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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
Place of Publication: S.l
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Publication Date: December 1994
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Subjects / Keywords: Arts -- Periodicals -- Africa   ( lcsh )
Genre: periodical   ( marcgt )
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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.
General Note: Vols. for Aug. 1992- include Directory of members: addendum.
General Note: Latest issue consulted: No. 34 (Aug. 1992).
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Volume ID: VID00038
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 Related Items
Preceded by: Newsletter of the Arts Council of the African Studies Association

Full Text

ACASA Newsletter
No. 41, December 1994

Containing the
Preliminary Program
of the
Tenth Triennial Symposium on
African Art, New York
April 19-23, 1995


The Arts Council of the
African Studies Association


Now










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 Barthosa Nkurumeh entitled "Endurer's Tale," pen-&-ink, 1994. Nkurumeh is
head of the Art Program, Department of Fine Arts, Cheyney University, Cheyney, PA.


I


I -now








ACASA Newsletter


December 1994


Letter from Rowland Abiodun,
ACASA President

Back from the ASA Conference in Toronto where the
ACASA presence was strong and our panels qualitative
and refreshingly provocative, we can hardly wait for our
Tenth Triennial Symposium in April, when all roads will
lead to New York and all eyes will be on ACASA. Your
Triennial Symposium Planning Committee is working
hard to make this conference an especially memorable
one for us. They do, however, need all of our support
to enable them to achieve that objective. We may want
to begin by checking if we have renewed our
memberships, encouraging colleagues and friends to
become members of ACASA and also of ASA to help
maintain our sponsored status with the latter. To facilitate
the work of our colleagues and volunteers, who will be
involved with the planning and actual implementation of
the Triennial program, it would be immensely helpful if
we could endeavor to pre-register for the conference as
well as our special event, the Awards Banquet, details of
which are included in this newsletter.
On a final note, on behalf of ACASA, I would like
to thank the Royal Ontario Museum for the wonderful
dinner and fine evening for our members during the
ASA meeting in Toronto. The Museum's warm
hospitality and invitation to come again and work with
their African collection are sincerely appreciated.
See you all in New York in April!

Tenth Triennial Symposium on African Art,
April 19-23, 1995:
Preliminary Program
The preliminary program is subject to change. Please
send corrections immediately to Barbara Frank,
Department of Art, State University of New York at
Stony Brook, Stony Brook, NY 11794-5400. Telephone:
(516) 632-7255. FAX: (516) 632-7261. E-mail:
bfrank@ccmail.sunysb.edu. The next Triennial planning
committee will meet in New York on January 6, 1995.
ACASA members are welcome. Contact Barbara Frank
for details.
Reminder: All presenters must be ACASA members
in good standing and must be pre-registered by March 1,
1995 or risk exclusion from the final program.
Exceptions will be made for overseas colleagues who
may have difficulty obtaining US currency. Chairs are


Contents


ACASA News


Letter from the President
Triennial Symposium
Preliminary Program
Triennial Registration
Triennial Travel Stipends
Arnold Rubin Publication Award
Board Elections
ASA Meetings, Orlando
Business/Board Meetings,
Toronto-ASA, 1994
Housing Exchange
People in the News
Career, Research and
Publishing Opportunities
International News Round-Up
Noteworthy New Publications
Serial Notes
Video Notes
Africa on the Internet
Forthcoming Conferences
1994 Directory of ACASA Members:
Second Addendum
Triennial Symposium
Air Travel Information


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responsible for informing non-ACASA members on their
panels of this policy.
Most sessions are to be held at New York
University unless otherwise indicated.

Wednesday afternoon, April 19
One or more informal roundtable discussions are being
planned as a forum especially for our international


ACASA Newsletter / No. 41, December 1994 1








visitors. Topics under consideration include: recent
research on African and African-American archaeology,
issues facing Africaa museums, and a dialogue on
contemporary art.
Roundtable on African and African-American
Archaeology: One of the roundtable discussions being
planned for Wednesday afternoon will focus on issues
concerning recent archaeological research both in Africa
as well as the United States (such as the discovery of
the African-American cemetery in New York). Contact
Philip Peek at (201) 408-3383. FAX: 201-408-3768) with
ideas and/or suggested speakers.

Wednesday evening, April 19
Opening reception at The Museum for African Art.

Thursday, April 20
9:00-11:30 am

Plenary Session-Rubbing Shoulders with Theory
Chair: Jean Borgatti, Clark University

Keynote Address: John Picton, SOAS, University
of London-Is Your Theory Really Necessary?

Suzanne Preston Blier, Harvard
University-Amazons: Depictions of Danhome
Women and Feminist Theory

Sidney Littlefield Kasfir, Emory
University-Theorizing the Colonial Rupture in
Artistic Practice

Barry Hallen, UNESCO, Milan-Criticism and
African Art History: the Analytic Approach

Charles Merewether, The Getty Center for History
of Art and the Humanities-The Practice of
Immigrant Theory

Discussant: Thomas McEvilley, Rice University
Lunch Break
1:00-3:00 pm

Panel: Spectacle and Display in African Performance
Chair: Erlmann Veit, Freie University of Berlin

Andrew Apter, University of Chicago-The
Subvention of Tradition: A Geneology of the
Nigerian Durbar

Roger Vetter, Grinnell College-The Symbolic
Arsenal: Fante Warrior Organizations and the
Maintenance of Cultural Identity through Spectacle

Steven Friedson, University of North Texas-The
Kazoo Military Bands of Malawi: Mimesis, Parody
and Celebration

Wolfgang Bender, Universitit Mainz-Kakadu: The
Highlife Bar as a Performance Space


John Nunley, St. Louis Art Museum-Juvay/Urban
Rites of Renewal in Trinidad Carnival
Panel: Kreolization and Hybridity: Acts of Cultural
Resistance within the African Diaspora (organized
by Catherine Bernard and Dorothy Desir-Davis)
Chair: Lois Mailou Jones

John Mason, Independent Scholar,
Brooklyn-Going to Beat the Man: Transcultural
War in the African Diaspora

Catherine Bernard, Independent Scholar,
Brooklyn-Displacement and Hybridity in
Contemporary African/American Art

Anna Wexler, Harvard University-Vodou Flags
Cross Over: Commercialization and Kreolization in
the Art of Clotaire Bazile

LeGrace Benson, Independent Scholar-The "New
Space of Cities," "The New Urban Republic" and
the Emergence and Diasporization of Haitian Art

Dorothy Ddsir-Davis, Independent Scholar,
Bronx-Internationalism and the Kreole Abyss
Panel: Representing Southern Africa: The
Intersection of African Art and Colonial
Perceptions
Chair: Karen Brown

Elizabeth Dell, University of the
Witwatersrand-The Representation of Black South
Africans at the Colonial and Indian Exhibitions of
1886

Rory Bester, University of the
Witwatersrand-Representing Southern Africa in
Mission Photographs c.1880-1915

Sandra Klopper, University of Cape Town-"Zulu
Dandies": The History and Significance of
Elaborate Hairstyling among Young Men Living in
Colonial Natal

Juliette Leeb-du Toit, University of Natal,
Pietermaritzburg-Isishiweshwe: Forging Black
Women's Identity in South Africa in Factory Made
Cloth

Anitra Nettleton, University of the
Witwatersrand-Souvenirs of Difference: 19th
Century South African Leather Dolls
Panel: Reshaping the Boundaries of Tradition
(organized by Victoria Rovine)
Chair: Patrick McNaughton, Indiana University

Mary Jo Arnoldi, Smithsonian Institution, National
Museum of Natural History-Time, Generation and
Objects: Bamana Categories of Novelty and Tradition


ACASA Newsletter / No. 41, December 1994








Victoria Rovine, The Brooklyn Museum-An
African Textile Abroad: The Bogolan Explosion in
Mali and the United States

Kathleen Bickford, The Metropolitan Museum of
Art, New York-Creating Wax Textile Classics in
C6te d'Ivoire

Chike C. Aniakor, University of Nigeria,
Nsukka-Traditional/Modern: Towards the History
and Domestication of Idiom/Technique in
Contemporary African Art

William R. Rea, University College, London-No
Event, No History: Masquerade, Tradition & Identity
Coffee Break

4:00-6:00 pm

Panel: Afro-Brazil Arts, History, and Hegemony
Chair: Henry Drewal, University of
Wisconsin-Madison

Olabiyi Yai, University of Florida-Words of
Power and Empowerment: the Alabe Singers in the
Candombl of Bahia, Brazil

Daniel Dawson, New York City-Invisible
Foundations: The Bantu Roots of Brazilian Popular
Culture

Rita Laura Segato, University of Brasilia,
Brazil-Sacred Images and Spaces: The Altars of
African Faiths in South America

Jose Jorge de Carvalho, University of Brasilia,
Brazil-Song, Symbol and Aesthetic Values in the
Shango Societies of Recife

Discussant: Robert Farris Thompson, Yale
University
Panel: Imaging Africa (organized by David Binkley)
Chair: Herbert Cole, University of California,
Santa Barbara

Amy Staples, National Museum of African
Art-The Last of the Great Foot-slogging Explorers:
Lewis Cotlow in Africa

David Binkley, Nelson Atkins Museum of Art-The
Scourge of the Congo: The Interpretation of African
Masks in the Early 20th Century

Mark Auslander, Haverford College-"The Real
Thing": The Nguni Shield in the Global Economy
of Images

Alisa LaGamma, Columbia University-Mugumi: A
Punu Icon

Discussant: Corinne Kratz, Emory University


Panel: History and Vernacular Architecture in
Africa: Changing Identities, Changing Styles?
(organized by Peter Mark and Paul Jenkins)
Chair: TBA

Peter Mark, Wesleyan University-Building
Ethnicity: 17th Century Architecture a la Portugaise
in Guinea-Bissau and the Expression of
Luso-African Identity

Michelle Gilbert, Trinity College-Akwapem House
as Social and Cultural Construct

Dominique Malaquais, Columbia
University-Traditional Context and Foreign
Models: the Appropriation of European Religious
Architecture by Local Elites in the Cameroon
Grassfields

Nancy Nooter, Independent Scholar-The
Advantage of Adaptability: the Growth and
Development of the Swahili House in Dar es Salaam

Discussant: Paul Jenkins, Basel Mission
Panel: Museums and the New South Africa
Chair: Doran Ross, Fowler Museum of Cultural
History, UCLA

Patricia Davison, South African Museum, Cape
Town-Tensions Within Museum Practice: The
South African Museum in the 1990s

Graham Dominy, Natal Museum,
Pietermaritzburg-South African Museums and the
Material Culture of Apartheid and the Resistance

Rayda Becker, Gertrude Posel Gallery, University
of Witwatersrand-New Lamps for Old: in the New
South Africa?

Rhoda Rosen, Northwestern University and
University of Witwatersrand Museums-Museums
and the Question of Identity

Themba Wakashe, Arts and Cultures of South
Africa-Democraticizing South African Museums.

Thursday evening, April 20
6:00-9:00 pm

Opening reception for "Contemporary Uli Art from
Nigeria" at the Skoto Gallery
7:00-9:30 pm
Reception and Roundtable-Cross-Cultural Currents in
Modernism-at The Studio Museum in Harlem
Chair: Freida High W. Tesfagiorgis

Tritobia Benjamin, Howard University-Lois
Maillou Jones


ACASA Newsletter / No. 41, December 1994 3








Babatunde Lawal, Virginia Commonwealth
University-Ben Enwonwu, Negritude and the
African Diaspora

Mel Edwards, Rutgers University-Cross-Cultural
Currents in the Use of Metal in Contemporary
Sculpture in Zimbabwe

Michael Harris, Georgia State University-Ile-Ife:
Contemporary Art Currents in a River of Tradition

Moyo Okediji, Obafemi Awolowo University,
Ile-Ife-Remembered Spaces: Yoruba Images in the
Works of Donaldson, Bahaudeen and Turner

Kinshasa Conwill, Studio Museum, New
York-The Studio Museum as a Force in the
African Diaspora

Julia P. Herzberg, Art Historian and Independent
Curator-Wifredo Lam: Cuba, Africa and Paris

Bamidele Agbasegbe Dermerson, African
American Cultural and Historical Museum, Ann
Arbor-The Ancestral Spirit Dance Series:
Exploring Willis "Bing" Davis' Cultural Memories
and Reclamations of Africanity

Jeff R. Donaldson, Independent
Scholar-Transafrican Art

Friday, April 21
9:00-11:30 am

Panel: Do all Currents Flow to the Delta?
(roundtable organized by Martha Anderson)
Chair: Joanne B. Eicher, University of Minnesota

Philip M. Peek, Drew University-Who's Afraid of
the Water? The Isoko as a Delta People

Kathy Curnow, Cleveland State
University-"Everyone to His Quarter": Ethnic
Interaction and Emulation in Itsekiri Masquerades

Martha Anderson, Alfred University-The Ijo's
Watery Ways: Art and Environment in the Niger
Delta

Sarah T. Cobb, Vassar College-The Ogoni and
the Power of the Water

Rosalinde G. Wilcox, Saddleback College-Duala
Participation in a Creek/Coastal International Style

Keith Nicklin, Horniman Museum, and Jill
Salmons, Worcester College of Technology, United
Kingdom-East of Niger: New Perspectives on
Sculptural Style Distribution

Discussant: Joseph Nevadomsky, California State
University-Fullerton


Panel: Modem African Artists and the West: A
Counter-Penetration (organized by Salah Hassan)
Chair: Okwi Enwezor, Journal of Contemporary
African Art, New York

Mikelle Smith Omari, University of
Arizona-Positioning Africa: Women and
Oppression in African Art

Olu Oguibe, Africa World Review, London-From
a Postmodernist Sketchbook: The Challenges of
Practice in a Terrain of Difficulty

Margo Ursula Timm, University of Namibia,
Windhoek-Inversion of the "Printed Image":
Namibian Perspectives of John Muafangejo

Sylvester Ogbechie, Northwestern
University-Songs of the City: Ben Enwonwu's
Portrait of Queen Elizabeth II


Salah M. Hassan, Cornell
University-Deconstructing the
Installations of Houria Niati


Oppressor: The


Discussant: Rashid Diab, Artist and Critic, Madrid,
Spain

Panel: Current Research in African Art Studies I
Chair: Robert Soppelsa, Washburn University

Mary Ellen McMaster, Castleton State
College-The Great War Mask of the Babua-or the
Hunt for Pondudu

Till Forster, Bayreuth University-Three Senufo
Masks and the Public Sphere

Cesare Poppi, University of East Anglia-In the
Shadow of the Mask: Ethnographic and Interpretive
Problems in the Daamu Initiation of Northwestern
Ghana

Amanda Carlson, Indiana University, and Ekpo
Eyo, University of Maryland-Constructing
Identities: Women's Masquerades in Cross River
State, Nigeria

Funso S. Afolayan, Washington University, and
John Pemberton, Amherst College-Tradition and
Modernity: Ritual, Gender and Politics among the
Igbomina-Yoruba

