No. 46, August 1996
dum 1996 Directory of M
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 $35.00, 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 entitled "Africa'95 Images" (1996) by Elizabeth Orchardson-Mazrui (Kenyatta
Letter from ACASA President William Dewey
The balmy weather of Orlando seems to have been
conducive to a leisurely atmosphere at the most recent
African Studies Association meetings (Nov. 3-6). A
number of great panels and roundtables were held, often
eliciting lively discussion. What I was perhaps most
impressed with were the two art exhibitions especially
organized for the ASA. Maude Wahlman's "African
Charms" and Salah Hassan's "New Visions: Recent
Works by Six Contemporary African Artists" held
respectively at the Crealde Art Gallery of Orlando and
the Zora Neale Hurston National Museum of Fine Art in
Eatonville. They were both very nice and given the
difficulties of finding suitable venues, most commendable
efforts. It took a forty minute bus ride to get to either
location from the motel wastelands surrounding
Disneyworld where ASA meetings were headquartered,
but the very gracious receptions that these local
institutions put on more than made up for any
inconvenience we may have felt. The warmth and
hospitality these local institutions showed us really was
As you will notice in the business meeting minutes,
a vote was taken to increase the annual dues. This has
been a measure that has been overdue for some time,
but it still deserves a bit of explanation to those who
were not in attendance. Inflation is hitting us as hard as
anyone, and mailing costs, printing, publishing, etc. are
all going up. As of the next ASA, Janet Stanley will no
longer be our newsletter editor, and we may no longer
have the good fortune to get so many free services
courtesy of Janet's host organization the Smithsonian.
The Board and members in attendance therefore felt it
was only prudent to look to the future and provide some
backup resources for the future. The ASA has also given
us permission to start thinking about doing some fund
raising of our own as their own endowment campaign is
finishing up. With both of these in mind the Board felt
it was appropriate to poll our membership about how we
as an organization have been doing and what we should
be doing in the future. With your 1996 membership
renewal forms (and in the April 1996 ACASA newsletter
for our non-dues paying colleagues in Africa and the
Caribbean), we are including a survey to elicit responses
about past programs and initiatives (e.g., funding
African colleagues and graduate students to attend the
Triennials, book and slide distribution programs, text
book project, and so forth) to see if these should
Letter from the President 1
Minutes of ACASA Board I
Business Meetings, November 1995 2
1996 ASA Meetings, San Francisco:
Call for papers 3
Call to ACASA Members in Africa 4
Roundtable on Art History and
Roundtable on Ethics 4
Report on Ethics 6
Book Distribution Program 10
ACASA T-Shirts 10
People in the News 10
Career and Research Opportunities 10
Publishing Opportunities 13
International News Round-Up 13
Noteworthy New Publications 17
Forthcoming Publications 18
Serial Notes 19
Africa on the Internet 20
Forthcoming Conferences 20
1995 Directory of ACASA Members:
Second Addendum 24
continue, be expanded (e.g., try to bring African
colleagues to the ASA meetings? etc.), or revise our
directions. So be on the look-out for this survey and
answer promptly, as we want to hear from you.
We have also decided to formally constitute an
ongoing Ethics Committee. Warren d'Azevedo and
Mary Jo Arnoldi have been doing great service in this
ACASA Newsletter / No 44, December 1995 1
regard for many years, but they need help, and ACASA
needs to decide on some concrete steps of action. It was
perhaps appropriate that right after our own ethics
discussions at Orlando The New York Times ran a feature
(November 20th), "Art Theft is Booming, Bringing an
Effort to Respond" and the just published issue of
African arts is totally devoted to "Protecting Mali's
Cultural Heritage." I am in total agreement with Doran
Ross's First Word statement that "Progress starts with
dialogue," and I hope ACASA continues to be a forum
for ongoing discussion. An interesting proposal also
began to be discussed at the Orlando Ethics panel that
needs more discussion. That was to enlist our member's
knowledge to help expand or supplement the existing
information sources regarding laws, stolen artworks in
providing information about.
I am pleased also that our own e-mail discussion
group is up and running courtesy of the efforts of
Michael Conner in Bloomington, Indiana. We intend this
to be a more immediate source of information and
announcements than we can provide in the ACASA
newsletter. I've already seen announcements of jobs, a
request for a colleague's address, an announcement of a
new album produced in conjunction with the Fowler
Museum's "Sacred Arts of Haitian Vodou" exhibition,
just in the last couple of weeks since it has been up and
running. So I know it is working. I also noted that there
are only about 100 ACASA members listing e-mail
addresses, so we if we don't have yours, be sure to
supply it. See Africa on the Internet (below).
Plans for the 1998 Triennial in New Orleans also
are coming along well. Bill Fagaly and his committee of
Peggy McDowell, Sarah Hollis and the Davises have
already been busy making plans. Having polled the
attending membership at Orlando, we have decided to
reserve a hotel (probably the Marriott on the edge of the
French Quarter) for April 9-12, 1998. We realize that
this is Easter weekend, but so do the hotels, and we
should be able to get room rates for about $100 per
night during that weekend, whereas any other weekend
would cost around $150. The Fowler Museum's
exhibition "Sacred Arts of Haitian Vodou" will be at the
New Orleans Museum of Art for the Triennial, and the
committee has promised lots of other entertainment as
only New Orleans can do it.
1995 African Studies Association Meetings,
For the full minutes of both ACASA Board meetings or
the November 1995 business meeting, contact Kathy
Curnow (firstname.lastname@example.org or 216-687-2105). Below
is an abbreviated version of all three meetings,
consolidated for the newsletter:
1. Finances. ACASA is in approximately the same
financial position it was last year at this time; our
account contains $20,708, $7000 of which is earmarked
for 1998 Triennial visitor stipends. The 1995 Triennial
income and costs were roughly equivalent, largely due to
in-kind donations secured by the Triennial Planning
Committee. We presently have 409 paying members: 252
regular, 132 special, 19 institutional, and 6 lifetime.
2. Dues. Beginning January 1996, ACASA dues will be
raised to $15 special (student, unemployed, retired), $35
regular and institutional. As per the bylaws, this change
was proposed to the general membership at the business
meeting, and was supported by a (near-unanimous)
majority. The change will help cover increasing costs,
particularly for newsletter postage once Janet Stanley
ceases as editor (1996) and the Smithsonian no longer
3. Fundraising. ASA will allow ACASA to begin
fundraising activities in July 1996. Members will receive
surveys about their fund-spending priorities in their
January membership renewals and in the newsletter. A
Fundraising Committee has been constituted, and consists
of dele jegede, Jean Borgatti, Bill Dewey, Nancy Nooter,
Rosalind Walker, and Joe Nevadomsky. Borgatti will
chair the committee.
4. 1998 Triennial. The 11th Triennial Symposium on
African Art will be held in April 1998 over Easter
weekend in New Orleans. Members overwhelmingly
supported the Easter date, due to a hotel price difference
of about $50-$60/day. The Triennial will coincide with
New Orleans hosting of UCLA's traveling vodun
exhibition; possibilities of holding the banquet at the
Mardi Gras World, with performances by the Black
Indians, were discussed. The local planning committee
consists of Bill Fagaly, Peggy McDowell, Sarah Hollis
and the Davises.
5. Ethics Committee. The Ethics Committee has been
constituted with the following members: Mary Jo
Arnoldi, Warren d'Azevedo, Richard Faletti, Ray
Silverman, Eli Bentor, Terri Childs, Chris Roy, Rowland
Abiodun, Phil Peek, Kate Ezra, Eugenia Herbert, Janet
Stanley, Kathleen Bickford, and Maria Berns. Nii
Quarcoopome will chair the committee. Their first task
is to submit a panel proposal for the 1996 ASA meeting;
the panel will be ACASA-sponsored.
6. Internet Discussion Group. Michael Conner has set
up an Internet distribution list for ACASA members only,
and serves as its administrator. It will provide a venue
for general information, such as calls for papers,
discussion of issues, etc. Free subscription to ACASA
members is available by contacting him at
email@example.com with the message "subscribe
conner_acasa." A confirmation of subscription will then
be sent. ASA is encouraging affiliates to set up
WorldWideWeb sites as well. See Africa on the
7. 1996 ASA Meetings. ACASA member Rosalind
Hackett is serving on the 1996 program committee for
ASA San Francisco. The meeting's theme will be
2 ACASA Newsletter / No. 44, December 1995
"Challenges for Renewal." At the time of :. business
meeting, ASA had not yet decided which panel
submission mechanism to follow. Because of deadlines,
any panel suggestions not appearing in this newsletter
should be proposed through the ACASA Internet list
directly, or submitted to Kathy Curnow for onward
8. College Art Association. Barbara Frank will chair an
African panel at the 1996 CAA meeting. Eli Bentor's
panel, "Images of Africa in African-American Art," has
been approved for the 1997 CAA meeting, and Kathleen
Bickford has agreed to submit an African-oriented panel
for CAA 1998.
9. Slide Project. Ray Silverman reported that the
Bamana and Akan sections of the pilot slide project
were complete. This project, initially planned to cover
the Bamana, Akan, Kuba/Luba and several East African
cultures, was meant to provide a model to seek further
funding for a fuller ACASA-sponsored slide set; each
sale is intended to cover the costs of two slide sets-the
one purchased, and a second to be sent to teaching
colleagues in Africa. Silverman is seeking a new set of
people to take over the project, which has been six
years in the making. No volunteers have yet presented
themselves; Eugenia Herbert is serving as project liaison,
so please contact her if interested.
10. Textbook Project. Robin Poynor reported that the
African text is well underway. He, Monica Blackmun
Visona and Herbert Cole have completed about one third
of the writing; Suzanne Blier will write the introduction.
ACASA will receive a fixed amount of the profits,
according to the contract. Publication is expected in 1997.
11. African participation in ACASA. Ade Obayemi
thanked ACASA for the overseas newsletter distribution
program, and suggested the Board should assign some
duties to members resident in Africa. He also announced
that a cultural center, Akodi Afrika, in Kogi State,
Nigeria, is available to those conducting fieldwork or
interested in hosting programs. It can accommodate ten,
at a cost of 50 naira/night. Two conferences were held
there this year, one by the Archeological Association of
Nigeria, the other dealing with the state of studies on
the central Nigeria region. Those interested should
contact him at Akodi Afrika, P.M.B. 1004, Iffe-Ijumu,
Kogi State, Nigeria.
12. Announcements. Alan Roberts announced that the
University of Iowa would host a Ford Grant conference
March 8 and 9, 1996, with the theme of "Urban Arts
of Africa." Those interested should contact him. On
March 10, Iowa will host their annual graduate
conference on current research; travel costs for
presenters will be covered. Phil Peek announced Drew
University's Cote d'Ivoire program is on for Summer
1996. Thirty students participated last year.
13. Attendance. A maximum of 28 members showed up
for the business meeting. Board members in attendance
were: Dewey, Curnow, Abiodun, Stanley, Borgatti,
Walker, and Herbert. Absent: jegede, Quarcoopome,
Mullen Kreamer. ACASA co-sponsored two exhibition
openings in conjunction with ASA, Orlando: Maude
Wahlman curated an exhibition on "African Charms" and
Salah Hassan curated another one, featuring six African
African Studies Association Meeting, San
Francisco, November 1996.
Call for papers on "The Visual and Performing
Arts." Proposals are invited on all aspects of this year's
conference theme, which is the "Challenges of Renewal
in Africa." Papers and panels dealing with African,
African-American, and Diaspora arts are appropriate for
this section. Broadly defined, the arts are assumed to
encompass material and expressive culture ranging from
the plastic, graphic, musical, and performative arts to
architecture, personal adornment, contemporary fine and
popular arts, film, theater, and dance. Papers and
proposals that are multidisciplinary, thematic or
comparative are highly encouraged, notably those that
are prepared to examine critically our basic tools and
concepts. Proposals are urged on such topics as: ethics,
the relationship between scholarship and artistic
production, the methodological and theoretical premises
of fieldwork, the interdependency between art and
religion, and scholarly and institutional liaisons between
Americans and Africans. The coordinator for
ACASA-sponsored panels is: dele jegede, Art History,
Indiana State University, Terre Haute, IN. Telephone:
(812) 237-3722 (office). (812) 232-0038 (home). Fax:
(812) 237-4369. However, panel and paper proposals are
ultimately submitted to African Studies Association
headquarters in Atlanta. ASA deadline for complete panel
proposals: March 15, 1996. Rosalind Hackett is serving
on the ASA Program Committee.
Panel Proposals & Ideas as of December 1st. Barbara
Frank plans to propose a panel for next year's ASA
meetings on Mande masquerade traditions. The focus
would be on cloth and fiber masquerades such as
cebilenke, nanfiri, jo, and on parallel traditions among
neighboring peoples (Senufo, for example). Depending
on the response, the panel might be configured as a
roundtable discussion with short (10 minute)
presentations. Suggested themes include: (1) historical
relationships among different traditions; (2) the notion of
particular materials as spiritually charged; and (3)
performance traditions within public and private domains.
