Title: ACASA newsletter
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00103115/00048
 Material Information
Title: ACASA newsletter newsletter of the Arts Council of the African Studies Association
Alternate Title: Newsletter
Physical Description: v. : ; 28 cm.
Language: English
Creator: African Studies Association -- Arts Council
Publisher: The Council
Place of Publication: S.l
Publication Date: April 1998
Subjects / Keywords: Arts -- Periodicals -- Africa   ( lcsh )
Genre: periodical   ( marcgt )
Dates or Sequential Designation: Vol. 1, no. 2 (winter 1982)-
Numbering Peculiarities: Vol. designation dropped with no. 3 (spring 1983).
General Note: Title from caption.
General Note: Vols. for Aug. 1992- include Directory of members: addendum.
General Note: Latest issue consulted: No. 34 (Aug. 1992).
 Record Information
Bibliographic ID: UF00103115
Volume ID: VID00048
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 09794003
lccn - sn 92017937
 Related Items
Preceded by: Newsletter of the Arts Council of the African Studies Association

Full Text

ACASA I3ard of Directors

dele jQged?, President
Michael Harris, Secretary-Treasurer
Kathleen Bickford,
Daniel Avorgbedor, Editor
Mary (Polly) Nooter Roberts
Directors Retiring at the 1998 ACASA Triennial:Jean Borgatti
Bill Dewey
Eugenia Herbert
Chris Mullen Kreamer
Rosalinde Wilcox

Membership Information (for residents of North America,
Europe, Asia) Michael Harris, ACASA Secretary -Treasurer, Dept.
of Art, Univ. of North Carolina at Chapel Hill, CB #3405, Hanes Art
Center, Chapel Hill, North Carolina, 27599-3405
Email: olonaMDH@aol.com
Annual dues are $35.00 (see membership form in this issue),
payable in January. Checks are payable to "ACASA" and
sent to: Michael Harris, ACASA Secretary/Treasurer, Dept of Art,
Univ. of North Carolina at Chapel Hill, CB #3405, Hanes Art Center,
Chapel Hill, North Carolina, 27599-3405
Membership Information (for residents of Africa & the
Janet Stanley National Museum of African Art Library
Smithsonian Institution MRC 708
Washington, DC 20560, USA
Tel.: (202)357-4600 Ext. 285
Fax: (202) 357-4879
E-mail: jstanley@ic.si.edu
The ACASA Newsletter is published three times a year:
April, August and December. The newsletter seeks items of
interest for publication. You can send news about job

changes, fieldwork, travel, new
publications, etc. The next ACASA
newsletter will be in August 1998.
Please send news items by July 17,
1998 to: Daniel Avorgbedor, 110 Weigel
Hall, School of Music, OSU, Columbus,
OH 43210-1170
E-mail: avorgbedor.l@osu.edu
fax 614-292-1102 tel.: 614-292-9441


Presidential Notes .
dele jQgQed, ACASA President

am pleased to inform you that this year's
conference is a pace-setter. As this is being
written, we have lined up a tight schedule of
panels and presentations that will begin early on
Wednesday April 8. I am delighted to report that the
New Orleans Triennial promises to be a truly
international event. As at last count, we have
registered participants from more than 12 countries,
from the Netherlands to New Zealand, Israel to Italy;
from Zimbabwe to Belgium, Nigeria to Northern
Ireland. In particular, ACASA has been able, through
your generous contributions, to facilitate the
participation of some of our colleagues from Africa.
We have been able, too, to facilitate the participation
of some of our graduate students. But I must continue
to solicit your cooperation; we ask that you join us in
New Orleans. I urve you not only to renew your
membership for 1998 but also to realster for the
conference. Membership renewals are to be sent to
Michael Harris (Secretary/Treasurer); registration
fees for the conference should be addressed to UNO

Sin this issueooo
Presidential Notes
Board Candidates' Statements
Grants & Fellowships
Jobs, Interns & Travels
Noteworthy Publications
ACASA Book Program
...Of People and Places
Art on the Internet
1998 Triennial Program



This is the first
time that the
Triennial has been
fully sponsored by
ACASA, and this
is the first tim
that we have had
to avail ourselves
of the services of a

A CA SA Newsletter

official organ of the Arts cauntit nf tite Afritan Otubies Asoaniatin *

Vol. 51 April 1998

Presdenfial Nofees, contd.

major hotel, the New Orleans Marriott which is
located on the edge of the French Quarter. I am
-therefore appealing to you to please support our effort
at making this a successful venture. ACASA's chances
of having complimentary lodging (which will be made
available to our invited colleagues from abroad)
depends on meeting our own part of the contract with
Marriott; we must fill a certain number of rooms if we
are to enjoy this benefit. For $99 per night, it is a
price that you will find difficult to beat. Indeed, so
comfortable and affordable is the Marriott that you
might be inclined to take two rooms: one for yourself,
the other for your conference papers-those precious
pages that you have worked so hard at pruning down
to the mandated 20 minutes. But we must prevail upon
you not to ask for two rooms; just one per person
Thank you.