Laura Fair, University of Oregon-Women's Music
and Dance and the Transformation of Class, Gender
and Ethnic Identities in Zanzibar 1900-1930

[Alt] Elisee Coulibaly, University of
Paris-Ethno-archaeological Research on a
Traditional Know-how: Ancient Techniques of the
Smithy among the Bwamu Area (Mali-Burkina Faso)


ACASA Newsletter / No. 41, December 1994








Panel: Current Research in African Art Studies II
Chair: Daniel J. Crowley, University of California,
Davis

Flora Kaplani New York-University-Some
Thoughts on Style and Community in African Art

Jacob Olupona, University of California,
Davis-The City of 201 Gods: Ile-Ife in Time,
Space and Imagination

Ikem S. Okoye, Northwestern
University-Architecture, Art, Titles and Textuality

Peter Garlake, Harare, Zimbabwe-Envisioned
Hosts: Analyses of Two Painted Caves in Zimbabwe

Eli Bentor, Winthrop University-In Search of the
Artist: Ukara Cloth of Southeastern Nigeria

Andrea Lee Smith, Illinois Wesleyan
University-Old, New, Borrowed and Blue: How
Dafing Cloths Wed the Traditional with the Modern

[Alt] Tunde M. Akinwumi, Yaba College of
Technology, Lagos-The Provision of Buba Blouse
for the Native Yoruba Woman as an Elite's
Civilizing Mission circa 1880-1920
Lunch Break
1:00-3:00 pm

Panel: African Art Collecting and Aesthetic
Judgement in the West-at The Metropolitan
Museum of Art, Uris Center Auditorium
(please use 5th Avenue at 81st Street or
Garage entrances only)
Chair: Roslyn A. Walker, National Museum of
African Art

Kate Ezra, Columbia College-Creating the Canon:
Collecting African Art at the Museum of Primitive
Art

Patricia Darish, University of Kansas-Kuba
Textiles: A Taste for African Design in the West

Diane Pelrine, Indiana University Art Museum-A
Private Collection for a Public Museum: The
Raymond and Laura Wielgus Collection

Christa Clarke, University of Maryland-John
Graham and the Crowninshield Collection of
African Art: The "Aesthetic Argumentation of
African Sculpture"

Leon Hirsch, State University of New York at Old
Westbury-Makonde Sculpture: Validating a
Postcolonial African Art Form

Discussant: Roy Sieber, Indiana University


Panel: Negotiating Ideology: Performative Processes
of Chokwe, Lunda, Luvale and Related Peoples
of Angola, Zaire and Zambia (organized by
Manuel A. Jordan)
Chair: Christopher Roy, University of Iowa

Elizabeth Cameron, University of California-Los
Angeles-Negotiating Gender: The Initiation Arts of
the Lunda Ndembu and Their Neighbors, Kabompo
District, Northwestern Province, Zambia

Rachel Fretz, University of California-Los
Angeles-Revising and Retelling: Ritual Images in
Chokwe Narratives of Zaire and Zambia

Manuel A. Jordan, Birmingham Museum of
Art-Tossing the New: Divination and Change
among Chokwe, Lunda, Luvale and Related Peoples
of Northwestern Zambia

Manuela Palmeirim, University of Minho,
Portugal-Hierarchy in the Making: Greetings and
Insignia of Power among the Aruwund of Zaire

Disussant: Bill Dewey, University of Iowa
Panel: Art or Artifice: Post-Colonial Art in Africa
Chair: dele jegede, Indiana State University

Simon Ottenberg, University of
Washington-Christian and Indigenous Religious
Issues in the Work of Four Contemporary Eastern
Nigerian Artists

Everlyn Nicodemus, Antwerp, Belgium-"Shift"

Sharon Pruitt, East Carolina University-Patrons
and Artists: Representations of Contemporary
Nigerian Art

Obiora Udechukwu, University of
Nigeria-Nsukka-Of Appraisals and Appraisers: The
Criticism of Nigerian Art 1983-1993

Discussant: Fred Smith, Kent State University
Panel: South African Music in Transition (organized
by Johann S. Buis)
Chair: Levi Pahle, Mannes School of Music, New
York

Christopher Brooks-Song Repertory: Tongai
Ynika (Rule the Land!): The Zimbabwean Women's
League as Political, Cultural and Social Mobilizing
Agent

Johann Buis-The Voice(s) of South Africa:
Reflections upon Power, Place and Identity in a
Post-apartheid Media Environment

Joyendran Pilay-"MBUBE Growls with Many
Lions' Voices": Polysemic Identities of a South
African Vocal Genre


ACASA Newsletter / No. 41, December 1994 5








Independent Performers, "VUKA" Performance
Group
Discussant: Linda Williams, Mt. Holyoke College
Coffee Break

4:00-6:00 pm
Panel: The Aesthetics of Display: Exhibitions in
Africa and of Africa-at The Metropolitan
Museum of Art, Uris Center Auditorium (please use
5th Avenue at 81st Street or Garage entrances only)
(organized by Allen F. Roberts and Mary Nooter
Roberts)
Chair: Boureima Diamitani, University of Iowa

Susan Vogel, Yale University Art
Gallery-Invisible: Art of the Baule

Allen F. Roberts, University of Iowa-Astonishing
Display of Vital Force Among Aja (Republic of
B6nin)

Mary Nooter Roberts, University of Iowa and the
Museum for African Art-The "Work" of Art:
Urban Islamic Wall Painting and Devotional Display

Joseph Adande, Universit6 National du
B6nin-Mixing Irony, Humour and Pedagogy:
Contemporary Art Exhibition In Honme Palace
Museum, Porto Novo

Helen Shannon, Columbia University-Present at
the Creation: Gallery 291 and the Construction of
African "Art"

Discussant: Claude Ardouin, West African
Museums Programme, Dakar
Panel: Photography in Africa and the Diaspora:
Contemporary Photographers Discuss Their Work
(Roundtable)
Chair: Chris Geary, National Museum of African
Art

Phyllis Galembo, Independent-Nigeria/Diaspora

Fazal lahi Sheikh, Independent-Kenya

Vera Viditz-Ward, Bloomsburg University-Sierra
Leone

Evan Schneider, Oregon Historical
Society-Cameroon

Marilyn Nance, Independent-Africa and Diaspora

Gordon Bleach, University of Capetown-Great
Zimbabwe

Discussant: Fred Wilson, Independent


Panel: The Guitar in Africa: New Directions in
Music Since Independence
Chair: Cynthia Schmidt, Independent Scholar

Ernest Brown, Williams College-Pan-Africanism
in Zimbabwean Guitar Music

Eric Charry, University of North Carolina-The
Grand Mande Guitar Tradition of the Western Sahel
and Savannah

Andrew Kaye, Independent Scholar-Koo Nimo:
An African Guitarist and his Stylistic Practices

Kazadi wa Mukuna, Kent State University-The
Evolution of the "Palm-wine" Guitar Style in Zaire

[Alt] Sean Barlow, World Music
Productions-African Guitar Music and the
International Recording Industry; Banning Eyre;
Tom Turino
Panel: Ambiguous Intentions: The Place of Popular
Culture in the Art of the African Americas
Chair: Judith Bettelheim, San Francisco State
University

Pamela Franco, Emory University-The Politics of
Gender in Trinidad Carnival

Elizabeth McAllister, Yale University-Where
Vodou meets Politics in Haiti: Rara Festivals and
the Arts of Resistance

Nancy B. Mikelsons, Casa del Caribe, Santiago de
Cuba-Artists and Afro-Cuban Religions: Two
Contemporary Cuban Painters Paint the Popular
Culture

Maria C. Berns, University of California-Santa
Barbara-On Love and Longing: Renee Stout Does
the Blues

Arturo Lindsay, Spelman College-Los Congos de
Costa Arriba: A Living Tradition in Art

Friday evening, April 21
Reception at The Schomburg Center for Research in
Black Culture
Visits to Artists' Studios
Studio and Gallery open houses
Feature Films

Saturday, April 22
9:00-11:30 am

Plenary Panel-Nubia and Beyond: Expanding the
Boundaries of African Art Studies
Chair: Lisa Aronson, Skidmore College

Keynote Address: Linda Heywood, Howard
University-Defining Africa: The North East Africa
Problem


ACASA Newsletter / No. 41, December 1994








David O'Connor, University of Pennsylvania-The
Status of Ancient Nubian Art

Ray Silverman, Michigan State
University-Ethiopia and African Art: How Race,
Ethnicity and Culture Have Influenced the
Perception of Ethiopia as African

Kristyne Loughran, Independent Scholar,
Florence-Islamic Jewelry Forms: North, West and
East African Examples

Labelle Prussin, Independent Scholar, New
York-No More Forever? The Judaic Contribution
to African Arts

Discussant: John Thornton, Millersville University
Lunch Break
1:00-3:00 pm
Panel: History and Art in Ethiopia (organized by
Ray Silverman)
Chair: Kay Kaufman Shelemay, Harvard University

Marilyn Heldman, University of Missouri, St.
Louis-Geography, Christianity and History: The
Formation of an Ethiopian Artistic Tradition

Earnestine Jenkins, Michigan State University-Art
and Authority in Ethiopia

Shaalini Ranasinghe, Columbia University-History
and Architecture in Ethiopia: An Inquiry into the
Origins of Gondar Style Buildings

Neal Sobania, Hope College-Two Ethiopian
Goldsmiths: Abib Sa'id and Gezahegn Gebre
Yohannes

Discussant: Achamela Debela, North Carolina
Central University
Panel: African Art in History (organized by W. A.
Hart)
Chair: Warren d'Azevedo, University of Nevada

W. A. Hart, University of Ulster, Coleraine-Was
the Mid-16th Century a Watershed in the History of
the Arts in Sierra Leone?

Stephan Eisenhofer, Staatliches Museum fuir
V61kerkunde, Munich-Benin Ivory Court Carving
in the 16th Century: An "Invention of Tradition"?

Nancy Pauly, University of
Wisconsin-Madison-Mangbetu and Azande Artists
as Social Critics 1909-1915: A Truer "African
Reflection" of their Colonial Reality?

Joseph Opala, Freetown, Sierra Leone-Images of
Bai Bureh in Sierra Leone Popular Art

Discussant: Paula Girshick, Indiana University


Panel: Hearing, Seeing and Moving: Music, Dance
and the Visual Arts in East Africa (organized by
Lois Anderson)
Chair: Daniel Avorgbedor, City University of New
York

Lois Anderson, University of Wisconsin-Hearing,
Seeing and Moving: Musical Instruments in the
Regalia of Kings and Chiefs

James Makubuya, UCLA-Hearing, Seeing and
Moving: The Chordophone Players and their
Musical Instrument (lecture/demonstration)

Sue Carole DeVale, Independent Scholar-Hearing,
Seeing and Moving: Textural Patterns in the Arts
of East Africa

Stephen Hill, Independent Scholar,
Champaigne-Urbana-"You Can't Take a Little Hoe
When You Really Want to Work": Music and
Dance in Umatengo, Tanzania

Kelly Askew, Tanzania-Taarab Music in Tanzania:
Cultural Politics and the Nation
Panel: Representation in Contemporary African Art
(organized by Bennetta Jules-Rosette)
Chair: Preminda Jacob, UCLA and the National
Museum of African Art

T. K. Biaya, New York University-The Shock of
Representations in Contemporary African Painting

Bennetta Jules-Rosette, University of
California-San Diego-Multiple Representations in
Contemporary African Art and Literature in France

Peter Bloom, UCLA-The Problem of
Representation in Contemporary African Cinema

Haig David-West, Artist, New York-Glimpses of
the Other

Discussant: Jehanne Teilhet-Fisk, University of
California-San Diego
Coffee Break

3:30-5:00 pm

ACASA Business Meeting

Saturday evening, April 22
Awards Banquet at The Brooklyn Museum

Sunday, April 23
Films on South Africa at The Brooklyn Museum
Visits to artists' studios
Gallery and studio open houses
Feature Film screenings coordinated with the African
Film Festival at The Schomburg Center and perhaps also
at NYU.


ACASA Newsletter / No. 41, December 1994 7







Visits to Artists' Studios: Two itineraries-one in
Manhattan and one -n Brooklyn-are being planned for
visiting artists in their studios on Friday night and again
Sunday afternoon. Each itinerary will include three (or
possibly four) artists. Spaces are limited to 15 people
per itinerary. For more information, contact Catherine
Bernard at (718) 596-2167 or Dorothy DEsir-Davis at
(718) 588-5167.
Gallery and Artist Studio Open Houses: Gallery
owners and artists interested in having open houses
during the Triennial, contact Catherine Bernard at
(718) 596-2167 or Dorothy Ddsir-Davis at (718)
588-5167.
Bookfair: A bookfair at the Museum for African Art is
being planned to augment the offerings of in-print
materials already available at the MAA/OAN Bookshop.
Several New York area book dealers will be on hand to
offer non-art and out-of-print titles. Individual authors
are encouraged to contact OAN about recently published
titles OAN may be able to purchase in time for the
Triennial, or they may send publicity flyers. Contact
Gail Feher at OAN. Telephone: (212) 840-8844. FAX:
212-840-3304.
Film Screenings: More video and film submissions are
sought for screenings during program. To date there has
not been much response. Contact Carol Thompson at
(212) 966-1313, extension 111.

Triennial Registration
Pre-registration and membership renewal forms will be
mailed to all ACASA members in January.
Pre-registration must be completed by March 1st. The
pre-registration fees are as follows: $50 ACASA regular
members; $25 ACASA special members and students;
$75 non-members. On-site registration fees will be
higher, so save money and pre-register. For more
information, contact Barbara Frank, Department of
Art, State University of New York at Stony Brook,
Stony Brook, New York 11794-5400, USA. Telephone:
(516) 632-7255. FAX: (516) 632-7261. E-mail:
bfrank@ccmail.sunysb.edu or Glenda Doyle, Institute
of Afro-American Affairs. Telephone: (212) 998-2134.
FAX: (212) 995-4109 or Carol Thompson, Museum
for African Art. Telephone: (212) 966-1313, ext.111.
FAX: (212) 996-1432.
Registrants with hearing, visual, mobility, or other
impairments are asked to contact one of the conference
organizers (above) detailing any special needs.

Hotel Information: A variety of types of rooms will be
blocked at three New York hotels for the Triennial. The
reserved blocks will not go into effect until after January
15, 1995. Prices are subject to change due to taxes and
rate increases, so please confirm price at the time you
make your reservation. Be sure to indicate that you are


coming to New York for the Triennial Symposium on
African Art.
New York University Guest Suites
($75 double/$80 quad)
25 Union Square West
(five-minute walk from NYU campus)
New York, NY 10003-3389
Telephone: (212) 229-3800. FAX: (212) 229-3804.

Washington Square Hotel
($80 single/S110-120 double/$150 quad)
103 Waverly Place
(five-minute walk from NYU campus)
New York, NY
Telephone: (212) 777-9600.