If interested, contact: Barbara Frank, Department of
Art, The University at Stony Brook, Stony Brook,
NY, 11794-5400, USA. Telephone: (516) 474-2986 or
Fax: (516) 632-7261. e-mail: firstname.lastname@example.org
ACASA Newsletter / No. 44, December 1995 3
In addition, Rosalind Wilcox has proposed a panel
on the impact field research makes on a society,
including visual and/or performance changes. Cynthia
Schmidt is submitting a panel on behalf of ACASA's
ethnomusicologists. Additional panel ideas and proposals
may be ired via ACASA's new Internet discussion
group. (See below under Africa on the Internet for
Call to ACASA members in Africa
At its recent meeting in Orlando, Florida, ACASA
deliberated on the need to encourage and empower
members in Africa to become more involved in ACASA
activities. One possible way (but other suggestions are
welcomed) would be to organize viable chapters for the
purpose of contributing to the realization of the goals of
ACASA. Such national, regional or local chapters would
be affiliated with ACASA and might organize meetings,
conferences and symposia on relevant issues of their
choice. They might also engage in other scholarly
activities that are in tandem with ACASA objectives.
Proceedings of such conferences may then be sent to
ACASA for dissemination.
Interested ACASA members in Africa are hereby
enjoined to forward their suggestions and/or the name of
their elected representatives, together with a brief
statement of goals and objectives to: William Dewey,
School of Art and Art History, The University of
Iowa, Iowa City, IA 52242, USA.
ACASA Roundtable on Art History
Chair: Zoe Sara Strother; participants: Mary Jo
Arnoldi, Ramona Austin, Patrick McNaughton, Alien
Roberts. At the ACASA-sponsored roundtable held
during the ASA meetings in Orlando, a wide range of
views emerged that revealed differing conceptions of
what the mission of African art history may be. Some
argued that anthropology was a useful tool to art history,
although their projects differed. Others believed that
interdisciplinarity was merging the fields. A few took a
more separatist stance. Allen Roberts launched the
opinion that, despite the early work of Boas and
Herskovits, academic anthropology remains hostile to
material culture studies. His position found enthusiastic
support among many in the audience. Hackett reported
that the history of religion has been equally reluctant to
incorporate objects into its theoretical study due to a
logocentric tradition. The issue arose of the marginality
of African art within the field of art history. While some
felt that the situation was improving in the U.S., others
sharply disagreed. Blier expressed the view that while
deconstruction opened exciting new avenues to
mainstream art history, it had only increased the
difficulty of incorporating other world traditions into the
discipline. Report by Zoe S. Strother.
ACASA Ethics Roundtable
ACASA Roundtable on Ethics, convened at the African
Studies Association meetings, Orlando, November 4,
1995. Ekpo Eyo, presenter; Ray Silverman, Eugenia
Herbert, Christopher Roy, discussants; Mary Jo
Arnoldi. The purpose of this ACASA roundtable is
to carry forward the dialogue on ethics initiated several
years ago. In view of the consensus of ACASA members
that the time is not ripe for ACASA to establish a
formal code of ethics, the alternative of holding an
annual discussion on ethics at the ASA meetings is being
inaugurated. At this session, Ekpo Eyo and three
respondents have been invited to take up issues
surrounding African antiquities.
In his discussion paper, Eyo focused on the
responsibilities of ACASA members in dealing with
African antiquities circulating in the art market and
museum worlds. He backgrounded his remarks by noting
the essential elistism of Western museums, the
hegemonic patterns of museum acquisitions over the
centuries, and the rise of antiquarianism. Such an
historical critique of museums and museum practice is
not meant to cloud legitimate goals of museums -
education and preservation.
Museum "directors" (which would include some
ACASA members who have curatorial responsibilities)
have an obligation to ask questions about works before
acquiring them. That this is infrequently done reveals the
dark underbelly of curatorial practice, a sort of
conspiracy of silence. The value [read: prices] of works
of art are "created" by experts, including archaeologists
and art historians, in vetting, authenticating and writing
about works of art. The inflation of prices also comes
about as a result of the activities of auction houses,
collectors and in marketing and publicity strategies.
Art networks may be conceived as circles with
various agents around the perimeter who interact directly
or indirectly. Art thieves ("tomb and grave robbers"), art
dealers, collectors, and museum curators/directors are
linked in clear lines of the unbroken circle from the
lowest of the low to the highest echelons of the art
establishment. The question is how to break out of this
circle. Specifically, how should ACASA members break
away from this network, even if they cannot halt the
nefarious illicit traffic by themselves?
Facile, flimsy, and self-serving justifications are
often marshalled to validate Western museum practice
with regard to unquestioningly acquiring African
artifacts. One justification argues that there are more
than enough antiquities in Africa, so why shouldn't
Western museums acquire some? Another reason given is
that "We are saving antiquities for Africa." Blame
Africans for their inability to enforce existing antiquities
laws, after all, the examples are legion. The costs of
enforcing laws in Africa invariably exceed available
resources. Another frequently heard line is that Africans
are unconcerned about their archaeological heritage and
ACASA Newsletter / No. 44, December 1995
antiquities. But what has been the role of the West in
engendering such an attitude?
The American Association of Museums has a code
of ethics in effect, but it is routinely ignored. Unesco's
Convention on the Means of Prohibiting and Preventing
the Illicit Import, Export, and Transfer of Ownership of
Cultural Property (1970) has had very limited success in
prohibiting or preventing anything. The bottom line is
that the power inequality between Africa and the West is
overwhelmingly against Africa. There is virtually nothing
that Africa can do about that.
But what can ACASA members do? Or avoid doing?
When asked to authenticate individual works or whole
collections in which there are "questionable" pieces,
don't pass over this in silence. Museum curators must
address these issues of provenance head-on, when
considering a museum acquisition or exhibition. The
current exhibition at the Royal Academy ("Africa: The
Art of a Continent") is a good example of legitimizing
questionable objects. Although the RA finally agreed not
to show questionable objects, did they really comply
with that restriction? There are lots of undocumented
works from private collections in the exhibition. And the
catalogue illustrates objects which have certainly been
illegally removed from Africa.
Statutes of limitations (having to do with length of
time in possession of works of art before becoming
rightful owner) have encouraged or emboldened museums
to acquire. Curators should be able to demonstrate to
their museum committees that objects are not stolen.
Museums should ask for proof of title; the "good faith"
of dealers is not enough. ACASA should work for the
abolition of these statutes of limitation. ACASA should
encourage museums to publish their full holdings,
including new acquisitions, and sources of acquisition
(names of vendors). ACASA can establish an
informational clearinghouse for checking provenance of
proposed museum acquisitions of African art. As part of
this informational role, ACASA could collate data on
proposed acquisitions and on known stolen objects to
share it among themselves and circulate it to African
[The three discussants each commented on Eyo's paper
and then discussion was opened up to the audience]:
Silverman. The clearinghouse idea is not feasible.
ACASA cannot police members or other museum people.
Museums, on their own, would not comply with these
requests to release acquisition information. What is
needed are guidelines for ethical practice which can
serve as a road map for what to do in particular
situations. There are no quick fixes. This is a long-term
educational prospect. We need to educate and sensitize
those coming up in the disciplines about ethical concerns.
Herbert. A drastic (not a modest) proposal: ACASA
members in their role as curators should not be
associated with any purchase of art works by unknown
artists or of undocumented provenance. We need to
break down the primacy of African sculpture. Let us
re-focus on contemporary arts and crafts and in so doing
broaden our understanding of African creativity. Let us
support, artistically and financially, contemporary artists
Roy. The educational potential of an African art
collection within a museum setting has been amply
demonstrated by what has happened with the Stanley
collection at the University of Iowa. Museum curators do
try to be responsible, and they resent being considered
thieves and grave robbers. Teachers do caution students
about field collecting practice and do provide guidelines.
Moreover, it is naive to think that all African art in the
West has been stolen. Who is responsible for a country's
national patrimony? A national museum director who
sells off masks?
ACASA at the time of its founding included many
kinds of professionals teachers, curators individuals
who have different perspectives and responsibilities
vis-a-vis African art. An ACASA ethics police will not
work. It is intellectual bigotry to float such an idea.
The costs of enforcing antiquities laws in Africa are
clearly understood, and the lack of photographic
documentation is well known. In one enterprising
example, works of art are photographed in situ and a
copy of the photograph is left in the village, so that if
the object is stolen, it can be tracked more quickly.
A clarification is needed re the statutes of limitation
relating to ownership of art works. These statutes require
publishing objects (not just possessing and keeping
them). If after a given period of time, no one (or no
government) claims the objectss, then they can stay in
the possession of the holder. Finally, museums will not
give out names of vendors. This is basic.
Eyo (in response). The Stanley collection and its
education program exemplary though they may be -
cannot absolve all the rest. The invidious circle
(described above) is a valid model. The thieves are
linked with the museum directors.
Rowland Abiodun. Museums have always been shady
institutions, unconcerned with ethics. The unequal power
relationship has always been there past, present, and
future. Africa has already lost in that contest. Art works
outside are there to stay.
Eyo. Although there are difficulties in verifying objects
for potential purchase, lack of proof that objects are
stolen does not provide a moral reason to do go ahead
with the purchase. The problems in Africa with
enforcement, documentation, economics generally, do not
let museums here and ACASA members in particular
off the moral hook.
Ramona Austin. African countries should have the right
of control of their cultural patrimony.
Arnoldi. Eyo's proposal does not call for an ethics
police, but for an informational clearinghouse, whereby
ACASA Newetter / No. 44, December 1995 5
information can be shared quickly and efficiently about
stolen or questionable pieces.
Eli Bentor. ACASA's concern should be "ethical" not
"legalistic," which is the drift of the discussion so far.
What impact is made by the actions of ACASA's
members? That's what this forum should be addressing.
Ohu Oguibe. The insensitivity of response by discussants
to the plundering of Africa's antiquities is at the very
least disappointing, at the worst, an outrage.
Conchita Ndege. There is a healthy shift to modern
African art and artists. ACASA members should
encourage this refocusing away from antiquities to
Herbert Similarly, there is a healthy shift to a wider
view of African material culture, as for example in Ade
Ohayemi's local museum in Nigeria, which collects
things of everyday.
Eyo. But there will still be the antiquities market.
Collecting and studying baskets and pots won't eliminate
the market for "fine art."
Other contributions from the floor touched upon
naming names, the new generation of African artists, the
stolen art alerts,1 ACASA's re-constituted ethics
committee, the alien nature of museums in Africa, and
practical applications for museum curators. Report by
AfI can a occasionally publishes stolen objects. IFAR report is
a service devoted exclusively to documenting an thefts from museums
around the world. See also Cent obje dispar: pillage en Afique =
One hundred missing objects: long in Aica (Paris: ICOM, 1994);
and Uidcl mjic of culaul propeny in Africa (Paris: ICOM, 1995)
cotaiing papers from the 1993 and 1994 Arusha and Bamako
workshops on illicit trafficking in art and antiquities.
ACASA Report on Ethics
Report of the Ad Hoc Committee on Ethics. Submitted
to the Business Meeting of ACASA at the Tenth
Triennial Symposium on African Art, New York, April
22, 1995, by Mary Jo Amoldi and Warren d'Azevedo.
In 1992 the ACASA Board, responded to suggestions
from the membership, and assigned Janet Stanley, Mary
Jo Arnoldi and Warren d'Azevedo as a subcommittee to
investigate the feasibility of developing a code of ethics
for ACASA. This report summarizes the findings of the
subcommittee and presents its recommendations.
1982 The By-Laws of the Arts Council of the African
Studies Association (ACASA) were ratified March, 1982
by the California Working Group, and by the National
Steering Committee chaired by Arnold Rubin on June 1,
1982. Article 1 states the Scope of the organization as
Membership is not restricted to members of the
African Studies Association, but is open to
teachers at all levels, museologists, researchers,
writers, creators, students, and others interested in
African material and expressive culture, traditional
and modem, in all its forms, including but not
limited to architecture, dance, dress and
adornment, music, painting, sculpture, and textiles.
The organization exists primarily to facilitate the
attempts of a world-wide audience to understand
and share the experience of African arts.
Among the basic objectives of ACASA stipulated
in Article 11 of the By-Laws are the commitments
to encourage and promote:
A. the highest standards of ethical and professional
C. expansions of research and scholarship about
D. liaisons with African scholars, artists and
institutions concerned with African cultural heritage;
H. free and open access to, and expression and
exchange of ideas about works of African arts and
information associated with them.
Secretary-Treasurer Arnold Rubin and President Roy
Sieber report that as of September 25, 1982, the new
organization had 54 paid-up members, including 6
"Special" members. (ACASA newsletter vol. 1, no. 1).