I y attention has been drawn to an error in the
S last edition of our newsletter. My omission of
Passover in reference to the Triennial weekend in New
Orleans was neither calculated nor was it
premeditated; it was
neither intended to slight you, my colleagues of the
Jewish faith, nor was it intended to promote one faith
over another. The Triennial has absolutely nothing to
do with religion and I do not see the mandate of
ACASA Board as infusing unhealthy undertones of
religious insensitivity to the business of ACASA.

By the time you read the next issue of this newsletter,
another distinguished member would be writing the
presidential notes. I must use this forum to thank
everyone for the honor done me; serving is indeed a
great honor, one that I took with utmost seriousness.
As a collective, ACASA transcends any individual.
But as individuals, we have a responsibility to shape,
refine and re-define the collective. In this context, I am
beholden to my colleagues on the Board of ACASA,
each of whom has served to the best of his or her
ability. As we approach the dawn of a new
millennium, our hope is that we will empower
ACASA to become more assertive in its role as a
vibrant voice in an increasingly competitive
environment. On a final note, I extend my warm
congratulations to Polly Nooter Roberts (our
energetic and passionately mobile Program Chair) and
Al Roberts for bagging the Alfred H. Barr Jr Award

for museum scholarship at the recently concluded
College Art Association in Toronto for their book,
Memory: Luba Art and the Making of History. I
have not read the book. Now, rm afraid I may never
read it. I suspect that with this richly deserved ward,
nothing will be more scarce than Memory.

While we are all geared up to storm New Orleans, we
must pause for a moment; we must allow our
enthusiasm to be tempered by the reality that some of
our eminent colleagues will not, unfortunately, be in
New Orleans to share their insights with us. Since our
last Triennial in New York, we have suffered one
irreparable loss after another; Sylvia Williams, Philip
Ravenhill and, in the last few weeks, Ade Obayemi
and Daniel Crowley, have all passed on. The Board
and, indeed, all of us send our condolences to the
families of these great personages. We take
consolation in the realization that their memory will
forever be perpetuated by their deed and by the body
of work that they have bequeathed to all of us a

ACASA Members We Need Your Help!

Of ou haven t made your reservations to stay at the
hlem Orleans Mlarriott for the April 8-12 Triennial
Symposium of African art. SO 2JIO'W Call
1-800-228-9290 to make your reservation and be
sure to mention you are with the Symposium of
ljrican Art to get the discounted $99 per night rate.

This is the first time me have held our symposium In
a hotel because me have outgrown other venues. 'We
must fill more rooms in the hotel in order to get our
meeting rooms for free. 'We also depend on room
reservations in order to get complimentary lodging for
some of our ACLS&L sponsored visitors from
overseas. Even if you hate hotels and have been
looking for a bed and breakfast or houseboat domn on
the htlississippit please consider it your duly to come
stay with us at the cMarriott. 'P.EjaS ST PPOa8T

ACASA Board of Directors

Visit our website for additional conference info at:
Ihttp' l.neLt mau.eduJ -rthwLLd coIner~nce,,tr, fnial bhome.btnml

(see December issue for additional statements)

Betsy Cogger Rezelman
am honored to be nominated for the ACASA Board
and would be delighted to play a more active role.
Though my research area is Victorian England, my
original Sieber training at Indiana resulted in a life-long
commitment to African Studies. My own university has a
strong African Studies program and I teach West African
Arts regularly. I have studied in east and west Africa
with academic colleagues and curated two West African
art exhibitions drawing on Cornell's and private

As a long time member of ACASA and attender at the
triennials, I have become increasingly interested in the
benefits of broadening our constituency to include those in
related disciplines and a wider range of educational
institutions. In order to address the challenges and
endeavors of non-specialist teachers of African arts I
organized a session for the New Orleans meeting.
ACASA is in a prime position to address current
pedagogical and international issues about cultural
relevance as well as continue its central role as a forum
for research, education and communication among those
in the field"


Il ary (Polly) Nooter Roberts and Allen F.
I Roberts were awarded the Alfred H. Barr Jr.
Award for museum scholarship by the College Art
Association at the Toronto Meetings on February 27,
1998, for their book, MEMORY: Luba Art and the
Making of History.

