

September 1995: "African Artists '95 = School,
Studio and Society." In late September 1995 there will
be an open seminar about art education in Africa, which
is being called "African Artists '95 = School, Studio
and Society." It is sponsored by the Centre of African
Studies, School of Oriental and African Studies,
University of London in conjunction with Africa '95.

September-October 1995: Africa '95 Royal African
Society Conference, "Mediums of Change: The Arts in
Africa, 95." See above under "News from Great
February 1996: College Art Association, Boston,
February 21-24, 1996.


The Editor thanks contributors to this August 1994 issue
of the newsletter: Alexis B. A. Adand6 (West African
Archaeological Association, Porto Novo, B6nin);
Deborah Ainger (Royal African Society, London);
Claude Ardouin (West African Museums Programme,
Dakar); Rory Bester (University of the Witwatersrand,
Johannesburg); Jeremy Coote (Pitt Rivers Museum,
Oxford); Elsbeth Court (University of London); Esther
A. Dagan (Galerie Amrad African Art Publications,
Montreal); Chris DeCorse (Syracuse University); Henry
Drewal (University of Wisconsin, Madison); Annaleen
Eins (National Art Gallery, Windhoek); Emily
Hanna-Vergara (Spelman College, Atlanta); Fekri
Hassan (Washington State University, Pullman); Fred
Lamp (Baltimore Museum of Art); Simon Ottenberg
(National Museum of African Art & University of
Washington, Seattle); Benjamin Ray (University of
Virginia, Charlottesville); Christopher Steiner (Natural
History Museum of Los Angeles County); I. A. Kerstin
Volker (Museumpidagogischer Dienst, Berlin).

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; job openings; fellowship
opportunities; new publications. We are particularly eager
to receive contributions from members in Africa. Mail,
phone, fax or e-mail. The next ACASA Newsletter will
be December 1994. Deadline for submitting news items
is November 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: libem010@sivm.si.edu.

24 ACASA Newsletter / No. 40, August 1994

1994 Directory of ACASA Members: Addendum

Monni J. Adams
(address correction)
Peabody Museum
Harvard University
11 Divinity Avenue
Cambridge, MA 02138-3217
Charmagne Andrews
659 West Owen Hall
Michigan State University
East Lansing, MI 48825-1109
Home: 517-355-3968
e-mail: andrews5@student.msu.edu
Karel A. C. Arnaut
Linacre College
OXI 3JA Oxford, UK
Home: 0865-271650
Fax: 0865-271668
Balfour Library
Pitt Rivers Museum
South Parks Road
Oxford OX1 3PP, UK
Robert Barnett
Royal Ontario Museum
Board Office, 100 Queens Park
Toronto, Ontario M5S 2C6, Canada
Work: 416-548-5711
Andrea Barnwell
1807 Snowcrest Trail
Durham, NC 27707
Home: 919-493-0927
e-mail: abarwel@acpub.duke.edu
R. M. A. Bedaux
Koningslaan 35
3583 G H Utrecht, The
Work: 071-21-18-24
Fax: 071-12-84-37
Catherine Bernard
217 Wyckoff Street
Brooklyn, NY 11217
Home: 718-596-2167
Rory M. Bester
Department of Art History
University of the Witwatersrand
P. 0. Wits 2050, South Africa

Peter Bloom
s/c Nash
8, rue Andre del Sarte
75018 Paris, France
Work: 42-62-21-04
Boston University
African Studies Library
771 Commonwealth Avenue
Boston, MA 02215
Andrea Bour
915 Linden
East Lansing, MI 48823
Home: 517-351-7009
Work: 517-336-2485
e-mail: bourandr@msu.edu
Jean-Paul Bourdier
232 Wurster Hall
Department of Architecture
University of California
Berkeley, CA 94710
Work: 510-642-4942