1989 ACASA newsletter no. 22, (March) reports call by
Mary Jo Arnoldi and Doran Ross for participants in a
proposed panel on ethical considerations in field
collection, scholarly obligation to host countries, and
responsibility toward documentation. In subsequent
discussion with members of the Board the idea was
projected that ethical issues needed to be raised in open
forum at future meetings. On June 15 and 16 at the
Eighth Triennial Symposium on African Art in
Washington, DC, the following panels were presented:
Plenary Session Roundtable: Ethics and Objects
(Moderator: Mary Jo Aroldi).
Roundtable: Dilemmas of Archaeology in West
Africa (Chair: Roderick McIntosh).
On November 5, 1989 at the ASA Annual Meeting
in Atlanta, the following ACASA sponsored panel was
Panel: Ethics, Objects and Field Collecting (Chairs:
Mary Jo Aroldi and Doran Ross).
1990 ACASA newsletter, no. 27 (June) p. 4 reports a
resolution of the Society of Africanist Archaeologists
calling for action against "the illicit art market" in
African antiquities. In November 1990, the following
ACASA Board-sponsored panels were presented at the
ASA Annual Meeting in Baltimore:
Panel: Illicit Trade in Archeological Artifacts (Chair:
Panel: Curbing the Illicit Antiquities Trade:
Directions and Solutions (Chair: S. Terry Childs).
Panel: Colleagues, Research Assistants, Informants:
Ethics and the Ownership of Ideas and Words (Chair:
Mary Jo Arnoldi).
6 ACASA Newsletter / No. 44, December 1995
1992 On April 26 at the ACASA Board Retreat during
the Ninth Triennial Symposium on African Art in Iowa
City the question of a code of ethics was discussed.
Janet Stanley, Warren d'Azevedo and Mary Jo Arnoldi
were asked to research the matter and bring ideas to the
November ASA meeting in Seattle. Resolutions and
codes of ethics from ten related organizations were
compiled by Janet Stanley as reference materials. On
November 22, 1922 during the ASA meeting in Seattle,
Stanley, Arnoldi and d'Azevedo presented a tentative
outline "Elements of a Proposed Code of Ethics" to the
ACASA Business Meeting. (See ACASA newsletter, no.
35, December 1992, pp. 8-9).
The following ACASA-sponsored panel was offered:
How Reflective is Reflexive: Methodological and Ethical
Issues Surrounding Re-Studies of Early Africanist Art
Scholarship. (Chair: Mary Jo Arnoldi).
On November 23 the ACASA Board appointed
Arnoldi and d'Azevedo to form an Ad Hoc Committee
to assist in developing a code of ethics, and suggested
that ACASA panels for the 1993 ASA meeting in Boston
include an Open Forum/Roundtable on Ethics. See
ACASA newsletter, no. 35 (December) p. 6.
1993 An informal survey of membership opinion was
conducted during the year, and a roster of twenty
individuals was assembled who agreed to serve on the
Ad Hoc Committee and participate in the ACASA Open
Forum at the forthcoming ASA meeting. A memorandum
"Points for Discussion at the ACASA Roundtable on
Ethics" was circulated to the Ad Hoc Committee on
Ethics and, later, distributed to the audience in
On December 5, at the ASA Annual Meeting in
Boston, ACASA presented the following Roundtable and
Open Forum: "A Code of Ethics for African Arts?"
(moderators: Arnoldi and d'Azevedo). Eight members of
the Ad Hoc Committee offered prepared statements, and
a lively discussion arose among the large group of
members present. The President's Report in the ACASA
newsletter (no. 38, December 1993, p. 1) included the
"The ethics roundtable at the ASA Boston Meeting
...drew a good crowd. It is clear that there are quite
diverse views within ACASA on developing ethical
principals or a code of ethics, including the view that
there should not be such a statement at all....To what
extent it will be possible to reach an agreed-upon
statement is not clear."
1994 A resume of comments made by participants and
from the floor at the ACASA Roundtable on Ethics at
the ASA meeting in Boston was prepared by Janet
Stanley. Also, in response to the call for additional
commentary made by the co-chairs of the Ad Hoc
Committee at the Roundtable, letters were received from
the membership. These are on file with the Committee
and have been presented to the ACASA Board appended
to this report. Further opinion from the membership was
solicited informally during the year. These materials have
provided the basis for the present discussion and
ACASA Membership Profile
During 1993, information was requested on ACASA
membership renewal forms from which Barbara Frank
constructed a useful, though admittedly incomplete,
analysis based on a total of 250 North
American-European currently paid-up individual
memberships (ACASA newsletter, no. 38, December,
1993, pp. 4, 10). This is up from 54 members in 1982,
and up from 322 members in 1992. Not included are
330 members in Africa and the Caribbean not required
to fill out renewal forms.
The data volunteered by 250 paid members in 1993
is abridged roughly here as follows:
Advanced degrees: (PhD, MA, MFA)
Profession: College/Univ. teaching
Dealers, Gallery owners collectors
Fine arts, History, Folklore
Regional focus of interest:
West and Central Africa and diaspora 166....64%
(and one or two in each of a number of other
This membership profile suggests that the
"diversity" within the Arts Council as a whole is not as
wide-ranging as often assumed. More than 80% of the
members have advanced degrees, 72% are involved in
college/university/museum teaching and research, and
64% have a regional interest in West and Central Africa
and the diaspora; over 90% hold joint memberships in
one or another of three related organizations. Less than
7% are self-identified as dealers, gallery owners or
The dominant groupings indicated are for those
members specializing in art history (45%) and
anthropology (12%) which collectively comprise over
62% of the total membership. Those pursuing
professional vocations in college/university teaching
(34%) and museology (23%) collectively comprise over
58% of the membership. The very small number of
ACASA Newsletter / No. 44, December 1995 7
individuals professing independent or non-institutional
undertakings belies the frequently expressed view that
the interests and objectives of ACASA members are too
diverse and factional to allow for agreement on any
common set of principles that express the purpose of the
organization or provide guidelines of professional conduct.
It would seem, therefore, that the ostensible
diversity of opinion on such matters in ACASA is to be
found substantially within its core sectors (i.e. among art
historians, anthropologists, museum curators, academic
and other researchers) where approaches to ethical
considerations about field research, collecting,
interpretation, publishing, curating or cultural patrimony
may vary widely in accordance with established
institutional practices, professional orientation, or
personal predilection. It is diversity in this context that
seems most to characterize the membership of ACASA,
and is especially relevant with regard to the following
discussion of Committee findings and recommendations.
Since 1989 the ACASA Board has encouraged the airing
of issues concerning ethics as they are raised by the
members, and has approved the inclusion of panels and
roundtables for this purpose in the programs of every
subsequent meeting. A broad range of concerns has been
dealt with in presented papers, which stimulated
discussion on problems of field collecting,
documentation, conservatorship, ownership of objects,
obligation to host countries and peoples, responsibility to
colleagues and assistants, availability of research results,
and the illicit trade in artifacts.
As attention to these matters increased, some
members raised the question of a code of ethics or a
statement of principles for ACASA, pointing out that
most related organizations had done so. In 1993, the
Board responded by appointing a subcommittee on ethics
to explore the feasibility of developing such a code. An
Ad Hoc Committee on Ethics was formed of members
who volunteered to participate in an open forum to
debate a proposal for a code of ethics at the ASA
meeting in Boston (1993).
The forum attracted a large gathering of members at
which a wide array of opinion was expressed. Comments
of the participants and from the floor were noted by the
Committee, and a call was made for written statements.
About seven deeply considered letters were received
after the meeting, and an informal survey of membership
opinion was conducted by telephone and other
conversation during the following months. A summary of
comments from the open forum and the texts of letters
received are appended to the copy of this report
submitted to the Board. Pertinent statements from these
materials, as well as from informal survey, have been
extracted for the sample listing provided below.
In the course of surveying membership opinion
about the advisability of developing a code of ethics, the
Committee became aware that the most frequently
expressed caution or objection to the idea of a code for
ACASA was the reference to the ostensibly unwieldy
diversity of interests and objectives that characterize its
membership. In some instances this diversity was deemed
a mark of organizational vitality militating against
atrophy, but in most instances it was seen as a major
obstacle to consensus.
Nevertheless, members differed widely on the
question of whether efforts should be made to develop a
code of ethics. Views ranged from cogent and often
vituperative opposition to urgent argument in favor. The
most constructive and practicable suggestions, however,
were offered by those who proposed alternative means to
achieve the desired goal.
The following listing is an illustrative sampling of
three general categories of commentary excerpted from
the written and verbal responses solicited by the
ACASA doesn't need a code of ethics: existing
codes of other organizations are blithely ignored.
There are many "gray areas" on issues and a
wide range of opinion: how would a code of
ethics be implemented?
To what audience does one owe allegiance!
The imposition of ethical directive which may
conflict with one's institutional loyalties is not
Forcing a code of ethics could result in the
weakening of our organization.
There are sanctimonious types calling for
principles that don't apply in the real world of
Let anthropologists agonize and moralize their
guilt about artifacts and intellectual property, but
we have another task.
Are we not imposing the conscience of one
segment of ACASAs membership on the entire
What are the values a code should promote? How
can they be articulated to a diverse population of
varying professional disciplines?
The campaign for a code of ethics is, for the
most part, being driven by scholars who do not
interact on a regular basis with collectors and
dealers, and who are not actively involved in
building and maintaining museum collections.
We, as a discipline, must have a conscience: there
is need for a common ground.
ACASA Newsletter I No. 44, December 1995
The ACASA By-Laws call for promotion of "the
highest standards of ethical and professional
behavior."JShouldn't there be some agreement on
what these are?
It is time to focus discussion on delineating a set
of guiding principles.
Mutually acknowledged, though not always
enforceable, standards of conduct are minimal
criteria of credibility for any professional
There seems to be a good bit of resistance to the
idea of creating a code of ethics among our
museum-based colleagues. The active participation
of this group in the formulation of a code seems
An object is as good as an institution's own ethics.
Although a Code of Ethics is not a legal
document, to be meaningful it must be
There is a pervasive cultural racism (the "Indiana
Jones syndrome") which manifests itself in the
commodification of knowledge. Without
understanding our reciprocal obligation with
Africa, we perpetuate the attitudes and practices
of the past.
I received two months ago the ACASA newsletter,
and I was much impressed by the proposed ethic
code on cultural heritage.
The promulgation of a Code of Ethics will not by
itself change the world, but an on-going debate
about ethical concerns may change us.
Personally, I would argue against the need for
"our" ACASA Code of Ethics, but for continuing
dialogue about ethical issues. The ACASA panels
at the ASA meetings and our Triennials have done
much to raise critical issues to our attention.
Maintaining a forum as a means of sensitizing the
members of our profession to various issues
concerning ethics and "proper" professional
practice is a great idea. We might think about
making this forum a bit more formal; for
instance, solicit an individual to present a position
paper on a specific ethical issue that would then
serve as a focus for discussion.
Continued dialogue and discussion about ethics is
more important than adoption of a single code.
There are many important issues that have not
been addressed in our discussions. These need to
be brought forward in full and open exchange
among ACASA members.
This sampling of membership opinion is narrowly
focused on those comments specifically indicating either
a pro, con or alternative position with regard to an
ACASA Code of Ethics. There were many more similar
statements, but space required limited selection.
Moreover, it is important to point out that some of the
letters and other commentary received contain a wealth
of excellent thoughts about crucial issues that should be
shared among the membership as a whole regardless of
whether a formal code of ethics is to be adopted. They
constitute valuable resources for current reference, and
for identifying a roster of members who might be asked
to present their views in open forum.
After careful consideration, the Ad Hoc Committee
co-chairs have concluded that question of developing a
Code of Ethics for ACASA be held in abeyance until the
membership expresses readiness for achieving some
consensus about the nature and purposes of such a
document. To pursue the matter diligently at this point
would seem to invite unproductive divisiveness or,
equally unwelcome, the creation of a document so
general and placable as to be irrelevant.
Therefore, in concurrence with the most constructive
and attainable proposals put forward by a number of
members, the following recommendations are made for
membership approval, and action:
(1) That the ACASA Board establish as a regular
practice the inclusion of a Board-sponsored Open
Forum on Ethics in the programs for each meeting
of the African Studies Association and the
Triennial Symposium on African Arts.
(2) That these open forums have as an agenda the
presentation of position papers by one or two
ACASA members who have offered or who have
been solicited to address specific topics of concern
and to participate in discussion with the attending
(3) That these forums provide occasion for
on-going dialogue among ACASA members with
regard to specific issues of concern about ethics,
and through which viewpoint about motivation,
practice and objectives can be shared and
(4) That the papers and discussion of each forum
be summarized in the ACASA newsletter,
including, where possible, the written comments
submitted by members.
(5) That the ACASA Board appoint annually a
Committee on Ethics to organize and preside over
the Open Forums and to make timely reports and
recommendations to the Board.
ACASA Newsletter / No. 44, December 1995 9
ACASA Book Distribution Program
The following publications were despatched in December
1995 on the ACASA book distribution program:
Ceramic gestures: new vessels by Magdalene Odundo I
by Maria C. Berns. Santa Barbara: University Art
Museum, University of California, 1995. Courtesy
of Maria Berns and the University Art Museum,
African dress 11: a select and annotated bibliography I
by Ila M. Fokornowski and others. East Lansing:
Michigan State University, 1985. Courtesy of
Joanne Eicher and the African Studies Center,
Michigan State University.