The Barr Award is presented to the author or authors
of an especially distinguished catalogue in the history
of art, published during the penultimate calendar year
before the annual CAA meetings, under the auspices
of a museum, library, or collection.

Mary Nooter Roberts and Allen F. Roberts were the
principal authors and editors of MEMORY: Luba
Art and the Making of (Munich: Prestel & Museum
for African Art, 1996) and includes contributions

from S. Terry Childs, Guy De Plaen, William J.
Dewey, Jeannette Kawende Fina Nkindi, Pierre de
Maret, V.Y. Mudimbe, Pierre Petit, and Jan Vansina.

The book proceeds from the idea that memory among
Luba of central Africa is a dynamic social process, to
explore how Luba construct historical narratives from
oral traditions and objects --stools, staffs, headrests,
and lukasa memory boards -- that function as
mnemonic devices. In chapters on the processes of
Luba historical consciousness, re/constructing Luba
pasts, blacksmiths and the forging of memory, body
memory, Luba memory theater, mapping memory, the
"peripheral visions" of neighboring peoples, and the
idea of Luba, the catalogue develops powerful insights
into the creation of a Luba Kingdom and the
perpetuation of its shared ideologies.
Ray Silverman (from March 5 netpost)


* "A Spiral of History" A Carved tusk from the
Loango Coast, Congo" opens Feburary 1 through
April 26 at the National Museum of African Art,
Washington D.C. The tusk is rendered in high relief
with expressive animation, and offers a series of
figurative scenes about life along the Loango Coast in
the latter half of the 19800s. The exhibition includes
enlarged color photographs of details of the tusk. A
free illustrated brochure written by Andrea Nicolls,
curator, accompanies the exhibition. Contacts: (202)
357-4600 ext.222 http://www.si.edu/nmafa

* Olowe of Ise: A Yoruba Sculptor to Kings
opens at the National Museum of African Art,
Smithsonian Institution, Washingnt D.C-, March 15
1998 through September 7, 1998. The exhibit
presents 35 of Olowe's major work inudsin a
palace door. Within the exhibition ~Uezy, doors and
posts are sintalled to reflect the onrnal ardhit~ture
of Yoruba palaces. An accompanying m raph by
Roslyn Walker (museum director and curator)
includes a catalogue raisornm of the artists known
works--the first time a traditional Affican artist has
been featured in such a publication, Workshops and
concerts are being planned in conjunction with e

Cxhbibflons, contd.

exhibition. Contacts: (202) 357-4600 ext.222
http://www.siedu/nmafa -

Exhibition Cancellation Notice: The exhibition
POPUPE MAJIK: Figures of the Crossroads which
was to open at the Alternative Space Galley in New
Orleans, La. February 14 has been cancelled.
Organizers are looking for other interested venues to
mount the show (see December issue for a description
of the exhibit). Contacts: Alison Laird Craig (718-

In the Spirit of Resistance: African-
American Modernists and the Mexican
Muralists School." San Francisco; through April
21 (415-441-0404)

FotoFest '98 A month-long citywide celebration
of photography, 70 exhibits worldwide at museums,
etc. through March 31, 1998. Installation includes
South African mixed media (713-529-9140)

Crossling: Time.Space.Movement now in
Santa Monica, CA. List members in the LA and
adjoining areas are encouraged to visit Crossling
while it is in California. The exhibition will last
through April 1998. Address for Track 16 Gallery is
2525 Michigan Avenue, Building C1, Santa Monica,
CA 90404 [tel. 310-264-4678, fax. 310-264-4682]

This exhibition of contemporary African art curated
by Olu Oguibe and originally shown at the
Contemporary Art Museum and the Museum of
African American Art in Tampa, Florida, opened at
the Track 16 Gallery, Santa Monica on Saturday,
Feb. 28. Featured artists: Oladele Bamgboye
(Nigeria), Bili Bidjocka (Cameroun), Gordon Bleach
(Zimbabwe), Kendell Geers (South Africa), Lubaina
Himid (Tanzania), Marcia Kure (Nigeria), Houria
Niati (Algeria), Olu Oguibe (Nigeria), Tracy Rose
(South Africa) and Folake Shoga. (See December
newsletter for details)