Jean-Louis Bourgeois
P.O. Box 526
El Prado, NM 87529
Work: 505-751-1282

Dennis Boyd
1435 East Quincy Avenue
Cherry Hills Village, CO 80110
Nicholas Bridger
1652 Montevideo Lane
San Jose, CA 95127
Home: 408-259-3348
Work: 408-252-6610

Karen Hull Brown
1823 Fillmore Street
Caldwell, ID 83605
Linda Bucher
25-29 120th Street
Flushing, NY 11354
Pauline Burmann
Buiten Bantammerstraat 15
Amsterdam 1011 AX, The
Home: 31-020-6256274
Work: 31-020-6256274
Fax: 31-020-6256274

Enrico Castelli (new address)
II Tamburo Parlante
Centro di Documentazione &
Museo Etnografico
Ex Convento di S. Francesco
6014 Montone (Pg), Italy
Work: 075-9306401
S. Terry Childs
Smithsonian Institution
Washington, DC 20560
Work: 301-238-3719
Fax: 301-238-3709
e-mail: archstc@simsc.si.edu
V. E. Chikwendu
Department of Archaeology
University of Nigeria
Nsukka, Enugu State, Nigeria
Cleveland Museum of Art
Library-Serials Department
11150 East Boulevard
Cleveland, OH 44106
Work: 216-421-7340 x550
Fax: 216-421-0411
e-mail: bm.cmt@rlg.bitnet

Justine M. Cordwell
437 West Belden Avenue
Chicago, IL 60614
Home: 312-528-2128
Work: 312-348-2695
Fax: 312-348-9951
Elsbeth Court
40 Hunter Street, Flat 6
Home: 44-071-278-5695
Work: 44-071-637-1006

Chester Cowen
2805 Willow Cr. Drive
Norman, OK 73071
Home: 405-364-0280
Work: 405-521-2491
Fax: 405-525-3272
Daniel J. Crowley
Department of Anthropology
University of California
Davis, CA 95616
Home: 916-756-4116
Fax: 916-752-8885

Directory of ACASA Members: Addendum / August 1994

Willis Bing Davis
201 Lexington
Dayton, OH 45407
Home: 513-276-3507
Work: 513-376-6610
Fax: 513-376-6530
Acha Debela
Computing Center for the Arts
North Carolina Central University
Box 19555
Durham, NC 27707
Home: 919-419-0250
Work: 919-560-5308
Fax: 919-560-5012
e-mail: acha@art.nccu.edu
Christopher DeCorse
Department of Anthropology
Syracuse University
Syracuse, NY 13244
Home: 315-445-5564
Work: 315-443-2200
Fax: 315-443-4860
Elizabeth Dell
Department of Art History
University of the Witwatersrand
P. O. Wits 2050
Johannesburg, South Africa
Lisa Dent
112 South Portland Avenue, #2A
Brooklyn, NY 11217
Home: 718488-8928
Work: 212-878-2551
Fax: 212-907-5770
Dorothy Desir-Davis
1220 Grand Concourse
The Bronx, NY 10456
Home: 718-588-5167
Work: 212-878-7012
Fax: 212-878-7492
Susan Diduk
Department of
Box M
Denison University
Granville, OH 43023
David Dorward
African Research Institute
LaTrobe University
Bundora, Victoria 3083, Australia
Home: 03-439-2936
Work: 03-479-2431
Fax: 03479-1942/478-5814

Glenda Doyle
Institute of Afro-American Affairs
New York University
269 Mercer Street, Suite 601
New York, NY 10003
Erina Duganne
200 Cloverleaf Avenue
San Antonio, TX 78209
Home: 210-828-2624
e-mail: eduganne@reed.edu
Marie-Claude Dupre
F63840 Viverols, France
Home: 73-95-92-89
Fax: 73-95-33-87
East Carolina University
Office of the Dean
School of Art
Greenville, NC 27858
Work: 919-757-6563
Fax: 919-757-6441
Annaleen Eins
National Art Gallery of Namibia
P. O. Box 994
Windhoek, Namibia
Work: (264 61) 231 160
Fax: (264 61) 216 561
Heidi Ernst-Luseno
36 Ward Avenue
Northampton, MA 01060
Home: 413-586-5561
Work: 413-586-5561

