No. 43, August 1995
The Arts Council of the
African Studies Association
ACASA Board of Directors
William Dewey, President
Rowland Abiodun, Past President
Kathy Curnow, Secretary-Treasurer
Directors Retiring at the ASA Meeting 1996
Directors Retiring at the ASA Meeting 1997
Chris Mullen Kreamer
Membership Information (for residents of North America, Europe, Asia):
Kathy Curnow, ACASA Secretary-Treasurer
Department of Art
Cleveland State University
Cleveland, OH 44115 USA
Telephone: (216) 687-2105
Fax: (216) 932-1315
Annual dues are $25.00, payable in January. Checks payable to "ACASA" and
sent to Kathy Curnow. 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
Washington, DC 20560, USA.
Telephone: (202) 357-4600 extension 285
Fax: (202) 357-4879
Cover illustration: "Gilded wood second coffin of Tutankhamen, Eighteenth Dynasty" from EGyptian
designs I by Catherine Calhoun. (Owings Mills: Stemmer House, 1983. (International design
No. 43, August 1995
Letter from Bill Dewey, President of ACASA: I am
indeed honored to have been elected President at this
year's Triennial Symposium of African Art held in New
York. ACASA continues to grow and mature and I am
optimistic and confident that we will continue to do so.
Special thanks must be extended to the retiring Board
members, Freida High-Tesfagiorgis, Nancy Nooter, Ray
Silverman and Simon Ottenberg for their fine service to
our organization. High commendations also must go to
Barbara Frank and Rowland Abiodun our departing
Secretary-Treasurer and President. Their many hours of
selfless devotion is very much appreciated. Barbara now
is entitled to a well deserved rest, but Rowland is not
off the hook yet as he will continue on the Board as
Past President and help keep us on our toes. A warm
welcome to new Board members, dele jegede, Chris
Mullen Kreamer, Jean Borgatti, Rosalinde Wilcox, and
Eugenia Herbert. Obviously we've had quite a bit of
turnover in the Board this time but the transition has
been smooth, and with Kathy Curnow-Nasara having
been elected Secretary-Treasurer we're in very reliable
hands there and I'm pleased to report this Board is off
to a great start.
The Tenth Triennial Symposium of African Art held
in New York was a huge success. The incredible number
of people and institutions involved in planning and
hosting the conference are a true testament to the
strength and vitality of arts of Africa and the Diaspora
and ACASA. I can't possibly thank all of the people
who deserve thanks, but I would be negligent if I didn't
acknowledge and heartily thank our hosts: New York
University's Africana Studies Program and the Institute
of Afro-American Affairs, The Brooklyn Museum, The
Metropolitan Museum of Art, The Museum of African
Art, The Schomberg Center for Research in Black
Culture, and the Studio Museum in Harlem. All who
donated services, time and funds deserve our special
gratitude and the highest praise must go to Rowland
Abiodun, Barb Frank, Glenda Doyle and the entire
Planning Committee who put on a truly memorable
show! If you didn't get a chance to help our cause by
buying some of Moyo Okediji's specially designed sweat
and T-shirts don't despair as we still have some left and
we'll be selling them again at the November ASA
meetings at Orlando.
The next Triennial Symposium of African Art for
1998 is, believe it or not, already being planned. New
Orleans has very kindly offered to be our next host. I
had the pleasure of being in New Orleans for the first
Letter from the President
Minutes of ACASA Board and
Membership Meetings, April 1995
Message from Outgoing
ACASA Leadership Awards
Arnold Rubin Outstanding
ASA Meetings, Orlando
Book Distribution Program
People in the News
Career and Research Opportunities
International News Round-Up
Noteworthy New Publications
African Art on the Internet
1995 Directory of ACASA Members:
planning meeting in July where I met with the
committee at the New Orleans Museum of Art and went
with Bill Fagaly and Peggy McDowell to check out
some possible meeting venues. We are in for a great
conference and the kind of party that New Orleans is
famous for. In the more immediate future I look forward
to seeing many of you at the 1995 ASA meetings in
Orlando. The preliminary program looks great; be sure
not to miss our ACASA-sponsored roundtables: "ACASA
ACASA Newsletter / No. 43, August 1995 1
Dialogues on Ethics" and "What is the Relationship of
Africanist Art History to Anthropology."
ACASA Board Meeting, Friday, April 21, 1995,
11:30 am-1:00 pm. Conference Room, Institute of
Afro-American Affairs, New York University. Present:
Rowland Abiodun, Kathy Curnow, Bill Dewey, Barbara
Frank, Nancy Nooter, Simon Ottenberg, Nii
Quarcoopome, Ray Silverman, Janet Stanley, Freida
1. President's remarks.
Abiodun opened the meeting with a tribute to the
work of various members of the Board on the Triennial,
then noted the extraordinary amount of support from the
different sponsoring and host institutions, especially
NYU's Africana Studies Program and the Institute of
Afro-American Affairs and the Museum for African Art.
He thanked Barbara for her efforts and gave special
thanks to Manthia Diawara and his staff. Without their
co-sponsorship, the costs of the Triennial would have
been considerably more. In addition, Abiodun noted the
fund-raising efforts of Pemberton, Ottenberg, Sieber,
Ezra and Nooter, which brought more than over
$10,000. On behalf of the Board and membership,
Ottenberg expressed profound thanks to Rowland for all
of his efforts to make this Triennial happen.
2. Financial report/issues.
Frank informed the Board that a financial report
concerning the Triennial and our current finances will be
made once the Triennial is over. However, she did want
ACASA's Board to be aware of the support ACASA
provided nine African and Diaspora artists and scholars
through travel stipends ($5,000) paid for primarily by the
registration fees ($4,680) from the 1992 Triennial.
Awards were made only to individuals accepted on the
program, and who applied for funding (or whose chairs
applied on their behalf); amounts were based on need
according to anticipated expenses (not all were coming
from their countries of origin). (See Business Meeting
minutes). Frank noted that Adande's plane ticket was
provided by the University of Iowa.
Adiodun lamented the fact that due to a variety of
factors, the efforts made by Kate Ezra and Bill
Siegmann to get funding from USIA did not produce the
kind of support for which we had hoped. We were
encouraged by USIA to submit names for the regular
International Visitors Program, however; none of the
people we recommended were selected by the embassy
posts in the host countries. There were six or seven
African and Caribbean museum professionals due to
arrive in Washington, DC, the same day the Triennial
began as part of a USIA museum program. They have
been given the option of coming to New York for the
Friday and Saturday panels (registration fees waived) and
to be our guests at the banquet Saturday night.
Dewey noted the importance of maintaining contacts
with USIA to attempt to recreate the success of the Iowa
Triennial, due in part to collaboration with the
Archaeology meetings (which will coincide with the
Triennial in 1998). That funding was achieved with a
private initiative grant awarded under the auspices of
ASA, with evidence of substantial outside funding, thus
USIA was willing to co-sponsor. It was a lot of work.
1998 Triennial. Several venues have been suggested
and/or expressed interest. Frank argued that careful
consideration needs to be give to the financial issues
involved as well as the need for institutional support.
Abiodun noted need to begin thinking about ways to
make ourselves financially strong enough to be able to
offer more support to African and Diaspora scholars and
artists. Dewey noted that this Triennial has set a good
precedent by setting a realistic registration fee schedule,
and by allowing some of those fees to go towards paying
some of the costs of the conference. Otherwise, it places
too much burden on the host institution. Tesfagiorgis
noted that concerns voiced by some Triennial presenters
about being required (coerced into) paying membership
and registration fees (instead of receiving a nice
honorarium) faded once they realized the nature of the
conference, and that most said they were glad to have
been a part of it and glad to have become members.
Abiodun asked that the new Board seriously
consider raising membership dues. Tesfagiorgis suggested
looking at CAAs sliding scale of dues based on salary.
Quarcoopome suggested looking into investment of some
funds. Dewey noted that ASA might have such an
investment fund on which we could piggyback. Abiodun
argued that fundraising efforts need to continue, such as
asking members to donate the honorarium from a single
lecture. Ottenberg said we need to be more aware of
cultivating collectors and others who might be willing to
give something, perhaps asking them to "sponsor" a
panel on a subject of interest to them at the next
Triennial. Stanley asked where things stand on the
ACASA endowment. While there was not enough time to
realize some of the fundraising ideas, such as the silent
auction or benefit dinners for this Triennial, we need to
be looking ahead to the next Triennial. Frank noted that
we need to think about a board of trustees or some
body accountable for how the money will be spent.
Nooter offered to turn over the fund-raising file for the
new Board. Frank advised that a fund-raising committee
be formed, including both Board and non-Board
Board reviewed recommendations proposed by
Arnoldi and d'Azevedo based on discussions at the
ethics panel at the last meeting and approved the
solution to maintain a continuing dialogue on ethics at
all our meetings (vs. attempting to impose a code of
ethics). D'Azevedo will be asked to present the
recommendations at the Business meeting. Board agreed
2 ACASA Newsletter / No. 43, August 1995
to establish an advisory committee, and ask for
volunteers at the BusineSs meeting. Stanley noted that
Board needs to decide what this (and other
Board-appointed) committees should be charged with
doing, who they report to, and the like.
Frank noted that the five candidates nominated by
the nominating committee stand unopposed, and
suggested that another committee be formed to review
the by-laws to open up the election process. The
response was mixed. Because this is truly a working and
active Board, we cannot allow the election process to
become too politicized by throwing open elections at the
meetings. Board members must be truly committed.
Issue tabled for further consideration.
5. ASA and other upcoming conferences.
Dewey reported that the proposals are in for the
1995 ASA meetings in Orlando. Dewey was appointed
by program chair Joel Barkan to coordinate all of the
arts panels, which include submissions in the visual arts,
performance, music and film. He has enlisted dele
jegede and Cynthia Schmidt to assist him. The Board
agreed to Dewey's suggestion that the two
ACASA-sponsored panels be the Ethics roundtable panel
chaired by Aroldi and d'Azevedo, and a panel proposed
by Zoe Strother on the relationship of Africanist art
history and anthropology.
Stanley reported that she had heard some complaints
that ACASA had not been as selective as it might have
been in putting together the slate of papers for the
Triennial (as well as for other meetings). Frank noted
that there were some panels and papers not accepted,
that deadlines were adhered to, and that the proposals
that came in were very strong. The decision to have
four panels run concurrently was based on both the
strength of the submissions as well as a desire to reach
out to new audiences. Stanley agreed that such choices
involve a balancing act between being inclusive/outreach
and selectivity, but urged Dewey and others responsible
for future meetings not to abandon the latter in favor of
Frank reported that the panel she proposed on
ACASA's behalf (Approaching the Millenium: Subverting
the Western/Non-Western Dichotomy) had been accepted
by CAA and that she has already been contacted by
several people interested in presenting. Eli Bentor has
expressed interest in proposing a panel for the 1997
6. Other announcements.
The Leadership Awards will be presented to Robert
Farris Thompson and Frank Willett on Saturday night.
The Arnold Rubin Outstanding Publication Award
will also be presented at the Banquet. Frank noted that a
monetary award ($250) would be reinstated this year
(there was such an award the first time in 1989, but not
at the 1992 Triennial-Enid Schildkrout and Curtis Keim
will be sent belated awards of $125 each). As chair of
this year's committee, Curnow (with Bentor and O'Hear)
reported that they had reviewed over 50 books, narrowed
the list in successive stages to five, and through a point
system determined the winner. Other finalists will be
announced at the banquet. Stanley asked Curnow for a
written report of the process, with any suggestions for
changes based on the committee's experience. Curow
noted that the two-author limitation (discussed at length
in the past) precluded consideration of some very
worthwhile publications, suggesting that ACASA consider
adding another category of awards.
T-shirt sales. Frank reported that the sale of
T-shirts with the original design by artist Moyo Okediji
was on-going and brisk. (Frank noted that because of
our advertising on behalf of American Airlines, we were
entitled to one free plane ticket, which was given to
Moyo to enable him to attend the meetings.) However,
there are major logistical problems in getting the T-shirts
to the buying public. Gail Feher at OAN
(Oc6anie-Afrique Noire) generously offered to receive
shipment on what turned out to be some sixteen bulky
boxes, approximately half of which were stuffed into
Frank's Honda Civic with Joseph Adand6 and Bill
Dewey for transport to the Museum for African Art.