AXIS, bureau voor de kunsten v/m, an art
organization that focuses on gender is planning to
organize a project titled, Changing Images.The theme
of the project concerns the portrayal of masculinity
and femininity in and through the arts in non-Western
societies. The organization is looking for websites and
homepages of non-Wester artists and organizations
who publish such images on the Intemet. You can

help this project by sending relevant addresses (URLs)
to: Axis, Bureau voor de kunsten v/m, Oudezijds
Voorburgwal 72, 1012 GE Amsterdam, T +31 20
4655530 F +31 20 4654290 E-mail: Axisvm@xs4all

* Tamarin Art is pleased to invite you to its new
exhibition: FEMININE AFRICA: An exhibition of
photos by Sophie Elbaz on line since February 1.
You can visit this new exhibition at the usual
address: http://www.tamarin.com


Indianapolis, Indiana, Cctober 22-27, 1998

n July 1992, over 700 researchers, activists,
policy makers, and student from all continents
assembled in Nsukka--a small, rural town in
southeastern Nigeria--for the first international
conference on Women in Africa and the African
Diaspora: Bridges across Activism and the
Academy (WAAD). Convinced by the need to build
bridges across racial, gender, ethnic, class,locational,
national, and disciplinary boundaries, the organizers
extended an invitation to researchers, activists, policy
makers, and students irrespective of gender, race,
ethnicity, or national origin. WAAD '92 was also the
impetus for the formation of the Association of
African Women Scholars (AAWS). It is hoped that
the second conference will provide the forum for
consolidation of gains and charting new paths toward
more successes.

Workshops at the conference will target specific
health and human rights issues--AIDS, female genital
surgeries, traditional medicine/birth, preventative care,
reproductive health, widowhood, medical
research,infant and maternal health, health care
policy, religious fundamentalism, war, ethnic
conflicts,and refugee problems.

The city of Indianapolis plans a year-long series of
events, "Africa Celebration '98," which will
showcase the complexity, diversity, and rich cultures
of Africa. Also, 1998 marks the 50th anniversary of

Conferences, contd.
the Universal Declaration of Human Rights. Send
abstracts (handwritten, faxed or e-mailed abstracts
will NOT be accepted) by MARC0 15, 1998 to:
Obioma Nnaemeka, Convenor, Women's Studies
Program, Indiana University, 425 University Blvd.,
Indianapolis, IN 46202, USA. Phone: (317) 278-2038
or (317) 274-0062 (messages), fax: (317) 274-2347;
E-mail: nnaemeka@iupui.edu.

For membership information, contact:
Omofolabo Ajayi-Soyinka, Treasurer, AAWS
Women's Studies Program, The University of Kansas
Lawrence, KS 6604 U. S. A.

m African American Rhetoric:Tradition
and Innovation
Submissions are invited on the topic of Black
American rhetoric for a proposed special session (or
sessions) of the International Society for the History
of Rhetoric, 13-17 July, 1999 in Amsterdam, the

Papers may address any issue in the cultural tradition
of African American rhetoric, including oratory and
public speaking--from political speeches to preaching;
metaphors, tropes or techniques of persuasion or
argument in literature or other texts; analyses of major
(or minor) figures and their styles; Black feminist
rhetoric; relations between African and diasporic
rhetoric; differences from, similarities to, or influences
of the Greco-Roman tradition; the rhetoric of race
and/or class; Biblical rhetoric; rhetoric in African
American education; the social functions) of rhetoric;
orality and storytelling; speech genres; rhetoric in
popular music and culture.

Send 1-2 page proposals by 30 April 1998
(jfogel@gettysburg.edu; jdeitch@chass.utoronto.ca
tel: (717) 337-6558 fax: (416) 978-2836.

Engineering Challenges in Agriculture in
Developing Countries in the 21st Department of
Agricultural Engineering, University of Cape Coast,
Ghana, 20 25 September, 1998 seeks to bring
together scientists, engineers, researchers, and experts
in agricultural engineering for formal presentations
and discussions on topics of relevance in the coming
years and towards the 21st Century. The conference is
being organized by the Ghana Society of
Agricultural Engineering and will be hosted by the
Department of Agricultural Engineering, School of

Agriculture, University of Cape Coast, Cape Coast,

Abstracts in English not exceeding 300 words,
preferably on 3.25" diskette, should be submitted
before 30th March 1998. Final papers must be
submitted by 30 June 1998.