Ekpo O. Eyo
6609 23rd Avenue
Hyattsville, MD 20782
Home: 301422-2767
Work: 301-405-1485
Fax: 301-314-9652
Kate Ezra (new address)
Department of Art & Design
Columbia College
600 South Michigan Avenue
Chicago, IL 60605-1996
Home: (312) 955-0413
Sheri Fafunwa-Ndibe
Art Department
Central Connecticut State University
1615 Stanley Street
New Britain, CT 06050
Work: 203-827-7322
Fax: 203-827-7046

Rachel I. Fretz
UCLA Writing Program
272 Kinsey Hall
Los Angeles, CA 90024
Home: 310-826-1743
Work: 310-825-8260
Fax: 310-206-1785
Phyllis Galembo
125 West 16th, Apt. 140
New York, NY 10011
Mona Gavigan
Gallery Affrica, Inc.
2010 R Street, NW
Washington, DC 20009
Work: 202-745-7272
Dale Carolyn Gluckman
Los Angeles County Museum of
Department of Costumes & Textiles
5905 Wilshire Boulevard
Los Angeles, CA 90036
Home: 213-661-2513
Work: 213-857-6081
Fax: 213-939-3690
Werner Graebner
Am Berg 13
Moerlenbach D-69509, Germany
Work: 49-6209-8784
Fax: 49-6209-8784

Benjamin Grant Hufbauer
Department of History of Art and
University of California
Santa Barbara, CA 93106
Home: 805-968-5462
Dunja Hersak
University Libre de Bruxelles
Section d'Histoire de l'Art et
Avenue Franklin D. Roosevelt 50
B-1050 Brussels, Belgium
Home: 33-59-27-27-33
Work: 02-650-24-19
Shannen Hill
733 East Johnson #3
Madison, WI 53703
Home: 608-257-0778
Work: 608-263-2371
Rachel Hoffman
15915 SW Waluga Drive
Lake Oswego, OR 97035
Home: 503-635-9678

26 Directory of ACASA Members: Addendum / August 1994

Marilyn H. Houlberg
School of the Art Institute of
Columbus Drive and Jackson
Chicago, IL 60603
Work: 312-899-5188
Fax: 312-263-0141
Bayo Ijagbemi
P.O. Box 31144
Tuscon, AZ 85751-1144
Mame Jackson
School for Studies in Art and
Art History/2201 Dunton Tower
1125 Colonel By Drive
Carleton University
Ottawa KIS 5B6, Canada
Work: 613-788-2342

Dele Jegede
Department of Art
Indiana State University
Terre Haute IN 47809
Work: 812-237-3722
Fax: 812-237-4369
e-mail: arjeged@ruby.indstate.edu
Sabine Jel-Bahisen
451 Broome Street #PHW
New York, NY 10013
Home: 212-226-7854
Work: 212-226-7854
Fax: 212-226-7854

Della Jenkins
P. 0. Box 336
June Lake, CA 93529
Fax: 619-648-7632
William Karg
Contemporary African Art Gallery
330 West 108th Street
New York, NY 10025
Work: 212-749-8848
Fax: 212-662-8799
Sandra Klopper
Department of the History of Art
University of Cape Town
Private Bag Rondebosch
Cape Town 7700, South Africa
Work: 021-650-2685
Home: 021-23-6635
Fax: 021-650-3726
e-mail: sandra@beattie.uct.ac.za

Atta Kwami
College of Art
University of Science & Technology
P. O. Box 50
Kumasi, Ghana
Fax: 233-51-3137
Susan Lerer
P. 0. Box 9625
Newport Beach, CA 92658
Work: 714-721-8113
Fax: 714-721-8413

Sue Letsinger
4128 Interlake Avenue North
Seattle, WA 98103
Louise Lincoln
Minneapolis Institute of Arts
2400 Third Avenue South
Minneapolis, MN 55404
Work: 612-870-3175
Fax: 612-870-3004