The problem of getting them to NYU, storing them
between sales, and safeguarding the transfer of money
remains. While it is a great idea to have them for sale
at the business meeting and at the museum on Sunday
afternoon, someone needs to be responsible for getting
them there and doing it. It was agreed that volunteers
would be solicited at the business meeting to sell them
at their home institutions and that a means of having
them sold on commission at museum shops also be
sought. Frank would appreciate ideas as to how to deal
with the T-shirts remaining after the Triennial (perhaps
as much as three quarters of the total order).
ACASA Business Meeting, Saturday, April 22, 1995.
3:30-5:00 pm. Tisch Hall, Schimmel Auditorium. New
York University. Approximately 75 members in
1. President's remarks.
Abiodun reported that due to the efforts of a
dedicated team of people, this year's Triennial has
attracted a record number of participants. Thanks due to
the many individuals who worked under pressure to
make this symposium a success, not all of whom can be
named here, including Barbara Frank, Kathleen
Bickford, Lisa Aronson, Jean Borgatti, Vicki Rovine,
Anne Spencer, Carol Thompson, Bill Siegmann, Kate
Ezra, Gail Feher, Glenda Doyle, Janet Stanley, Phil
Peek, Si Ottenberg, Henry Drewal, Skoto Agharova,
Dorothy Desir-Davis, Catherine Bernard. Roy Sieber,
John Pemberton, Flora Kaplan, and Francois Manchuelle.
ACASA Newsletter / No. 43, August 1995 3
To move onto real business: ACASA T-shirts and
sweat shirts. They must be sold. Everyone should
purchase at least two.
Abiodun thanked everyone for coming and expressed
appreciation for the support he has received during his
tenure as President. [Round of applause followed].
2. Financial Report
Frank reported that while this is usually the point at
which clear figures are given as to membership numbers
and account balances, however, such figures are
unavailable at the present time (she doesn't have a clue
given the intensity of cash flow in both directions over
the last few days). In general, anticipated income seems
to be matching expected expenses. Frank also noted the
extraordinary amount of financial support received from
host institutions in the way of phone, faxing, mailing,
and photocopying expenses, which will not be reflected
in the final figures, especially the Institute of
Afro-American Affairs and Africana Studies at NYU as
well as the Museum for African Art.
Please note the list of acknowledgements in program
which includes Philip Morris Companies Inc. for their
production and printing of the flyers and the final
program, Miller Brewing Company has donated beer,
and the Wright Gallery has provided wine for the
banquet. The Social Science Research Council
generously provided the funding to bring a series of
South African scholars for a panel organized by Doran
Ross. SUNY Stony Brook and Amherst College have
also contributed in a variety of ways. The fund-raising
efforts of Rowland Abiodun, Jack Pemberton, and Roy
Sieber, with additional help from Kate Ezra and Nancy
Nooter, resulted in just over $10,000 in contributions.
In addition, the revenues from the registration fees
at the last Triennial were earmarked for travel stipends
to this Triennial. A committee (Peek, Berns, Dewey,
Shaw and Frank) formed at the Toronto ASA meetings
reviewed applications and based on need awarded to the
following: Rory Bester (South Africa, graduate student);
Rita Laura Segato and Jose Jorge de Carvalho (Brazil);
Everlyn Nicodemus (Tanzania); Obiora Udechukwu
(Nigeria); Anna Wexler (graduate student) and Lionel
Hogu (Haiti); Margo Timm (Namibia), Joseph Adande
(B6nin). In addition, The University of Iowa was able to
provide Adand6 with a plane ticket.
3. ASA 1995.
Dewey announced that ASA 1995 is scheduled for
the 3rd to 6th November in Orlando, Florida. The
deadline for submission of panels and papers has already
passed. At least eight panels and ten unattached papers
on the arts have been submitted. The review process has
been decentralized somewhat, a sub-committee to review
the arts panels chaired by Dewey includes dele jegede
and Cynthia Schmidt. As an ASA-sponsored
organization, we are entitled to two panels exempt from
the review process.
D'Azevedo presented the report compiled and
composed for this meeting through the efforts of Mary
Jo Arnoldi, Janet Stanley, and d'Azevedo. D'Azevedo
noted the controversial nature of the notion of a "Code
of Ethics" which grew out of a series of panels
beginning at the Triennial in 1989 and continuing at
ASA meetings ever since. In their review of responses
to these discussions, the sub-committee noted the wide
range and intensity of differing opinions. The solution
they proposed involves an open dialogue to bring forth
opinions on all sides of the issue. These
recommendations were presented to and approved by the
Board at their Friday meeting. Ekpo Eyo and Philip
Ravenhill will lead an ethics roundtable at ASA in
Orlando. Volunteers were solicited to serve on the
committee. Main duties include deciding on topics and
presiding over open forum at the meetings. Ottenberg
stressed importance that this committee reflect the main
differences of opinion. Given the range of opinions
expressed in written responses, perhaps those individuals
could be asked to serve initially.
5. Election of Directors of the ACASA Board.
In accordance with our by-laws, a nominating
committee formed at the ASA meeting in Toronto
proposed the following slate of candidates whose
statements appeared in the April newsletter: Jean
Borgatti, Eugenia Herbert, Chris Mullen Kreamer,
dele jegede, Rosalind Wilcox. Since no other
nominations were received, Abiodun asked they be
approved. Discussion: In response to a question from the
floor, Frank announced that the members of the present
Board retiring at this Triennial are: Frank, Ottenberg.
Tesfagiorgis, Silverman and Nooter. Directors slated to
retire at the ASA in 1996 are: Abiodun, Dewey,
Curnow, Quarcoopome, and Stanley. Doran Ross moved
they be accepted by acclimation, it was seconded, and
approved by voice vote. Nominee for Secretary-
Treasurer: Kathy Curnow-Nasara approved by round of
applause and voice vote. [Note: Curnow-Nasara and
Dewey will remain on the Board until the 1998 Triennial
as result of her election to Secretary-Treasurer, and his
to President at the Sunday morning Board meeting,
Dewey becomes past-President at the 1996 ASA].
Other ACASA Business:
1. 1996 African Studies Association meetings will be
in Columbus, Ohio. Anyone planning a panel that
involves bringing anyone from overseas should begin
working on getting cv's and other relevant information,
to apply for ASA travel stipends due in March 1996.
2. 1996 College Art Association meetings will be m
Boston. The ACASA-sponsored panel proposed by Frank
("Approaching the Millenium: Subverting the
Western/Non-Western Dichotomy") has been accepted.
Individual paper proposals are due May 18th. One must
be a member of CAA both to submit (1995) and to
4 ACASA Newsletter / No. 43, August 1995
present (1996), and also be a member of ACASA.
Contact Frank for details.
3. 1997 College Art Association meetings. Eli Bentor
has suggested a panel on African and Afro-American art.
Panel proposals for the 1997 CAA are due September 1,
4. ACASA T-shirts and sweat shirts will be available
for sale after the business meeting and at the Museum
for African Art during the hours of the bookfair Sunday
afternoon. In addition, there is a substantial stock
waiting to be sold. While we do stand to make a decent
profit, we don't realize any profit until the shirts are
actually sold. Frank asked anyone with an institutional
base where T-shirts could be sold, and/or anyone with
time on their hands this summer and interest in selling
them on the streets of New York or anywhere else, to
please contact her. Suggestions included shipping out on
consignment (e.g. to museum shops), details need to be
worked out. Kreamer volunteered to coordinate sales at
ASA next fall.
5. Book Distribution Program. Stanley reported that
the ACASA book distribution program has entered its
sixth year and has been very successful. She reminded
those with publications in the works to discuss with
publishers the idea of providing books for the program.
These publications are very much appreciated in African
institutions where the difficulties of getting access to
current titles remains critical. There are 125 institutions
in Africa and a few in the Caribbean who currently
receive African Arts and other recent publications. The
list of institutions fluctuates slightly depending on the
political situation in the respective countries.
1. Sunday afternoon-Bookfair and T-shirt sales at the
Museum for African Art.
2. Jay B's International All-Day Triennial Brunch.
3. Mary Jo Amoldi has been nominated to the ASA
Board. Please get out the vote!
4. African Arts. Doran Ross reported that African Arts
is as always looking for good articles as well as
contributions to other sections-exhibition previews,
photo essays, portfolio, research notes, museum
collections, new acquisitions, dialogue, as well as
translations of obscure works in other languages.
5. Diggs Gallery in Winston-Salem, North Carolina, Call
for Papers-Conference in Spring 1996 on the African
impact on the material culture of the Americas. See
below under Forthcoming Conferences for more
6. Cleveland Art Museum announces a new publication
called Cleveland Studies in the History of Art. See below
under Publishing Opportunities for more information.
7. Joint Committee on African Studies of the ACLS and
SSRC-New Directions Essay series. See below under
Publishing Opportunities for more information.
8. Cynthia Schmidt expressed thanks on behalf of the
African Music Caucus for the opportunity to be a part
of the Triennial with no less than four panels specifically
on music and musical traditions. They would like to see
even greater collaboration on future interdisciplinary
9. Mary Jo Arnoldi, on behalf of the membership,
expressed thanks to Rowland Abiodun, Barbara Frank,
the retiring Board members and all those who worked
on organizing this Triennial. It was an incredible job,
well done. [Round of applause]
Meeting adjourned to the foyer for T-shirt sales'
ACASA Board Meeting, Sunday, April 23, 1995,
9:30-11:00 am. Events Room, Museum for African Art.
Present: Rowland Abiodun, Kathy Curnow, Bill Dewey,
Eugenia Herbert, Chris Mullen Kreamer, Nii Quar-
coopome, Janet Stanley, Rosalind Wilcox, and ex-officio:
Barbara Frank. Absent: Jean Borgatti, dele jegede.
1. Election of new President.
Abiodun proposed Dewey as the new president.
Quarcoopome seconded the nomination. Voted in by
acclimation. Dewey agreed to serve on the condition that
he receive the full and active support of every member
of the Board. He would like this meeting to focus on
specific tasks/domains for which different Board
members will be responsible. Those members present
offered their full support.
2. Membership dues.
Abiodun proposed that the Board re-consider
membership dues, given the increased costs we are
facing. While all agreed that this was something that
needed to be done, discussion revolved around procedure
as required by current by-laws (a copy of which was not
available). In an earlier version of the by-laws the dues
rates were specified and therefore any change of rates
would require change of by-laws. Suggestion made that
if that was the case, the by-laws should be amended to
allow Board the power to make such changes. Board
needs to put committee together to consider the issue of
membership dues and other matters as part of the
by-laws. Frank noted that any changes should explore
ways to avoid a mail ballot as it adds a lot of work for
the Secretary-Treasurer with low rate of return. Dewey
noted that any decisions must be aired before an open
forum, rather than just be an autocratic board decision.
Allowing for majority vote at one of the business
meetings would be sufficient. If such change does
require a change in the by-laws themselves, then the fee
structure could not be changed for the 1996 calendar
year, but must wait for the 1997 year. By-laws changes
could be approved by a majority of the Board before the
August newsletter, published in the newsletter, and
ACASA Newsletter / No. 43, August 1995 5
discussed and voted on at the ASA meeting, endorsed by
a mail ballot after the annual meeting.
3. Venue for next Triennial.
Several places have been suggested and/or
volunteered to host the next Triennial in 1998. Abiodun
is willing to spearhead efforts to identify and negotiate
the terms of the next Triennial setting. Dewey suggested
need for a standing sub-committee to deal with various
issues of programming to include ASA meetings as well
as the Triennial.
As approved by the membership, a Board-appointed
Ethics Committee should be an advisory group charged
with encouraging open forum and discussions, rather
than a body charged with creation or enforcement of a
code of ethics. Abiodun noted concern over ethical
problems likely to surface in the future due to an
ever-increasing illicit trade in objects. Board needs to
figure out what such a committee should be charged
with doing before selecting people to serve.
Abiodun repeated idea that ACASA members be
asked to contribute the honorarium from one lecture.
Stanley asked where we stand with ASA on an
endowment. Frank reported that ASA agreed to let us
proceed with fund-raising for target activities (such as
the Triennial) and to wait until their endowment
campaign was complete before proceeding with our own.
Now that theirs is done, we need to approach them
again to clear the way for our own fund-raising.
Abiodun reported that he spoke with the ASA Board in
Toronto and that they agreed with our going ahead with
modest scale fund-raising. Abiodun was appointed to
fulfill the term of an ASA Board member, thus has
access to the Board in a capacity outside of (but
sympathetic to) ACASA. Frank reported that the
Secretary-Treasurer submits a detailed financial report at
the end of the fiscal year to the executive director of
ASA which would include any fund-raising efforts.