Excelsior Hotel
($65 single/$75 double/$95 triple/$100 quad)
45 West 81st Street
(20 minute subway ride from NYU campus)
New York, NY
Telephone: (212) 362-9200. FAX: (212) 721-2994.
Alisa Lagamma, a Columbia University graduate student,
has volunteered to act as a liason for out-of-town
graduate students looking for places to stay during the
Triennial. Contact her at (212) 879-5500 extension 3056
or (212) 678-4854.
American Airlines is proud to be the official carrier of
the Triennial Symposium on African Art. Save 5% on
lowest applicable fares (some restrictions apply), or save
10% on lowest unrestricted coach class fares (with
seven-day advance purchase) into JFK, LaGuardia or
Newark. Travel between April 16-26, 1995. For lowest
fares on any airline, call Conventions in America at
1-800-929-4242, the official travel agency for the
Triennial and ask for Group #382. Receive free flight
insurance of $100,000 and a chance to win free travel
worldwide. If you call American Airlines direct at
1-800-433-1790, ask for starfile # S1245UF
Ground Transporation: From from JFK and LaGuardia
airports: Carey Bus Company [Telephone: (718)
632-0500)] provides service every 20-30 minutes to
mid-town Manhattan, including stops at Grand Central
Station (where you can link up with subway or a cab)
and various big hotels (Hilton, Sheraton, etc).
$13.00/one way from JFK, $9.00/one way from
LaGuardia. Approximate cab fares to Excelsior from
JFK $40-50, from LaGuardia $30-35; to Washington
Square Hotel from JFK $25-30, from LaGuardia $18-20.
From Newark, NJ: Bus called "Olympia" goes to the
World Trade Center, downtown Manhattan. $7.00/one
way. Runs every 30 minutes. For further information,
call 1-800-AIRRIDE.


ACASA Newsletter / No. 41, December 1994







Travel Stipendsto the Trieinial. A limited number of
travel stipends are available to aid graduate students and
African or Diaspora scholars/artists presenting papers at
the Triennial. To be considered for an award, submit a
formal request indicating anticipated expenses and source
and amount of other funding along with a copy of your
paper abstract to: Philip M. Peek, Department of
Anthropology, Drew University, Madison, New Jersey,
07940. Applications must be received before January 31,
1995.

1995 Arnold Rubin Outstanding Publication Award.
ACASA's Arnold Rubin Outstanding Publication Award
Committee is soliciting publishers' nominations of
English-language books written by one or two authors
and published in 1992, 1993 or 1994. Books should be
arts-related, dealing with African or Diaspora art. Many
publishers have already complied, but a number of books
which could be considered have not been submitted.
Authors of books which fall into this category may wish
to give your publishers an additional reminder. To find
out whether your book was submitted for consideration,
contact Kathy Curnow by e-mail (k.cumow@csuohio.edu)
or telephone (216) 687-2105. Deadline for nominations:
December 31, 1994. Exceptions may be made for books
appearing in 1995 but with a 1994 publication date.
Announcement of the winner will be made at the
Triennial Symposium on African Art in April 1995.
Members of the 1995 Arnold Rubin Outstanding
Publication Award are Eli Bentor, Kathy Curnow and
Ann O'Hear.

1995 Election of Directors of the ACASA Board
Five new Directors of the ACASA Board will be elected
during the Triennial Symposium on African Art in New
York in April 1995. The Nominating Committee is
proposing the following slate for Directors of the Board:
Jean Borgatti, Eugenia Herbert, dele jegede, Christine
Kreamer and Rosalinde Wilcox. Additional nominations
are welcome. Nominations for the Board of Directors by
members-at-large can be made by obtaining the
signatures of ten members in good standing in support
of a candidate and sending them to the President of
ACASA. All nominees must be members in good
standing.
All candidates for the Board of Directors will send
a letter to the President of ACASA indicating willingness
to serve. Each will also prepare a brief statement as to
why she or he wishes to serve. This must be submitted
in time for inclusion in the issue of the ACASA
Newsletter to appear prior to the election, namely, the
April 1995 issue (deadline March 15, 1995).
The election will be by secret ballot at the business
meeting on April 22nd during the Triennial Symposium
on African Art. The results will be tabulated by the
Secretary-Treasurer and announced at that time.


1995 African Studies Association Meetings,
Orlando, Florida
The 1995 annual meetings of the African Studies
Association will convene at the Hyatt Orlando Hotel,
November 3rd-6th in Orlando, Florida. The ASA panels
are being organized slightly differently in 1995. While
the overall theme is "Africa in Comparative
Perspective," panels are being arranged by thematic
sections. The most pertinent section for ACASA
members is one entitled "The Visual and Performing
Arts." This section will deal with all aspects of the arts
of Africa and the Diaspora. Broadly defined, the arts are
assumed to encompass expressive culture ranging from
the plastic, graphic, musical and performative arts to
architecture, personal adornment, contemporary fine and
popular arts, film, theater and dance. Panels and papers
that are multidisciplinary, thematic or comparative rather
than descriptive are highly encouraged. Panels are sought
on such topics as:
* The ethics of research, field collecting and exhibiting
of African and Diaspora arts.
Marketing of Culture
African Diaspora arts, a continuing debate: Do
notions of resistance, syncretism or hegemony
adequately encompass the historical dynamics?
* Popular Arts, Africa, Disneyland?
* Contemporary arts: Does the notion of
post-modernism make sense for them?
* Cultural preservation of art and archaeology in
Africa: How can African and American institutions
and professionals best cooperate?
Panels and papers for this Arts section will be reveiwed
by our ACASA representative, Bill Dewey, who is acting
as the Arts "section chair" on the ASA Panels
Committee, with the help of Cynthia Schmidt and dele
jegede.
Other relevant thematic sections for ACASA
members include "Africa and Islam," "Changing
Identities: Perspectives from the Arts, Humanities and
the Social Sciences," and "Performance and Ritual." A
separate mailing in January to all ASA members will
describe the types of papers and panels appropriate to
each section along with proposal forms. The deadline for
panel proposals is March 15, 1995. Proposals should be
submitted to: African Studies Association, Credit
Union Building, Emory University, Atlanta, GA
30322, USA. Do not send proposals directly to any of
the Panels Committee members. For guidelines and
details, see ASA News October-December 1994, pages
16-18.

Panel Proposal for ASA, Orlando, 1995. Panel Title:
"Some Things Fishy: Masquerades from the Niger
Delta and Beyond." Co-chairs: Martha G. Anderson
and Kathy Curnow. This panel will focus on aquatic


ACASA Newsletter I No. 41, December 1994 9








masquerades, particularly those which represent fish,
reptiles and crustaceans. This popular art form appears
to have spread from the Niger Delta to adjacent coastal
and riverain areas. The papers should consider the
transmission of masquerades between groups in the
region, as well as delineating distinctive local forms and
traditions. Panelists will-be encouraged to use videotape
to illustrate performance styles. Send abstracts to:
Martha G. Anderson, 64 Vest University, Alfred, NY
14802, USA. Telephone: (607) 871-2469 or Kathy
Curnow, 3233 Bradford Road, Cleveland Heights, OH
44118, USA. Telephone: (216) 687-2105.
ASA International Visitors Program for 1995. ACASA
members are encouraged to propose African and other
colleagues based outside North America for the
International Visitors Program to participate in the
Orlando ASA meetings in November 1995. Applications
are due March 1, 1995 and should be sent directly to
the ASA headquarters in Atlanta (see address above). To
propose an international visitor, you must supply the
following information:
(1) Name of scholar, full address, phone, fax or
cable address, institutional affiliation, area of
specialization.

(2) A curriculum vitae of no more than two pages.

(3) Scholar's record of visits to North America
during the past five years and plans for
participation in other professional activities in the
US in conjunction with the ASA conference.

(4) The name of panel organizer and panel subject.

(5) Abstract of paper the visitor intends to present.

African Studies Association, Toronto,
November 1994
ACASA Business Meeting, Saturday, November 5, 1994.
Summary of minutes. Approximate number present: 55.
(1) President's remarks (Abiodun). Announcement of
the death of Stanley Tarver, a doctoral student at Yale
University and member of the Triennial hospitality
committee. A moment of silence was observed.
Abiodun expressed profound thanks for the help
received in planning for the Triennial. Especially noted
are Barbara Frank, Simon Ottenberg, Roy Sieber, Jack
Pemberton, Janet Stanley, Manthia Diawara, Jean
Borgatti, Lisa Aronson, Bill Siegmann, Glenda Doyle,
Bill Dewey, Kathleen Bickford, Tanya Serdiuk, John
Mason, Michelle Parchment and Carol Thompson.

(2) Financial report/membership (Frank). Financial
status of ACASA is very good right now because of
receipt of funds in preparation for the Triennial.
However, most of these funds will be spent on the
Triennial. There is just over $20,000 in our account,
including $5,000 from the last Triennial earmarked for


stipends for African or Diaspora scholars and for
graduate students. Fund-raising for the Triennial has
yielded a modest amount in individual contributions
(about $7,000). Thanks to the efforts of Glenda Doyle,
Philip Morris has agreed to do all design work and
printing, which is a great help to our overall budget.
Membership dues have brought in about $6,600 which
includes some 1995 memberships. Newsletter costs have
increased; the most expensive was the April 1994 at
$1,880. Total expenses for the year were $5,553; income
was $14,331. There are 333 paying members, including
222 regular, 84 special, 21 institutional, 6 lifetime.
Ottenberg noted that some 35 ethnomusicologists have or
are about to become ACASA members. Copies of the
membership brochure are available; if anyone has the
means to distribute brochures, contact Barbara Frank.
ACASA still faces a potential problem with ASA
concerning our membership status, i.e., not enough
ACASA members are members of ASA to qualify for
sponsored status. The rule is that 66% of ACASA
members should also be members of ASA; at present
only about 50% are. ACASA has a grace period of three
years to reach the quota. Ottenberg suggested that
ACASA think seriously about becoming independent of
ASA, while retaining some level of relationship with the
"parent" organization.
ASA is experiencing a budget deficit, which has
caused their Board to look at one of the major
expenses-audio visual equipment at the annual meetings.
Abiodun argued to the ASA Board how indispensable this
equipment is for our discipline, and that it would be
unfair if ACASA were singled out to pay any more for
A-V set ups. ACASA will not be charged for this
equipment, at least for the time being.

(3) Fund raising/endowment drive (Ottenberg on behalf
of Nooter). At the 1992 Triennial a decision was made
to begin planning for an ACASA endowment. This drive
will kick-off with a T-shirt sale at the Triennial. Moyo
Okedeji has agreed to do the design with the assistance
of Freida High-Tesfagiorgis. In addition there will be a
silent auction of contributed items at the Triennial. The
ACASA Board is looking for someone in the New York
area to coordinate this activity; contact Abiodun or
Frank with suggestions.

(4) Election of new officers at Triennial
(Quarcoopome). Five Directors of the Board will be
stepping down at the Triennial in April 1995: Ottenberg,
Frank, High-Tesfagiorgis, Nooter and Silverman. A
nominating committee, appointed by the Board, has
nominated a slate of five Directors of the Board.
Additional names may be placed in nomination. See
above "1995 Election for Directors of the ACASA
Board" for details.

(5) Triennial Symposium on African Art. ACASA has
received generous cooperation and support from
individuals and institutions in the New York area in


10 ACASA Newsletter / No. 41, December 1994







conjunction with planning the 1995 Triennial. The most
important development since last year's meeting is the
official collaboration with New York University. Most of
the sessions will be held at NYU, with other sessions at
The Brooklyn Museum, The Museum for African Art,
The Metropolitan Museum of Art, The Schomburg
Center, and The Studio Museum in Harlem. Bill
Siegmann and Kate Ezra have been working closely with
the USIS International Visitors Program to sponsor six to
eight individuals from Africa to attend the Triennial.
Oguibe noted that neither ASA nor ACASA are
perceived as being very accommodating towards
members not resident in Africa or the States. He
requested that ACASA take into consideration the
difficulty members in Europe and elsewhere have in
getting to the Triennial.
Triennial Program (Aronson and Borgatti). Because
the proposed panels were of uniformly high quality, the
Program Committee decided that rather than eliminate
any, four concurrent sessions would be scheduled. In
addition to the full panels submitted, there were about
25 individual paper proposals. Not all of these
submissions, however, could be accommodated on two
"current research" panels. The program is more diverse
than ever before, heavily weighted towards Diaspora and
contemporary art.
Blackmun raised concern over whether concurrent
sessions would be scheduled at two or more places
widely separated from one another. While most will be
at NYU, plans are that no more than one panel would
be held elsewhere. An hour has been allotted between
panels to allow ample time to get from one to the other.
Bus transportation will be provided between NYU and
the Studio Museum in Harlem for one session, but for
other locations within the city, participants will be
advised to take public transportation.
A suggestion was made from the floor to approach
the El Museo del Bario (103th Street and 5th Avenue)
for possible participation in the Triennial. Abiodun
reported that the local planning committee had made
great efforts to inform and involve as many New York
institutions as possible.
Curnow-Nasara reported that the committee on the
Arnold Rubin Outstanding Publication Award
(Curnow-Nasara, Eli Bentor and Ann O'Hear) has
received about twenty submissions to date.
Frank reported on some of the other activities being
planned for the Triennial. Bickford reported on travel
and local hotel arrangements. (See Preliminary Program
above for details).
Pre-registration packets will be mailed in January for
March 1, 1995 deadline.

(6) African Studies Association meetings, 1995
(Dewey). The next ASA meeting will be in Orlando,
Florida on November 3-6, 1995. (See above "1995 ASA
Meetings, Orlando" for information on proposing panels).


(7) College Art Association (Frank). ACASA has
become somewhat more active in CAA. CAA recently
instituted a policy whereby affiliate organizations may
submit proposals for regular panels sessions juried
separately from the regular program. CAA 1995 will be
in San Antonio, Texas, January 25-28. (See below under
"Forthcoming Conferences").
(8) Other business, announcements:
The ACASA Book Distribution Program is about to
enter its fifth year, thanks to the individuals and
institutions who have contributed titles for the 125
recipient institutions.
Robin Poynor reported that a contract has been
secured for the African art text book project. To keep
costs down and quality high, the editors will be seeking
field photographs from ACASA members.
Mary Jo Aroldi has been nominated to stand for
election to the ASA Board of Directors.
Joanne Eicher reported that Michigan State
University is drastically reducing prices of the two
"African Dress" bibliographies.
Nancy Michelsons drew attention to the Eleggua
project newsletter (included in the registration packet)
concerning possible research in Cuba.
Steve Freidson reported that the Music Caucus met
at the Society of Ethnomusicology meetings in
Milwaukee and got a good response concerning
membership in ACASA. They appreciate the
consideration given the four panels submitted for the
Triennial.

ACASA Board Meeting I, Friday, November 4, 1994.
Summary of minutes. Present: Rowland Abiodun, Kathy
Curnow-Nasara, Bill Dewey, Barbara Frank, Freida
High-Tesfagiorgis, Simon Ottenberg, Nii Quarcoopome
and Janet Stanley. Absent: Nancy Nooter, Ray Silverman.