Animal, bird and myth in African art / by Robert G.
Breunig. Phoenix: Heard Museum, 1985. Courtesy
of Richard Faletti and the Heard Museum.
A life well lived: fantasy coffins of Kane Quaye / by
Christine Mullen Kreamer. Kansas City: University
of Missouri-Kansas City, Gallery of Art, 1994.
Courtesy of Craig Allen Subler and the University
of Missouri-Kansas City Gallery of Art.
People of the Zongo: the transformation of ethnic
identities in Ghana / by Enid Schildkrout.
Cambridge University Press, 1978. Courtesy of
Enid Schildkrout and Cambridge University Press.
Plus, a selection of exhibition catalogues on African
art, courtesy of Gail Feher, Ocdanie-Afrique Noire, New
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. Available from:
Janet Stanley, NMAFA Library, Smithsonian
Institution-MRC 708, Washington, DC 20560. (202)
357-4600 ext. 285. Remember, this fund-raising effort
on behalf of ACASA will enable us to sponsor
colleagues from Africa to participate in conferences.
Chike Aniakor presented a paper on "Ethics, History
and Cultural Property: the Moral Challenge" at a
conference of the American Society of International Law
last April. Aniakor also held a two-man exhibition with
Charles Hollingsworth at Cheney University of
Pennsylvania on the theme of "Children of the Same
Bernard Clist has resigned his position as head of the
Archaeology Department of CICIBA. His current address
is B. P. 1456, Libreville, Gabon.
Ade Obayemi, director of Akodi Afrika, in Iffe-Ijumu,
Nigeria, spent several weeks in the United States during
October and November visiting universities and
museums; he also attended the ASA meetings in Orlando.
Ola Oloidi, senior lecturer in art history at the
University of Nigeria, Nsukka, and currently head of the
Department of Fine and Applied Arts, is seeking a
position for a sabbatical year appointment in 1996-1997.
Oloidi has been on faculty at UNN since 1976; he has a
masters degree in art history from Howard University
and a doctorate from UNN. His primary research
interest is contemporary Nigerian art. Contact address:
Department of Fine and Applied Arts, University of
Nigeria, Nsukka, Enugu State, Nigeria. Telephone:
042-771017 (home). Fax: 042-77064.
Christopher Steiner is spending the academic year as a
Getty Scholar at The Getty Center for the History of
Art and the Humanities where he is completing a book
manuscript entitled "Bacchus in Benin, and Other
Mythologies from the Age of Discovery."
Sasha Stolnman, formerly Associate Conservator at
Wharton & Griswold Associates in Santa Barbara, has
left to establish a conservation laboratory at the
Canterbury Museum in Christchurch, New Zealand.
Okpu Eze (1934-1995), Nigerian sculptor and president
of the Society of Nigerian Artists (SNA), died in Lagos
on October 1, 1995. Eze had just returned from curating
an exhibition in Geneva. As president of SNA he had
been planning for a permanent secretariat for SNA at
C. C. Ibeto (1913-1995), Nigerian genre painter and one
of the early students of Kenneth Murray at Government
College Umuahia, died in Lagos in October 1995. A
classmate of Ben Enwonwu, Ibeto taught art in
secondary schools in eastern Nigeria at a time when art
was seldom taught in Nigerian schools. Ibeto was also
an illustrator of several books, including the first Igbo
language primer in 1940.
Art History, Africa/Diaspora Art, University of
Arizona. The Department of Art and the African
American Studies Program seek to fill one full-time,
ACASA Newsletter / No. 44, December 1995
joint position beginning August 1, 1996. Rank and
salary are open. Multi-year renewable contract 'ith
potential conversion o tenure/track. We invite
applications from candidates with outstanding teaching
and scholarly records. The ideal candidate must have the
Ph.D. completed before but no later than January 1,
1996. She/he must be willing to contribute to the
missions of both units. Responsibilities include vigorous,
ongoing research and scholarly activities, undergraduate
and graduate instruction, participation in administration
and governance activities in both units, outreach and
community service. Preferred areas of specialization
include African aesthetics, African American art,
contemporary African art, African/American film
theory/criticism. Send letter of application, a statement
of scholarly and teaching methods, sample course
syllabi, student evaluations, two writing samples, a
current c.v. and three letters of recommendation to:
Mikelle S. Omari, Joint Art History/African
American Studies Search, University of Arizona,
MLK Jr. Building, 305, Tucson, Arizona, 85721,
USA. Application review begins January 8 with
applications accepted until position is filled.
Art History, Assistant Professor, University of
Colorado At Denver. Tenure track. Starting date: fall
1996. New position available for a generalist. Preference
will be given to an art historian with a background in
non-western (including art of the Americas and other
world cultures) preferably with
theoretical/interdisciplinary interests. Responsible for five
courses per year, including participation in year-long
survey. Ph.D. and teaching experience required. Send
curriculum vitae, statement of teaching philosophy, two
letters of recommendation and names of three other
references postmarked by January 19, 1996 to:
Stephanie Grilli, Department of Fine Arts, University
of Colorado at Denver, CB 177, PO Box 173364,
Denver, CO 80217-3364, USA.
Art History, Assistant Professor, University of
Houston. Tenure track. Ancient art/archaeology, with
strong background in one or more of the non-Western
traditions (e.g., the Americas, Africa). Position pending.
Include list of three references. Application deadline:
February 2, 1996. Contact: Chair, Art Historian
Search, Department of Art, University of Houston,
Houston, TX 77204-4893, USA.
Art History, Assistant Professor, Bowling Green State
University. Tenure track. Salary commensurate with
qualifications and experience. Starting date: August
1996. Ph.D./ABD in Art History required; teaching
experience. Ability to teach in any of the following
areas: Oriental, African, Non-western. Send letter of
application, three current original letters of
recommendation, official terminal degree transcript,
publications, SASE. Application deadline: January 30,
1996, or until filled. Contact: Williams Misfeldt, Chair,
Art History Division, School of Art, Bowling Green,
OH 43405-0211, 1- .
Caribbean and/or ,.n-U.S. Africana Cultural Studies,
Assistant Professor, Colby College. Through its African
American Studies Program, Colby College seeks
applications for an interdisciplinary tenure-track
appointment at the assistant professor level in Caribbean
Cultural :-iAdies. Other Africana cultures outside the
United Sates in Central and South America will also be
considered. The preferred disciplines are art history or
ethnomusicology. Ph.D. required. Graduate education,
teaching, and research program must focus on African
cultures in the Americas, particularly the Caribbean
Islands or Caribbean coast of South and Central
America. Along with a detailed curriculum vitae and the
names of four references, candidates' application letter
should include a statement of courses they would
propose to teach. Review of applications will begin on
December 16, 1995 and will continue until the position
is filled. Send materials to: Cheryl Townsend Gilkes,
Director, African American Studies Program, Colby
College, Waterville, ME 04901, USA.
Chairperson/Art and Architecture, Northeastern
University. Northeastern University's Department of Art
and Architecture is searching for a Chairperson.
Applicants should have excellent teaching records,
demonstrate scholarly achievement and/or recognized
creative work, and have effective management skills.
Applicants must qualify for tenure and the rank of full
Professor or senior level Associate Professor. The
Department offers an undergraduate program in both art
and architecture, with two pre-professional programs in
architecture and graphic design, as well as programs in
photography, art history, and studio art. Candidates must
have a demonstrated commitment to issues of diversity.
Applications received by February 10, 1996 will be
given full consideration. Candidates should send a letter
of application and c.v. as well as the names, positions,
addresses, and telephone numbers of three referees to:
Mardges Bacon, Chair, Department of Art and
Architecture Chairperson Search Committee, Office of
the Faculty Senate, 442 Ryder Hall, Northeastern
University, Boston, Massachusetts 02115, USA.
Portfolios, dossiers, and examples of research or
published work may be requested at a later date.
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
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
ACASA Newsletter / No. 44, December 1995 11
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.
Rockefeller Foundation Humanities Fellowships
1996-1997. The Rockefeller fellowships are meant to
serve scholars who are testing disciplinary boundaries or
moving into newer fields of inquiry within the
humanities. Complete information about eligibility,
stipends and procedures for application is available
directly from the current host institutions, three of which
are described below.
The James Coleman African Studies Center in
coordination with The Center for the Study of Women
invite applications for a Rockefeller Resident Humanities
Fellowship program at the Institute for the Study of
Gender in Africa at UCLA. The Institute encourages
applications in three priority research areas: (1)
development of multi-disciplinary approaches to
understanding questions of gender in Africa, including
the use of the such resources as historical linguistics,
archaeology, ethno-archaeology, oral tradition, folklore,
and art history; (2) the examination of the historical
dimensions of gender dynamics in Africa's early and
precolonial past; and (3) the study of the culture of
gender, in all its myriad meanings and concepts.
Candidates should submit: (1) a 100-word abstract; (2) a
proposal of no more than 1,500 words detailing the
research agenda, its theoretical basis, and its scholarly
relevance; (3) a full curriculum vita; and (4) three letters
of recommendation. Inquiries and completed applications
should be sent to: Muadi Mukenge, African Studies
Center, 10244 Bunche Hall, UCLA, 405 Hilgard
Avenue, Los Angeles, CA 90095-1310, USA.
Telephone: (310) 825-3779. Fax: (310) 206-2250.
Application deadline: March 15, 1996.
Center for the Study of Culture and Development
in Africa, Howard University. Application deadline:
January 31, 1996. Contact: Mbye Chain, Department
of African Studies, Howard University, Box 231,
Washington, DC 20059, USA. Telephone: (202)
806-7115. Fax: (202) 806-4425.
Center for Afro-American and African Studies,
University of Michigan, Ann Arbor. Application
deadline: January 16, 1996. Contact: Earl Lewis,
Project Director, Center for Afro-American and
African Studies, 200 West Engineering Building,
University of Michigan, Ann Arbor, MI 48109-1092,
Sainsbury Research Unit for the Arts of Africa,
Oceania & the Americas, University of East Anglia.
MA/PhD Studies. Applications are invited for the
1996/97 MA Course, Advanced Studies in the Arts of
Africa, Oceania and the Americas, and from candidates
who wish to conduct PhD research. The MA course
combines anthropological, art historical and
archaeological approaches, and is intended for students
who wish to pursue research and academic/museum or
related careers. Facilities in the Sainsbury Centre for
Visual Arts include a major research library and
personal study space with PCs.
MA applicants should have, or be about to have, a
good undergraduate degree in anthropology, art history,
archaeology or a related subject. PhD applicants should
have similar qualifications, usually with a Masters
degree. For details and application information, contact:
Admissions Secretary, Sainsbury Research Unit,
Sainsbury Centre, University of East Anglia, Norwich
NR4 7TJ, England, (Telephone: (01603) 592498. Fax:
(01603) 259401. Application deadline: March 1, 1996.
Scholarships. Full and part grants are offered
annually for the MA Course. PhD applicants are eligible
to apply for a full 3-year Robert Sainsbury Scholarship,
tenable at the Sainsbury Research Unit from 1996.
Research Fellowships. The Sainsbury Research Unit
invites applications for two three-month Visiting Research
Fellowships during calendar year 1997. Tenure of each
Fellowship is preferred during the spring (January to
April) and autumn (September to December) terms, but
consideration will be given to applicants for the summer
term (April to July). Holders of a doctorate who are
undertaking research for publication in the field of the
arts of Africa, Oceania and the Americas are eligible to
apply. In exceptional cases, advanced doctoral candidates
may be considered. The value of the Fellowship is
3,750 plus one return fare to and from the University
of East Anglia, to a maximum of 500. Application
deadline: 1 April 1996. For details and application
information contact the Admissions Secretary at the
"The Question of Culture," Visiting Fellowship,
1996-1997, Robert Penn Warren Center for the
Humanities, Vanderbilt University. The Warren Center
invites applications from established scholars interested in
participating in a faculty seminar as a visiting fellow
during one or both semesters of the academic year
1996-97. The seminar's theme will be "The Question of
Culture" and will explore the ways in which notions of
"culture" circulate in various contemporary disciplines.
The possibilities for the seminar are diverse; the key
questions are open and hotly contested. Contact: Robert
Pnn Warren Center for the Humanities, Vanderbilt
University, Nashville, TN 37235, (615) 343-6060.
Completed applications must be posonarked: January 17,
Drew in West Africa is a unique summer study
program in C6te d'lvoire which allows participants to
explore the rich cultural and artistic traditions of West
Africa. Under the directorship of Jerry Vogel, the
program includes courses in African culture and history
ACASA Newsletter I No. 44, December 1995
of African art and architecture. Students are able to
work directly with African artists in their villages and
workshops in the areas of ceramics, fibers, and metals.