Dewey noted that a variety of concerns need to be
addressed including why we need the money, what we
intend to use it for, what kinds of outreach activities
would be involved, need a multi-faceted plan. The
committee needs to draw on and represent the varied
strengths and connections of all our members.
Dewey reported need to follow up on different
outreach projects, including the slide project.
7. E-mail distribution list of Board members.
Jean Borgatti does not have email, all other Board
members do have email.
Message from outgoing ACASA Secretary-Treasurer,
Barbara Frank: As those of you who attended the
business meeting at the Triennial are aware, I had very
little to report concerning our financial or membership
status. It took some time for the dust to settle, the
income to be tallied, and the bills to be paid. In the
end, we came very close to the mark. The conference
costs came to just over $46,000, and we took in just
enough in contributions, registration and fees to be about
$300 in the black. There was a collective and audible
sigh of relief on all sides! These 'costs' include $7,000
of registration fees that have been set aside for travel
stipends to the 1998 Triennial. They do not include
personnel, telephone/fax, mailing, and photocopying
costs absorbed by ACASA, Amherst College, the State
University of New York at Stony Brook, NYU's
Africana Studies Program and the Institute of
Afro-American Affairs, the Museum for African Art,
The Metropolitan Museum, The Brooklyn Museum, The
Schomburg Center for Research in Black Culture, The
Newark Museum, and The Studio Museum in Harlem.
Nor do they include the costs of the pre-registration
flyer and the final program designed and printed by
Philip Morris Companies Inc. These institutions deserve
a great deal of credit for keeping our expenses down.
I would also personally like to thank a number of
people without whom the conference would not have
been such a success: It was great to be able to rely on
long-time ACASA members and friends Lisa Aronson.
Kathleen Bickford, Jean Borgatti, Kate Ezra, Bill
Siegmann, Anne Spencer, and Carol Thompson who
were involved from the very beginning. Bill Dewey,
Hank Drewal, Simon Ottenberg, and Phil Peek stepped
in at critical points along the way. I also had the
pleasure to get to know a number of people new to me
if not to ACASA: Skoto Aghahowa, Catherine Bernard,
Laurel Duplessis, John Mason, Michele Parchment. and
Tanya Serduik, among others. I would especially like to
thank Glenda Doyle of the Institute of Afro-Amencan
Affairs at NYU for the many hours and tireless efforts
she devoted to putting the pieces together. A special
tribute goes to Rowland Abiodun whose silver tongue,
persuasive abilities and endlessly appropriate Yoruba
proverbs saw us through many long planning meetings,
and livened the conversation around the ritual drinks
table afterwards. These are the people who made it all
I would also like to report that response to the
T-shirts and sweat shirts was very positive and that sales
at the Triennial were brisk. However, we were not shy
in the numbers we ordered and thus have quite a bit of
stock remaining (which Gail Feher at OAN in New York
has very kindly been storing for us). Janet Stanley and
Nancy Nooter have some for sale in Washington and we
plan to have them at the ASA meeting in Orlando. In
the meantime, let me know if you want to stock up on
presents for family and friends, or if you might have a
venue for selling some of them on ACASA's behalf.
6 ACASA Newsletter / No. 43, August 1995
As generally happens in the Triennial year, our
membership numbers increased noticeably. We now have
8 Lifetime, 17 Institutional, 128 Special (students,
unemployed and retired), and 261 Regular, for an all
time record of 414 members.
Finally, I would like to thank past-presidents Simon
Ottenberg and Rowland Abiodun, members of the Board,
and the membership, with whom it has;been a pleasure
to work, and I wish Kathy Curnow all the best for her
tenure as our new secretary-treasurer. Barbara E.
ACASA Leadership Awards
The 1995 ACASA Leadership Awards were presented
to Robert Farris Thompson and Frank Willett at the
Triennial Banquet at the Brooklyn Museum. Both
scholars were honored for their many enduring
contributions to the field of African art studies.
Arnold Rubin Outstanding Publication Award
The making of Bamana sculpture: creativity and
gender by Sarah Brett-Smith (Cambridge University
Press, 1994) won the 1995 Arnold Rubin Outstanding
Publication Award. The four runners-up were Reinventing
Africa: museums, material culture and popular
imagination in Late Victorian and Edwardian England by
Annie E. Coombes (Yale University Press, 1994), The
aesthetics of action: continuity and change in a West
African town by Kris L. Hardin (Smithsonian Institution
Press, 1993), African art in transit by Christopher B.
Steiner (Cambridge University Press, 1994), and The
wild bull and the sacred forest: form, meaning and
change in Senegambian initiation masks by Peter Mark
(Cambridge University Press, 1992).
Book Awards for the Next Triennial Symposium:
Letter to the Editor from Allen F. Roberts. "I share
some of the surprise expressed to me by several
colleagues, at how controversial the Arnold Rubin Book
Awards at the 10th Triennial were in several ways. I
would like to propose a couple of changes to our
policies concerning how the honor is conferred, that
would advance our collective purposes.
"(1) It seems absurd to me that the awards may be
restricted to monographs and single authored texts (or
one with only a few? African Reflections had several),
thus excluding innovative, outstanding, truly landmark
books like Astonishnent and Power, Elephant, and
Secrecy from recognition. While as scholars, ACASA
members all produce articles and monographs, certainly
exhibition-related books are equally at the heart of our
collective enterprise. I propose, then, that the Rubin
Awards be expanded to specifically recognize
exhibition-related books, or that a new prize be
founded/funded to do so.
"(2) The choice of winner for the 1995 Rubin
Award was controversial and contested by some,
defended by others. My second proposal is that the
judges write up a review of the book chosen as the best
of the last three years, to be published in African Arts
- even if a regular review has already been published
there. This would not be a defensive exercise, since
judges are chosen to express their opinions, and if some
disagree, that's what democracy is all about; but rather,
those who disagree or like me, in the present case -
are not altogether sure what all the fuss is about, would
be able to read a review underscoring the unusual
strengths the judges perceived in the one book and
found lacking in others. The outcome would be
increased dialogue within and about our field, which is
always to be encouraged.
"(3) Finally, how about a category for lesser works,
like small exhibition catalogs? Some of these are gems
that deserve recognition; and again, writing of this kind
represents an important aspect of what many ACASA
Editor's note: The next Arnold Rubin Outstanding
Publication Award will be awarded at the 11th Triennial
Symposium on African Art in 1998. Eligible publications
will be those published in 1995, 1996 or 1997. Further
comments from members on revising the guidelines for
this award are welcome for publication in the newsletter
or may be sent to Bill Dewey, President of ACASA.
Current guidelines specify that nominated titles must be
English language, written by one or two authors, and be
arts related with reference to Africa or the African
Diaspora. They should also be works of original
scholarship which make significant contributions to the
field. Eligible titles are those published in the three
years leading up to the Triennial year.
1995 African Studies Association Meetings,
The arts panels on the preliminary schedule for ASA.
Orlando, include the following:
"Mami Wata: New Perspectives and Peregrinations."
Chair: Rosalind Hackett.
Presenters: Rosalind Shaw, Mami Wata and the
Sierra Leone diamonds: consumption and
enslavement in men's dreams and the state economy
Misty I. Bastian, "Mrs. Money" and the sirens off
Bar Beach: spirits of consumption in the Nigerian
T. K. Biaya, Mami Wata: modern images of sacred
and power in Central Africa
Sabine Jell-Bahlsen, Dada-Rasta hair: the hidden
messages of Mammy Water in Nigeria.
Discussants: Henry Drewal and Sidney Kasfir.
ACASA Newsletter / No. 43, August 1995 7
"African Show Business." Chair: Bernth Lindfors.
Presenters: Bernth Lindfors, The-"African Roscius"
at Sadler's Wells: an unrecorded London
Nichola Johnson, Briton, Boer and black in savage
Kim Hughes, Salif Keita as a case study of albino
T. J. Boisseau White queens and the dark mirror:
the construction of Anglo-American female
subjectivity and the othering of Africa.
"Dialogic Performances: Debating Identity, Gender
and History." Chair: Corinne Kratz.
Presenters: Karel Arnaut, The multicultural
condition: the northeast Cote d'lvoire
Donna Flynn, Sex, song and seasonal work: critical
dialogue through Oro ritual in the Shabe borderland
Susan Rasmussen, Between ritual, theatre and play.
blacksmith praise at Tuareg marriage
Suzanne Blier, Identity and ideology at Ife: a
performative approach to an ancient Nigerian art.
"Negotiating Identities: The Arts of Southeastern
Africa." Chair: William Dewey.
Presenters: Rebecca Green, Who is Malgasy and
what does it mean?
Sandra Klopper, Dressing for political power in the
New South Africa, Gary Van Wyk, Xhosa-speaking
William Dewey, Life on the edge, or the chameleon
nature of art and identity on the eastern border of
"Africa in Comparative Perspective: Trans-African
Art, A Distinctive World View." Chair: Michael Harris.
Presenters: Michael Harris, Surrealistic and
Expressionistic forms of traditional African and
western art as seen in the works of
Jeff Donaldson, Trans-African art in the 1990s;
Ofori Ansah, The African contemporary artist as a
"Some Things Fishy: Masquerades from the Niger
Delta and Beyond." Chairs: Martha Anderson and
Presenters: Martha Anderson, Fish out of water:
fish masquerades in the Niger Delta
Perkins Foss, Color, design and the aesthetic
preference in Urhobo masquerade
Kathy Curnow-Nasara, Nets catch many things:
Eli Bentor Aqua-terrestrials: sharing aquatic
heritage in a land-based masquerade festival among
the Aro of southern eastern Nigeria.
Discussant: Philip Peek.
"African Arts and Pbst-Modernity." Chair: Dorothy
Presenters: Catherine Bernard, The occupied
territories of contemporary African American
"Material and Moral Perceptions of Tradition and
Modernity in Africa" Chairs: Christopher Steiner and
Presenters: Elisha Renne, Three funerals and a
wedding: images of tradition and modernity in
Enid Schildkrout, Global visions and parochial
ethnographies: revisiting an Arabic history of Kumasi
Alice Homer, Fashioning tradition and modernity
Christopher Steiner, Africanist notions of tradition
and innovation as masks of political ideology.
"Interpreting the Igbo Landscape," Chair: John
Presenters: John McCall, Historical plurality and
the topology of knowledge in an Igbo community
Ikem Okoye, Aesthetics and the political in Igbo
J. Akunwu-Kalu Njoku, Igbo landscape and
landmarks as fragments of cultural reality
Rory Turner, From Ofo to 419: landscapes of
illusion and veracity in modern Igboland
Discussant: Chike Aniakor.
"Decoding the Past: Current Archaeological Research
in Africa and the Diaspora." Chairs: Kathryn
Woodman and Audax Z. P. Mabulla.
Presenters: Audax Z. P. Mabulla, An
archaeological landscape approach to rock art: a
preliminary study in the Eyasi Basin, Tanzania
John W. Arthur, The ethnoarcheology of southern
Ethiopian pottery: a use-alteration investigation
Matthew Curtis, Paradigms and pottery: triangular
incised ware and the archaeology of the East
8 ACASA Newsletter / No. 43, August 1995
Flordeliz T. Bugarin, Markers of children in the
African archaeological record.
Discussant: Peter Schmidt.
"Popular/Urban Cultures in Ghana II." Chair: Daniel
Presenters: Daniel Mato, Fashion and
message-wearing adinkra: the popularization of
Joseph Amoako, Manifestations of cultural beliefs
and customs of Akans through drum language
Atta Kwami, The indigenous painting in Ghana
Robert Clark, Kyeremu proverbs: local
interpretation of proverbial images on an Asafo
shrine house in Ghana.
Discussant: Kwesi Yankah.
"Griots and Technology" (Sponsored by the Mande
Studies Association). Chair: Thomas A Hale.
Presenters: Barbara Hoffman, Technology and
"tradition": television and Jeliya
Robert Newton, Epic proportions: Jeliya in the big
Thomas Hale, Griots and technology: survival by
Lucy Duran, Musical bargaining: recording
technology and musical creativity in the Mande Jeli
"African Stars: Image in Performance" (Sponsored by
the African Music Caucus). Chair: Cynthia Schmidt.