(1) Report to/from ASA Board (Frank). ASA Board
was briefed on ACASA membership, plans for the
Triennial, the book distribution program, and
participation in the College Art Association annual
meetings. To balance its budget, ASA may begin
charging for audio-visual set-ups. Future ASA annual
meetings: Orlando in 1995; San Francisco in 1996;
Columbus, Ohio in 1997; Chicago in 1998. Mary Jo
Amoldi has been nominated to stand for election to the
ASA Board.

(2) Financial report (Frank). A bank balance of
$20,842.75 which includes $6,615 from membership
dues, $126.63 interest income, and $7,580 contributions
for the Triennial. Expenses for the year were $5553.35,
including $4,180 for the newsletters, $406.84 for the
ACASA party at 1993 ASA, and $966.51 in postage,
supplies and phone expenses. There are 333 paying
members, including 222 regular, 84 special, 21
institutional, 6 lifetime. Since most of the recent
memberships are for new members planning to


ACASA Newsletter / No. 41, December 1994 11








participate in the Triennial, the Board agreed that new
members joining since September be considered 1995
members and that they be sent the December newsletter
gratis. Dues are not to be increased.
(3) Fund-raising-ACASA endowment (Stanley on
behalf of Nooter). Nooter proposes that we use the
event of the Triennial to proceed on two previous
proposals for fund-raising-the silent auction and T-shirt
sales. Moyo Okedeji is willing to do a design for the
T-shirt; the Board agreed to remunerate the artist $150
for the design. Abiodun and Frank will identify someone
from the New York area to work on the silent auction.
The silent auction fund-raising activity is intended to
raise monies towards an ACASA endowment, not to pay
for the Triennial.

(4) Election of officers at Triennial. The By-laws are
not entirely clear about how the Secretary-Treasurer is to
be nominated. Frank suggested that the Board consider
making the positions of Secretary-Treasurer and
newsletter editor Board-appointed positions, because they
require a certain degree of institutional support and
stability. In current practice the Secretary-Treasurer is a
voting member of the Board of Directors.
In accordance with the By-laws, the Board appointed
a nominating committee comprised of Frank,
Quarcoopome (Board members) and Barbara Blackmun
and Joanne Eicher (non-Board members) to nominate a
slate of directors.
(5) ASA 1995. Bill Dewey has agreed to serve on the
Program Committee as the convener/organizer of the
Arts panels for the ASA meetings in Orlando. See above
"1995 ASA Meeting, Orlando" for details.

(6) CAA 1995 / 1996 / 1997. The 1995 College Art
Association meetings will take place in San Antonio,
Texas, January 25-28. The 1996 CAA will take place in
Boston, February 21-24, and the 1997 CAA will be in
New York City. (See below under "Forthcoming
Conferences" for details on all three conferences).

(7) Triennial Symposium on African Art. The
Triennial program committee met on November 2nd. By
scheduling four panels concurrently, all proposed panels
can be accommodated. Board approved the proposed
pre-registration and on-site registration fees.

ACASA Board Meeting II, Sunday, November 6,
1994. Summary of minutes. Present: Rowland Abiodun,
Kathy Curnow-Nasara, Bill Dewey, Barbara Frank,
Freida High-Tesfagiorgis, Simon Ottenberg, Nii
Quarcoopome and Janet Stanley. Absent: Nancy Nooter,
Ray Silverman.

(1) Triennial Symposium on African Art (continued
from Friday Board meeting). Frank presented the
outlines of a bare-bones budget for the Triennial with a
bottom line of between $60,000 to $80,000. Based on


registration fees of 400 @ $50, 200 @ $25, plus $4,800
from 1992, 500 banquet tickets @ $50 and 500 bus
tickets to Brooklyn @ $6 each, there is a projected
income of almost $60,000, not including the $7,000+
already raised from individual contributors.
Following discussion and some dissent, the Board
approved that the per person cost of the banquet, which
is planned for the Brooklyn Museum, will be $40. The
real cost is about $65.00 per person. ACASA will
subsidize the difference. The pre-registrations should
determine whether or not the banquet plans go forward.
Plans for other aspects of the banquet,
however-catering, music-are going forward. There was
some interest in having a dance party, as the Iowa one
was so popular.
For the 1998 Triennial, the Board recognized that a
commitment from a host institution needs to be
confirmed in writing. The Board agreed that the Fowler
Museum (which was originally to have hosted the 1995
Triennial) should be given first options on the next one.
Ottenberg will contact Doran Ross about this.

(2) Triennial stipends. The procedures for awarding the
ACASA Triennial stipends need to be clarified. Past
practice has been to award $1,500 stipends to two
African/Diaspora scholars, and $250-$300 for up to five
graduate students, provided that each had submitted an
abstract and that it had been accepted by the Program
Committee. A stipends committee would review the
abstracts and decide based on merit. There is about
$5,000 budgeted from the last Triennial for these
awards. Because the USIS grant focuses on African
scholars, it is felt that the ACASA stipends should give
special consideration to Diapora scholars.
Although the precedent has been that all stipend
recipients must be presenters, there is no clear policy on
this. Stanley noted that this would mean that the pool is
already fixed and that we would not be seeking
additional applications. Frank noted that the only
flexibility in terms of additional participants would be
during the Wednesday afternoon program, yet to be
finalized. Board appointed a committee to recommend
stipend recipients for the Board's final approval. Stipend
Committee members are: Philip Peek, Tom Shaw, Marla
Berns, Bill Dewey and Barbara Frank.

(3) Diversifying ACASA membership. High-Tesfagiorgis
expressed concern that our efforts to diversify by
inviting new people to participate in the Triennial might
be hampered by requiring that they pay membership
fees. She proposed offering a membership waiver for
those participants invited for one session. Discussion
centered around whether waivers should be granted,
given that the 1995 Triennial will certainly have many
"non-traditional" ACASA participants and that the policy
of making exceptions is fraught with difficulties in
knowing where to draw the line. The Board decided not
to approve membership waivers.


ACASA Newsletter / No. 41, December 1994








(4) Bettelheim petition. Board discussed the request by
ACASA member Judith Bettelheim regarding the situation
that has arien concerning the St. Louis Art Museum's
dispersal of costumes from the Caribbean Festival Arts
exhibition. Board agreed that while the situation is
clearly regrettable, this dispute is beyond ACASA's
mandate. Board recommended that in response to
Bettelheim, she be advised to take the issue to the AAM
division that deals with disputes of this nature.

(5) Tabled until the next meeting: archiving ACASA
records, slide project, code of ethics, and sale of
ACASA membership list/labels

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 published.
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.




dele jegede (Indiana State University) has received a
Smithsonian Institution post-doctoral research grant. He
will be at the National Museum of African Art in the
summer of 1995 working on aspects of contemporary
Nigerian art. In June 1994, dele was one of five African
artists invited to participate in the Sixth Biennale of
Sacred Art, which opened in Santuario di San Gabriele
in Italy. While in Italy, Dele produced four art works for
the exhibition, in addition to speaking on the subject of
"Sacred art and war" at the conference organized in
conjunction with the exhibition. His essay, "Art as a
weapon in the war against oppression in Nigeria" was
published in the 500-page exhibition catalog.


Mary (Pblly) H. Nooter and Allen E Roberts were
married in Santa Fe, New Mexico on August 6, 1994.
She now goes by Mary Nooter Roberts.

Helen Shannon (Columbia University) has been awarded
a Smithsonian Institution pre-doctoral fellowship. Her
topic is The Reception of African Art in the United
States from 1905 to 1945 and its Influence on American
Modernist Art. She will be working at the National
Museum of African Art.

Nigerian Artists: A Who's Who and Bibliography
compiled by Bernice Kelly and edited by Janet Stanley
received honorable mention in the 1994 Conover-Porter
award given for excellence in Africana reference works.

Christopher B Steiner's African Art in Transit has been
named the winner of the 1993 Amaury Talbot Prize for
African Anthropology.
Susan Mullin Vogel has resigned as director of the
Museum for African Art, New York, to become the
Henry J. Heinz II Director of Yale University Art
Gallery, New Haven. She assumes duties in January
1995.






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, three to five 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. Send resume with salary requirements to: The
Metropolitan Museum of Art, Employment Office,
Department AB, 1000 Fifth Avenue, New York, NY
10028, USA.

Art historian, African-American Art, University of
North Carolina at Chapel Hill. Open rank. Tenure
track. Salary competitive. Starting date: January 1, 1996.
Candidates with Ph.D. and teaching experience sought to
strengthen existing program at undergraduate and
graduate levels. Research fields of interest to the
Department include, but are not limited to,
African-American art and/or African Art, with the
possible related fields of Art of the African Diaspora
and Popular Arts. Include letter of application, cv with
full publication list, four letters of reference, and


ACASA Newsletter / No. 41, December 1994 13








offprints or writing samples. Deadline: January 3, 1995.
Chair, Art History Search Committee, Department of Art,
University of North Carolina, Chapel Hill, NC
27599-3405, USA.
Art historian, Africanist, Lecturer or Assistant
Professor, University of Illinois at Chicago. Ph.D.
completed by hire date for Assistant Professor.
Tenure-track for Assistant Professor. Teach in department
that includes specialists in Asian and pre-Columbian and
has a strong commitment to research and publication.
Teaching responsibilities include surveys, upper division
and graduates seminars in African and Oceanic art,
participation in the introductory world survey, and the
opportunity to develop courses in aspects of the art and
architecture of the African Diaspora, including the
United States, the Caribbean, and Latin America.
Starting date: fall 1995. Screening begins December 5,
1994, and continues until position is filled. Application
from people of color, women and the physically disabled
persons are especially welcome. Send letter of
application, r6sum6, and names of three references to
David Sokol, Chairperson, Search Committee, History of
Architecture and Art Department, University of Illinois at
Chicago, 935 W Harrison Street M/C 201, Chicago, IL
60607-7039, USA.

Art historian, Assistant Professor, University of Notre
Dame. Tenure track. Ph.D. specialist in 20th-century Art
with interest in critical theory. Second field in Ancient,
African-American, Native-American, African, or
pre-Columbian desirable. Teach undergraduate and
graduate students including graduate seminar for MFA
students. Supervise M.A. theses in area of specialization
and participate in two-semester, team-taught survey.
Normal load, two courses per semester. Send cv, letter
of application, three letters of reference and samples of
publications. Deadline: January 1, 1995. William Kremer,
Chair Department of Art, Art History & Design, Notre
Dame, IN 46556, USA.

Art historian, African Art, Assistant Professor,
Columbia University, New York City. Teach graduate
and undergraduate courses, lead graduate program in
African art, and develop a new introductory offering in
African art and culture to form part of Columbia
College's core curriculum. Ph.D. and some teaching
experience required. Send letter of application, cv and
names of three references. Deadline: December 8, 1994.
Esther Pastory, Chair, Search Committee, Department of
Art History and Archaeology, Columbia University, New
York, NY 10027, USA.

Art historian, Assistant Professor, University of
Maryland at College Park. Tenure track (higher rank,
if resources permit). Starting date: August 1995. Ph.D.
must be completed no later than August 1995.
Specialization: Art of the African Diaspora. Preferred
minor field: African Art. The ideal candidate will


demonstrate strong promise of sustained scholarship and
publication. Teaching experience at the college and
university level strongly preferred. Research activities for
the candidate are enhanced by the Smithsonian Institution
Libraries and the Library of Congress. cv and three
letters of recommendation are required. Deadline for best
consideration: December 15, 1994. Ekpo Eyo,
Department of Art History and Archaeology, University
of Maryland, College Park, MD 20742, USA.

Visiting Assistant/Associate Professor, African Art,
University of South Florida, Tampa [pending funding].
For spring semester, 1996, with possible extension for
the following academic year. Teach graduate
(MA)/undergraduate courses, including introductory
African art survey. Desirable secondary interests are
African diaspora (especially Caribbean/Afro-Latin), or
African-American art. This position is part of a
developing program in African art. Candidate will be
expected to advise on program development. Some
participation in MA thesis, orals and departmental
committees expected. Requirements: Ph.D. by July 1995,
teaching experience, and demonstrable commitment to
scholarship. Interviewing at CAA on informal, drop-by
basis. Deadline: August 15, 1995. Send cv, writing
sample and three references. Willace Wilson, Art
Department, University of South Florida, Tampa, FL
33620-7350, USA.

Professional Development Fellowship Program for
Artists and Art Historians, College Art Association.
CAA is accepting applications for its Professional
Development Fellowship Program for Artists and Art
Historians. Opportunities are available for terminal
degree students earning an M.A. or Ph.D. in art history,
or an MFA in studio in the spring of 1996.
Each fellowship provides funding for two years. In
the first year, students are awarded direct grants toward
meeting expenses in preparing their dissertation, thesis,
or exhibition. In the second year, after completing their
degrees, fellows are placed in professional positions in
partnership institutions which may include museums,
universities, or art centers. Placement positions may be
for one or two years.
Application deadline: January 31, 1995. For
information and to receive a program brochures and
application, contact: Fellowship Program, College Art
Association, 275 Seventh Avenue, New York, NY 10001,
USA. Telephone (212) 691-1051.

The Schomburg Center for Research in Black
Culture, a unit of the New York Public Library's
Research Libraries, announces its Scholars-in-Residence
Program for the academic year 1995-96. The Fellowship
Program is open to scholars in the humanities studying
black history and culture and to professionals in fields
related to the Schomburg's Center's collections and
program activities-librarianship, archives and museum
administration, special collections, photographs,


14 ACASA Newsletter / No. 41, December 1994








audiovisual material and publications. Fellows are
required to be in full-time residence at the Schomburg
Center for six-months or a-year. Foreign nationals are
ineligible unless they have resided in the United States
for three years immediately preceding the award date of
the fellowship. The fellowship stipend is $15,000 for six
months and up to $30,000 for twelve months.
Application deadline is January 15, 1995. For brochure
and application form, write: Scholars-in-Residence
Program, Schomburg Center for Research in Black
Culture, 515 Malcolm X Boulevard, New York, NY
10037-1801. Telephone: (212) 491-2203.
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 Endowment for the Arts, 1100 Pennsylvania
Avenue NW, Washington, DC 10506, USA. Telephone:
(202) 682-5442. Deadline: February 1, 1995.
The Art of Sacrifice: Call for Papers. This is a call
for contributors to an edited volume on the art of
sacrifice to be edited by Martha Anderson and Chris
Kreamer. A publisher has already expressed interested in
the recent ASA/Toronto panel on the subject, and the
editors would like to "round out" the volume with essays
on diverse, but related topics from various areas of the
African continent and the Diaspora. Interested individuals
should send a two-page abstract that discusses the
theoretical framework of the essay and the way(s) in
which sacrifice and art are linked. Particularly welcome
are topics that focus on sculpture used in sacrifice;
aspects of body decoration as related to sacrifice; and
elements of performance (music, dance) as an integral
part of sacrifice. The editors are seeking a good
geographic spread; thus, papers focusing on east, central,
southern, and northern Africa are especially welcome.
Although the volume will concentrate largely on the
continent of Africa, related papers on the African
Diaspora will also be considered.
The deadline for the two-page abstract is February
1, 1995. Send abstracts to: Martha G. Anderson, 64
Wkst University, Alfred, NY 14802. Telephone: (607)
871-2468. FAX: (607) 871-2490 or Christine Mullen
Kreamer, Department of Anthropology, NHB 112,
Smithsonian Institution, Washington, DC 20560, USA.
Telephone: (202) 357-4733. FAX: (202) 357-2208.
E-mail: mnhanl65@sivm.si.edu.