For further information, please contact: Dr. Komla
Dzisi, Conference Secretary, Department of
Agricultural Engineering Kwame Nkrumah University
of Science & Technology, Kumasi, GHANA.
Tel:+233-51-60242 Fax:+233-51-60137 Telex: 2555
UST GH E-mail: ustlib@ust.gn.apc.org(Dr. Dzisi).

* "Images of Africa: Stereotypes and
Realities" October 22-24, 1998 (hosted by Society
for Research on African Cultures). Keynote address
by Martin BERNAL. Send abstracts (not more 300
words) by July 15, 1998 to Dr. Daniel Mengara,
SORAC, Department of French, Montclair State
University, Upper Montclair, NJ 07043,USA
(mengara@chss.montclair.edu. Registration fees are
$75, which includes keynote address banquet. Make
checks payable to SORAC/MSU. Send checks and
contact information to Institute for the Humanities,
Montclair State University, Dickson Hall, Upper
SMontlciar, New jersey 07043 must be postmarked by
July 15, 1998. Visist http://chss2.montclair.edu/sorac
for additional information

* African Women Global Network (AWOGNet)
presents the first international conference on Women
in Technology & Development, April 9-11, 1998 at
The Ohio State University, Columbus, Ramada Inn.
Contact: onyejekwe.2@osu.edu
http://www.osu.edu/org/awognet/ (614-292-5901)

* Association of Wangboje School of
Creative Artists (AWanSCA) in conjunction with
Wangboje's Art Gallery announces the inauguration
of the Nigerian Forum for Creative Arts and Art
Education, August 9-21, 1998 (conference in Benin
City, exhibition in Lagos). The inaugural events will
include a conference, an art exhibition, a festival of
plays, and creative writing. The theme of the
conference is "Issues in Creative Arts and Art
Education in Nigeria." Send abstracts of 150-300
words, photographs for exhibition, and inquiries to
The Organising Secretary, Mr. John Oghene, Dept. of

Fine and Applied Arts, University of Benin,
Ekenwhan Campus, Benin-City, Nigeria.


* COSIDERA African Humanities Institute
Programme, January March 199; University of
Ghana, Legon (Ghana) "National Culture and Identity
in Africa" The Relevance of Philosophy" is the theme
of the 1999 program, directed by its preceptor,
Professor Kwame Gyekye (Dpet of Philosophy,
University of Ghana). The 10-week program starts
from the assumption that philosophy has a significant
role to play in local, national, and transnational
dialogues about national culture and identity in Africa

Institute for Advanced Study and Research
in the African Humanities, April-June 1999,
Northwestern University, Evanston, Illinois, USA.
"Africanity" and Other Images of the African Self:
Philosophy Interrogates Contemporary African
Culture" is the theme of the 1999 program, led by its
preceptor, Professor Souleymane Bachir Daigne (Dept
of Philosophy, Cheikh Anta Diop University).

Pending funding, up to 10 residency fellowships will
be awarded to African scholars and professionals who
compete successfully for appointment to the Legon-
based residency only or to both the Legon- and
Evanston-based residencies. Applications will be
accepted from African advanced graduate students,
junior and senior scholars, and other professionals
who are based at African institutions. Fellowshps
awards will provide round-trip transportation and
stipends of $250 per week at Legon and $500 per
week in Evanston. Application deadline is June 1,
1998. Send a cover letter, cv, a statement letter signed
by appropriate official attesting current institutional
affiliation and agreeing to release the applicant from
official duties for the duration of the fellowship
period; a research proposal of no more thant 1,200
words; and two sealed and signed letters of
recommendation from individuals familiar with the
proposed research (include contact info).

Send applications (minus sealed reference letters) to
COSIDERA African Humanities Institute Programme,
School of Performing Arts, University of Ghana, P.O.
Box 19, Legon, Accra, Ghana (233-21-500308; fax

233-21-501392); Institute for Advanced Study and
Research in the African Humanities, Northwestern
University, 620 Library Place, Evanston, IL 60208-
4110 USA (847-491-7323; fax 847-491-3739;


* Chief Curator, National Museum of African
Art, Smithsonian Institution, Washington, D.C.
The incumbent, as a member of the Director's senior
staff, supervises the museum's curatorial department.
advises and participates in determining the direction
and goals of the curatorial department as well as the
overall, long range programs of the National Museum
of African Art including research, exhibitions,
publications, collection development and public