Presenters: Frank Fairfax, The image and
performance of Fela Anikulapo-Kuti
Christopher Waterman, The production of celebrity
in Yoruba music videos
Cheick Keita, Blind spots and high visibility: Salif
Keita on the World Music stage
Andrew Kaye, Image and economics: Koo Nimo
and the marketing of an African musician; Alan
Waters, The dialectical formation of a modern
African musical idiom: Fela Kuti's 'Afrobeat'
"Power and the Politics of Identities in 20th-Century
Equatorial Africa." Chairs: Phyllis Martin and
Presenters: John Cinnamon, When mademoiselle
seized us: national political power, sorcery and
local identity in northeastern Gabon
Francois Ngolet, Ideological manipulation and
political longevity: the power of Omar Bongo in
Alisa La Gamma, Sculpture and ethnic identity in
Gabon: the example of 'Punu white masks'
Christopher Gray, Inventing and imagining a
modern Gabonese political identity: the case of
Roundtable: "What is the Relationship of Africarust Art
History to Anthropology?" (Sponsored by ACASA).
Chair: Zoe Strother.
Discussants: Patrick McNaughton, Allen Roberts,
Mary Jo Arnoldi, Ramona Austin, Chris Geary.
Roundtable: "ACASA Dialogues on Ethics." Chairs:
Mary Jo Arnoldi and Warren d'Azevedo.
Discussants: Ekpo Eyo, Philip Ravenhill.
Roundtable: "Issues Facing Contemporary African
Artists in the Continent and the Diaspora." Chair: Salah
Participating artists: Angele E. Essamba,
artist/photographer (Cameroon); David Koloane,
painter (South Africa); Houria Niati,
painter/conceptual artist (Algeria); Rashid Diab,
painter/printmaker (Sudan); Wosene Kosrof, painter
Discussants: Olu Oguibe and Okwui Enwezor.
An exhibition featuring recent works by these five
artists is being planned to coincide with ASA meeting:
the venue in Orlando will be announced soon. The
exhibition and travel of the artists are both funded by a
grant from the Rockefeller Foundation. The exhibition
and the roundtable are part of an initiative to promote
contemporary African art and artists in the US, to
broaden and expand the discourse on African art, and to
explore issues of modernism and post modernism from
an African perspective. To benefit the visiting artists and
the African art community in the United States, a
reception is being planned for the visiting artists at the
ASA meeting. The exhibition and the reception will
provide an opportunity to meet the artists, exchange
ideas, and debate relevant issues.
The visiting artists will be available for lectures and
presentations. Institutions and individuals interested in
hosting the artists after the ASA meeting in Orlando
should contact: Salah Hassan, Africana Studies and
Research Center, Cornell University, 310 Triphammer
Rd, Ithaca, NY 14850. Telelephone: (607) 255-0528.
Fax: (607) 255-0784. e-mail: email@example.com.
Arrangements have to be made before October 1, 1995.
ACASA Newsletter / No. 43, August 1995 9
ACASA Book Distribution Program
Three issues of African Arts were despatched (by
surface mail) under the auspices of the ACASA Book
Distribution Program in July 1995:
Volume 27 (4) autumn 1994
Volume 28 (1) winter 1995
Volume 28 (2) spring 1995
Limited edition designer T-shirts with an original,
commissioned African art design by Moyo Okediji are
still available. Priced affordably at two for $25.00 or
$15.00 each. For colder weather, ACASA sweat shirts
are also available with the same design for only $25.00.
Sizes large and X-large. Perfect gifts for African
art-minded people. Take a few in your suitcase as
presents when you travel to Africa. ACASA T-shirts and
sweat shirts will be available at ASA Orlando. You may
also purchase from: Janet Stanley, NMAFA Library,
Smithsonian Institution-MRC 708, Washington, DC
20560. (202) 3574600 ext. 285. Remember, this
fund-raising effort on behalf of ACASA will enable us to
sponsor colleagues from Africa to participate in
conferences. Support ACASA!
Amanda Carlson, a graduate student in the departments
of art history and African studies at Indiana University,
spent the summer at the Smithsonian Institution. As a
Graduate Research Fellow at the National Museum of
African Art, her project, "African Art in the
Photographic Frame," examined conventions of object
photography as well as the images of fine art
photographers who photograph African art. Amanda is
currently an intern at the National Museum of Natural
History. She will spend the fall semester in Calabar,
Nigeria continuing her studies of Nigeria Pidgin English
and Ejagham (funded by Foreign Language Area Studies
1995-96). Amanda will also be continuing with her field
research on the art of the Ejagham in which she
investigates the processes by which individuals use
nsibidi to construct meaning and social identities.
Barry Hallen will be at the W. E. B. Dubois Institute at
Harvard University from September 1995. He can be
reached at the Institute, 26 Church Street, Cambridge,
Zachary E. Kingdon has recently earned a doctoral
degree in Advanced Studies in Non-Western Art at the
University of East Anglia's Sainsbury Research Unit for
which he completed a dissertation on Makonde
blackwood sculpture. His dissertation entitled A host of
devils: the history and context of the modern Makonde
carving movement was written on the basis of eighteen
months of original research conducted in Tanzania with a
group of highly accomplished Makonde sculptors. The
dissertation provides an in-depth account of the
background, origin, and development of a unique,
contemporary artistic movement, which first emerged
during colonial times among the Makonde people who
inhabit the high plateau in Cabo Delgado region,
Mozambique. The group of Makonde carvers studied
represent a specific development within the Makonde
blackwood carving movement which took root in Dar es
Salaam during the 1950s. The study examines the role
of apprenticeship and patronage in the artistic
development of a number of exceptional carvers and
situates their work within the wider context of
socio-cultural change and migration to Tanzania. The
works of two of these carvers Chanuo Maundu and
Dastan Nyedi are discussed in relation to the carvers
notions of personhood and the artist and in relation to
issues of aesthetics and meaning. Finally, the creative
intentions and procedures of Chanuo Maundu are
examined in order to elucidate the nature and
significance of his artistic quest. Z. E. Kingdon, The
Elms, The Walk, Islip, Oxford, OX5 2SD, England.
Telephone: (44) 865 376094.
Frederick Lamp has been appointed a Senior Fellow at
the Center for Advanced Study in the Visual Arts at the
National Gallery of Art, Washington, DC, for the
academic year 1995-1996. He will be working on a
monograph to accompany an exhibition, "Art of the
Baga: A Drama of Cultural Re-Invention," scheduled to
open at the Museum for African Art, New York, in the
fall of 1996.
Patrick McNaughton was promoted to Professor in the
Department of Art History, Indiana University, earlier
Moyo Okediji successfully completed his doctoral
dissertation in African art history at the University of
Wisconsin, Madison, in May 1995. Moyo will be taking
up appointment at Wellesley College in the fall to teach
art history and studio art.
Sharon Pruitt, East Carolina University School of Art,
Greenville, NC, will present a lecture on August 23rd in
conjunction with the exhibition "Creativity, Continuity,
Community: African Art, The James Lankton
Collection." The Lankton collection of African art has
been donated by James Lankton to the University's
School of Art.
Amy Staples, of the Eliot Elisofon Photo Archives,
National Museum of African Art, traveled to Kenya in
July to do research on Belgian-American author,
filmmaker and explorer Armand Denis (1897-1971).
Roslyn Walker, National Museum of African Art,
traveled to Nigeria and England in August to conduct
fieldwork and archival research relating to the Yoruba
sculptor Olowe of Ise.
10 ACASA Newsletter / No. 43, August 1995
Johannes Fanozi Mkiza (1959-1995), aka Chickman,
South African artist whose-work is illustrated on the
cover of the Johannesburg Biennale catalog, died March
Correction: In the obituary notice of Gani Odutokun,
the date of death was incorrectly given. He died on
February 15, 1995 in an automobile accident en route
from Lagos to Zaria.
Visiting Curator, The Mattye Reed African Heritage
Center of North Carolina Agricultural and Technical
State University in Greensboro, NC One year;
non-tenure teaching track position; immediate opening
(with possibilities of renewal). The qualifying candidate
should have at least a M.A. preferably in one of the
following fields: African or African American history or
art history, and African studies. Other eligible fields are
art education, museum studies and black studies.
The duties of the curator are: assisting in the
maintenance and care of the Center's 6,000 piece
African art collection, assisting the director in the
development of exhibitions, as well as research and
publications on artworks and themes relating to the
collection, exhibitions and programs of the Center. Some
lectures and workshops as sponsored by the Center will
be required as part of the duties of the curator. Museum
experience is necessary.
Send resume to or for more information contact:
The Director, The Mattye Reed African Heritage
Center, North Carolina Agricultural and Technical
State University, 200 Noche Street, Greensboro, NC
27411. Telephone: (910) 334-7874. Fax: (910) 334-7837.
The Center for Advanced Study in the Visual Arts,
National Gallery of Art, Washington, DC, awards
approximately six senior fellowships and 23 visiting
senior fellowships each year for study of the history,
theory, and criticism of art, architecture, and urbanism
of any geographical area of any period. Applicants
should have held the Ph.D. for five years or more or
possess a record of professional accomplishment.
Scholars are expected to reside in Washington, DC,
throughout their fellowship period and participate in the
activities of the center. All grants are based on
individual need. The Center will consider appointments
of associates who have obtained awards for full-time
research from other granting institutions and would like
to be affiliated with the center. For information: Center
for Advanced Study in the Visual Arts. National
Gallery of Art, Washington, DC 20565. Telephone:
(202) 842-6482. Fax: (202) 842-6733. Deadline for
visiting senior fellowships and associate appointments:
September 21, 1995. Deadline for senior fellowship and
associate appointments: October 1, 1995.
Andrew W. Mellon Art History Fellowships
1996-1997, Metropolitan Museum of Art, New York.
Provided by the Andrew W. Mellon Fund for promising
young scholars with commendable research projects
related to the Museum's collections, as well as for
distinguished visiting scholars from the U.S. and abroad
who can serve as teachers and advisors and make their
expertise available to catalog and refine the collections.
Usually a fellowship will be given for a maximum of
one year, most of which should be spent at the
Metropolitan Museum. Applicants should have received
the doctorate or have completed substantial work toward
it. Fellowships for senior scholars are also available for
as short a term as one month. The proposed stipend for
one year is $26,000 for senior fellows and $18,000 for
pre-doctoral fellows. Additional travel funds up to $3.000
are also available.
Fellowships begin September 1, 1996. Application
must be made by letter, and must be submitted by
November 9, 1995 to: Fellowship Program, The
Metropolitan Museum of Art, 1000 Fifth Avenue, New
York, NY 10028-0198, USA. Attention: Pia Qumtano.
Telephone (212) 570-3807. There are no application
forms. Applicants must submit a typed application in
triplicate including the following:
* Name, home and present address, and telephone
number (in triplicate).
* Full resume of education and employment (in
* Official undergraduate and graduate transcripts
(original transcript plus two copies).
* A two-part statement, not to exceed one thousand
words, specifying what the applicant wishes to
accomplish during the fellowship period and detailing
how the Metropolitan Museum's resources can be
utilized to accomplish the applicant's goals (in
* Tentative schedule of work to be accomplished and
travel required during the fellowship period (in
* Three letters of recommendation (at least one
academic and one professional); these should be sent
directly to the above address (in triplicate).
* List of other applications for fellowships or grants
applied for in same period (in triplicate).
College Art Association's Professional Development
Fellowship Program for Artists and Art Historians.
Artists and art historians of color and from other
culturally diverse backgrounds are eligible to apply. CAA
defines cultural diversity in the broadest possible terms
to include race, ethnicity, sexual orientation, and
economic class. Candidates must also demonstrate
financial need and plan to receive the MFA, MA or
ACASA Newsletter / No. 43, August 1995 11
PhD degree in the spring of 1997;--The fellowship
provides two years of funding: a grant of $5,000 for the
first; in the second year, CAA provides assistance in
securing employment or an internship at a museum,
university, or art center, and subsidizes the position.
Candidates are required to be citizens or permanent
residents of the United States. Write or call the CAA
office to request a copy of the application form.
Deadline: January 31, 1996. Applicants will be notified
by May 30, 1996. CAA, 275 Seventh Avenue, New
York, NY 10001 Telephone: (212) 691-1051.
The West African Research Association Minority
Student Internship to Africa 1996 program. The West
African Research Association is offering two minority
student internships in West Africa in an effort to
increase the presence of minorities in international
affairs. Three internships will be awarded to those who
have demonstrated ability and potential to succeed in
international studies, and have an interest in African
affairs. Each internship will provide travel costs to and
from Washington, DC, for orientation; travel costs to a
West African country for four to six weeks; and a
stipend of $1,500.
The competition is open to US citizens who are
enrolled in the MA program of an accredited college or
university in the United States.