Program dates: mid-July to mid-August, 1996. Estimated
costs: $3,900 (includes 8 credit tuition, air fare, lodging
and some meals). Deadline: April 1, 1996. For further
information, contact: Summer School Programs, Drew
University, Madison, NJ, 07940, USA. Telephone (201)
408-3400; or Philip M. Peek (201) 408-3383. e-mail:
Travel to Senegal. "Crossing Cultures 1996: Travel to
Senegal, January 1-21 or July 4-24, 1996. Grass-roots
projects, village stays, custom-tailored program. Now
accepting reservations. Organized by Intercultural
Dimensions, Inc., a non-profit educational organization.
For information contact: Intercultural Dimensions, Inc.,
276 Pearl Street, Unit J, Cambridge, MA 021394716.
Telephone: (914) 968-2939 or (617) 864-8442. Fax:
(914) 949-6213. e-mail: email@example.com
ACASA Newsletter Editor. ACASA Board is recruiting
an editor for the ACASA newsletter to take over the
editorial responsibilities at the end of 1996. Interested
applicants are encouraged to contact Janet Stanley,
National Museum of African Art Library, Washington,
DC 20560. Telephone: (202) 357-4600 extension 285.
Fax: (202) 357-4879. e-mail: firstname.lastname@example.org
Mami Wata Exhibition. In preparation for a
comprehensive traveling exhibition on the "Arts Histories
of Mami Wata in Africa and her Sisters in the
Americas," Henry Drewal is editing a major publication
and invites contributions from all those who have
encountered or studied such arts honoring female water
spirits as part of their work in Africa or the African
diaspora. These offerings can be in any form and length:
critical essays, ethnographies, field ancedotes, vignettes,
legends, myths, songs, performances, histories, photo
essays, etc. Since Mami Wata is a pan-African (and
beyond) phenomenon, the expertise and knowledge of
colleagues who have data on her (her followers and
artists) from specific historical eras and cultural contexts
is sought. Drewal is also compiling an archive of Mami
Wata images and objects for consideration in the
exhibition and would appreciate copies (slides, photos)
and information on the whereabouts, conditions, and
availability of such materials. Send your proposed
contributions (hardcopy, disk in Wordperfect or ASCII
file, illustrations) to him at the address below. Deadline:
October 1996. Thanks in advance and, by way of
encouragement, remember the song, "If you see Mami
Wata oh, never, never run away!" Henry Drewal,
Department of Art History, Elvehjem Museum of Art,
University of Wisconsin-Madison, Madison, WI 53706,
Gallerie Amrad African Art Publications is planning
to publish a series of books on "Contemporary African
Artists." The first in this series on Chdri Samba has
been published recently. We are looking for scholars who
are capable of analyzing and presenting an outstanding
African artist. We would like to devote each book to a
single African visual artist. To submit a proposal,
include: short resume; synopsis of the proposed book;
preliminary table of contents; a few photographs of the
artist's paintings or sculptures. All proposals will be
considered seriously and responded to. Send to the
publisher: Esther A. Dagan, Gallerie Amrad African
Art Publications, 42 Antwoth, Westmount, Quebec,
H3Y 2E7, Canada.
Vest 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
Adandd, Department of History & Archaeology,
Faculty des Lettres & Arts-Sciences Humaines,
University Nationale du Benin, BP 526, Cotonou,
Rdpublique Populaire du Bdnin. Submissions for
W4MP bulletin should be sent directly to: WAMP
Bulletin, West African Museums Project, 140 rue
Mousse Diop, B. P. 357, Dakar, Sendgal.
News from Great Britain
Africa '95 is the big news from Great Britain this fall.
Topping the season's roster of events are the Royal
Academy's exhibition "Africa: The Art of a Continent"
and the Whitechapel Gallery's "Seven Stories of Modem
African Art." A scaled-back version of the Royal
Academy exhibition will travel to the Guggenheim
Museum in New York in June 1996. In this sampling of
the press coverage of Africa '95 exhibitions, the
headlines reveal all:
Garlake, Margaret, "Africa now?" Art monthly (London)
November 1995, pages 10-12.
Hilton, Tim, "In darkest Piccadilly," Independent on
Sunday (London) October 15, 1995, pages 22-23.
Ryle, John, "The anxiety of exoticism: how the Western
idea of art impedes our understanding of Africa,"
Tunes literary supplement (London) October 20,
1995, pages 18-19.
Dorment, Richard, "It can't be done, but they've done
it," Daily telegraph (London) October 11, 1995,
ACASA Newsletter I No. 44, December 1995 13
Graham-Dixon, Andrew, "Art of Africa: the show of a
lifetime," Independent (London) October 17, 1995,
section 2, pages 8-9.
Parker, William, "Tribal, primitive, wonderful,"
Financial times weekend (London) October 7-8,
1995, page xvi.
Sewall, Brian, "Keeping black Africa in the dark,"
Evening standard (London) November 2, 1995,
Riding, Alan, "Taking African creativity onto Europe's
cultural stage," New York times October 4, 1995,
pages C13, C20.
Gibbs, James, "African arts: dead or alive?" st Africa
(London) no. 4072: 1673-1675, October
30-November 5, 1995.
Whiteman, Kaye, "Manipulation, theatre and 'living
inside,'" Wst Africa (London) no. 4072: 1678,
October 30-November 5, 1995. Report on the
session "Artist, Medium and Development in the
Visual Arts" at the Royal African Society
conference "Mediums of Change," London,
Ogunwa, Denrele, "Seven stories of African art," %Ist
Africa (London) no. 4070: 1614-1615, October
The conference "African Artists: School, Studio and
Society," held September 23-24, 1995 at SOAS, targeted
the formation of visual artists in Africa as an issue of
historical, critical and practical significance. Among the
participants from Africa, who are also ACASA members,
were Pitika Ntuli (South Africa), Elizabeth
Orchardson-Mazrui (Kenya), Sultan Somjee (Kenya),
Solomon Wangboje (Nigeria), and Stephen Williams
(Zimbabwe). The program comprised papers with
respondents, artists' roundtable discussions and a
performance by Sudanese artist Hassan Musa. Copies of
some of the papers may still be available. For
information, contact: Jackie Collis, Center of African
Studies, School of Oriental and African Studies,
University of London, WC1H OXG, UK. Fax:
"Mediums of Change: The Arts in Africa, 95," The
Royal African Society, London, September 29-30, and
October 1, 1995. The Royal African Society held a
two-and-a-half-day international conference on "Mediums
of Change" at the new Brunei Gallery across the plaza
from SOAS. "Mediums of Change" addressed all the
arts visual, literary, musical, theatrical. Participating
ACASA members included Salah Hassan, Uche Okeke,
and Pitika Ntuli. Wole Soyinka delivered the opening
keynote address. Africa's other Nobel Laurate, Nadine
Gordimer, who was in the audience, paid tribute to
Wole. A special edition of the journal Afican affairs is
planned which will include selected papers from the
conference. For further information contact: The
Secretary, Royal African Society, SOAS, Thronhaugh
Street, Russell Square, London WC1H OXG,
England. Telephone: +44 171 323 6253. Fax: +44
171 436 3844.
News from Japan
dele jegede was invited to deliver the keynote address at
the recent exhibition on contemporary African art in
Tokyo, Japan. He also contributed an essay to the
accompanying catalogue. He files this report:
As London went agog with Africa '95, Tokyo was
busy hosting its first major exhibition of contemporary
African art. Titled "An Inside Story: African Art of our
Tune," the exhibition opened on September 23, 1995 at
the picturesque Setagaya Art Museum in Tokyo. It was
curated by Yukiya Kawaguchi. Quite predictably, the
distinctions between the popular and the cerebral were
blurry: miniature toys of airplanes, automobiles and
Westernized Africans shared the pride of place with
mannequins and photographs of popular imageries.
Barbers' signboards found new patrons as did Senegalese
glass paintings. But it was in the sculpture department
that some of the most profound statements were made.
Sokari Douglas Camp's presence was imposing, not only
on account of her impressive metal sculptures, but also
because of the accompanying rhythmic sounds which
punctuated the museum's silence at frequent intervals.
Moustapha Dim6 of S6n6gal, El Anatsui of Ghana,
Aboudramane of C6te d'Ivoire and Pascale Marthine
Tayou of Cameroun these are some of the artists who
invested sculpture with new meanings in Tokyo. Also
impressive are works by Abdoulaye Konatd of Mali, Kra
N'Guessan of C6te d'Ivoire and Fod6 Camara of
S6n6gal, with his large canvas. Osi Audu's ascetic black
and white drawings represent a new direction for this
British-based Nigerian artist. Of course, Audu's work is
not included in the accompanying catalogue because of
the logistics of deadline.
Although one would wish that we would get to a
point when contemporary African art would not be
lumped together in major shows, "An Inside Story:
African Art of Our Time" was a huge success,
considering that it signified a breakthrough for African
artists in this part of the world. After leaving Setagaya
Art Museum on November 19th, the show travels to the
following sites: The Tokushima Moder Art Museum;
Himaji City Museum of Art; Koriyama City Museum of
Art; Marugame Inokuma-Genichiro Museum of
Contemporary Art; The Museum of Fine Arts, Gifu.
News from Kenya
Third Nairobi International Cultural Festival is to be
held in Nairobi, as well as in the cities of Mombasa,
Kisumu, Eldoret, Kakamega and Nakuru between 1 and
12 December 1995. The Festival program will feature
art exhibitions, performing arts (music and dance),
ACASA Newsletter / No. 44, December 1995
drama and poetry, fashion shows featuring African
designs, and handicrafts. For information, contact:
Andrew Kiprop, Festival Coordinator, Nairobi
Cultural Institute, Ngong Road/George Pidmore
Lane, Box 10369, Nairobi, Kenya. Telephone: (254-2)
569205, Fax: (254-2) 330170.
News from Madagascar
The Madagascar Museum Society has set up a web site
on the Internet. See "Malagasy Web Site" under the
section Africa on the Internet (below).
News from Nigeria
African Archaeology in the 21st Century. Bassey
Andah, Alexis Adande, C. A. Folorunso and Obare
Bagodo have written a rejoinder to the report "African
archaeology in the 21st century" (published in ACASA
newsletter no. 40, August 1994, pages 12-14). In their
response which was published in the st African
journal of archaeology 24, 1994, pages 152-159 these
archaeologists argue that Africa's cultural agenda is still
being set by outsiders, however, well meaning they may
be. Specifically, they make the case that funding bodies
should work directly with African institutions -
universities, museums, research institutes without
intermediaries from overseas determining the research
priorities. Everyone acknowledges that the problems on
the ground in Africa are serious, but the last thing that
is called for is a hand-wringing, neo-colonialist attitude.
The Archaeological Association of Nigeria (AAN) held
its 13th annual conference in Iffe-Ijumu, Kogi State,
from August 28-31, 1995. The theme of this year's
conference was "Archaeology, centres for cultural
studies, councils for arts and culture, and museum
management in national development." J. E Jemkur
(Ahmadu Bello University) has been elected president of
the AAN, and M. O. Hambolu (National Museum
Management) has been elected secretary.
"Juno Akolo at 60." A symposium on contemporary
Nigerian art, held to honor artist Jimo Akolo, took place
at Ahmadu Bello University Zaria, November 1-4,
1995. Sponsored by the Eye Society and the Department
of Fine Art at the University, the symposium was
attended by around fifty artists, art historians and
anthropologists. Two of the main themes arising from
the symposium included the nature of contemporary art
patronage in Nigeria and the decline of traditional
ceramics as well as the failure of industrial ceramic
projects in the country. A retrospective of Jimo Akolo's
work was held at the National Gallery of Art in Lagos,
November 20-27, 1995.
The Visual Orchestra group of artists held its fifth
anniversary exhibition at the National Museum, Enugu,
June 1995 and the National Gallery of Modern Art,
Lagos, August 1995. The artists belonging to Visual
Orchestra include C. Krydz Ikwuemesi, Soloo Akugha,
Frank Onyezia, Chukwujekwu Ozoihu, Amechi
Edozie and Chuka Obiweluozor. For information,
contact: The Visual Orchestra, P. Q Box 1072,
Eaugu, Enugu State, Nigeria.
Sculptors Olu Amoda (Yaba College of Technology) and
Tonie Okpe (Ahmadu Bello University) were invited to
participate in the "Kunst Im Kraftwerk: Stahlsymposium
'95" in Riedersbach, Austria in August 1995.
C.QN.A. Link. The Coalition of Nigerian Artists
(C.O.N.A.) has started editing its newsletter Cona link,
aiming to serve as communication tool for all artists and
artists groups throughout the country, spreading
information on cultural activities and policies within
Nigeria and beyond. Issue no. 1/1995 reports on the
Nigerian Government's policy towards culture and
reviews C.ON.A.'s cultural agenda for 1995. For
information: Coalition of Nigerian Artists (C.ON.A.),
RP. Box 1322, Surulere, Lagos, Nigeria.
News from the United States
Rethinking Igbo Art and Culture workshop, Emory
University, September 30, 1995. This was the first of
four African Studies workshops to be held this academic
year at Emory with funding from the Ford Foundation.