Conducts original, independent scholarly research in
the field of African Art studies and will bring to the
position a demonstrated mastery of expertise in a
specialized subject area within this field. Proposes and
develops exhibitions and provides guidance to the
curatorial staff in implementing exhibitions. Has
significant responsibility and exercises considerable
knowledge, taste and judgement in the development
and management of a selective and balanced
collection, establishing and maintaining effective
contact with donors and dealers. Advises and works
closely with the Education and Public Affairs
departments in planning and participating in public
programs. Candidates must have knowledge of
African Art studies, including traditional and modem
African art, at the PhD or senior performance level.
This is a federal position, series 1015, to be filled at
the GS-15 level (salary $77,798). For a copy of the
announcement, which opens January 27, 1998, call
(202) 287-3102 (24-hour touchtone- activated
automated request center), press 9, then 2 and request
announcement #98CR-1009.

Applications should be received or postmarked no
later than March 31, 1998. The Smithsonian is an
equal opportunity employer. Send the complete
application to: Smithsonian Institution, Office of
Human Resources, Branch 1 Attn: #98CR-1009,
P.O. Box 23762, Washington, D.C. 20026-3762

Jobs/Inferns/Travels, contd.

Curator of African Collections (11,500 to
15,500 pounds sterling) at the National Museums
and Galleries on Merseyside (i.e. Liverpool). For
further details and an application form, to be returned
by Friday 6 March 1998, please contact the Personnel
Department on 44 151 478 4699. Contact: Jeremy
Coote, Assistant Curator, Pitt Rivers Museum
Research Centre, University of Oxford, 64
Banbury Road, Oxford OX2 6PN, ENGLAND;
phone: (44) (0)1865 284650; fax: (44) (0)1865
284657. (jeremy.coote@pitt-rivers-museum.oxford.ac.uk)

Work Travel Study AFRICA CUBA
BRAZIL Positions are available for interns -
volunteers project directors leaders guides. Study
abroad, field study, internships, workcamps, and
multi-disciplinary projects (academic credits).
Multiple trips year-round all 4 seasons;1 to 7 weeks in
duration.Send your mailing address to
abc@starmail.com. For applications & brochures, go
to Websites: http:llwww.freeyellow.coml
OR: http:llwww.igc.orgloca/

If any of your students would like to spend time in
a Swahili household in the heart of Swahililand
together with an opportunity to imbibe. Kiswahili
language and culture osmotically, kindly contact the
undersigned. The accommodation is modest and the
charges very reasonable. PROFESSOR MOHAMED
TEL/FAX: 254-11-451544
email: mohyder@africaonline.co.ke

Noteworthy Publications
Earth and Ore: 2,500 Years of African Art in
Terra-Cotta and Metal. (contributions by A.
Duchateau, Till Forster, G. Kuhn, B. v. Lintig, R.
Mack, N, Shadier, Karl Schneider, Hans Witte, and
M. Zinrgibl). Munich: Panterra, 1997. $58.

LEHUARD, Raoul. Arts Bateke. Amouville, France:
Editions Arts d'Afrique Noire. 408pp., 487 photos.
$112 (includes shipping)

WILLS, Bruce. The Adinkra Dictionary: A Visual
Primer on the Language of Adinkra. Washington,
DC: The Pyramid Complex, 1998. 314pp. illus.
Prices: $55.00 (hardcover) + $4.00 s/h; $25.00
(softcover) + $4.00 s/h. For five or more copies of

softcover editiorr @ $15.00 + $2.00 s/h Distribution:
By the author at The Pyramid Complex P. O. Box
21212 Washington, DC 20009 (202) 332-3908

BURSTE, Stanley, ed. Ancient African
Civilizations: Kush and Axum. Princeton: Markus
Wiener, 1998. $16.95

LADUKE, Betty. Africa: Women's Art, Women's
Lives. Lawrenceville, NJ: Africa World Press & the
Red Sea Press, 1997. 224pp., $24.95 cloth. Based
on a series of adventures to Burkina Faso, Mali,
Togo, Cameroon, Zimbabwe, and Eritrea from 1990
to 1995.