To apply candidates must submit the following:
* A three-page essay explaining their interest in
international affairs and how the internship will
further that interest at their college/university and
beyond. The essay should include a discussion of any
participation in international programs, foreign travel,
* A college transcript
* Two letters of recommendation by professors
Submit to: West African Research Association,
Howard University, Box 682, Washington, DC 20059.
Application deadline: October 1, 1995.
The West African Research Association Research and
Teaching Fellowships to West Africa 1996. The West
African Research Association is offering two three-month
research and teaching fellowships for the spring/summer
of 1996 in West Africa. These fellowships are offered
primarily to provide opportunities for faculty at liberal
arts colleges to conduct short-term research and to
lecture at an African university in order to enhance their
teaching effectiveness and expand their course offerings.
Each fellowship will provide round trip travel costs
to a West African country and a stipend of $15,000 for
three months. The West African Research Center in
Dakar, Senegal, will assist in selection of the university
affiliation, West African recommendations for lodging,
and establishment of local contacts. The competition is
open to US citizens who teach in the humanities and
social sciences at four-year colleges in the United States.
To apply, submit:
* An essay describing the concept, methodology, and
significance of the research project; explaining one's
interest in teaching and conducting research; and
showing how the fellowship will further that interest
at their college/university and beyond
* Two letters of recommendation by professors in their
* A curriculum vitae
Submit to: West African Research Association,
Howard University, Box 682, Washington, DC 20059.
Application deadline: October 1, 1995.
Cleveland Studies in the History of Art. The Cleveland
Museum of Art is launching a new scholarly publication
in an expanded format that will accommodate larger,
clearer photographs and more elegant page design.
Cleveland Studies in the History of Art will publish
scholarly articles and shorter notes containing original
research related to the museum's permanent collections.
While collection-based articles are particularly sought,
others will also be considered. Articles are invited from
outside contributors, as well as members of the staff.
The aim is to attract the submission of material
commensurate with this physically enhanced publication
and to provide a degree of flexibility within the broad
perimeters outlined in order to produce a publication of
the highest possible quality.
Submitted manuscripts are reviewed by an editorial
board drawn from CMA staff and using the advice of
outside referees. Cleveland Studies is published annually:
articles submitted no later than March 1st will be
considered for that year's volume. The inaugural issue
will be published in 1996. Submissions should be
addressed to: Henry Hawley, Executive Editor,
Cleveland Studies in the History of An, 11150 East
Boulevard, Cleveland, OH 44106-1979. Fax: (216)
New Directions Essay Series, Joint Committee of
African Studies. In keeping with its efforts to advance
the quality, value, and effectiveness of social science and
humanistic research, the Joint Committee on African
Studies (JCAS) of the American Council of Learned
Societies and the Social Science Research Council is
pleased to announce the start of New Directions, an
essay series that seeks to open new avenues of inquiry m
the study of Africa. New Directions will accept essays
written in English or in French from scholars in the
humanities and the social sciences. The series is intended
as a forum for challenging rather than for surveying
established research agendas and received wisdoms that
have shaped understandings about Africa. It encourages
the formulation of conceptual frameworks and
methodological approaches that show promise of
12 ACASA Newsletter / No. 43, August 1995
promoting interdisciplinary scholarship and debate on
topics of concern within and beyond the continent.
Each year New Directions will seek to publish
bilingually, in English and in French, two to three essays
ranging in length from 20 to 30 pages. A proposal for a
New Directions essay should be presented in the form of
a two-page abstract and sent to: New-Directions, Africa
Program, Social Science Research Council, 605 Third
Avenue, New York, NY 10518, USA. Telephone: (212)
661-0280. Fax: (212) 370-7896.
New Directions replaces and complements the
Research Overview Paper series sponsored by the JCAS.
West African Museums Program Bulletin welcomes
articles and contributions on museums or cultural
institutions. The editors also welcome reflections or
analysis of African art in a cross-boundary or local
context. Submissions may be written in either French or
English. Illustrations are expected as well as any
explanatory drawing giving better insight of the topic
discussed. For more information, contact: Joseph
Adande, Department of History & Archaeology,
Faculty des Lettres & Arts Sciences Humaines,
UniversitE Nationale du Benin, BP 526, Cotonou,
Republique Populaire du Benin. Submissions for
WAMP bulletin should be sent to: WAMP Bulletin, West
African Museums Project, 140 rue Mousse Diop, B.
P. 357, Dakar, Sdengal.
News from Belgium
African Art in Distant Places tour. Several ACASA
members are slated to join the Friends of Ethnographic
Art led by William Fagaly of the New Orleans Museum
of Art on a tour to Belgium and England. The trip,
which runs from October 12-19, 1995, offers visits to
private collections of African art as well as docent-led
tours of two major exhibitions: "Hidden Treasures" at
the Mus6e Royal de I'Afrique Central in Tervuren and
"Africa: The Art of a Continent" in London.
In addition, there will be side trips to the
Ethnographic Museum in Antwerp, the Pitt-Rivers
Museum, and the Ashmolean Museum of Art and
Archaeology, Oxford. A few subscriptions remain: tour
price is $1,600 double occupancy at four star first class
hotels. For information, contact: Patricia Patton,
Belgian Tourist Office, New York. Telephone: (201)
744-8785 or (201) 7444746.
News from Brazil
New Book from the Pierre Verger Foundation. Ewe /
by Pierre Fatumbu Verger (Sao Paulo: Companhia das
Letras, 1995) is a book on the medicinal and magical
use of plants by the Yoruba people from Nigeria and
Benin collected by Pierre Fatumbi Verger since 1953.
The text is printed in Yoruba with Portuguese and
English translation. It contains 447 recipes with their
medicinal various uses. This publication is one of the
programs of the FundaCao Pierre Verger which carries
forward the researches undertaken by Pierre Verger.
Verger, born in 1902, began in the 1930s his world-wide
travels and photography in the South Seas Islands. the
Far East, the Americas, and Africa. Verger arrived in
Bahia in 1946 where he established a center of devoted
to the study of African religious in Brazil. For
information about the work of the foundation, contact:
FundaCao Pierre Verger, CP.1204, 40000 Salvador,
Bahia, Brazil. Telephone/fax: (071) 247-7453.
News from Great Britain
Pitt Rivers Museum, University of Oxford. The
number of Africanists on the Museum's staff was
doubled recently when David Zeitlyn (author of a recent
African Arts article on the Mambila) was appointed as
Assistant Curator (Information Technology).
Unfortunately for the Museum, David will be leaving
later in the summer to take up a Lectureship in Social
Anthropology at the Unversity of Kent. The level of
interest in African topics remains high among students.
Two of this year's M.Phil. students wrote their
dissertations on African art topics, and it is hoped that
they may be able to stay on to do further research.
Among the doctoral students, Tina Stoecklin is
completing her thesis on bell-ringing in Kilifi, Kenya:
Karel Arnaut has recently returned from a final field
trip and is writing up his thesis (entitled "Beginning an
art history of Bedu: the political history and social
production of a masquerade") from his base in Belgium:
while Jeremy Avis is back in the field researching the
music played at masquerades in Cameroon.
For the moment at least, Jeremy Coote is
concentrating his researches on the Museum's historic
collections. While the Museum's documentation is
generally of a very high standard, the object records do
not contain complete publication histories. If any ACASA
member has published a piece from the Pitt Rivers
Museum collection (or comes across a Pitt Rivers
Museum piece in an obscure publication), Jeremy would
like to hear about it. He has been very surprised at the
frequency with which objects from the Museum's
collections have been published without the Museum
being sent a copy of the publication or, at the very
least, a photocopy and/or reference. In one extraordinary
case, a piece from the Museum's collections was recently
illustrated and re-provenanced (!), with about 1,000
words of text, without the Museum being informed. It
surely is part of scholarly etiquette that researchers make
sure that the fruits of their research get back to the
holders of the material and not leave it to publishers
(who have other priorities) to do it.
Recent visitors to the Museum have included
Michele Coquet (researching African court arts), Edgar
V. Winans (researching early East African collections)
ACASA Newsletter / No. 43, August 1995 13
and Hilde Van Braeckel (researching Central African
textiles). Christraud Geary also visited the Museum
earlier this year while she was in Oxford as the
University of Oxford's first Astor Visiting Fellow. Dr.
Geary examined parts of the Museum's collection of
archive photographs, as well as giving two lectures on
her Cameroonian research.
The Pitt Rivers is not a participant in the Africa '95
Festival, though it is a lender to the Royal Academy
exhibition, but will have much to offer the ACASA
member who may travel to the UK to see the RA
exhibition or any of the other exhibitions and events. As
most members will know, the Pitt Rivers displays are
arranged typologically, rather than by provenance. This
means that almost every case in the Museum contains
African material. The displays have recently been
extended with the re-opening of the Museum's Upper
Gallery. This displays weaponry for hunting, fishing and
ceremonial use, and includes some remarkable African
shields as well as examples of almost every other type
of African weaponry. In addition, the Upper Gallery
contains a new display of "Nuer and Dinka" material
culture. This is one of the few permanent "culture area"
displays in the Museum; others include "The Art of
Benin," "West African Sculpture," "Ugandan
Kingdoms," and "Carvings from the Ruvuma River
The Museum is open every day except Sunday from
1.00 to 4.30 p.m. Anyone wishing to make an
appointment to scan the catalogue, or see material from
the reserve collections (but see below for musical
instruments and archives) should contact with plenty
of notice Jeremy Coote (Assistant Curator) at the
Pitt Rivers Museum, South Parks Road, Oxford, OX1
3PP. Telephone: 1865 270929. Fax: 1865 270943.
e-mail: firstname.lastname@example.org). Anyone wishing
to consult the Museum's musical collections should
contact Helene La Rue (Curator) at the same address.
Telephone: 1865 274721. Fax: 1865 274725. e-mail:
email@example.com. Anyone wishing to consult the
Museum's archives (including field photographs) should
contact Elizabeth Edwards (Assistant Curator) at the
same address. Telephone: 1865 270925. Fax: 1865
270943. e-mail: firstname.lastname@example.org. We
look forward to hearing from ACASA members and
perhaps welcoming some of you to the Museum for the
first time. Jeremy Coote, Pitt Rivers Museum,
Oxford OX1 3PP. Telephone: 01865 270929. Fax: 01865
The Dictionary of Art (London, Macmillan), to which
many ACASA members have contributed. Jeremy's
contract with The Dictionary came to an end at the turn
of last year. He has tried to keep an eye on the final
editing and correcting of the African entries, but he has
only been able to do this to a limited extent. The end of
July 1995 has been advertised as the final date for
corrections, so if any contributor has not corrected their
proofs if may now be too late. However, if any one
needs to make an essential correction they could try
faxing immediately Lucy Temperley, The Head of the
Proofs Department, on 44 171 240 1075. Jeremy
enjoyed (in part at least) his work as Area Editor for
Africa at The Dictionary and is grateful to all ACASA
members who contributed or in other ways cooperated m
the project. Jeremy Coote, Pitt Rivers Museum.
Oxford OX1 3PP.
News about Liberia
The Archives of Traditional Music at Indiana University
announces the donation of the Svend E. Holsoe
Collection of Liberian research materials. The collection
includes audiotapes, films, manuscripts, photographs, and
documents amassed over the last forty years.
News from Nigeria
"Artists for Children" was an exhibition organized by
UNICEF, British Council and ANPPCAN, Enugu, to
celebrate the "Day of the African Child, 1995."
Participating artists were Tayo Adenaike, Nsikak Essien.
Fryde Okoh, Goodliffe Daka, Bona Ezeudu, Bonaventure
Emeruom, Dorathy Ifere, Newton Barabara, Lemmy
Ijeoma, Uzo Nwokedi, Ikechukwu Ezenyirioha,
Chukwudi Uzoegbo, and Adewunmi Ayo. The exhibition
opened in Enugu in June 1995 and travels to Port
Harcourt. Fryde Okoh.
A memorial lecture in honor of late Professor Nwanna
Nzewunwa, has been scheduled for May 1, 1995 at
Owerri, his home town. Professor Nwanna Nzewunwa.
until his death, was a Professor of African Archeology,
University of Port Harcourt. Oledinma
News from Zimbabwe
In June 1995, the African Archives and Museums
Project (AAMP), administered by the Joint Committee
of African Studies of the Social Science Research
Council and the American Council of the Learned
Societies, conducted a workshop for African Archives
and Museums Project Directors in Harare. The workshop
brought together the members of the AAMP Selection
Committee and twenty-two participants from fourteen
African countries, to whom the AAMP had awarded
grants for activities such as conservation of endangered
collections, documentation and cataloguing of collections,
the display of special holdings, and the enhancement of
public access to archives' and museums' collections.