The topic was chosen because Igbo art and history are
at the center of two different and equally interesting
debates: the first has to do with Igbo history and the
second with Igbo contemporary art, but both involve the
issue of how Igbo identity is negotiated. As such it cuts
across disciplinary boundaries and a number of issues of
interest to Africanists.
The history question has to do with Igbo-Ukwu,
Nri, and centralized political authority. Prominent Igbo
scholars, such as Afigbo and Onwuejeogwu, have
constructed an Igbo past which is more in line with that
of the Yoruba (e.g., the "holy city" of Nri, kingship
rituals, centralized political system) than on the
acephalouss" model usually proposed for Igbo culture. It
is very much a center-pe':phery model which plays down
anomalous masquerade traditions, such as the Aro, and
establishes the "center" in the Nri-Awka region. In a
country such as Nigeria with its many historical
city-states, this becomes a powerful form of historical
validation. It also greatly influences the ways in which
we approach Igbo mask studies. Eli Bentor is doing
important work on this question from the "periphery" of
Arochukwu [his paper: "Masks and the construction of
an Igbo past: Aro and the Nri model"]. Richard
Henderson, who provided a detailed historical
anthropology of the Onitsha kingship in his monumental
work The king in every man, was invited to speak
reflexively of his approach from the "rethinking"
perspective of 25 years later ["Scatterings of truth:
refractions of ethnographic experiences in Onitsha"].
ACASA Newsletter / No. 44, December 1995 15
Chike Aniakor critiqued both sides of this art/history
issue from the position of masking studies ["Problems,
issues and challenges in Igbo masking studies"].
The contemporary art question centers on the issue,
"Is there an Igbo contemporary art?" If so, in what
sense is it Igbo? Or is it just Nigerian, or just
contemporary art? This is an interesting question in
relation to the claims made for, say, Y6ruba
contemporary art. And why is there so much trenchant
art criticism emanating from Igbo artist-scholars? One
element which emerged in the discussions of a seminal
paper by Sylvester Ogbechie (Northwestern) ["Shifting
Igbo identities in the post-civil war art world"] had to
do with the position of Nsukka (the university) as the
intellectual nexus for artists and writers during and after
the Biafran War, and the War itself as a crucible for the
creation of a group identity.
With two other papers focusing on Onitsha market
as a place for the production of popular discourse
(Misty Bastian "Fires, tricksters and poisoned
medicines: popular culture of rumor in Onitsha,
Nigeria") and an Onitsha woman's funeral (Helen
Henderson "Voices of the dead: an Onitsha woman's
funeral in 1990"), Onitsha was one major focus of the
discussions and Nsukka the other. Newsletter readers
should know that at present, there is no collection of
papers available this was after all a "rethinking," and
we are currently discussing where to go from here. If
you wish to enter the discussions, which are continuing
on e-mail, send your comments via the Internet to
Sidney Littlefield Kasfir, Art History Department,
Emory University, Atlanta, GA, 30322, USA. e-mail:
Ranking art history departments. How does your
department of art history rate nationally? The Chronicle
of higher education (September 22, 1995) carried the
results of a sweeping survey of doctoral programs at
American universities, ranking the top institutions by
discipline. For art history? Columbia and New York
University tied for top spot. Next in order were
University of California, Berkeley, Harvard University,
Yale University, Princeton University, Johns Hopkins
University, Northwestern University and University of
Chicago. Of the twenty-eight other institutions ranked for
art history (apart from the top ten), only seven are
generally known for teaching African art. They are:
University of Michigan (11th place); UCLA (13th);
Indiana (tied for 24th); University of Illinois-Champaign
(26th); University of Maryland, College Park (28th);
University of Minnesota (30th); University of Washington
(31st); University of Wisconsin-Madison (35th). Source:
Chronicle of higher education, September 22, 1995,
Center for African American History and Culture,
Smithsonian Institution. The ill-fated Smithsonian
National African American Museum project has been
scaled back in face of the hostile budgetary climate and
conservative political mood in Washington, DC. Renamed
the Center for African American History and Culture, it
is under the directorship of Steven Newsome, who is
also director of the Smithsonian's Anacostia Museum.
According to Newsome, this "represents the
Smithsonian's best effort to sustain the project without
congressional backing." The Center will sponsor
exhibitions, acquire African American materials for the
Smithsonian collections and work with smaller black
museums around the country. Its mission is to document
and interpret the experiences, expression and history of
people of African descent in the United States and
throughout the Diaspora (with emphasis on the
Caribbean, Europe and the Americas). For information:
Center for African American History and Culture,
Smithsonian Institution-MRC 431, A & I 1130,
Washington, DC 20560. Telephone: (202) 357-4500.
African-American Quilters, a traveling exhibition.
"African-American Quilters," a traveling exhibition of
twenty African-American quilts created by ten black
women from the Southern States, is available in 1995,
1996 and 1997. Curated by Maude Southwell Wahlman
(University of Central Florida), the exhibition includes
introductory text panels, photographs of African textiles,
twenty quilts (more are available), portraits and
biographies of ten quilters, an educational packages for
teachers, a docent training package and a press kit.
Some quilters are available for workshops and
demonstrations. Rental cost is $1,800 for six weeks.
Contact: Maude Southwell Wahhnan, 1125 Howell
Creek Drive, Winter Springs, FL 32708-4411.
Telephone: (407) 699-1002. e-mail:
News from Zambia
The newly renamed Choma Museum and Crafts Centre
was officially opened on December 20, 1995 with a
reception hosted by the Dutch Ambassador to Zambia.
Formerly known as the Tonga Museum and Craft
project, the museum is housed in an old school building,
an early well-preserved example of colonial architecture.
The Choma Museum is located in Zambia's southern
province, on the Lusaka-Livingstone road. The address
of the Choma Museum is P. Q Box 630189, Choma,
News from Zimbabwe
The National Arts Council of Zimbabwe. The National
Arts Council of Zimbabwe (NAC), established under this
name in 1985, was founded in 1971 as the National Arts
Foundation. Its aim remain the same to foster,
develop and improve the knowledge, understanding and
practice of the arts and their presentation, performance
and exhibition to the public, as well as to advise and
cooperate with the government, local authorities,
16 ACASA Newsltter / No. 44, December 1995
registered organizations, and any other bodies and
individuals concerned directly or indirectly with the arts.
Apart from the National Arts Organizations
registered with it, the National Arts Council is
comprised of ten Povincial Arts Councils (PAC), which
in turn consist of an average of six District Arts
Councils (DAC) each. The PACs and DACs organize
their annual festivals, as well as inter-provincial and
inter-district festivals. The NAC may also fund individual
artists' projects if, in the opinion of the Council, these
benefit the entire nation. The NAC is currently working
on establishing a National Arts Centre whose main
function will be to serve the interest of the artists of the
artists themselves. It will be a multi-disciplinary centre,
covering the performing, visual and literary arts.
For further information, contact: National Arts
council of Zimbabwe, Kufara House, 101 Robert
Mugabe Road, Corner 2nd Street, Box UA 463,
Union Avenue, Harare, Zimbabwe, Telephone
736978/793343/737836. Fax: 737836.
Africa can compete! : export opportunities and
challenges for garments and home products in the
US. market / Tyler Biggs ... [et al.]. Washington,
D.C. : World Bank, c1994. (World Bank discussion
Africa: the art of a continent / edited by Tom Philips.
London: Royal Academy of Art; New York;
Munich: Prestel, 1995. Price: $65.
African and African-American sensibility / edited by
Michael W. Coy and Leonard Plotnicov. University
of Pittsburgh, 1995. (Ethnology monographs, no.
15, 1995). Contains an essay by Lisa Aronson
entitled: "Threads of thought: African cloth as
language." Price: $10.00.
African metalwork / essays by Jeremy Coote and Chris
Russell; interview with curator Magadelene
Odundo. London: Crafts Council, 1995. ISBN
1-870145-52-6. Price: 10.50.
The art ofAfrican textiles: technology, tradition and
lurex / by John Picton. London: Barbican Art
Gallery, Lund Humphries Publishers, 1995. ISBN
0-85331-682-1. Price: 18.00.
The arts of Africa: an annotated bibliography. lblume 4:
1990 / by Janet L. Stanley. Atlanta: African
Studies Association Press, 1995. ISSN 1044-8640.
Price: $32; special price for volumes 1-4
(1986-1990): $100. Order from: ASA Press, Credit
Union Building, Emory University, Atlanta, GA
Autonomy of museums in Africa / by Vincent Negri.
Paris: ICOM, 1995. ISBN 92-9012-222-6. Price
not stated. Contains a detailed review of the legal
and organizational state of museums in African
countries, an analysis of their role, and a
discussion of the principles of legal and financial
Battle for South Africa's mind: towards a post-apartheid
culture / by Olu Oguibe and Pitika Ntuli. London:
African Refugee Publishing Collective, 1995.
Nigerian artist Oguibe talks with South African
artist Ntuli. Price: 1.80.
Big city: artists from Africa. London: Serpentine Gallery,
1995. Price: 7.00.
Bodys Isek Kingelez. Paris: Fondation Cartier pour I'art
contemporain, 1995. Price: 9.00.
Cavalieri dell'Africa: storia, iconografia, sumbolismo =
Cavaliers d'Afique histoire, iconographie,
symbolisme = Horsemen of Africa history,
iconography, symbolism / Centro Studi Archeologia
Africana. Milano: Centro Studi Archeologia
Africana, 1995. 299pp. Contains nineteen papers
from a 1994 conference contributed by Ezio
Bassani, Jean Devisse, Barry Hallen, Carla de
Benedetti, Germaine Deieterlen, Edmond Bernus,
Giovanni Antongini, Tito Spini, Christian Dupuy,
Malcolm McLeod, Gabriel Camps, Josette
Rivallain, Robin Law, Laurence Garenne-Marot,
John Picton, Jean Spruytte, Christian Seignobos,
Klena Sanogo, Herbert Cole, Malika Hachid, and
Bernardo Bernardi. Available from: Gigi Pezzoli,
Centro Studi Archeologia Africana, Museo Civico
di Storia, Corso Venezia, 55, 20121 Milano, Italy.
Telephone: (02) 780440-784208. Fax: 29516738.
Price note stated.
Ceramic gestures: new vessels by Magdalene Odundo /
by Maria C. Berns. Santa Barbara: University Art
Museum, 1995. Price: $18.00. This travelling
exhibition has two new venues: The Bronx
Museum of the Arts (October 13, 1995-January
14, 1996) and University of Missouri-Kansas City
Gallery of Art (February 2-March 15, 1996).
"Dear Robert, I'll See You at the Crossroads": A
Project by Renee Stout I by Marla C. Berns and
George Lipsitz. Santa Barbara: University Art
Museum, 1995. Distributed by University of
Washington Press (or available directly from the
Museum). 68pp. Price: $24.00.
Going into darkness: fantastic coffins from Africa / by
Thierry Secretan. New York: Thames and Hudson,
1995. ISBN 0-500-27839-3. Price: $24.95
Hai/ paintings; folk art of the Great Pilgrimage / Ann
Parker and Avon Neal. Washington, DC:
Smithsonian Institution Press, 1995. On Egyptian
popular wall paintings relating to the Hajj. Price:
Islamic art and culture in sub-Saharan Africa / edited by
Karin Adahl and Berit Sahlstr6m. Stockholm:
ACASA Newsletter / No. 44, December 1995 17
Almqvist & Wiksell International, 1995. 188pp.
ISBN 91-554-3576-9 (pbk.). Order from: Almqvist
& WiEsell International, P. Q Box 4627, S-116 91
Stockholm, Sweden. Telephone: +46 8 728 25 00.
Telefax: +46 8 33 87 07. Price: SEK 174.00.
Johannes Mashego Segogela "Devils Angels and other
things." Johannesburg: Goodman Gallery, 1995.
Les images rupestres du Sahara / by Alfred Muzzolini.
Toulouse, France: Alfred Muzzolini, 1995. 448pp.
Order from: Alfred Muzzolini, 7 rue J. de
Resseguier, 31000 Toulouse, France. Price: 370 FF
+ shipping & handling (28 FF France; 22 FF
other Europe; 36 FF outside Europe.
An inside story: African art of our time; [exhibition,
September-November 1995, Setagaya Art Museum,
Tokyo, Japan]. Tokyo: Setagaya Art Museum,
1995. Address of Setagaya Art Museum
(Setagaya-Bijutsukan): 1-2 Kinuta-koen,
Steagaya-ku, Tokoyo, Japan. Price not stated.
Ndebele: a people and their art / by Ivor Pvwell,
Photography by Mark Lewis. Cross River Press:
distributed by Abbeville Press, NY, 1995. ISBN
0-7892-0073-2. Price: $40.00.
New visions: recent works by six African artists: Rashid
Diab, Ang&le Etoundi Essamba, David Koloane,
Wbsene Kosrof, Houria Niati, Olu Oguibe /
curators Salah M. Hassan [and] Okwui Enwezor,
assisted by Petrina Dacres. Eatonville, FL: The
Zora Neale Hurston National Museum of Fine
Arts; Ithaca, NY: Africana Studies and Research
Center, Cornell University, 1995. 29pp.