Dan Mato (new address)
Faculty of Fine Art
Art Building 663
University of Calgary
Calgary, Alberta T2N 1N4, Canada
Work: 403-220-5251
Fax: 403-282-6925
e-mail: dmato@asc.ucalgary.ca

Jocelyn McCree
311 Concord Avenue
Cambridge, MA 02138
Home: 617-864-6191
Work: 617-495-1380
Fax: 617-495-1364
Harriet McGuire
American Embassy-Bissau
Department of State
Washington, DC 20521-2080
Work: 245-25-10-02/25-12-67
Fax: 245-25-22-82

Piet Meyer
Abt. Afrika
Ubierweg 45
50678 Cologne, Germany

Adriano Mixinge
Museu Nacional de Antropologia
C.P. 2159
Luanda, Angola
Work: (244-2) 39-06-38 or
Fax: (244-2) 32-39-79 (care of the
Ministerio da Cultura)

George Mvenge
National Museums and Monuments
Box CY33, Causeway
Harare, Zimbabwe
Work: 263-14-751791
National Gallery of Zimbabwe
P. O. Box CY 848, Causeway
Harare, Zimbabwe
Northwestern University Library
Africana Department
Evanston, IL 60208
Work: 708-491-7684
Amir Nour
The Carriage House
1025 East 49th Street
Chicago, IL 60615
Work: 312-907-4047
Nkiru Nzegwu
Department of Art and Art History
SUNY at Binghamton
Binghamton, NY 13902
Home: 607-786-5040
Work: 607-777-4177
Fax: 607-786-5040
Olu Oguibe
Africa Research & Information

J WVstmirr ilner DBridge Room
London SE1 7PW, UK
Work: 071-620-1430
Fax: 071-620-1431

Mikelle S. Omari-Obayemi
(new address)
1524 East 8th Street
Tuscon, AZ 85719
Home: 602-885-4268
Work: 602-621-1251
Fax: 602-621-2955
in %msomaoba@ccit.arizona.edu

Adisa Ogunfalakan
Department of Archaeology
University of Ibadan
Ibadan, Oyo State, Nigeria

Barbara Palmer
P. O. Box 15346
Gainesville, FL 32604
Home: 904-373-4324
Work: 904-392-0247

Directory of ACASA Members: Addendum / August 1994 27

Sharon F Patton
209 South Fourth Avenue, Apt. 2A
Ann Arbor, MI 48104
Home: 313-662-8944
Work: 313-763-5522
Fax: 313-763-0543
e-mail: @um.cc.umich.edu
Louis Perrois
19 rue Esquirol
Paris 75013, France
Work: 148-03-76-15
Fax: 140-34-69-13
Richard J. Pbwell
P. O. Box 608
Durham, NC 27702
Home: 919-490-0129
Work: 919-684-2473
Fax: 919-684-4398
e-mail: rp2@acpub.duke.edu
Labelle Prussin
33-27 Utopia Pkwy
Flushing, NY 11558
Fax: 718-460-1390
Bess Reed
768 Cypress Walk, Apt. G
Goleta, CA 93117
Home: 805-968-5462
Robert Goldwater Library
Metropolitan Museum of Art
1000 Fifth Avenue
New York, NY 10028
Work: 212-570-3707
Fax: 212-879-3879
Eric D. Robertson
Robertson African Arts
36 West 22nd Street
New York, NY 10010
Work: 212-675-4045

Sainsbury Research Unit
Arts of Africa, Oceania & the
Sainsbury Centre
University of East Anglia
Norwich NR4 7TJ, UK
Work: 0603-592659
Fax: 0603-259401
e-mail: p.hewitt@uk.ac.uea

Leo Sarkisian
4504 Bestor Drive
Rockville, MD 20853
Home: 301-460-0817
Work: 202-619-1666
Fax: 202-619-1664