During the meeting, the participants shared information
about their respective projects and discussed how to
enhance the work of archives and museums in Africa. In
addition, they identified ways in which the AAMP may
assist African archives and museums in the coming
years. ACASA members Chris Geary and Doran Ross
participated in this workshop.
14 ACASA Newsletter / No. 43, August 1995
Report on the 10th Congress of Pan-African
Association for Prehistery and Related Studies,
Harare, Zimbabwe, June 19-23, 1995. by Eugenia
Herbert. This was the first meeting of the Association in
twelve years, the last having been held in Jos, Nigeria
in 1983. The Congress took place at the University of
Zimbabwe and was organized largely by members of the
History Department, ably headed by Professor Gilbert
Pwiti as Organising Secretary. Almost 300 scholars
attended, most presenting papers . .
. for four and a half days, four sessions ran
concurrently except for a mid-week break in order to
visit the Domboshawa cave paintings. This made for
hard choices, but was inevitable in view of the large
number of presenters. Since almost all participants had
submitted abstracts which were available at registration
time, it was easier to keep abreast of the range of topics
than would otherwise have been the case . .
Session were divided among eighteen different
themes: Hominid Evolution, Palaeoenvironmental Studies,
Rock Art, Early Food Production, Information
Technology, Ethnoarchaeology, Cultural Resource
Management, Early Iron Working Communities, Late
Iron Working Communities, Development of Complexity,
Historical Archaeology, Interpretation of Culture Change,
Early Hominid Land Use, Terminology in African
Prehistory, Spatial Analysis, Zimbabwean Archaeology.
In addition, there were poster, computer, and video
presentations, plus various receptions and a dinner-dance
finale. By dint of superhuman effort, Zimbabwe
Publishing House in concert with the British Museum
Press was able to time the publications of Peter
Garlake's The Hunter's Vision: The Prehistoric Ar of
Zimbabwe to coincide with the Congress.
Obviously the distinctions implied by the themes of
the sessions were tenuous and arbitrary, but they may
have been intended to highlight methodological debates,
especially those within archaeology, as well as to impose
some order on the proceedings. I should note at the
outset that I confined myself to sessions dealing with
post-Stone Age Africa. Aside from the interesting range
of the research itself, some of the most stimulating
issues raised concerned the meaning of sites to
indigenous peoples themselves and the use of later
ethnographic evidence to interpret archaeological sites.
For example, the earthworks at Bigo in Uganda had no
significance for the local people when they were first
studied by European archaeologists but have now come
to be important ritual centers. Similarly, cave painting
sites such as Domboshawa are currently embroiled in a
tug of war between Historical Monuments officials and
tourists on the one hand and local populations that see
them as centers for rainmaking ceremonies on the other.
Tom Huffman's argument that contemporary or at
least recent Venda culture may be used to explicate the
spatial arrangements, political relationships, and other
aspects of Great Zimbabwe continue to spark a great
deal of controversy. Some archaeologists deny that GZ
and its neighbors exhibited as much uniformity as
Huffman's model claim, while other are suspicious of the
degree of continuity Huffman finds in Venda. His book
should be out at the end of 1995, detailing his
arguments and supporting evidence more than has been
possible in articles and in the brief presentation to the
At the same time Merrick Posnansky's presentation
of 25 years of archaeological work at Ham in northern
Ghana brilliantly demonstrated the value of such
long-term research. Here, long acquaintance with the
village and its people not only permitted judicious use of
oral tradition in reconstructing the past but also made
the researchers aware of how much their own presence
has affected ways of organizing space over time, not
least in the widespread adoption of hedges by individual
There were a number of presentations about
metalworking, some unfortunately scheduled at the same
time. Nic David's work on Sukur [Cameroon] now
allows him and his colleagues to propose unusually
precise estimates for iron production and charcoal
consumption over the past century and a half, and to
detail the symbiosis of montagnard metallurgists, farmers
of the plain, and traders. David has, incidentally, just
completed a film on African iron working entitled Black
Hephaistos. It was made in collaboration with David
Killick and shows what can be determined by laboratory
analysis a valuable adjunct to archaeology and the
history of African technology. The film is available from
the University of Calgary.
The organizers of the Congress also made it
possible for participants to sign on for a pre-Congress
excursion to South African sites, and post-Congress bus
excursions to either Bulawayo/Victoria Falls/Livingstone,
Zambia or to Nyanga and Great Zimbabwe. The latter
included tours of the stone pits, terraces and fortresses
in the Eastern Highlands as well as the better known
Great Zimbabwe ruins.
This was a superb opportunity for scholars to
engage each other, and especially enjoyable to continue
the discussions after the Congress proper during the
excursions. The organizers performed amazing logistical.
secretarial and financial feats. Only Francophones might
complain about the overwhelmingly Anglophone
character of the meetings it must have been hard
going to deal not simply with the fact that the
overwhelming majority of communications were in
English but that English came in so many accents! And.
as a speaker at one reception remarked, one can hope
that future congresses will see a more even match of
African and Euro-American participants.
ACASA Newsletter / No. 43, August 1995 15
Afrikanische Plastik. Confrontation und Annaherung.
G6ttingen: Stadtisches Museum, 1994. vi, 148pp.
fig., 66 plates. (G6ttingen Kulturwissenschaftliche
Schriften Austellungkataloge, 1). Price: DM
Afrikanische 7bpertechniken: Beispiele aus Ghana und
Marokko. Bonn: IIZ, DVV, 1995.
(Volkshochschulen und der Themenbereich Afrika,
Asien und Lateinamerika; Materialien, 35). ISBN
3-88513-868-9. Price not stated.
Animals in African ar: from the familiar to the
marvellous / by Allen F. Roberts. Munich: Prestel,
1995. 192pp. Note: Catalog of an exhibition at the
Museum for African Art, New York. ISBN
3-7913-1455-6. Price: $32.00
The art of Benin / by Paula Girshick Ben-Amos. Revised
edition. London: British Museum Press;
Washington, DC: Smithsonian Institution Press,
1995. ISBN 0-7141-2520-2. Price: 12.99.
Die bildende Kunst der Bangwa: 1Wrkstatt-Traditionen
und Kanstlerhandschriften / by Bettina von Lintig.
Minchen: Akademischer Verlag, 1994. Price: DM
Catalogue de la collection d'oeuvres d'artistes
contemporains d'Afrique et d'Oceanie acquises ou
conservees par 1'ADEIAO / introduction by Lucette
Albaret and Paul Balta. Paris: ADEIAO, 1995.
pp. chiefly illus. (color). Cover title: Art
contemporain d'Afrique et d'Oceanie. OCLC
32346384. Price not stated.
The collection of ADEIAO [Association pour le
Development des Echanges Interculturels au Mus6e
National des Arts d'Afrique et d'Oc6anie] was
begun in 1984 by a few spirited individuals who
felt that the museum needed a more contemporary
focus in its exhibitions and collections. From a
series of temporary exhibitions organized from
1985, the museum acquired selected works by
purchase or donation from the artist. The present
illustrated catalog reproduces 116 paintings, prints,
and a few sculptures, representing artists from
mainly francophone African countries.
Cloth that does not die: the meaning of cloth in Ba&ng
life / by Elisha P. Renne. University of
Washington Press, September 1995. Price: $40.00
Contemporary Egyptian art / by Liliane Karnouk. Cairo:
American University of Cairo Press/Columbia
University Press, 1995. 132pp. ISBN 9774243242.
East of the Atlantic, lst of the Congo: art from
Equatorial Africa: the Dwight and Blossom Strong
Collection / by Leon Siroto and Kathleen Berrin.
University of Washington Press, July 1995. Price:
Egyptian arn by Eleni Vassilika. Cambridge University
Press, 1995. Price: 25.00
"Ecstatic Revolution!" Street art celebrating Sierra
Leone's 1992 revolution / by Joseph A. Opala.
Freetown: Sierra Leone Adult Education
Association, 1994. 39pp. Price not stated.
Fetishism: visualizing power and desire / edited by
Anthony Shelton. London: Lund Humphries, 1995.
128pp. Note: Catalog of an exhibition at the
Brighton Museum & Art Gallery, the Castle
Museum & Art Gallery, Nottingham, and the
Sainsbury Centre for Visual Arts, Norwich, 1995.
ISBN 0-85331-677-5. Price: 14.95.
From Hannibal to Saint Augustine: ancient art of North
Africa from the Musee du Louvre / edited by
Monique Seefried Brouillet. Atlanta: Michael C.
Carlos Museum, Emory University, 1994. Price:
Going into darkness: fantastic coffins from Africa / by
Thierry Secretan. London: Thames & Hudson,
1995. ISBN 0-500-27839-3. Price: 16.95
The hunter's vision: the prehistoric rock art of Zimbabwe
/ by Peter Garlake. University of Washington
Press, July 1995. Price: $40.00
Magdalene Odundo / by Gert Staal and John Picton.
's-Hertogenbosch, 1994. 72pp. ISBN
90-6538-162-7. Price: 21.00.
The Marian icons of the painter Fre Seyon: a stud' in
fifteenth-century Ethiopian art, patronage, and
spirituality / by Marilyn E. Heldman. Wiesbaden:
Harrassowitz, 1994. Price: DM 128.00
Metal working in Africa south of the Sahara. an
annotated bibliography / compiled by Ibironke O.
Lawal. Wesport, CT; London: Greenwood
Press,1995. 304p. (African Special Bibliographic
Series no. 19). ISBN 0-313-29324-4. Price: $79.50.
Nubie: les cultures antiques du Soudan a travers les
explorations et les fouilles fran(aises et
franco-soudanaise / edited by Brigitte Grtien and
F. Le Saout. Lille: Institut d'Papyrologie et
d'Egyptologie de Lille In, 1994. Price: 250FF
Seven stories about modern art in Africa / by co-curators
David Koloane, El Hadji (M.B.) Sy, Salah Hassan,
Wankiju Nyachae, Chika Okeke and Clementine
Deliss. London: Flammarion, 1995. 224pp. 230
illus. (80 in color). ISBN 2-08013-599-6. Price:
Seven stories about modern art in Africa a
pathbreaking exhibition to open at London's
Whitechapel Gallery in September 1995 invites
seven curators to tell seven stories about art in
ACASA Newsletter / No. 43, August 1995
Africa today. In individual installations presenting
works and their key influences, modem art in
Senegal, Nigeria, South Africa, the Sudan,
Ethiopia, Uganda, and Kenya is examined by an
artist or historian closely associated with each
The introductions to each section discuss the
dynamic curatorial approach and provide a
contextual overview of the artist and intellectual in
Africa. Then, the co-curators examine themes such
as Islamic influence in the Sudan, reaction against
colonialism in Nigeria, theater's role in Senegalese
art, experiences of war and dictatorship in
Ugandan work, and narratives of liberation and
unity in South Africa. Myths such as the isolation
of the African artist are explored by citing those
who studied in Europe and the influence of foreign
artists and teachers. A "Recollections" section
follows, with essays, interviews, and criticism by
leading intellectuals. Finally, a documentary section
provides biographies, a bibliography, and listing of
art schools, collections, major movements and
The sleep of reason: primitivism in modern European art
and aesthetics, 1725-1907 / by Frances S.
Connelly. University Park, PA: The Pennsylvania
State University Press, 1995. 154pp. 42 b/w
photographs. Price: $35 hardcover.
Status and identity in West Africa: nyamakalaw of Mande
/ edited by David C. Conrad and Barbara E.
Frank. Bloomington: Indiana University Press,
1995. 224pp. Price: $29.95 hardcover, $12.95
Essays on the history, identity, and social role of
the nyamakalaw, a professional class of artists and
other occupationally defined individuals among the
Mande-speaking peoples of West Africa.
Symbolisme et art rupestre au Sahara / by Jean-Loic Le
Quellec. Paris: L'Harmattan, 1993. Price: 380FF
Tengenenge: Een Beeldhouwersgemeenschap in Zimbabwe
= Tengenenge: a sculptor community / by Harrie
Leyten. Baarn: Kasteel Groneveld, 1994. Note:
Catalog of an exhibition at the Kasteel Groeneveld,
Baarn and the Afrika Museum, Berg en Dal,
1994. Price: 27.50.
Thebanische Beamtennekropolen: Neue Perspektiven
archdologischer Forschung / edited by J. Assmann
[et al]. Heidelberg: Heidelb. Orientverlag, 1995.