Drew in West Africa is a unique summer study
program in C6te d'Ivoire which allows participants to
explore the rich cultural and artistic traditions of West
Africa. Under the directorship of Jerry Vogel, the
program includes courses in African culture and history
of African art and architecture. Students are able to


apprentice African artists in their villages and workshops
in the areas of ceramics, fibers and metals. Program
dates: mid-July to mid-August 1995. Estimated costs:
$3,950 (includes 8 credit tuition, air fare, lodging and
some meals). Applications are welcome from students,
teachers, artists, and others interested in learning about
Africa from the inside. Applications deadline: April 1,
1995. For further information, contact: Off-Campus
Programs Office, Drew University, Madison, NJ 07940,
USA. Telephone: (201) 408-3438.
International Partnership Among Museums (IPAM).
Application forms for the American Association of
Museums' International Partnership Among Museums
grants for 1995-1997 are now available. To obtain forms
or for information, contact: Department of International
Programs and AAM/ICOM, American Association of
Museums, 1225 Eye Street, NW Suite 200, Wshington,
DC 20005. Telephone (202) 289-1818. ACASA members
Ray Silverman and Bill Dewey have both received IPAM
grants and would be glad to offer advice. This past
summer Bill Dewey, working through the University of
Iowa Museum of Art, visited Zimbabwe and did a joint
collecting project with the Great Zimbabwe site museum.
Kundishora Chipunza of that Museum then came to the
United States in August and September and visited living
history museums with Bill.

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 boodward, editor, History of
Cartography, 550 North Park Street, Madison, WI
53706-1491, USA. Telephone: (608) 263-3992. E-mail:
histcart@geography. wisc.edu

African Archives and Museums Project: 1994 Awards.
The Joint Committee on African Studies of the Social
Science Research Council and the American Council of


ACASA Newsletter / No. 41, December 1994 15








Learned Societies recently awarded the fourth round of
grants under the African Archives and Museum Project
(AAMP). Supported with funds from the Ford
Foundation, the AAMP .seks to invigorate and
strengthen the work of archives and museums in Africa.
It operates as an annual grants competition, awarding up
to $15,000 to African archives and museums for
activities that will enable these financially-pressed
cultural institutions to broaden their constituencies and
reconfigure their roles as centers of humanistic
knowledge. Administered with the help of an
international selection committee, the AAMP supports
efforts to preserve and augment significant but especially
endangered collections; document, catalog, and exhibit
special holdings; and enhance public and scholarly use
of archival and museum sources. It is especially
receptive to projects that draw on a local expertise and
community resources and bring together institutions in
cooperative ventures.
The 1994 competition drew 52 proposals from 26
African countries south of the Sahara. Thirteen projects
were funded: Museu do Dundo, Dundo, Angola;
National Archives of the Republic of B6nin, Porto-Novo;
Botswana National Archives and Records Services,
Gaborone; National Museum, Monuments and Art
Gallery, Gaborone; Palace of Bafut, Yaounde, Cameroon;
National Museum of Eritrea, Asmara; Mombasa Old
Town Conservation Office, Mombasa, Kenya; National
Library and Archives of Nambia, Windhoek; National
Museum, Benin City, Nigeria; Direction des Archives du
S6n6gal, Dakar; Natal Museum, Pietermaritzburg, South
Africa; South Africa Museum, Cape Town, South
Africa; The Uganda Society, Kampala.





News from France
"Dogon (Mali-Burkina Faso)" is the current exhibition
at the Mus6e Dapper in Paris (October 25, 1994 through
March 13, 1995). There is an accompanying catalogue.
For information, contact: Musee Dapper, 50 avenue
Victor Hugo, 75116 Paris, France. Telephone: (1) 45 00
01 50.

News from Gambia
The new National Council for Arts and Culture of
Gambia (NCAC) was inaugurated in March 1993. The
aim of the Council is to promote and foster the cultural
development of Gambia in all its aspects. One of the
primary goals set by the Council is to establish the
National Theatre Complex and Cultural Village for
Gambia and the National Theatre Company by 1996.
Other important programs include the following: (1) the
stabilization of the shoreline of James Island which has
been eroding for some time. There is a danger of losing


one of Gambia's most important historic sites; (2) the
promotion of national arts and literature, producing an
anthology of Gambian literature with selected works of
new Gambian writers; (3) the publication of a catalogue
of traditional and contemporary arts. The Council also
publishes a newsletter entitled ArtsNews, which covers
all of the NCAC. Contact address: B. K. Sagnia,
Executive Director, NCAC Secretariat, 8c, Marina,
Banjul, Gambia. Telephone: 29542.

News from Ghana
ICCROM in Ghana. A nine-month training course for
museum professionals from sub-Saharan Africa is to start
at the University of Ghana, Legon, in April next year
under the auspices of the International Centre for the
Study of the Restoration and the Preservation of Cultural
Property (ICCROM). An accord to this effect has been
signed by the Italian-based ICCROM, the Institute of
African Studies, Legon, and the Ghana Museum and
Monuments Board. The course is part of a project
known as PREMA 1990-2000 (Prevention in Museums
in Africa). The objectives of the programme are to
ensure the conservation of sub-Saharan museum
collections, and to establish a network of African
professionals who can assume the responsibility of
conservation of cultural property and future training. The
university course is one of five components of the
programme, the first part of which included a
three-month PREMA national course in Ghana in 1989.
- from Vest Africa (London) November 14-20, 1994,
page 1961.
The Ghana Studies Council is the new name of the
Akan Studies Council, a decision reached after lengthy
discussion and a vote by members attending the African
Studies Association meeting in Boston. Jean Allman
(History, University of Missouri-Columbia) is the chair
of the Council, but Michigan State University remains
its academic home. Ray Silverman (Department of Art,
MSU) facilitates the Council's business and
correspondence. The Council seeks new members as
well as submissions for their newsletter (due March 1,
1995). Faculty/professional membership is $15.00;
student membership is $5.00. The Council is appealing
for funds to purchase computer equipment for the
Historical Society of Ghana. Checks should be made
payable to Michigan State University. Send contributions,
1994 membership dues and newsletter submissions to:
Ray Silverman, Department of Art, Michigan State
University, East Lansing, MI 48824, USA.

Brooklyn Beyond: West Africa, Ghana and C6te
d'Ivoire, March 18 to April 3, 1995. The Brooklyn
Museum announces an art study adventure, "Brooklyn
Beyond: West Africa, Ghana and C6te d'Ivoire (Ivory
Coast)" from March 18-April 3, 1995. William
Siegmann, curator of African Art, will direct the tour,
which includes visits to traditional architectural sites and


16 ACASA Newsletter / No. 41, December 1994








.religious shrines of Senufo villages, the French colonial
cities of Abidjan and Grand Bassam in C6te d'Ivoire,
the historic castles of the Gold Coast, the palaces of the
Asante kingdom at Kumasi, and the national capital of
Accra in Ghana. The tour will visit the kente cloth
weavers of Bonwire, the makers of the black pottery of
Jukwa, and the sculptors and carvers of Ahwiaa. Also
included are visits to the studios of contemporary artists
and a traditional iron smelter. For information, contact:
Membership Office, The Brooklyn Museum, 200 Eastern
Parkway, Brooklyn, NY 11238-6052, USA. Telephone:
(718) 638-5000 extension 326.

News from Great Britain
"Mediums of Change: The Arts in Africa 95," a
three-day conference organized by the Royal African
Society, is scheduled to take place 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.
The opening keynote address will be given by Wole
Soyinka. Speakers at the major sessions include:
"African Literature Today" Ben Okri (chair),
Kojo Laing, Njabulo Ndebele, Tsitsi Dangaremba
discussantt), Abdulrazak Gurnah discussantt).
"Artist, Medium and Development in the Visual
Arts" Pitika Ntuli (chair), Everlyn Nicodemus,
Uche Okeke, Salah Hassan discussantt), Simon Njami
discussantt).
"African Music-Cross Atlantic" Angelique Kidjo
(chair), Baaba Maal, Kazadi wa Mukuna, Hassan
Erraji discussantt).
"The Language of Change in Theatre/Performance"
Gabriel Gbadamosi (chair), Penina Mlama, Fenmi
Osofisan, Sotigue Kouyate discussantt).
"Film: Documenting Change in Africa" John
Akomfrah (chair), Haile Gerima, Jean-Marie Teno,
Farid Boughedir discussantt), Sassy Faye discussantt).
In addition there will be a musical evening on
September 30th featuring an acoustical set by Baaba
Maal.
Attendance at "Mediums of Change" will be limited
to around 250. 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.
"Mediums of Change" will coincide with three major
exhibitions of classical African art at the Royal Academy,
of modern African art and 20th century textiles. African
film, photographic, performing arts, dance, and other
events will be taking place in London.
Registration fees (which include papers) are: 100
(Royal African Society members and African Studies


Association of UK members); 125 (non-members); 35
(students). To obtain registration forms and for further
information contact: Conference Coordinator, The Royal
African Society, SOAS, Thornhaugh Street, Russell
Square, London IC1H OXG, UK. Telephone: +44 (0)
71 323 6035. FAX: +44 (0) 71 323 6118
Kuba textiles at Pitt Rivers. An exhibition of Kuba
textiles will be held at the Pitt Rivers Museum,
University of Oxford, January 21-April 29, 1995,
sponsored by Willis Corroon Fine Art. The exhibition
will comprise early twentieth-century textiles from the
Museum's own collections collected by Torday,
Hilton-Simpson and others as well as pieces on loan
from a private collection made in the last few years. For
further information, contact: Jeremy Coote, Assistant
Curator, Pitt Rivers Museum, South Parks Road, Oxford
OX1 3PP, UK. Telephone: 0865 270-929. FAX: 0965
270-943.

Jeremy Coote, Area editor for Africa at the Dictionary
of Art (Macmillan, London) writes to say that he has
almost managed to keep his promise in the last ACASA
Newsletter that all the African entries would be on their
way to the typesetters by the end of September. One
very late submission has only just arrived and will be
edited in the next week or so. Otherwise all the material
has now been or is about to be typeset. It is not too late
to make changes or additions, especially of new
information or bibliographical references, though the
time left to accommodate any changes is running out.
As Jeremy is doing his Dictionary work from home, it
would be quickest to write him at 41 Alexandra Road,
Oxford OX2 ODD. Telephone/FAX: (0865) 243426.

News from Italy
Forum for African Archaeology and Cultural
Heritage. In September 1992, the Forum for African
Archaeology and Cultural Heritage was created in Rome
at the recommendation of an international committee of
scholars representing various historical-anthropological
and naturalistic disciplines in the area of African studies.
One of the main aims of the Forum is the promotion of
research activity relative to the critical themes of African
archaeology in a broad sense, connected to the
challenges facing the continent today. The Forum will
take care of training qualified personnel, assist in
organizing archaeological projects, promote the
conservation of the cultural heritage. Overall, the Forum
will promote the exchange, gathering and circulation of
information.
The Forum is made up of two interrelated parts.
The permanent structure consists of the Office of the
Permanent Secretary and the Executive Committee, the
latter having eleven members. The Forum is to be
represented by international meetings/workshops that will


ACASA Newsletter /No. 41, December 1994 17








be held regularly. The-first is planned for spring-summer
of 1995.
The following scholars were elected as members of
the Executive Committee: B. E. Barich (permanent
secretary), K. Bergashaw, M. Casini, B. Chiarelli, Pierre
de Maret, Rodolfo Fattovich, Fekri A. Hassan, Augustin
Holl, N. Petit-Maire, Gilbert Pwiti, Fred Wendorf.
President of the Forum is J. Desmond Clark. For
information: Forum for African Archaeology and Cultural
Heritage, c/o Instituto Italo Africano, Via llisse
Aldrovandi 16, 00197 Roma, Italy.

News from Kenya
Grave robbery: stolen posts fetch high prices. by
Susan Beckerieg, excerpted from the Warmer Bulletin no.
41. "By the side of the road were five wooden posts
arranged in a neat row. They were two to three feet
high a couple had faces on them and some were
decorated with pieces of string makonna which the
Giriama people of the Kenyan coastal hinterland use to
commemorate their ancestors.
"Our chance discovery of them in the midst of the
forest meant that we must be near a kaya, an area of
ritual importance to the Giriama. We piled out of the
car and photographed the pieces of wood, but refrained
from touching them.
"Later that day we travelled to some Giriama
settlements and asked to see their graveposts. A young
Giriama man took us to a remote homestead where we
were in for a shock. Under cover of darkness somebody
had removed all the posts.
"This bad news fitted only too well into our
knowledge of the 'tribal' art trade. There is an
international market for the ornately-carved graveposts
called vigango, which commemorate people of rank and
power. They are sold in Nairobi City Market and
exported to Europe and America. In fact one of our
party, Jane, had brought vigango in Nairobi and carried
them to London, where she had sold them. Now she
was mortified.
"Private collectors and museums pay hundreds of
dollars for carved graveposts. David, a London-based
dealer, recently sold a set of vigango for $900. He
justifies this as an act of conservation and argues that
once graveposts are on sale in Nairobi, the ancestors
they represent have already been removed from their
descendants' care. Maybe, he reasons, the grandchildren
had converted to Christianity or Islam and no longer
want to commemorate their ancestors. In any case, there
is no way of knowing if the posts are stolen property.
As art objects in museums or in homes of wealthy
collectors they will be well cared for.
"Not everybody finds this argument convincing. Jane
says she will no longer trade in graveposts. If all
potential buyers and sellers adopted her attitude the
demand would cease. Meanwhile the Giriama people
hope that thieves will be deterred through fear of


ancestral curses. During our short journey in search of
graveposts a madman was pointed out to us. His hands
twitched strangely. Our Giriama companion said the man
was mad because he had been a gravepost-robber who
had attempted to make ancestors into market
commodities."