The School of Fine Arts, Federal University of
Bahia, Salvador, Brazil is beginning a new
scholarly journal to be called CULTURA VISUAL.
Henry Drewal (visiting Fulbright Professor) has been
invited to edita special volume devoted to African
and African Diaspora art and architecture, and to
solicit contributions from colleagues in Africa, the
Americas, and Europe. Potential contributors should
submit an essay of not more than 10 pages
(approximately 3000 words), based on original
research. It can be theoretical, analytical, or
interpretative. It can be something unpublished, or
already published, that you feel would be important
for a Brazilian/Lusophone academic audience (all
articles will be translated into Portuguese). Due to
budget constraints, illustrations must be limited to 1
or 2 B&W photographs per article. The deadline for
the receipt of submissions in Brazil is JUNE 15, 1998
and should include the following: a hard copy; a
diskette (preferably in Microsoft Word, or
Wordperfect for Windows, or as a text file); 1 or 2
B&W illustrations; a 5-line abstract (60-70 words);
and a 1-sentence biography including your title,
affiliation, address. Use the Chicago Style Manual as
your guide on text, notes, and bibliography. You can
also send your text materials as an email attachment
to the following address: stellac@acbeubahia.org.br.
If you do this, please indicate at the top that it is
being sent to UFBA-EBA (Universidade Federal da
Bahia-Escola de Belas Artes). Please mail your
contributions (mss, diskette, illustrations, 5-line
abstract, 1-sentence bio) by JUNE 15, 1998 to the
following address: Professora Maria Celeste
Almeida, coordinadora do Mestrado em Artes,
Escola de Belas Artes UFBa, Rua Araujo Pinto,
212, Canela-Salvador 40.110-150, Bahia, BRAZIL.
Henry will also be available to discuss this project
while in New Orleans for the Triennial

*MULTIMEDIA Publications
LADUKE, Betty, prod.; Brian VARADAY, dir.
Eritrean Artists in War and The Cinema Guild, Inc.
(1-800-723-5522; The CinemaG@aol.com;
http://www.cinemaguild.com). Color, VHS video, 56
mins. $79.95 + $6.50 s/h. Discusses the aesthetic
development of twelve artist-fighters in Eritrea,
northeast Africa.

Africa Between Myth and Reality. The Cinema
Guild, Inc., 1996. Color, 28 mins. video. Purchase
$39.95. Discusses views of African life as portrayed
in paintings, drawings, and etchings of Betty LaDuke.

David Krut has produced a CD-ROM which reflects
the work of multi-media artist William Kentridge in a
most interesting manner.The CD-ROM has a certain
amount of inter-activity which lifts it from being the
normal serious reference work although it does
provide comprehensive reference material as the
information release explains.

In North America, the CD-ROM is available from the
MCA San Diego where Kentridge currently has an
exhibition. Also from Cindy Bordeau Fine Art,
Chicago tel.642-8850; Alexandre Masino, Montreal
tel.514 933-818. The price is $45 plus shipping. It
can also be purchased through a website titled South
African Arts Resource at www.southafrica.co.za/saar

on a South African artist has been released. It
provides viewers with an insight into the wide range
of media with which he works. William Kentridge
(b.1955) is one of the best-known South African
artists. He has created work in a variety of mediums
- charcoal drawings, editioned prints, video, film and

In 1997 his work was selected for DOCUMENTA X
one of the major art events held every five years in
Kassel, Germany.

The CD-ROM runs on both Windows and Macintosh
systems (Quicktime is provided). Further information
about this CD-ROM can be found on the internet at
the website South African Arts Resource at


She following publications were sent under the
Auspices of the ACASA Book Distribution

LAMP, Frederick. Art of the Baga: A Drama of
Cultural Reinvention. New York: Museum of
African Art; Munich: Prestel, 1996. Courtesy of
Frederick Lamp and the Museum of African Art

National Museum of African Art, The Poetics of
Line: Seven Artists of the Nsukka Group.
Washington, D.C.: National Museum of African Art,
1997. Courtesy of the National Museum of African

National Museum of African Art. Gifts to the
National Museum of African Art, September 17,
1997-January 4, 1998. Washington, D.C. : National
Museum of African Art, 1997. Courtesy of the
National Museum of African Art

African Arts, 30/4 (autumn 1997). Courtesy of Doran
Ross and the James S. Coleman African Studies
Center, University of California, Los Angeles

NICOLLS, Andrea. A Spiral of History: A Carved
tusk from the Loango Coast, Congo. Washington,
D.C.: National Museum of African Art, 1998.
Courtesy of the National Museum of African Art


"I am an American woman artist and University
Professor that is working on an international project
with women artists in each country in the world.

My goal is to see what image one woman artist in
each of the approximately 185 countries on earth
feels the concept Woman represents to them. The
piece will be exhibited starting Fall of 1998 at White
Columns in N.Y.C. Other venues, including the
Mobile Museum and the National Museum of
Women in the Arts, are also considering exhibiting
the project.