Price: DM 138.00
The Tuaregs: the blue people / by Karl-G. Prasse.
Translated from the Danish. Copenhagen: Museum
Tusculanum, 1995. 85pp. illus. (pt. color). Price:
The woman with the artistic brush: a life history of
Yoruba batik artist Nike Davies / by Kim Marie
Vaz. Armonk, NY: East Gate Books/M E Sharpe,
1995. xliv, 137pp. illus. (Foremother legacies).
Guide of Contemporary African Art, 2nd edition 1995,
will be published at the end of this year. It will include
for each African country, a completed and updated list
of artists and their addresses; the artists working abroad
in the world and their addresses; addresses of the
ministries of culture, museums and cultural institutions;
associations and cooperatives of artists; foreign cultural
centers. It will also include a new updated list of
institutional names and addresses (museums, foundations,
galleries and art/cultural centers) relating to
contemporary African art. Finally, the Guide updates its
list of specialists (museum curators, scholars, gallery
directors, art critics) who could be useful contacts and
sources of information to know more about African
contemporary art. The second edition of the Guide of
Contemporary African Art will have the added features
of an alphabetical index to artists' names and illustrations
of works for the most significant artists.
This Guide will be published by the Association
Afrique en Cr6ations. Project Director is Nicole Guez,
Association Afrique en Creations, 51 rue sainte Anne,
75002, Paris, France. Telephone: 42 60 59.33.
New African art textbook. Judith Perani and Fred T.
Smith are currently writing The visual arts of Africa, a
textbook to be published by Prentice Hall. The
publication date has not been set. Judy and Fred would
appreciate any help in securing illustrations and
African Studies. 1994 marks the beginning of a new era
for the journal African Studies. Aiming to bring
southern African scholarship back home, and to reflect
the immediacy and vibrancy of local debate, African
Studies, guided by its new editorial board and
committee, is broadening its disciplinary focus and
African Studies plans to reflect something of the
unique quality of debate taking place within southern
African universities. The end of the academic boycott
has facilitated South Africa's reentry into the field of
international scholarship, which has made for a freer
exchange of ideas between local academics and those
from abroad or from other parts of Africa who have
started to visit the region or to commence research here.
Arising out of these debates are new areas of
research, and innovative perspectives on old ones. As
well as providing a forum for the publication of such
ACASA Newsletter / No. 43, August 1995 17
work, African Studies will offer review articles on
topics of current concern and publish sets of articles
centered on thematic issues of local interest.
Commentary and critique on conferences and workshops
are provided in Notes and Reports, while the Debates
and Correspondence section will offer readers an
opportunity to express their views and to engage in
discussion about matters of contention. These additional
sections in the journal are designed, in part, to give
readers an up-to-date overview of those issues which are
of immediate concern to the local scholarly community.
For information: Witwatersrand University Press,
PO Wits, 2050, South Africa. Telephone: (0)11 484
5906/07. Fax: (0)11 484 5971. e-mail 099afrst@
witsvma.wits.ac.za Subscription price: $35 or 19.
Africa Studio is a newly announced journal of
contemporary African visual arts, which will function
primarily as literary supplement to studio practice. It is
committed to publish articles and reviews based on
studio experiences of artists and products of visual arts,
including painting, sculpture, printmaking, jewelry,
industrial design and architecture. Africa Studio plans to
publish semi-annually. For information, contact: Frank
Ugiomoh, Department of Creative Arts, Visual Arts
Unit, University of Port Harcourt, P.M.B. 5323,
Choba, Port Harcourt, Nigeria.
The Eye; a journal of contemporary art, published
semi-annually in Zaria, Nigeria, by the Eye Society, is
seeking support for its publishing effort. In a recent
letter of appeal to ACASA, Jerry Buhari writes: "When
we founded this Society in 1989, it was primarily to
project the visual arts as an instrument of development
in our society...We specifically have as our objectives to
((i) document and analyse developments in the visual
arts, ii. to promote the visual arts through publications
and publicity, iii. to organise and promote exhibitions,
workshops and symposia. We have drawn up
programmes every year to accomplish these objectives,
and beginning from 1992, we have recorded a modest
achievement by continuing to publish The Eye. We have
tried to improve on each issue. Our plan is to elevate it
to a reputable position not only in Nigeria but in
Africa..." The Eye Society, which receives no financial
or material support from Ahmadu Bello University, is
seeking financial or material assistance to help carry out
their objectives. They need computer equipment,
cameras, and projectors. To find out how you can help,
or for more information about the Eye Society or to
subscribe to The Eye, contact: Jerry Buhari, P O. Box
1411, Zaria, Nigeria. Telephone: 234-69-51648. Fax:
234-69-32401. The late Gani Odutokun was one of the
founders of the Eye Society. His colleagues are planning
the next issue of The Eye as a memorial to Gani.
IKA; Zeitschrift fir Kuluraustausch & Kulurkalendar
'Dritte Welt' no. 52, April 1995 is a special issue on
"Afrikanische Kunst, Schwarze Kunst" (42pp.) Available
from: IKA-Vertrieb, Nernstweg 32-34, 22765 Hanburg,
Germany. Price: DM 7.
Nding'eto; the voice of the Association for the
Promotion of African Languages and Culture. Articles,
essays, stories and poems are invited for the maiden
issue of the magazine/newsletter of the Association for
the Promotion of African Languages and Culture
(APALC), Nding'eto, scheduled for publication in
January 1996. The Association brings together people
interested in African languages and culture; its main goal
is to promote African languages and culture. Nding 'eo
is a Kikongo phrase meaning "our voice." The editors
welcome contributions of: significant extracts from
journals and books referring to the promotion of African
languages and cultures; proverbs and sayings in any
African indigenous language with translation and
comments in English, French, Portuguese, or Spanish;
poems and tales in African indigenous languages with
comments in English, French, Portuguese, or Spanish;
short stories and poems discussing Africa or
Africanness/Africanity; abstracts, research
projects/reports, essays and articles on aspects of the
neglected African life/knowledge that need attention,
promotion or rescuing, e.g., the African traditional
pedagogy of language, literature, science, history, etc.;
reviews of books, films, and other documents published
in African indigenous languages; and news from
Deadline for submissions: 30th November 1995.
Manuscripts must not exceed 2,000 words, typed (double
spaced) on one side of A4 paper, and should be sent to:
Lubasa N'ti Nseendi, Department of English,
University of Maiduguri, Borno State, Nigeria.
Further information can be obtained from the above
address or from Mr. Bassey E. Anita, Apt. 218A
Mogenbreede 29, 33615 Bielefeid, Germany.
Yoruba culture / Nigerian Field Society. Ibadan: Ibadan
Branch, Nigerian Field Society, 1992. 64pp. Reprints
articles from Nigerian Field on aspects of Yoruba
culture, including adire-eleko, pottery, patterns on
woodcarvings, women's weaving, Oshun people, dog
magic, and hunters' salutes. Also contains a new article
by C. O. Adepegba on the aesthetic concept of ona.
Available in North America from: Janet Stanley, National
Museum of African Art Library, Smithsonian Institution
- MRC 708, Washington, DC 20560. Telephone: (202)
357-4600 extension 285. Fax: (202) 357-4879. Price:
$20.00. Proceeds go to the Nigerian Field Society.
African Art Library available on the Internet. The
online catalog of the National Museum of African Art
Library, Smithsonian Institution Libraries, is now
available over the Internet. SIRIS (Smithsonian Institution
Research Information System) also includes other
18 ACASA Newsletter / No. 43, August 1995
libraries in the Smithsonian, among which are the
Anthropology Library, the National Museum of
American Art, and the Cooper-Hewitt Museum of
Design. In addition, the bibliographic records created as
part of the Online Index and Finding Guide to the
Literature of African Art and Culture will also be
available on the Internet. The index will include over
52,000 citations to articles, books and other publications
international in scope, covering all the arts in Africa.
These records will be integrated directly into SIRIS. To
access SIRIS, use Telnet to connect to: SIRIS.SI.EDU.
To exit SIRIS, type STOP. For more information,
contact Janet Stanley, NMAfA Library, Smithsonian
Institution-MRC 708, Washington, DC 20560, USA.
Telephone: (202) 3574600 extension 285. e-mail:
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
on "well-springs" of modern art from Africa, and is
arranged for the weekend prior to the broader "Mediums
of Change" conference of the Royal African Society. For
information, contact: Jackie Collis, Center of African
Studies, School of Oriental and African Studies,
University of London, WC1H OXG, UK. Fax:
September-October 1995: Africa 95 Royal African
Society Conference. "Mediums of Change: The Arts
in Africa, '95," The Royal African Society, London,
September 29-30, and October 1, 1995. The Royal
African Society is holding a two-and-a-half-day
international conference, "Mediums of Change: The Arts
in Africa, 95." A preview of "Africa: The Art of a
Continent," the exhibition of classical African art at the
Royal Academy of Arts, is included in the programme,
and a musical evening is planned for September 30th.
The conference is unique in bring together for the first
time an outstanding range of visual artists, writers,
playwrights, film-makers, musicians and scholars from
Africa and the African diaspora to discuss the role of
the arts and the artist in contemporary Africa as
"Mediums of Change."
The opening keynote address will be given by Wole
Soyinka. Other contributors provisionally include:
Literature: Abdulrazak Gurnah, Ben Okri, Niyi
Osundare, Ahdaf Soueif and Miriam Tlali; Visual Arts.
Salah Hassan, Simon Njami, Pitika Ntul and Uche
Okeke; Music: Claude Deppa, Hassan Erraji, Angelique
Kidjo, Baaba Maal and Kazadi wa Mukuna;
Theatre/Performing Arts: Gabriel Gbadamosi, Masitha
Hoeane, Jack Mapanje, Penina Mlama and Femi
Osofisan; Film: John Akomfrah, Ferid Boughedir, Izza
Genini, Haile Gerima and Jean-Marie Teno. The
conference will be held at School of Oriental and
African Studies (SOAS), University of London.
"Mediums of Change" is part of Africa 95, a
nationwide UK season being held from August to
December 1995, celebrating all the arts of the Afncan
continent music, theatre, dance, visual arts, literature,
film and broadcasting. Many events are planned in
London around the time of the conference, including
three major art exhibitions (classical, modem, and
textiles), music (including Yossou N'Dour and guest star
musicians at the Royal Albert Hall) and film (films will
be shown at the National Film Theatre and as part of
the London Film Festival). Performing arts and
photographic events are also scheduled during the
For further information contact: The Conference
Coordinator, Royal African Society, SOAS,
Thronhaugh Street, Russell Square, London WC1H
OxG, England. Telephone: +44 ()) 171 323 6353; fax:
+11 ()) 171 436 3844.
November 1995: African Studies Association Annual
Meetings, November 3-6, Orlando, Florida. See above
under ACASA news for the Orlando arts program.
November 1995: The Third International Bead
Conference. "Beads: Through the Eye of the Collector"
is scheduled for November 17-19, 1995. at the Sheraton
Washington Hotel, Washington, DC. Among the topics
on the program are Zulu beadwork, The Heide African
collection, and Beads and bead collecting from an
archaeologist's point of view. There will also be an
exhibition and auction and bead bazaar. It is sponsored
by the Bead Society of Greater Washington. Registration
fee is $200. For information write to: Third
International Bead Conference, P. O. Box 266-0666,
Fairfax, VA 22031. Fax: (703) 273-2864.
February 1996: College Art Association Annual
Meeting, Boston, February 21-24, 1996. The
ACASA-sponsored panel entitled "Approaching the
Millenium: Subverting the Western/Non-Western
Dichotomy," chaired by Barbara Frank, will take place
on Saturday morning, February 24, from 9:30 til noon.
This panel will be followed at 12:30-2:00 pm by a more
informal roundtable discussion chaired by Robert
Soppelsa on the same topic. The roundtable will take the
place of an ACASA business meeting.
Spring 1996: "The African Impact on the Material
Culture of the Americas" will be held in spnng 1996
at the Museum of Early Southern Decorative Arts,
ACASA Newsletter / No. 43, August 1995 19
Winston-Salem, NC. It will address the presence of
African influences in the Aiiericas as demonstrated
through artifacts, using objects as primary resource date.
For information: Bradford L. Rauschenberg, Early
Southern Decorative Arts, PO Box 10310,
Winston-Salem, NC 27108.