News from Nigeria
Akbdi Afrika Cultural Centre, Museum and Institute
(earlier known as the O-kun Cultural Centre) was
founded in 1992 by Ade Obayemi in Iffe-Ijumu, Kogi
State. Akbdi Afrika announces its first international
conference on "O-Kun: An African People and Their
Civilization." The conference is scheduled from June
27-29, 1995, at the permanent site of Akbdi Afrika,
Iffe-Ijumu, Kogi State, Nigeria. This initial conference
focuses on the culture and history of the
"O-Kun"-referring to those who at various times have
been identified as ljumu, Owe, Ikiri, Iyagba, Igbede or
Gbedde, Oworo, or more generally as the North East
Yoruba Kabba or Oyi people, located in the present
Kogi, Kwara and Ondo states of Nigeria. The conference
organizers request contributions on any of the nine
sub-themes:
1. The Environment and the People

2. Origins of Communities & Institutions in the
Sub-Region

3. Material Culture, Technology and Economy

4. Social and Intellectual Foundation of the
Classical O-Kun Tradition

5. The O-Kun and Their Non Yoruba Neighbours
Before and Since the British Conquest

6. The O-Kun the Yoruba-Speaking World Before
and Since 1900

7. The O-kun Under British Rule 1897-1960

8. The O-kun Experience Since 1960

9. Facing the Future: The O-kun in National and
World Affairs
Proposals are due: February 28, 1995. Submission of
final papers not later than April 30,1995. Registration
fee $50.00. For further information, contact: The
Director, Akodi Afrika, PMB 1004, Iffe-ljimu Kogi State,
Nigeria.

PACA International Exhibition. The Pan-African Circle
of Artists international exhibition which was scheduled to
begin on June 15, 1994 at the Didi Museum, Lagos,
was postponed for a more auspicious time. The
exhibition will now hold from November 15-25, 1994 at
the same venue. During the exhibition, works by
Nigerian artists and those from other African countries
will be on view. A lecture will also be given by Eddie


18 ACASA Newsletter / No. 41, December 1994








Chambers, the black-British artist, curator, and activist
who is also a trustee of PACA.
Osa D. Egonwa, Ph.D., seeks sabbatical placement in a
museum art gallery or university art/art history
department for the year 1995. Dr. Egonwa teaches on
the art faculty at Delta State University, Abraka,
Nigeria. Contact him at P O. Box 238, Obiaruku, Delta
State, Nigeria.
Elisha Renne writes from Ahmadu Bello University
where she is on a Fulbright fellowship for 1994-95, that
she is beginning research on women's weaving and
embroidery in Zaria City. Wild silk embroidery is
apparently still being done there, but nowadays by
women as well as by men.

News from South Africa
Rock Art Workshop in the Waterberg, Northern
Transvaal, South Africa, arranged by ROCUSTOS,
Association of Friends of Rock Art. The rock art of
southern Africa is exceptional in world perspective in its
abundance and diversity, but is has also been recognized
as the most threatened part of the earlier cultural
heritage of the region. It warrants protection and
documentation for its intrinsic value as images from the
past, its religious association, artistic merit and
meaningful content.
Since it is impossible for the small number of
researchers in the rock art field to document and protect
most of the 15,000 sites, the support of land owners and
custodians of rock art is needed, as well as that of
concerned individuals, conservation groups and the
private sector in order to protect this heritage.
ROCUSTOS, the Association of Friends of Rock
Art, was accordingly established through the initiative of
the National Cultural History Museum in Pretoria with
the aim to:
* foster an appreciation in the wider South African
community for the value of rock art as a unique
cultural heritage.
* equip local communities for the implementation of
conservation and management measures and enable
them to develop their own potential through
participative management and sustainable utilisation of
their cultural assets.
* work towards the creation of new job opportunities in
specific areas through tourism.
This aim would be achieved through:
* dissemination of information through avenues such as
newsletters
* local workshops (such as the October workshop in the
Waterberg), educational programs, articles as well as
through the media


* the establishment of communication networks between
individuals or local communities and institutions such
as schools, museums, universities and the National
Monuments Council.
Review of the Workshop held in October 14-16, 1994:
The recent rock art workshop was unique in that it was
the first time that such a diverse group of representatives
participated with rock art as a common denominator.
At this workshop land owners, rock art researchers
and representatives from fields as far apart as nature and
environmental conservation, education, tourism and
human potential development teamed up to seek a
solution for the protection and sustainable use of the
rock art heritage. Janette Deacon, head of archaeology at
the National Monuments Council, presented the
welcoming address.
Other participants and topics included:
* "Rock art and eco-tourism" (Philip Hatting,
Department of Eco-Tourism, University of Pretoria)
* "The last 2,000 years in the Waterberg" (Tom
Huffman, Archaeology Department, Wits University)
* "A consideration of rock art as a common
South-African heritage" (Professor Bredenkamp,
Institute of Historical Studies, University of the
Western Cape)
* "An integrated environmental approach" (Johan
Verhoef, head of education at National Parks Board)
* "Perceptions of rock art among Nguni speakers"
(Frans Prins, anthropologist at Natal Museum)
Future projects for ROCUSTOS were discussed during
the plenary session, and the next workshop, which is
planned for the beginning of October 1995, will be
arranged by the Soutpansberg Rock Art Conservation
Group and will take place at Schoemansdal in the
Northern Transvaal, South Africa. A date was also set
for a follow-up meeting of the ROCUSTOS working
group, which subsequently took place on the 31st of
October. At this meeting, which was hosted by the
Centre for Eco-tourism at the University of Pretoria, a
management plan and marketing proposal was jointily
formulated by the attendants who representated nature
and environmental conservation, marketing associations,
tourism, land owners, and museums and universities.
The formulated strategy concerning "the way ahead
for rock art, and the role which ROCUSTOS will play"
includes an awareness campaign through various journals
and the media, while it will contribute to the education
and development of local communities through the
dissemination of knowledge and the fostering of pride in
the common heritage.
The activities undertaken by ROCUSTOS will
contribute towards the protection of rock art and
encourage re-appraisal of the art of a truly marginalised
section of the South African people. For information,
contact: Ansie Steyn, (ROCUSTOS Coordinator), National


ACASA Newsletter / No. 41, December 1994 19









Cultural History Museum, P 0 Box 28088, Sunnyside
0132, South Africa. FAX: -27 12 3416146.

Ernest Mancoba in South Africa contributed by
Elza Miles. In celebration of Ernest Mancoba's unique
contribution to South African art and the CoBrA
movement, the Johannesburg Art Gallery is holding a
retrospective exhibition of his art as well as a selection
of sculptures by his wife Sonja Ferlov Mancoba, who
died in 1984. Mancoba, now ninety years old, has
returned to South Africa for the first time since his
departure in 1938. His visit marks the opening of the
first retrospective exhibition entitled "Hand in Hand."
Mancoba left South Africa on a bursary and loan
from the Bantu Welfare Trust to pursue his art studies in
Paris. He planned to be away for two years.
Nevertheless, coincidences the outbreak of World War
II, four years of internment in a German camp, marriage
across the colour bar and artistic involvement -
prolonged the stay into one of 56 years. Mancoba is
among the first few South African artists whose art has
been internationally acclaimed. He and his Danish wife
Sonja Ferlov Mancoba have been closely associated with
the dynamics of the CoBrA movement from 1948 to
1952. However, he never succumbed to CoBrA's
idiosyncratic language. Mancoba was not to sever ties
with his African heritage. Therefore a totemic
configuration holds away at the centre of his paintings
and drawings. It conjures up associations with the masks
and funeral figures of West and Central Africa, such as
the mboom and kanaga masks as well as the Kota
images that guard the ancestral bones of the Kota. By
exploring these images Mancoba guides us into the
spiritual being of Africa.
Ernest Mancoba, born in Johannesburg on the 29
August 1904, grew up in the mining town of Boksburg
and attended Anglican Diocesan Training College, Grace
Dieu near Pietersburg and continued his studies at the
University of Fort Hare. He obtained a BA degree in
1937. At Grace Dieu, Sister Pauline one of his teachers
discovered his talent and encouraged him to do
woodcarving. In 1929 he made his first major sculpture:
the Bantu Madonna. This sculpture of awakening
womanhood seems to be the earliest South African
interpretation of Mary as an African. Mancoba was
brought up by his mother Florence, born
Mangqangwana, in accordance with the African
philosophy of the brotherhood of mankind, "Umuntu
ngumuntu nja banye abantu." Throughout his life
Mancoba has tried to live accordingly. He is convinced
that the survival of man depends on regaining the
spiritual content that has been replaced by glaring
materialism. For Mancoba art is capital in achieving this
ideal. He says the function of art is not to "tickle and to
make people laugh." It has to express what society at
times find rude and uncivil in order to heal the breach
that has developed between spirit and matter.


In 1961 Mancoba became a French citizen. He and
his son Wonga live in Paris. "Hand in Hand" curated
by Elza Miles, writer of both a monograph on Mancoba,
Lifeline out of Afria and a resource book, Ernest
Mancoba closes on 13 February 1995. From
Johannesburg it will be travelling to the South African
National Gallery, Cape Town from April 19 to mid-May
1995.

News from the United States
Major Opening of African Galleries at Brooklyn
Museum. In September 1994 the African Galleries at
the Brooklyn Museum were de-installed in order to
prepare for the expanded galleries which will open in
March 1995 in time for the Triennial. This upcoming
installation will include many recently acquired objects
from all over the continent. In addition, the reinstalled
galleries will display objects from Eastern and Southern
Africa, areas not currently represented. The new gallery
will provide small temporary exhibitions focused on
specific topics. The first of these will present African
furniture from the permanent collection.
"Ceramic Gestures: New V\ssels by Magdalene Odundo,"
the first solo museum exhibition of her work in the
United States, is scheduled at the University Art
Museum, University of California, Santa Barbara, from
March 15-April 23, 1995. This exhibition will introduce
fifteen new pieces by Kenyan ceramist Magdalene
Odundo. Curated by Marla C. Berns, the exhibition will
have an accompanying catalog and a ten-minute video
documenting Odundo at work and in conversation.
"Ceramic Gestures" will travel to The Nelson-Atkins
Museum of Art, National Museum of African Art, and
Indiana University Art Museum.

African Contemporary Art Exhibition in the United
States. The International Centre for Bantu Civilizations
(CICIBA) is collaborating with the University of South
Florida, Tampa, on an exhibition of African
contemporary art to travel in the United States. This
exhibition will open in Tampa in January 1996 and will
travel to selected venues in the United States, Canada,
Europe on a two- to three-year tour schedule. The
exhibition will present art work from seven painters and
sculptors from the CICIBA member states. Six to ten
pieces per artist will be selected for the show. The
overall theme of this exhibition is "African artists in the
Bantu area: traditions in contemporary African art," with
the following three sub-themes: (1) retaining traditions,
(2) African female iconography, and (3) social and
political commentaries. A color catalog of the exhibition
illustrating all works will be produced. The seven artists
will be invited to come to the United States for the
opening ceremony and to participate in workshops,
teaching, interviews, and so forth. For information,
contact: Bernard Clist, "USA Exhibition," Department








d'Arch&ologie et de Musiologie, CICIBA, BP 770,
Libreville, Gabon.-FAX: 70 34-49.

Memorabilia sought. The Smithsonian Institution is
looking for modern and historic objects, photographs and
information for an exhibition opening at the National
Museum of Natural History in 1995. The exhibit focuses
on ocean science, seafarers and conservation, and part of
it deals with people and cultures from around the world
that make a living at sea. The curators need objects
such as oars, paddles, buoys, navigational charts,
fishtraps and fishbaskets from the U.S. and around the
world. Also of interest are fishermen's memorials and
protective charms used by marine fishermen in Africa
(specifically Ghana, Senegal or Kenya), Asia, Oceania or
the Caribbean. The Smithsonian will pay for postage for
any objects sent and will credit donors and lenders of
objects in the exhibition. Contact: Doyle S. Rice at the
Smithsonian's Environmental Awareness Program.
Telephone: (202) 357-4797. FAX (202) 786-2557.




African nomadic architecture: space, place and gender /
by Labelle Prussin. Washington, DC: Smithsonian
Institution Press, April 1995. ISBN 1-56098-358. 350pp.
24 color, 66 b&w, 148 line illustrations. Price: $55.00.

African warriors: the Samburu / by Thomain Magor.
New York: Abrams, 1994. 256pp. ISBN 0-8109-1943-5.
Price: $60.00.
Archaeological figurines from Zimbabwe / by E.
Matenga. Uppsala: Uppsala University, 1993. 163pp.
(Studies in African archaeology, 5). Price not stated.
The archaeological identity of the Mutapa State I by I.
Pikirayi. Uppsala: Societas Archaeologica Upsaliensis,
1993. 200pp. (Studies in African archaeology, 6). Price
not stated.

Boti: Ein Maskenschnitzer der Guro, EYfenbeinkuste:
Notizen zu PersOnlichkeit, Werkverfahren und Stil eines
traditionellen Bildhauers in kstafrika I by Eberhard
Fischer [et al.]. Zurich: Museum Rietberg, 1993. 96pp.,
179 b&w photos. Price: DM 35,00.

Directory of Museum Professionals in Africa. Paris:
International Council of Museums (ICOM); Dakar: West
African Museums Programme (WAMP), 1993. 220pp.
ISBN 92-9012-016-9. Price: $30.00. The first and only
reference book providing names and full addresses of
more than 850 museum professionals on the African
continent, indicating for each professional basic training,
field of expertise, specialty and experience. More than
300 museums or institutions dealing with museum
activities or programmes are included in the directory.
The directory is bi-lingual (English/French). Four
indexes include: countries, institutions, names and


categories. Available from: West African Museums
Programme, B. P. 357, Dakar, S6n6gal. Telephone: (221)
22.50.57. FAX: (221) 22.12.33

Durant Sihlali: mural retrospective = les murales,
1960-1994 / edited by Marc Sarrazin. Johannesburg:
Alliance FranCaise de Soweto, 1994. 72pp. Price not
stated.
The Fulani matrix of beauty and art in the Djolof
regions of Senegal / by Thomas McDonald Shaw.
Lewiston, NY: Edwin Mellen Press, 1994. 126pp. ISBN
0-7334-9395-6. Price: $69.95.
Global visions: towards a new internationalism in the
visual arts. INIVA Symposium proceedings, 1994; edited
by Jean Fisher. London: KALA Press in association with
the Institute of International Visual Arts, 1994. 175pp.
ISBN 0-947753-05-2. Contact: INIVA, Kirkman House,
12-14 Whitfield Street, London WIP 5RD, UK.
Telephone: (44-171-636-1930. FAX: (44) 171-636-1931.

Les gravures rupestres de la vallee de l'Ogooui (Gabon)
/ by Richard Olisly and Bernard Peyrot. Paris: Sepia,
1993. Price not stated.

Great Zimbabwe: the Iron Age in South Central Africa /
by Joseph O. Vogel. New York: Garland, 1994. 299pp.
ISBN 0-8153-0398-X. Price: $49.00.

Images of metal: post-war sculptures and assemblages in
South Africa; a catalogue / by Elizabeth Rankin.
Johannesburg: Witwatersrand University Press, 1994.
210pp. illus. ISBN 1-86814-257-4. Price: R77.00.