Nigerian art: its traditions and modern tendencies / by
Cornelius Adepegba. Ibadan: Jodad Publishers,
1995. 168pp. ISBN 978-3321-0-5. Address of
publisher: 1, Azeez Amoo Street, Alakia. New Ife
Road, P. 0 Box 22672, University Post Office,
Ibadan, Oyo State, Nigeria. Price: $10.00.
"Nigerian cement sculptures," by Diana O'Sullivan and
Keith Nicklin. In: From marble to chocolate: the
conservation of modern sculpture / edited by Jackie
Heuman. London: Archetype Publications, 1995.
ISBN 1-873132-85-9. On the challenges of
conserving life-sized cement sculptures of the
Akpans of southeastern Nigeria. Price not stated.
North African textiles / by Christopher Spring and Julia
Hudson. London: British Museum, 1995. 144pp.
ISBN 0-7141-25237. Price 15.00.
Objects: signs of Africa. Objets: signes d'Afrique / edited
by Luc de Heusch. Gent: Snoeck-Ducaju & Zoon,
1995. (Musde royal de l'Afrique central. Annales
des sciences humaines, no. 145). 213pp. Price:
On the road: works by 10 Southern African artists.
London: Delfina Studio Trust, 1995. Price: 10.00.
Play and display: steel masquerades from top to toe:
sculpture by Sokari Douglas Camp. London:
Museum of Mankind, 1995. Price: 8.00.
Playing with time: art and performance in Central Mali
/ by Mary Jo Amoldi. Bloomington: Indiana
University Press, 1995. 133pp. cloth ISBN
0-253-30900-X. Price: $29.95.
Portrait mummies from Roman Egypt / by Loreli H.
Corcoran. Chicago: Oriental Institute, 1995. Price
Ralph Linton (1925-1927): una fonte per la conoscenza
della grande isola dell'oceano Indiano / by Liliana
Mosca. Luciano Editore, 1994. Price not stated.
Rend Gardi: Momente des Alltags; Photodokumente aus
Nordkamerum 1950-1985 (ZTchadsee, Mandara,
Alantika); [exhibition, Museum fiur V1lkerkunde,
Basel, opening Febraruy 18, 1996]. Basel: The
Museum, 1996. 90pp. Price not stated.
Representing woman: Sande masquerades of the Mende
of Sierra Leone / by Ruth B. Phillips. Los
Angeles: Fowler Museum of Cultural History,
1995. Price not stated.
Sekoto: the art of Gerard Sekoto / by Barbara Lindop.
London: Pavilion Books, 1995. 64pp. ISBN
1-85793-461X. Price: 12.99.
Guide of Contemporary African Art, 2nd edition 1996,
will be published in January 1996. 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 feature of an alphabetical index to
This Guide will be published by the Association
Afrique en Cr6ations. Order from: Afrique en
Creations, 51 rue sainte Anne, 75002, Paris, France.
Telephone: 42 60 62.03. Fax: 220.127.116.11. Price:
18 ACASA Newsletter / No. 44, December 1995
African art in the 1990s I & II, a survey in two parts,
will be published in 1996 in Eastern art report, an
international magazine of the arts. The survey
offers a comprehensive review of the Africa '95
season in England. London: Eastern Art
Publishing, 1996; to be distributed by Saffron
Books. ISBN 1-872843-08-5 and ISBN
1-872843-09-2. Price: $16.50/10.95 per volume.
Bambolse (Kumasi). volume 1, no. 1, August 1991 -
Kumasi: [P. 0. Box 101], University of Science
and Technology. 2/year. ISSN 0855-0786. Price:
5.00 per issue.
Bambolse is an artists' magazine, written, designed,
illustrated and produced by artists affiliated with the
College of Art at the University of Science and
Technology, Kumasi. Dedicated to promoting the
contemporary arts in Ghana, Bambolse is "a sort of
moving museum," according to editor Atta Kwami.
Although the visual arts are its main focus,
Bambolse (a Gurensi word meaning embellishment,
as of wall paintings) also covers other art forms,
such as music and dance.
RA; The Royal Academy magazine (London). number 48,
autumn 1995. Special issue: "Africa: The Art of a
Continent." Price: 4.00
USO: Nigerian journal of art (Lagos). volume 1, no. 1,
July-December 1995. ISSN 1117-9993. Edited by
Chike Dike (National Gallery of Art, National
Theatre, P.M.B. 3001, Surulere, Lagos, Nigeria).
Bi-annual. Subscription prices
(individual/institutional): $25/$35 and 15/20
Journal of aesthetic education has published four
critiques of Gene Blocker's book The aesthetics of
primitive art (University Press of America, 1994).
Participating in this symposium on paper were
Rowland Abiodun ("The dichotomy of theory and
practice: Blocker's, The aesthetics of primitive
art), Jacqueline Chanda ("The possibilities and
limitations of cross-cultural understanding"),
Richard Garner ("Blocker on the definition of
primitive art"), and Jacques Maquet ("An
anthropologist's critique"). Blocker was offered
opportunity to response to each critique. See
Journal of aesthetic education volume 29, number
3, fall 1995, pages 27-53.
Librarie Fischbacher, 33, Rue de Seine, 75006 Paris, is
now distributing Frederick Lamp's La Guinee et ses
heritages cultures: articles sur l'histoire de I'art de la
region (Conakry: United States information Service,
1992). Price not stated.
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. Q 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 artist book wins Noma award. Elza Miles'
Lifeline out of Africa: the art of Ernest Mancoba (Cape
Town: Human & Rousseau, 1994) won an honorable
mention in the 1995 Noma Award for Publishing in
Africa. South African artist Ernest Mancoba (1904- ) has
been rescued from undeserved obscurity by Elza Miles.
An exile from South Africa since 1938, Mancoba
achieved modest success and recognition as an artist in
Paris and in Kattinge, Denmark, where he lived with his
Danish wife and fellow artist Sonja Ferlov. As artists,
Mancoba and Ferlov influenced each other and they
often worked together. Mancoba's most intriguing claim
to fame was his membership in the well-known but
short-lived (1948-1951) Cobra movement in northern
Europe, the antithesis of the Ecole de Paris. His earliest
art education was at Grace Dieu mission in Pietersburg;
he later earned a bachelor's degree from University of
Fort Hare and, still later, in France, he studied at the
]cole Nationale Sup6rieure des Arts Ddcoratifs de Paris.
Although he began as a sculptor doing naturalistic pieces
in wood, many with Christian themes, Mancoba
gradually shifted to painting and drawing and became
more concerned with shape and form. His work of the
last four decades has become increasingly abstract.
Miles only recently discovered Mancoba's art and
quite by accident. She unearthed considerable information
in unpublished sources, in obscure published ones, and
from interviews about Mancoba's early life and art
training in South Africa; she later carried out further
research in France and Denmark. She tries to set his
accomplishments within the context of the times, both in
pre-war South Africa and post-war Europe. Miles
interviewed Mancoba, who still lives in Paris, and his
son, and has incorporated their perspectives and
recollections into the story. Although this perhaps
qualified as an authorized biography, Miles has not
written a hagiography. Miles is herself an art historian
and an artist (a printmaker), so she brings to this study
both an historian's analysis and an artist's eye. The
quality of photographs is excellent; many are eprod
in color. Also included are photographs of Mancoba at
various periods in his life.
Within the modest goals she set fr herself "to
provide a homecoming for this artist who let Soh
Africa in 1938 and to introduce his wok to a wide
audience in his own country" (preface) she meA
even exceeds, admirably.
ACASA Newsletter / No 44, December 1995 I*
ACASA Internet Discussion Group. ACASA has set up
a discussion group onp the Internet, coordinated by
Michael Conner at Indiana University. This electronic
discussion group is intended to provide a quick means
for ACASA members who are Internet users to
communicate, exchange ideas, or request information.
Any ACASA member may subscribe.
To subscribe, send message to:
The content of the message should read: subscribe
To unsubscribe, type: unsubscribe conner_acasa
To send a message or query to the complete list,
address your e-mail to: email@example.com
African History Electronic Forum. H-Africa is a
moderated electronic discussion group and bulletin board
for scholars, graduate students, librarians, and teachers
interested in the African past, including a variety of
disciplines and approaches to the history of the entire
continent. H-Africa welcomes research reports,
bibliographies, listings of new sources, library and
archive information, non-commercial announcements of
books, journals, conferences, fellowships, jobs and
funding opportunities, as well as reports on new
software, datasets, or CD-ROMS relevant to the African
past. Subscriptions to H-Africa is free and open to
professional researchers and teachers in African history
or allied fields, and to everyone concerned with serious
scholarships in the field. For information, contact the
editors: Mel Page at firstname.lastname@example.org
or Harold Marcus at 22634Mgr@msu.edu
ASA Home Page. The African Studies Association has a
home page at: http://www.sas.upenn.edu/African_
Malagasy Web Site. http://squash.la.psu.edu/
plarson/mms/homepage.html From the introduction:
The Madagascar Museum Society seeks preservation of
Malagasy art and cultural heritage. At the moment we
are a small and somewhat informal group of scholars
and museum curators communicating with each other on
effective ways of locating, preserving and making public
Malagasy cultural heritage, particularly that which exists
in private collections and outside of Madagascar.
Ultimately we aim to expand and to create engaging
public museums in Madagascar itself. Because we are a
new group, we are currently working at obtaining legal
status under United States law as a non-profit
organization. Once we have obtained that status we plan
to offer membership subscriptions to the society and to
engage in revenue-generating activities to support the
Society's goals of cultural preservation. We need your
ideas and your expertise. If you have suggestions for us
or might be interested in submitting your candidacy for
the Society's board of directors, please contact us by
clicking on the mailbox icon at the bottom of the page.
Until we have the ability to operate real public
displays, this virtual museum on the World Wide Web
will serve as our communicative center. The number of
displays here will grow steadily over the coming months.
Please come back to visit us from time to time. We will
keep you updated on the progress and activities of the
Yoruba and Akan Art at ahoo. Yahoo is a new web
site featuring African art. To reach Yahoo: http://www.
yahoo.com Click to "Art, Ethnic, African" where there
is link on Yoruba and Akan art.
February 1996: Metropolitan Museum of Art, New
York, February 9, 1996. A symposium and lecture will
take place at the Metropolitan Museum on February 9th
from 2:00-5:00pm and is open to the general public. Its
title is "Power and Transformation in Africa:
Transatlantic Trade and the Art of Fon Silver." Two
members of the Conservation Department at The
Metropolitan, Ellen Howe and Jo Willey, will discuss
their findings and analysis of Fon silver jewelry in The
Metropolitan's collection. Suzanne Blier, Edna Bay, and
Eugenia Herbert will also speak on this material from
On Sunday February llth at 3:00 p.m. Suzanne
Blier will give a lecture on "The Enduring Status and
Security of Silver: The Jewelry Art of Dahomey Kings"
in The Metropolitan's Grace Rainey Rogers Auditorium.
These events have been organized in conjuction with the
reopening of the Rockefeller Wing's main African gallery
to the public on February 1st and Black History Month.
On February 3rd, 10th, 17th, and 27th a series of
feature length African films will be shown at The
February 1996: National Association of
African-American Studies, National Conference,
February 13-17, 1996, Houston, Texas. Call for
papers. Abstracts, not to exceed three typewritten pages
should be submitted which relate to any aspect of the
African-American experience.. Subjects may include, but
are not limited to, literature, history, the arts, religion,
women's studies, or multi-culturalism. Abstracts should
be post-marked by December 17, 1995 to: Lanuel
Berry, Jr., Executive Director, NAAAS, Morehead
State University, 212Radar Hall, Morehead, KY
40351-1689, USA. Telephone: (606) 783-2271. Fax:
February 1996: College Art Association Annual
Meeting, Boston, February 21-24, 1996. ACASA is
20 ACASA Newsletter / No. 44, December 1995
sponsored two events at the CAA meetings in Boston, a
panel and a roundtable, both on the subject of:
Approaching The Millennium: Subverting The
Western/Non-Western Dichotomy. Sponsored by
ACASA. Saturday morning, February 24th, 9:30 a.m.-12
p.m. Chair: Barbara Frank, SUNY Stony Brook.
Dubious Dichotomies in the Study of Portraiture.
PIdma Kaimal, Colgate University
Mediating the Modem: Politics and Performance
in a Nigerian Masquerade Festival. D. Bess Reed,
University of California, Santa Barbara
Is Nothing (Everything) Sacred? the Post-Colonial
Appropriations of the Religion of Modernism in
Contemporary Native American Art. Ruth
Phillips, Carleton University
Filtered Authenticity and the Western/Non-Western
Dichotomy. Victoria Rovine, University of Iowa
Museum of Art
Encountering the Discoverer. dele jegede, Indiana
This session will be continued in a Roundtable
Discussion from 12:30-2:00 p.m., chaired by Robert
Soppelsa. Roundtable participants include Rachel
Hoffman, leana Leavens, Catherine Bernard and
LeGrace Benson. The roundtable will take the place of
an ACASA business meeting.