August 1996: "Rock Art Research Moving into the
Twenty-First Century." The Southern African Rock Art
Research Association (SARARA) with the participation
of the East African Rock Art Research Association
presents their first international conference on "Rock Art
Research Moving into the Twenty-First Century," from
August 11-18, 1996, in Swakopmund, Namibia. For
information: Southern African Rock Art Research
Association, P. O Box 81292, Parkhurst, 2120, South
September 1996: Textile Society of America (TSA),
Fifth Biennial Symposium, September 18-22, 1996.
The fifth biennial symposium of the Textile Society of
America will explore the theme "Sacred and Ceremonial
Textiles." This theme, which covers private as well as
public ceremonies, invites an interdisciplinary approach
and allows participants to consider a broad range of
textiles related to rituals practiced throughout all parts of
the world and on all aspects of life. An examination of
the role textiles have played in ceremonies, traditional
and current practices, modem adaptations of traditional
extiles, etc. might be considered. Papers involving
apparel will be considered only if their focus us on the
textiles from which the garment(s) are made.
Prospective participants must submit a 250-word
abstract and, on the title page, a short (one paragraph)
biography. All program participants must be paid TSA
members for 1996. Non-members will be invoiced upon
acceptance of their proposals. (TSA 1995 dues are
$30.00 for US and Canada, $35.00 for all others). For
information, contact: Rita J. Adrosko, Co-chair, TSA
1996 Symposium, Textiles NMAH 4131 MRC 617,
Smithsonian Institution, Washington, DC 20560.
Deadline: December 1, 1995. All papers, as well as
abstracts of poster displays and videos, will be published
in the conference's proceedings if they are submitted by
October 31, 1996.
1997: College Art Association, New York. Eli Bentor is
coordinating the ACASA panel for the 1997 College Art
Association conference. To participate, contact: Eli
Bentor, Department of Art and Design, Winthrop
University, Rock Hill, SC 29733. Telephone: (803)
325-1534. Fax: (803) 323-2333. e-mail:
Caveat: The ACASA directory of members as published
annually in the newsletter has been used in the past for
unwelcome solicitations, begging letters, and other
scams, such as the "419" letters from Nigeria. Most
recently, it has come to our attention that collect
telephone calls placed from Sierra Leone have been
received by some members. Please, be forewarned.
The Editor thanks contributors to this April 1995 issue
of the newsletter: Jeremy Coote (Pitt Rivers Museum,
Oxford); Daniel Dawson (Museum for African Art,
New York); Bill Dewey (University of Iowa); Barbara
Frank (SUNY-Stony Brook); Chris Geary (National
Museum of African Art); Salah Hassan (Cornell);
Eugenia Herbert (Mount Holyoke); Anitra Nettleton
(University of the Witwatersrand), Oledinma
Nwanna-Nzewunwa (Port Harcourt, Nigeria); Fred
Okoh (Enugu, Nigeria); Patricia Patton (Belgian Tounst
Office, New York); Allen Roberts (University of Iowa).
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
December 1995. Deadline for submitting news items is
November 15, 1995.
Editor: Janet L. Stanley, National Museum of African
Art Library, Smithsonian Institution-MRC 708,
Washington, DC 20560, USA. Telephone: (202)
357-4600 extension 285. Fax (202) 357-4879. e-mail:
20 ACASA Newsletter / No. 43, August 1995
Addendum to 1995 ACASA Membership Directory
as of August 1, 1995
c/o Tunakin Group of
18 U. Ibadan Bodija Express Road
P. 0. Box 7141 Secretariat
Ibadan, Oyo State, NIGERIA
Thomas Alexander III
St. Louis, MO 63108
Piazza Cardelli, 4
Roma 00186, ITALY
Middletown, CT 06459
40 Valley Road
Lakeville, CT 06039
1107 Emerald St.
Madison, W1 53715
Carla de Benedetti
Via San Maurilio, 24
Milan 20123 ITALY
Tshikala K. Biaya
Douglas Hospital Research Centre
6875 Boul. LaSalle
H4H 1R3 CANADA
Arthur P. Bourgeois
22910 Bruce Drive
Richton Park, IL 60471
287A Nassau Street
Princeton, NJ 08540
Fine Arts Bldg., School of Music
University of Georgia
Athens, GA 30602
Seattle WA 98103
James L. Buxton, Jr.
Central Connecticut State University
Chen Fine Arts Center
1615 Stanley Street
New Britain CT 06050
Herbert M. Cole
Art History Department
Santa Barbara, CA 93106
45 Gramercy Park North
New York, NY 10010
624 East 17th Avenue
Denver, CO 80203
Pitt Rivers Museum
South Parks Road
Oxford, OX1 3PP
home: 44 1865 243426
work: 44 1865 270929
fax: 44 1865 270943
UCLA Folklore & Mythology
Los Angeles, CA 90024
107 S. Gramercy Place
Los Angeles, CA 90004
12 Rue Fessart
Paris 75019 FRANCE
Alison Laird Craig
300 E. 4th Street, #4C
New York, NY 10009
Cary Beth Cryor
2500 W. North Avenue
Baltimore, MD 21216
P.O. Box 8098
St. Paul, MN 55108
Louis de Strycker
2 Av. Prisonniers Pol. #12
B-1150 Brussels BELGIUM
Mus6e d'Art Africain de Dakar
Work: (221) 21-40-15
Fax: (221) 24-49-18
1995 Directory of ACASA Members, Addendum
Marie-Amy Mbow Diop
Mus6e d'Art Africain de Dakar
B. P. 6167
Work: (221) 21-41-15
Fax: (221) 24-49-18
214 Anderson Hall
Philadelphia, PA 19122
Margaret Thompson Drewal
Department of Performance Studies
1979 Sheridan Road
76 av. Simon Bolivar
Paris FRANCE 75019
Joe Eboreime [new address]
Benin City, Edo State, NIGERIA
338 North Fillmore Street
Edwardsville IL 62025
Waitsfield, VT 05673
405 6th Avenue #200
Tacoma, WA 98402
William A. Fagaly
New Orleans Museum of Art
P.O. Box 19123 City Park
New Orleans, LA 70179
D. W. Farmer
133 N. River Street
Wilkes-Barre, PA 18711
7660 Beverly BI. #122
Los Angeles, CA 90036
M. Oladipo Fowowe
Department of Fine and Applied
University of Benin
Benin City, Edo State, NIGERIA
Rachel I. Fretz
UCLA Writing Programs
272 Kinsey Hall
Los Angeles, CA 90024
615 Howard Place #404
Linda L. Giles
4640 Anthropology Program
Illinois State University
Normal, IL 61761-4640
Department of the History of Art
University of Cape Town
Private Bag Rondebosch
Cape Town 7700, SOUTH AFRICA
Benjamin Grant Hufbauer
Department of History of Art and
University of California
Santa Barbara, CA 93106
53 Monticello Lane
Storrs, CT 06268
Barry Hallen [new address]
c/o W.E.B. Dubois Institute
26 Church Street
Cambridge, MA 02138
Nancy Steele Hamme
Department of Art
Ball State University
Muncie, IN 47306-0405
13550 Skunk Creek Rd
Bozeman, MT 59715
Flat 3, 6 Glenloch Road
Belsize Park, London
NW3 4BU UK
Africana Studies And Research
310 Triphammer Road
Ithaca, NY 14850
2616 N. Clark Street
Chicago, IL 60614
1125 Park Avenue
New York, NY 10128
306 Calvin Lane
Rockville, MD 20851
25 Oakland Drive
Port Washington, NY 11050-4125
1995 Directory of ACASA Members, Addendum
Marilyn H. Houlberg
37 S. Wabash
Chicago, IL 60616
School for Studies in Art and
Art History/2201 Dunton Tower
1125 Colonel By Dr., Carleton
Ottawa, Ontario KIS 5B6
Work: 613-788-2600 x2352
Barbara C. Johnson
17 March Drive
Mill Valley, CA 94941
10301 Grosvener Place
Rockville, MD 20852
Dept. of Anthropology
University of Virginia
1512 Jefferson Park Ave
Charlottesville, VA 22903
Department of Art History
Virginia Commonwealth University
922 W. Franklin Street
Richmond, VA 23284-3046
Arnouville 95400 FRANCE
Minneapolis Institute of Arts
2400 Third Avenue S.
Minneapolis, MN 55404
350 Spelman Lane, SW #296
Atlanta, GA 30314-4399
Kristyne S. Loughran
Lungarno Serristori 9
Florence 50125 ITALY
501 East 87th Street, Apt. 7J
New York, NY 10128
Seattle Art Museum
P.O. Box 22000
Seattle, WA 98122-9700
Harriet McGuire [change of
Box 18 PSC 277
APO AP 96549
814 Boucher Avenue
Annapolis, MD 21403
Edward S. Meckstroth
Illinois State University
Normal, IL 61761
Getty Center for the History of
Art and the Humanities
401 Wilshire Boulevard Suite 700
Santa Monica, CA 90401-1455
1462-M Raintree Drive
Roswell, GA 30076
William C. Mithoefer
3207 Park View Road
Chevy Chase, MD 20815
32 East 76th Street
New York, NY 10021
Columbia College Photo Dept.
600 South Michigan
Chicago, IL 60605
501 Winthrop Mail Ctr.
Cambridge, MA 02138
California State University
Dept. of Anthropology
Fullerton, CA 92634-9480
Department of Art
Lubasa N'ti Nseendi
Department of English
University of Maiduguri
Work: 232150/232655 ext 195
Sylvester O. Ogbechie
Department of Art History
Evanston, IL 60208-2208
Kelechi Jasper Okezie
20 Eaza Road
P. 0. Box 708
Abakalili, Enugu State, NIGERIA
A. E. Olorunnipa
Benin City, Edo State, NIGERIA
Canadian Museum of
P.O Box 465, Station A
KIN 9N6 CANADA
1995 Directory of ACASA Members, Addendum
Sharon F. Patton
209 S. Fourth Avenue 2A
Ann Arbor, MI 48104
Department of Art
State University of NY at Stony
Stony Brook, NY 11794-5400
National Museum of African Art
950 Independence Avenue, SW
Washington, DC 20560
Work: 202-357-4600 x207
Nii 0. Quarcoopome
2120 Medford Road, Apt. 10
Ann Arbor, MI 48104
768 Cypress Walk, Apt. G
Goleta, CA 93117
Office of Population Research
21 Prospect Avenue, Rm 205A
Princeton, NJ 08544-2091
Allen F. Roberts
1510 Muscatine Avenue
Iowa City, IA 52242
University of Iowa
School of Art and Art History
Iowa City, IA 52242
Sainsbury Research Unit
Arts of Africa,Oceania and the
Sainsbury Centre, University of
Norwich NR4 7TJ UK
American Museum of Natural
Central Park West
New York, NY 10024
Raymond A. Silverman
Michigan State University
Department of Art
East Lansing, MI 48824
Harry N. Abrams, Inc.
100 5th Avenue
New York, NY 10011
25 Prince Street
New York, NY 10012
Ilona J. Szombati
Pres. Kennedylaan 143
1079 ME Amsterdam
William E. Teel
21 East St. PO Box 485
Winchester, MA 01890
Rosie G. Thompson
P.O. Box 19555
Department of Art
Old Science Hall
Bloomsburg, PA 17815
Museum for African Art
New York, NY 10012
12045 Berlin, GERMANY
home: 007 49 30 6862555
4 Tiffin Lane
Pomona, NY 10970
Ingrid C. Wehrle-Ray
108 S. Mt.Vernon Drive
Iowa City, IA52245
104 Crystal Palace, Flat G
Park Rd. Sydenham
London SE2 6UP UK
Marcilene K. Wittmer
University of Miami
Department of Art/Art History
Coral Gables, FL 33124
National Museum of Ethnology
Senri Expo Park, Suita
Osaka 565 JAPAN
1995 Directory of ACASA Members, Addendum
Original Design by Moyo Okediji
Limited edition designer ACASA T-shirts with an original,
commissioned African art design by Moyo Okediji are still
available. Priced affordably at two for $25.00 or $15.00 each.
For colder weather, ACASA sweat shirts are also available with
the same design for only $25.00. Sizes large and X-large.
Perfect gifts for African art-minded people. Take a few in your
suitcase as presents when you travel to Africa. ACASA T-
shirts and sweat shirts will be available at ASA Orlando. You
may also purchase from: Janet Stanley. NMAFA Library.
Smithsonian Institution-MRC 708. Washington. DC 20560.
(202) 357-4600 ext. 285. Checks payable to: ACASA.
Remember, this fund-raising effort on behalf of ACASA will
enable us to sponsor colleagues from Africa to participate in
conferences. Support ACASA!