Inventing masks: structure of artistic innovation among
the Central Pende of Zaire. / by Zo7 Sara Strother. PhD
dissertation, Yale University. Ann Arbor: University
Microfilms International, 1992. 355pp. DA55A:0002.
Lifeline out of Africa: the art of Ernest Mancoba / by
Elza Miles. Cape Town: Human & Rousseau; distributed
by Clarke's Bookshop, 1994. 112pp. ISBN
0-7981-3173-X. Price: R117.90.

The making of Bamana sculpture: creativity and gender /
by Sarah C. Brett-Smith. Cambridge: Cambridge
University Press, 1994. 496pp. 57 illus. (RES
monographs on anthropology and aesthetics). Price:
$76.76.

Masks, the art of expression / edited by John Mack.
London: British Museum Press, 1994. 224pp. 155 color
plates. ISBN 0-7141-2507-5. Price: 25.00.

Mohammad Omer Khalil, etchings; Amir I. M. Nour,
sculpture; [exhibition, National Museum of African Art,
Washington, DC, November 16, 1994-February 26,
1995] / text by Sylvia H. Williams. Washington, DC:
National Museum of African Art, 1994. 52pp. Price:
$10.00.


ACASA Newsletter / No. 41, December 1994 21








Primitivism and modern art / by Collins Rhodes. New
York: Thames & Hudson, 1994. 175 illus., 25 in color.
ISBN 0-500-20276-1. Price: $14.95 paper.
Sculpture Angolaise: memorial de cultures I by Museu
Nacional de Etnologia. Milan: Electa, 1994. 191pp.
color illus. Price: Lira 60,000.
Senegal behind glass: images of religious and daily life I
by Anne-Marie Bouttiaux-Ndiaye. Munich: Prestel:
distributed in the U.S. by Te Neues Publ., 1994. 167pp.
ISBN 3-7913-1424-6. Price: $60.00.

Speaking with beads: Zulu arts from Southern Africa /
by Eleanor Preston-Whyte. New York: Thames &
Hudson, 1994. 150 illus. Price: $19.95 paper.
Yoruba pottery / by Antonia K. Fatunsin. Lagos:
National Commission on Museums and Monuments,
1992. ISBN Price: 10.00.

"Ethiopia: Traditions of Creativity." Announcing the
sale of Ethiopian artist profiles from the recent
exhibition, "Ethiopia: Traditions of Creativity" at
Michigan State University. Each profile offers an
autobiographical statement by one of the eleven artists
featured in the exhibition, a brief overview of the
aesthetic tradition with which he/she is associated,
several photographs, and a bibliography of suggested
readings. Eleven artist profiles plus an introduction to
the exhibition are presented in an attractive folder. These
may be purchased from the Museum Shop, Michigan
State University Museum, Michigan State University, East
Lansing, MI 48824, USA. The cost for a set of profiles,
including first class (airmail) postage, is $7.00 for US
orders and $11.00 for international .orders. Payment must
be in US funds. Checks or money orders should be
made payable to "Michigan State University Museum."
Special pricing is available for orders of more than five
copies; send all inquiries to the Museum Shop Manager.
The Yoruba Center in Brooklyn, New York, offers
books, compact discs, video and audio cassettes. For
information: Yoruba Center, 610 New York Avenue,
Brooklyn, NY 11203. Telephone: (718) 774-5800. FAX:
(718) 467-0099.




Ventilator is a new quarterly magazine of arts for a new
South African society. As the name implies, it wants to
clear old air, and blow fresh and sustaining cultural
currents. Starting out as a southern African magazine of
the fine arts, ventilator sees its role in broader terms. Its
grounding aim is to assist in the birth of the merging
hybrid culture of the sub-continent and of South Africa
in particular. WVntilator is published under the auspices
of the South African Association of Arts and is edited


by Ivor Powell, advised by Jeff Chandler and (ACASA
member) Michael Godby.
The major goals of Ventilator:
Critically reassessing the cultural history of South
Africa and thereby coming to an understanding of the
ways in which the peculiar history of South African
has inscribed itself in the present.
Looking with new eyes at the artistic and cultural
traditions indigenous to Africa.
Promoting a liberated and critical consciousness
among South African, finding ways in which art and
culture may stimulate people in general into a more
vital awareness of themselves and their environment.
* Looking to foster a sense of cultural pluralism and
eclecticism.
* Educating a new generation-via a special educational
supplement aimed at secondary school pupils-in
modes of art and art history appropriate to a new
society.
The quarterly Ventilator will include four major
sections: features, reviews and previews, news and
gossip, and the educational supplement. To subscribe:
Wntilator, P O. Box 6188, Pretoria 0001, South Africa.
Annual subscriptions: (southern Africa) R50.00; (foreign)
$40.00 or equivalent.




Textile trade and masquerade among the Kalabari of
Nigeria. 1994. University of Minnesota Media
Distribution, Box 734 Mayo, 420 Delaware Street SE,
Minneapolis, MN 55455. 2 parts (45 minutes and 27
minutes). Prices: part 1 VHS $90.00; VHS
$125.00; preview VHS $15.00; part 2 VHS
$60.00; VHS $90.00; preview VHS $15.00. Make
checks payable to: University of Minnesota Media
Distribution; include $5.00 for shipping. This two-part
video is based on the research of Joanne B. Eicher and
Tonye V. Erekosima on the use of imported textiles in
Kalabari masquerade events.




Mambila documentation on WWW. David Zeitlyn
writes to announce that a further part of the
documentary history of the Mambila of Cameroon and
Nigeria can now be found on the World Wide Web
server of the Radcliffe Science Library in Oxford. [The
URL is htp: //rsl. ox.ac.uk/isca/meek-intro.html]. The
document is a digital version of 34 pages from Chapter
IX of C. K. Meek's Tribal Studies in Northern Nigeria
lblume I (London: Kegan, Paul, Trench, Trubner & Co.
Ltd., 1931). "It is the first major documentary source


ACASA Newsletter / No. 41, December 1994








on the Mambila with whom my own field research has
been conducted. Apart from the challenge of producing
an electronic version, the purpose of doing this was to
present and preserve the marginal notes made by
Professor Farnahm Rehfisch during his fieldwork in
1953. In addition to the marginal notes I have also
included the sections of Rehfisch's fieldnotes in which he
mentions Meek. These fieldnotes have been archived in
Rhode's House Library Oxford, and the School of
Oriental and African Studies, London, with kind
permission of Ms. Rehfisch and with the help of a grant
from the Nuffield Foundation. Digitisation of the main
text and the photographs from Meek has been conducted
as part of a pilot project with pump-priming funding
from the University of Oxford. Routledge kindly gave
copyright permission for digitisation and circulation of
this chapter to interested parties...
"The text of each annotation has been typed up and
is included as a footnote (different from the original
footnotes which have been included in the main text) at
the end of the document. As an alternative the
annotations have been transformed into graphics (using
an appropriate handwriting-like font) and these have been
included in the text. These graphics also serve as HTML
links which will take the reader from Meek's text to the
note....
"Since the document with the graphics has become
quite big, each page has been made into a separate file.
This has the advantage of replicating the individual pages
of the book, and a WAIS index will soon allow
searching of the whole document. Finally, a link has
been made between one of the plates (on page 552) and
some of the photographs I took in Nigeria in April
1993. (There are more to come.)
"It is hoped that this will be but the first of a
variety of background documents pertaining to the
Mambila connected into a hypertextual web that will
illuminate rather than befuddle the interested reader."
For more information, contact: David Zeitlyn, British
Academy Research Fellow, Institute of Social and
Cultural Anthropology, University of Oxford, 51 Banbury
Rd, Oxford, OX2 PE, UK. Telephone: 44-1865-274685.
FAX: 44-1865-274630. E-mail: zeilyn@vax.ax.ac.uk or
anthro-l@ubvm.BITNET or musem-L@unmvma.BITNET.




January 1995. College Art Association, San Antonio,
TX, January 26-28. The ACASA-sponsored session at
the 1995 CAA meetings is scheduled for Saturday
morning, 9:30 a.m. until noon. The panel is entitled:
"How Trustworthy is Your Text? The Representation of
Non-Western Art in Survey Textbooks." Organized by
Monica Visona, the participants include: Magali
Carrera (University of Massachusetts, Dartmouth)
Teaching and Learning the Many Histories of Art;


Barbara Blackmun (San Diego Mesa College) Pitfalls
to Avoid in Using the 'Native Arts' Unit in Gardiner's
Art Through the Ages; Robert Soppelsa (Washbur
University) A Recent Wliant Effort: Honour and
Fleming's The Visual Arts: A History; and Eli Bentor
(Winthrop University) Non-canonical Canons: Recent Art
History Textbooks. Other panels of interest include
"Critique and Creativity: Women Artists in
Contemporary Africa and the African Diaspora" chaired
by Mikelle Omari-Obayemi scheduled for Friday
morning, 9:30-noon.
In addition, the ACASA reception will take place on
Thursday, January 26, 5:30-7:00 pm, Conference Room
1, Marriott. This gathering is for ACASA members to
get together and for the recruitment of new members.
March 1995. Conference on Mande Studies, Leiden
University. The next Mande studies conference will take
place at Leiden University from March 20-24, 1995.
These dates correspond to an archaeology program to be
hosted by Roger Bedaux, in which some African
archaeologists will be invited to Leiden. Also planned is
a special exhibition on Jenn6 scheduled for the
Ethnological Museum during the proposed time of the
conference. For information: David C. Conrad MANSA
President State University of New York-Oswego.

April 1995: Triennial Symposium on African Art,
New York, April 19-23.
June 1995. "O-Kun: An African People and Their
Civilisation," Iffe-ljumu, Kogi State, Nigeria. See
under "News from Nigeria."

June 1995. "Africa-Pre-Colonial Achievements" June
10-12, 1995 sponsored by Humanities Research
Council (Australia). The Conference, convened by
Graham Connah, will re-appraise modern understanding
of Africa's deepest past. Leading Australian and
international scholars will draw from recent existing
archaeology towards a reconstruction of Africa's complex
and ancient cultures. Far from being a 'colonial
invention,' African culture and society reflects a history
of human experience quite equal to the depth of
European and Asian communities and nations.
Conference sessions will include an exploration of: the
forest and savanna cultures of West Africa; the trading
settlements of the Swahili coast; the inter-lacustrine states
of East Central Africa; the Zimbabwe culture of
south-east Africa.
Speakers speakers and probable topics:
Graham Connah, University of New England-
Africa: precolonial achievement.
Bassey Andah, University of Ibadan-The
emergence and development of urban farms and
traditions of settlement in the forrest and savanna
zones of West Africa.


ACASA Newsletter I No. 41, December 1994 23








George Brooks, Indiana University--Climate,
ecology and historical developments in Western
Africa during the past two millennia.

Joanna Casey, University of Toronto-The use of
indigenous wild resources in the agricultural
economy of Northern Ghana, West Africa.

Thomas McCaskie, University of Birmingham-
Landscape into history: Lake Basantwe and Asante
culture.

George Abungu, Fort Jesus Museum, Mombasa-
The Swahili and the overseas world: maritime
contact with South-East Asia.

Henry Mutoro, University of Nairobi-
Coast-interior relations: the Swahili of the East
African coast and their neighbours.

Alinah Segobye, University of Cambridge-People,
landscapes and resources in East-central Botswana:
an ethnoarchaeological study.
For information, contact: Graham Connah, Department
of Archaeology and Palaeanthropology, University of
New England, Armidale NSW 2351, Australia. Telephone:
(087) 732526.

July 1995. "Out of Africa: Texts for Understanding
the African Past" July 3-6, 1995-sponsored by the
Humanities Research Council (Australia). This
conference, convened by David Dorward, African
Research Institute, La Trobe University, will also
challenge misconceptions and stereotypes about the
African past, but focus on the modern experience of the
African peoples and of their cultures as Africa
increasingly inter-acted with the world outside the great
continent. Through its emphasis on the more recent texts
of cultural transmission (written, oral and material
records) the conference will illuminate the subtle
dynamics of African cultures. It will also work to
juxtapose Africa's own understanding of it's cultures with
the 'constructions' embodied in Western thought and
writings. If Africa is a part of the "Other" in European
culture, so Western societies and thought are also a part
of an African "Other." African readings of the modem
historical experience are a fascinating entry to the past.
The conference will range widely in methodological
problems and controversies in the use of 'texts,' as
broadly conceived, explaining the ways in which Africa's
history has been constructed, by whom and to what ends.
Among the specialized issues in African history to
be considered in the conference sessions will be: the
re-writing of African history since the colonial era: the
shaping of African cultures through modern African
writers of drama, poetry and fiction; the significance of
gender in African texts; the power of ethnicity and
religion in African cultures; use of material evidence and
the role of museum collections in Australian and
overseas; the recording and interpretation of oral


traditions, especially the voice of peasant Africa; the
debate over Africa state formation in .pre- and colonial
era, and the impact of Western education, urbanization
and the law.
The aim of the Conference is to challenge simplistic
images of Africa, and to offer means to understanding
Africa's past as the continent interacts with global forces.
Conference participants include:
Bruce Berman, Queen's University, Kingston, and
John Lonsdale, Trinity College, Cambridge-The
door of custom: Jomo Kenyatta, Louis Leaky & the
intervention of the modern Kikuyu.

David Bindman, University College, London-
Eighteenth-century British art.

Martin Chanock, La Trobe University-Law and
time: encoded narratives in South African legal texts.

Julian Cobbing, Rhodes University-
Epistemological issues in contexualising theories of
the Zulu Kingdom.

Catherine Coquery-Vidrovitch,
France-Colonization, urbanization and women in
sub-Saharan Africa.

Norman Etherington, University of Western
Australia-Reshaping conventional narrativity in
South African historiography.

Toyin Falola, University of Texas at Austin-
Alternative history: characters and the production of
knowledge in Nigeria.

Gareth Griffith, University of Western Australia-
A history of African literatures in English.

Thomas McCaskie, University of Birmingham-
Landscape into history: Lake Bosomtwe and Asante
culture.

Jock McCullock, Deakin University-Black peril,
white virtue: sexual politics in colonial Zimbabwe,
1900-1995.
For information, contact: David Dorward, African
Research Institute, La Trobe University, Melbourne VIC
3083, Australia. Telephone: (03) 4792431. FAX: (03)
4785814 or 4791942.

July 1995. South African Association of Art
Historians Annual Conference: Call for Papers. The
11th annual conference of the South African Association
of Art Historians will take place in Johannesburg, July
5-8, 1995. The theme of the conference is: "Art,
Culture and the Mechanisms of Power and Meaning."
The theme is intended to provide scope for a wide range
of papers focusing on objects and contexts, and is not
limited to individuals working within the discipline of art
history. Send proposals to: The Conference Convenors,
PO. Box 233, Melville 2109, South Africa. FAX: (011)
7878042. E-mail: 023023SH@witsvma. wits.ac.za.