Also of interest is the panel:
Hostage Crises: Contanporary African Art In
Bondage, Thursday evening, February 22nd, 8:00
p.m.-10:30 p.m. Chair: Nkiru Nzegwu, SUNY,
Modem Ethiopian Art: Icons of the Past and
Images of the Present. Achamyeleh Debela, North
Carolina Central University
Artists in Zaria: 30 Years after the Revolution.
Sharon Pruitt, North Carolina Central University
Art at the Crossroads: Senegalese Artists in the
1990s. Elizabeth Harney, School of Oriental and
African Studies, University of London
An "Irrational Eschatology:" Nkrumahism,
PbetNkrumahism, and the Discourse of Modernity.
Janet Hess, Harvard University
4Ajju Az Ndu II: Fishy Questions on the Body
of Contemporary Igbo and Izbon Sculpture. Ikem
Okoye, Northwestern University
Trans(pos)itions: (S)Crypting African Art in
America. Gordon Bleach, Rochester Institute of
February-March 1996: L'oeuvre de Cbeikh Anta Diop:
La renaissance de I'Afrique au seuil de troisime
millenaire, Dakar-Caytu 26 fevrier-2 mars 1996.
Among the themes of the conference are: "Origine et
evolution de 1'homme-arch6ologie africaine;" and
"Egyptologie et civilisation africaines." For information,
contact: Ibnou Diagne, DIpartement d'Histoire,
Faculty des Lettres & Sciences, Humaines, UniversitE
Cheikh Anta Diop de Dakar. Fax: 00221 2423 79.
March 1996: "Ethiopian Studies Conference," Addis
Ababa. An Ethiopian Studies Conference will be held
on March 2, 1996 in commemoration of the centenary
of the Battle of Adwa. Organized by the Institute of
Ethiopian Studies at Addis Ababa University, the
conference will also feature an art exhibition. For
information, contact: Institute of Ethiopian Studies,
Addis Ababa University, Addis Ababa, Ethiopia.
March 1996: "Urban Arts of Africa," University of
Iowa, Iowa City, March 8-9, 1996. This two-day
conference will be followed immediately on March 10th
with a oneday PASALA seminar of graduate school
papers. Graduate students interested in participating in
the March 10th seminar should submit a one-page
typewritten abstract by December 31, 1995. Candidates
will be notified by January 15, 1996. For information,
contact, Allen Roberts at University of Iowa.
March 1996: "Beyond 'Primitivism': Indigenous
Religious Traditions and Modernity," University of
California, Davis, March 28-31, 1996. An
interdisciplinary conference hosted by the
African-American and African Studies, and the Religious
Studies Program will be held at the University of
California, Davis, March 28-31, 1996. Participants will
include scholars in Religion, Anthropology, Native
American Studies and Area Studies. Designed in a broad
sense to stimulate reflection on the way that Religious
Studies and other disciplines situate indigenous traditions
within their understanding of the world, the conference
will explore several cutting-edge issues including: (a)
The relationship between these traditions and general
theory and method in the academic study of religion, (b)
the ideological content and scholarly and extrascholarly
representation of indigenous religious traditions, and (c)
changes that take place within indigenous religions as
they interact with forms of extra territorial religions such
as Islam, Christianity and Buddhism. This conference is
supported by the University of California Humanities
Research Institute; Davis Humanities; and, the
Waner-Gren Foundation. For details, contact: Jacob K.
Olupona, Conference Convenor, African-American &
African Studies, University of California, Davis CA
95616, USA. Telephone: (916) 752-1548. Fax: (916)
April-May 1966: "The Present State of Historical and
General Cultural Studies in the Niger-Benue
ACASA Newletter No. 44, December 195 21
Confluence Region," Akodi Afrika Cultural Centre,
Iffe-Ijumu, Kogi State, Nigeria, April 29-May 2,
1996. The organizers invite paper proposals that fit the
broad theme of the conference. The Niger-Benue
confluence region (as defined for this conference) has a
core area of the present Kogi State, but no outer
boundaries are set. Deadline for proposals: December
31, 1995. For more information or to submit proposals,
contact: The Director, Akodi Afrika, P. M. B. 1004,
Iffe-Ijumu, Kogi State, Nigeria.
Spring 1996: "The African Impact on the Material
Culture of the Americas" will be held in spring 1996
at the Museum of Early Southern Decorative Arts,
Winston-Salem, NC. It will address the presence of
African influences in the Americas as demonstrated
through artifacts, using objects as primary resource date.
For information, contact: 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 contact: Southern African Rock Art
Research Association, P. O Box 81292, Parkhurst,
2120, South Africa.
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 be held at the Art Institute of Chicago,
September 18-22, 1996. The symposium 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, modern adaptations of traditional textiles, etc.
will also be considered.
On the day preceding the academic program there
will be a morning of optional workshops introducing
members to five textile subject areas. For information,
contact: Rita J. Adrosko, Co-chair, TSA 1996
Symposium, Textiles NMAH 4131 MRC 617,
Smithsonian Institution, Washington, DC 20560. All
papers, as well as abstracts of poster displays and
videos, will be published in the conference's proceedings
that will be sent to all members in 1997 as a benefit of
membership. Each of the proceedings of previous
symposiums may be purchased for $25.00, including
postage. These include: iextiles as primary sources
(1988), Teaxiles in trade (1990), Textiles in daily life
(1992) and Contact, crossover, continuity (1994).
Membership applications and publications (accompanied
by a check drawn in U.S. dollars on a U.S. bank or by
VISA credit card information) may be obtained from:
Textile Society of America, 4401 San Andreas Avenue,
Los Angeles, CA 900654134.
September 1996: CIDOC Conference in Nairobi,
Kenya, September 23-28, 1996. The 1996 meeting of
CIDOC will take place in Nairobi woth the National
Museums of Kenya as host. Local organizers are: Omar
Bwana and Tony Theuri. The preliminary program
Monday, September 23rd. A pre-conference day,
this day is reserved for workshops and training
programs for African museum professionals.
Tuesday, September 24th. The formal CIDOC
conference starts, with business meetings and two
general sessions on specific themes, including:
Museum Documentation in Africa; Illicit Traffic
of Cultural Heritage Objects.
Wednesday, September 25th. The Wednesday
program focuses on three items: a general
session, Working Group meetings, and "behind
the scenes" at the National Museums of Kenya.
Thursday, September 26th. This day can be
regarded as a separate one-day mini-conference
showing the possibilities of modern information
technologies. It focuses on research of databases
and the use of Internet. The day will be a
combination of the CIDOC and AFRICOM
(museum/cultural heritage) perspective.
For more information: e-mail: email@example.com
November 1996: ASA Annual Meetings, San
Francisco, November 23-26, 1996. The San Francisco
ASA meetings will overlap with those of the American
Anthropological Association, also in San Francisco,
which is scheduled for November 20-24.
February 1997: College Art Association, New York,
February 12-15, 1997. Eli Bentor is coordinating the
ACASA panel for the 1997 College Art Association
conference. Paper proposals are sought for this
ACASA-sponsored panel which is entitled "Images of
Africa in African American Art: Between Culture
Memory and Intellectualism."
Artists and scholars alike have long accepted that
works of art produced by American artists of African
descent reflect a connection and even continuity with
cultural and artistic expressions of Africa. The aim of
this panel is to address the nature and character of this
connection. The dominant assumption in studies of
African American artists is that of 'culture memory.' It
postulates a connection grounded in an unconscious link
of the artist to a collective past. The culture memory
argument is notoriously hard to investigate. The purpose
of this panel is to explore the methodological issues
involved with this approach and to examine alternatives.
22 ACASA Newsletter / No. 44, December 1995
Panelists are invited to present case studies or
critique previous studies to examine the culture memory
argument. What are the psychological assumptions
involved? Are there any political motivations behind this
claim? Are there alternatives to this dominant paradigm?
Of particular interest are discussions of works by African
American artists whose reference to Africa is explicit.
Such references may be stylistic, thematic, or even
literal. Participants in the panel are urged to explore the
possibility that rather than a subconscious continuity,
many African American artists have made explicit and
strategic choices in their use of African elements in their
art. Panelists are invited to explore the process by which
African American artists gained their knowledge and
formed their view of Africa. To some it has been a
detached view that sees m Africa a mirror image of
their realities in America. Other artists learned about
Africa through books and academic studies reflecting an
image of Africa from a point of view of foreign
scholars. Many artists discovered Africa through their
encounter with African art in Paris. Several artists have
visited the continent, and their experience led to a
variety of artistic reactions. Is an individualized
intellectual perspective a negation or a complement of
the claim of an unconscious collective memory?
Submit paper proposals to panel's chair: Eli Bentor,
Department of Art and Design, Winthrop University,
Rock Hill, SC 29733. Telephone: (803) 323-2126. Fax:
(803) 323-2333. e-mail: firstname.lastname@example.org
November 1997: ASA Annual Meetings, Columbus,
Ohio, November 1997.
April 1998: 11th Triennial Symposium on African
Art, New Orleans, April 8-12, 1998. Plans are
underway for the 1998 Triennial to be held in New
Orleans. William Fagaly is heading a local planning and
November 1998: ASA Annual Meetings, Chicago,
November 1998. The 1998 annual meetings of ASA will
celebrate the 50th anniversary of the African Studies
Program at Northwestern University, the oldest such
program in the United States.
The Editor thanks contributors to this December 1995
issue of the newsletter: Chike Aniakor, Mary Jo
Arnoldi, Kathy Cunow, Esther Dagan, Warren
d'Azevedo, Ross Day, Henry Drewal, Barbara Frank,
Eugenia Herbert, Krydz Ikwuemesi, dele jegede,
Sidney Kasfir, Ade Obayemi, Jacob Olupona, Mikelle
Omari, Simon Ottenberg, Phil Peek, Ray Silverman,
Zoe Sara Strother, Sasha Stolhnan, and Christopher
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 newslener
will be April 1996. Deadline for submitting news items
is March 15, 1996.
ACASA is seeking an editor for the organization's
newsletter beginning one year from now that is,
December 1996. Interested persons, contact Janet Stanley.
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
ACASA Newletter I No 44, December 1995 2)
ACASA 1995 Directory of Members
Chike Aniakor [for 1995-1996]
Department of African Studies
H. U. Box 332
Washington, DC 20059
Daniel Ola Babalola
Department of Fine Arts
Ahmadu Bello University
Zaria, Kaduna State, NIGERIA
314 East Buffalo Street
Ithaca, NY 14850
Kathleen E. Bickford
Art Institute of Chicago
111 S. Michigan Avenue
Chicago, IL 60603-6110
Bernard Clist [new address]
B. P. 1456
African Research Institute
La Trobe University
Bundoora, Victoria 03083
Department of Art History
Elvehjea Museum of Art
University of Wisconsin-Madison
Madison, WI 53706
Department of Fine Arts
University of Benin, P.M.B. 1154
Benin City, Edo State, NIGERIA
13 Holly Avenue, #1
Cambridge, MA 02138
52 Warren Street
New York, NY 10007
1571 Delia Drive
Decatur, GA 30033
Work: 404-681-3643 x2225
416 Castle Place
Madison, WI 53703
Department of Art and Art History
Wayne State University
Detroit, MI 48202
1050 N. Stewart Street, #229
Arlington, VA 22201
2 Peter Cooper Rd.
New York, NY 10009
3512 Carolyn Street
Ann Arbor, MI 48104
Department of Fine Arts and
History of Art
University of Durban-Westville
Private Bag X54001
Durban 4000, SOUTH AFRICA
Work: (031) 820-2931
Centre for African Studies
University of Cape Town
Private Bag Rondebosch 7700
Work: (021) 650-2308
Fax: (021) 650-3274
Pitika P. Ntuli
Department of Fine Arts and
History of Art
University of Durban-Westville
Durban 4000, SOUTH AFRICA
London SE17 2UE
Kelechi John Opara
P. 0. Box 3424
Owerri, Imo State, NIGERIA
Anthony A. Otoibhi
P. O. Box 16571
General Post Office
Ibdan, Oyo State, NIGERIA
Viale Gorizia, 22
74 Garfield Street, Apt. #3
Cambridge, MA 02138
1995 Dirtary of ACASA Member, Second Addendum
114 Glenwood East
Bloomington, IN 47401
Work: 812-855-1098 -
Skowbegan School of Phintg
200 Park Avenue South, Suite 1116
New York, NY 10003-1503
University of South Florida
Tlmpa, FL 33620-7350
Christopher B. Steiner
The Getty Center for the History
of Art and the Humanities
401 Wilshire Blvd., Suite 700
Santa Monica, CA 90401-1455
Work: (310) 458-9811
Fax: (310) 395-1515
German Development Service
P.O. Box 4885
25 1995 Directory of ACASA Members, Second Addendum