Cynthia Schmidt
209 South Eyberg Avenue
Treynor, IA 51575
Home: 712-487-3735

Judy Schultz
Portland Art Museum
1218 SW Park
Portland, OR 97205
Home: 503-659-5899
Work: 503-226-2811 x228
Fax: 503-226-4842
Victoria Scott
708 Don Felix
Santa Fe, NM 87501
Work: 505-982-5667

Skoto Gallery
25 Prince Street
New York, NY 10012
Work: 212-226-8519
Fax: 212-334-1245
Fred T. Smith
School of Art
Kent State University
Kent, OH 44242
Home: 216-678-1556
Work: 216-672-7853
Fax: 216-672-4729
e-mail: fsmith@kentvm.kent.edu
Leslie Spiro
Johannesburg Art Gallery
P. 0. Box 23561, Joubert Park
Johannesburg 2044, South Africa
Zoe Strother
224 North 4th Avenue, Apt. B
Ann Arbor, MI 48104
Home: 313-663-8062
e-mail: zoe.strother@cc.umich.edu

Freida High Tesfagiorgis
Department of Afro-American
04223 Humanities Building, 455
N.Park Street
University of Wisconsin
Madison, WI 53706
Home: 608-274-5055
Work: 608-263-1642
Fax: 608-262-2159
e-mail: high@macc.wisc.edu

Carol Thompson
The Museum for African Art
593 Broadway
New York, NY 10012
Work: 212-966-1313 xlll
Fax: 212-966-1432

Vera Viditz-Ward
Department of Art
Old Science Hall
Bloomsburg University
Bloomsburg, PA 17815
Home: 717-387-8606
Work: 717-389-4851
Fax: 717-389-2094
Susan Vogel
Museum for African Art
593 Broadway
New York, NY 10012
Work: 212-966-1313
Fax: 212-966-1432

Maude Southwell Wahlman
Art Department
University of Central Florida
Orlando, FL 32816
Home: 407-699-6777
Work: 407-823-5925
Fax: 407-699-1002/823-5156
African and Afro-American
Studies, Washington University
Campus Box 1109
1 Brookings Drive
St Louis, MO 63130-4899
Work: 314-935-5690
Fax: 314-935-5631
e-mail: atuchler@artsci.wustl.edu
Virginia-Lee Webb
Department of Africa, Oceania
and the Americas
Metropolitan Museum of Art
1000 Fifth Avenue
New York, NY 10028
Work: 212-879-5500
Fax: 212-570-3879

Ellen C. Hvatum Werner
Department of AOA
M. H. de Young Memorial
Golden Gate Park
San Francisco, CA 94118
Home: 415-461-9392
Work: 415-750-3617
Anna Wexler
241 Walnut Street
Brookline, MA 02146

28 Directory of ACASA Members: Addendum / August 1994

sponsored by the Arts Council of the African Studies Association [ACASA]
April 19-23, 1995 New York City


Please send three (3) copies of this form directly to the chair of the proposed panel as Listed in this newsletter by October
1, 1994. For more information, please contact Lisa Aronson [Department of Art and Art History, Skidmore College, Saratoga
Springs, New York 12866 (518) 584-5000 x27413 or Jean Borgatti [295 Maple Avenue, Shrewsbury, MA 01545 (508) 793-96953. You
must be a 1995 ACASA member in good standing to participate in the program. $25 regular membership; $10 student, retired,
unemployed. Membership is for the calendar year. Dues should be sent to Barbara Frank, Department of Art, State University
of New York at Stony Brook, Stony Brook, NY 11794-5400.



Paper Title

Address Telephone


Author signature

Paper Title

Co author





Check one individual proposal part of organized panel

If part of organized panel:

Panel Chair

Panel Title:

Audio-visual equipment required: slide projectors) VCR & Monitor 16 MM projector

screen cassette player overhead projector podium light__ electric pointer




sponsored by the Arts Council of the African Studies Association [ACASA]
April 19-23, 1995 New York City



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.


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