24 ACASA Newsletter / No. 41, December 1994







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 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: School, Studio and
Society," a conference scheduled for September 23-24,
1995, is targeting the formation of visual artists in
Africa as an issue of historical, critical and practical
significance. The program comprises papers with
respondents, artists' roundtable discussions and a
performance. Sessions will feature leading
artist-educators from six or more African countries:
Kenya, Nigeria, Senegal, South Africa, Sudan and
Zimbabwe. The conference is being held in conjunction
with the Africa '95 exhibition at the Whitechapel Gallery
of "well-springs" of modern art from Africa, and is
arranged for the weekend prior to the broader "Mediums
of Change" conference of the Royal Africa Society. The
conference organizer is Elsbeth Court, assisted by John
Picton and Richard Fardon. For information, contact:
Jackie Collins, Center of African Studies, School of
Oriental and African Studies, University of London,
WC1H OXG, UK. FAX: (44) 071-323-6254.
September-October 1995: Africa '95 Royal African
Society Conference, "Mediums of Change: The Arts in
Africa, 95." See above under "News from Great
Britain."

November 1995, African Studies Association Annual
Meetings, November 3-6, Orlando, Flordia.
November 1995. The Third International Bead
Conference on "Beads: Through the Eye of the
Collector," is scheduled for November 17-19, 1995, at
the Sheraton Washington Hotel, Washington, DC. It is
sponsored by the Bead Society of Greater Washington.
For information write to: Conference Committee, The
Bead Society of Greater Whshington, PO .Box 70036,
Chevy Chase, MD 20813-0036, USA.
February 1996: College Art Association, Boston,
February 21-24, 1996. The proposed ACASA panel for
the 1996 CAA meetings is: "Approaching the Millenium:


Subverting the Wstern/Non-Western Dichotomy." Chair:
Barbara Frank. Paper proposal deadline is May 15, 1995.
This session will explore the various ways in which
the notion of contrast between Western and Non-Western
artistic expression is being challenged by artists, artistic
movements and contemporary cultural practices. Recent
exhibitions have raised awareness of the interrelatedness
of "traditional" art forms and "contemporary" artistic
discourse. The Smithsonian's National Museum of
African Art exhibition of late 19th-early 20th century
Kongo power objects (minkisi), with the contemporary
work of African-American artist RenBe Stout, explicitly
presented these objects as visual and conceptual
counterparts in a continuum of African "tradition."
Similarly, the "Face of the Gods" show at the Museum
for African Art in New York, was as much about
recreating a sense of spirituality by contextualizing
objects within African and Diaspora "tradition," as it
was about the aesthetic drama of performance and
installation in a contemporary museum setting. In
counterpart to this conscious blending and layering of
West/Non-West domains, another trend seems to be the
rejection of assumptions that privilege the West and its
dominance in the global artistic arena. Recent analyses
of the work of contemporary artists from China,
Southeast Asia, Africa argue that their resemblance to
Western idioms is often superficial. In conception and
execution, these objects/performances are far more
grounded in the particular cultural backgrounds of the
artists, than in attempts to emulate Western genres using
"indigenous" themes. Furthermore, scholars exploring
what have generally been conceived of as "traditional"
cultural art forms and practices are becoming
increasingly aware of a self-consciousness inherent in the
internal dynamics of performance and presentation that
does not owe change and innovation (and by implication,
creativity) to cultural encounters with a hegemonic West.
What these approaches share is an avenue of thinking
about artistic expression that rejects the oppositional and
hierarchical paradigms of West vs. Non-West and
contemporary vs. traditional, in favor of positions that
are situated within more diverse perspectives. Contact:
Barbara Frank, Department of Art, State University of
New York at Stony Brook, Stony Brook, NY 11794-5400.
Telephone: (516) 632-7255. FAX: (516) 632-7261.
E-mail: bfrank@ccmailsunysb.edu.

1997: College Art Association, New York. ACASA
needs a volunteer to propose a session on ACASA's
behalf. One must be a member of ACASA and a CAA
member in good standing from time of submission of
proposal (late summer 1995) to the bitter end (winter
1997). For more information, contact: Barbara Frank
(see above address).
The Editor thanks contributors to this December 1994
issue of the newsletter: Jeremy Coote (Macmillan
Dictionary of Art); Barbara Frank (SUNY-Stony


ACASA Newsletter / No. 41, December 1994 25








Brook); Krydz Ikwuemesi (PACA-Nigeria); Elza Miles
(Johannesburg Art Gallery); Ade Obayemi (Akbdi
Afrika); Philip Peek (Drew University); Doran Ross
(UCLA); Ray Silverman (Michigan State University);
David Zeitlyn (Oxford).
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. E-mail, snail
mail, fax or phone. The next ACASA newsletter will be
April 1995. Deadline for submitting news items is
March 15, 1995.
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.


26 ACASA Newsletter / No. 41, December 1994








1994 ACASA Membership: Second Addendum


Funso S. Afolayan
African and Afro-American Studies
Washington University
Box 1109 One Brookings Drive
St. Louis, MO 63130-4899
E. Ofori Akyea
814 Walnut Street
Iowa City IA 52240
Andrew Apter
Dept. of Anthropology
University of Chicago
1126 East 59th Street
Chicago IL 60637
Emmanuel Arinze [change of
address]
Heritage Consultancy Bureau
P. 0. Box 71041
Victoria Island, Lagos
NIGERIA
work: (234) 01-263-2917
fax: (234) 01-269-4642
Walter Asidn
P.O. Box D
South Pasadena CA 91031-0120
work: 818-796-2357
J. Bacharach
1435 4th Street, SW
Washington DC 20024
Rob K. Baum
Box 13902
Santa Barbara CA 93107
work: 805-893-3147
e-mail:
6500baum@ucsbuxa.ucsb.edu
Karen Brown [change of address]
1823 Fillmore Street
Caldwell ID 83605
home: 208-454-5649
e-mail: kbrown@stimpy.acofi.edu
Stephen Buggie
Psychology Department
Presbyterian College
Clinton SC 29325
Don Burness
English Department
Franklin Pierce College
P.O. Box 60, College Road
Ringe NH 03461-0060
work: 603-899-5111
fax: 603-899-6448


Amanda Carlson
Indiana University
132 Fine Arts/Art History
Hope School of Fine Arts
Bloomington IN 47405
home: 812-333-5193
e-mail: abcarlso@ucs.indiana.edu
Centre Amadou Hampate Ba
B. P. 1511
Missira Rue 20x35
Bamako, MALI
telephone: (223) 22-30-82
Kundishora T. Chipunza
Great Zimbabwe Monument
P. O. Box 1060
Masvingo, ZIMBABWE
telephone: (263) 39-62080
fax: (263) 39-63310
Susan Cooksey
505 NE 9th Avenue #3
Gainesville FL 32601
work: 904-392-0211
e-mail: secooksey@ufcc.ufl.edu
Bamidele Agbasegbe Demerson
African American Cultural and
Historical Museum
520 West Stadium Boulevard
Ann Arbor MI 48103
work: 313-668-1656
Laura Fair
3305 Olive
Eugene OR 97405
Fowler Museum of Cultural
History
University of California-Los
Angeles
Library
405 Hilgard Avenue
Los Angeles CA 90024-1549
work: 310-825-4361
fax: 310-206-7003
e-mail: egw4her@mvs.oac.ucla.edu
Pamela R. Franco
309 S. McDonough Street
Decatur GA 30030
work: 404-727-6282
Helen-Afi Gadzekpo
Ghana Film Industry Corporation
P. 0. Box M83
Accra, GHANA


Paula Girshick
Indiana University
Anthropology Department
Rawles Hall 108
Bloomington IN 47405
work: 812-855-1041
fax: 812-855-4358
e-mail: pgirshic@ucs.indiana.edu
Anita Glaze
1812 Cypress Drive
Champaign IL 61821
work: 217-333-1255
fax: 217-244-7688
Joanne Glazer
1455 Sherbrooke Street W.
Montreal Quebec H3G-1L2
CANADA
fax: 514-931-6023
Michael Godby
Department of History of Art
University of Cape Town
Private Bag Rondebosch 7700
Cape Town, SOUTH AFRICA
Telephone: (27) 21 650-2685
fax: (27) 21 650-3726
e-mail: michael@beattie.uct.ac.za

Judith D. Greavu
8586 Street Rt 701
Dola OH 45835
work: 419-772-2160
Rebecca Green [change of address]
1215 North Washington Street
Bloomington IN 47408
Michelle D. Harman
17931 Portside Circle
Huntington Beach CA 92649
Harvard University
African Art History Project
Sackler Museum
485 Broadway
Cambridge MA 02138
work: 617-496-2438
e-mail: roy@husc7.harvard.edu


1994 ACASA Membership: Second Addendum / December 1994 27







Salah Hassan
Africana Studies & Research Center
310 Triphammer Road
Cornell University
Ithaca NY 14850
home: 607-257-3139
work: 607-255-0528
fax: 607-255-0784
e-mail: sh40@cornell.edu
Marilyn Heldman
6010 Eitman Avenue
St Louis MO 63139
Stephen Hill
1618 Chevy Chase
Champaign IL 61821
Kathe Hodgson
500 Belvedere Street
San Francisco CA 94117
home: 415-661-1103
work: 415-750-3607
fax: 415-750-7692
Benjo N. Igwilo
960 Peasley Street, NE
Orangeburg SC 29115
dele jegede [change of address]
2623 Harrison Avenue
Terre Haute, IN 47803
Earnestine Jenkins
2900 Northwind Drive
Place Apts # 624
East Lansing MI 48823
work: 517-351-8257
Marian A. Johnson
3963 N. Quail Ridge
Provo UT 84604
home: 801-224-9456
Manuel Jordan
Birmingham Museum of Art
2000 8th Avenue North
Birmingham AL 35203
work: 205-254-2969
fax: 205-254-2714
Maria Kecskesi
Staatliches Museum fuir
V5lkerkunde
Maximilian Str.42
D-80538 Munchen, GERMANY
work: 089-2285506


Zachary Kingdon
Sainsbury Research Unit
Africa, Oceania and the Americas
University of East Anglia
Norwich NR4 7TJ ENGLAND
work: 0603-592498
fax: 0603-259401
Susan Lerer [change of address]
161 S. Highland Avenue
Los Angeles CA 90036
work: 213-936-0123
M. A. McMaster
HCR 62 Box 234
Bomoseen VT 05732
Nancy Mikelsons
528 South Humpfey Avenue
Oak Park IL 60304
work: 708-386-2633
fax: 708-386-2414
Jacque Mott
1328 W. Winona
Chicago IL 60640
Everlyn Nicodemus
Bleekhofstraat 119 Gus 29
2140 Borgerhout Antwerp,
BELGIUM
work: 32-3-2368260
Oledinma P. Nwanna-Nzewunwa
PO Box 64, University of Port
Harcourt
P.M.B. 5323
Port Harcourt, Rivers State
NIGERIA

Greg Odo
91 Edward Street
Deptford London SE8 5HB
ENGLAND
Ana Maria de Oliveira
P. 0. Box 1970
Luanda, ANGOLA
Jacob Olupona
African American and African
Studies
University of California-Davis
Davis CA 95616
Duro Oni
Centre for Cultural Studies
University of Lagos, Akoka, Yaba
Lagos, NIGERIA
Chidum F Onuchukwu
Department of Fine and Applied
Arts
Ahmadu Bello University
Zaria, Kaduna State, NIGERIA


J. L. Oram
Fairwinds, Meadow Way
West Horsley Surrey KT24 6LL
ENGLAND
Pace Primitive
Lisa Bradley
32 East 57th Street
New York NY 10022
work: 212-421-3688
fax: 212-751-7280
Nancy Pauly
1146 Erin Street
Madison WI 53715
e-mail: nspauly@students.wisc.edu
John Picton
University of London
Dept. of Art and Archaeology,
SOAS
London WC1H OXG ENGLAND
home: 81-340-9754
work: 71-323-6282/6259
fax: 71-436-3844

Shaalini Ranasinghe
121 LaSalle Street #15
New York NY 10027
William Rea
62 Dukes Avenue
London N10 2PU
UNITED KINGDOM
home: 081-883-7093
work: 081-883-7093
Polly Nooter Roberts [change of
name and address]
1510 Muscatine Avenue
Iowa City IA 52240
home: 212-866-8231
Vicki Rovine [change of address]
The Brooklyn Museum
AAPA, 200 Eastern Parkway
Brooklyn NY 11238
work: 718-638-5000 x 281
Eliane L. Saint-Andre Utudjian
9 Rue du Cap
94000 Creteil, FRANCE
Mei Mei Sanford
47 1/2 E. 7th St. Apt D3
New York NY 10003
home: 212-254-6291
Helen M. Shannon
300 Cathedral Parkway #5H
New York NY 10026
home: 212-865-7652


1994 ACASA Membership: Second Addendum / December 1994







Roy Sieber [temporary change of
address]
211 NW 48th Boulevard
Gainesville FL 32607
work: 904-336-4354
Earl P. Smith [change of address]
139 Marlboro Ct.
Maryville TN 37803
home: 205-566-3063
Andrea L. Smith [change of
address]
SPO 1171
735 University Avenue
Sewanee TN 37383-1000
work: 615-598-1493
e-mail:
asmith@seraphl .sewanee.edu


Christopher B. Steiner
School of American Research
Post Office Box 2188
Santa Fe NM 87504-2188
home: 213-225-1053
work: 505-982-3583
fax: 505-989-9809
Moustapha Sy
Musde d'Art Africain de Dakar
B. P. 6167, Dakar-Etoile
SENEGAL
Femi Taiwo
6549 N. Ashland Avenue, Unit 3
Chicago IL 60626
work: 312-262-6652
fax: 312-508-2292
Jessica Taplin
1100 Austin Avenue, NE
Atlanta GA 30307


Lillian Trager
Center for International Studies
Wood Road, Box 2000
University of Wisconsin-Parkside
Kenosha WI 53141-2000
work: 414-553-2701

Grady T. Turner
303 W. 66th Street, 7FE
New York NY 10023
work: 212-873-3400
fax: 212-724-1729
Liza Van Robbroeck
Department of Fine Art & Art
History
UNISA, P.O. Box 392
Pretoria, 0001, SOUTH AFRICA
Jeri B. Williams
308 Westwood Plaza #143
Los Angeles CA 90024
home: 213-653-4948


1994 ACASA Membership: Second Addendum / December 1994













Get there for less!

The 10th Triennial Symposium on African Art
April 19-23, 1995
New York City

American Airlines is proud to be the official carrier for the Triennial. Save 5 % off
lowest applicable fares (some restrictions apply). Save 10% off unrestricted coach
class fares, with 7 day advance purchase. Travel between April 16-26, 1995 into
Newark, LaGuardia or JFK.
For lowest fares on any airline, make reservations through Conventions in America,
the official travel agency for ACASA. Call 1-800-929-4242 and ask for Group
#382. Receive free flight insurance of $100,000 and automatically be entered in a
bi-monthly drawing to win free travel worldwide.

If you call American directly at 1-800-433-1790, ask for Starfile #S1245UF.


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