Each traditionally or academically trained woman
artist will be asked to put their image of what
represents WOMAN to them in whatever materials
they wish ( paint, fabric, thread, beads etc...) on an 8

People & Paces, contd.

inch (20 1/2 cm.) square of fabric (unframed). All
techniques are welcome: painting, drawing, appliqued
quilting, embroidery, stencil, beading, weaving etc...)
The artist can use the fabric I supply or any fabric
that size of their choice.

So far I have received a number of interesting
pieces including a hand crocheted metal fiber bullet
proof baby vest, a photo of hands embedded in
rubber latex, a mixed media photo collage, a woven
fiber piece, a scanned image stuffed and sewn onto
fabric. All with different interpretations of an image of
what woman means.

For further information please feel free to contact
me at my home: 96 Grand St., N.Y.,N.Y. 10013, tel.
212-966-4496, fax: 212-966-2099, email:
mcmonte2@aol.com. Sincerely, Claudia DeMonte,
Professor, University of Maryland."


* It is with the deepest sorrow that
the Associates of CIKARD and the
Department of Anthropology at Iowa
State University announce the sudden
on Sunday, December 28, 1997.Professor
Warren died while at home in Ara,
Nigeria over the winter break.

Mike has a long history with Indiana
University. He received his Ph.D. in
Anthropology here at IU in 1974. He
went on to a very distinguished career
and, at the time of his death, was
University Professor at Iowa State
University and Director of the Center
for Indigenous Knowledge for
Agriculture and Rural Development. He
was a pioneer in the field of recording
oral traditions and indigenous
knowledge. Since 1990, he and his wife
Mary were honored with 9 chieftaincy
titles in Ghana and Nigeria. We are
blessed that Mike again touched the IU
community in November with a featured
address at our conference on
"Preserving Ghana's Oral Heritage." He
concluded the address with the
following statement: "Without the Peace
Corps experience and without the
training I received in Bloomington, my

eyes never would have been opened to
the excitement of recording oral
traditions and indigenous knowledge, as
well as the thrill of exciting students
through exposure to case studies of
indigenous knowledge. As the global
network of indigenous knowledge
resource centers continues to grow, I
anticipate that this excitement will be
passed on to a new generation."Mike
contributed greatly to this excitement
as he touched so many students and
scholars through the years. We will
miss him very much.
Excerpted from email message by York
Bradshaw (Director, African Studies
Program, Indiana University)

Date: Wed, 4 Feb 1998
X-Posted from Naijanet
Akin Ogundiran (Boston University)
complications from a last week brain
tumor surgery at University College
Hospital in Ibadan (Nigeria). A fervent
student of cultural studies, Ade
Obayemi graduated from University of
Ibadan (Nigeria) and University of
Legon (Ghana). Until his death, he was
Professor of History and Archaeology,
and the Head of the Deptartment of
History at University of Ilorin. He was
for many years as lecturer in the
Department of History at Ahmadu Bello
University, Zaria, where he helped to
establish archaeology as an academic
discipline. He was the Director-General
of Nigeria's National Commission for
Museums and Monuments between 1984 and
1990. Professor Obayemi hailed from
Ife-Ijumu in Kogi state where he
established a cultural center named
Akodi Afrika.

May his soul rest In pct peace.


date: Mon, 26 Jan 1998
from: Ray Silverman, H-AfrArts editor

* We have just created a new page on
the H-AfrArts web site devoted to
recent publications in African
expressive culture. The URL for the
page is:

Alternatively, it can be accessed via
the H-AfrArts home page by clicking on


If you know of any publications that
deal with African expressive culture
that have been published in the last
two years and do not appear on the list
please send them to me.

In the near future we hope to initiate
other resource lists devoted to current
museum and gallery exhibitions and
announcements concerning musical and
theatrical performances.

Date: 9Jan. 1998
From: Peter Limb

Have you recently attended conferences, exhibitions.
etc. on Africa, and would like to share your
impressions of the proceedings?

You might like in the future to consider sending a
brief report or review of your impressions to H-Africa.
In the past we have carried occasional reports by
participants, but would like to improve this aspect as
a service to subscribers.

* H-NET List for African History H-
Date: Mon, 19 Jan 1998
From: Peter Limb

List on Oral History Sponsored by H-

Net: Humanities & Social Sciences
Online, Oral History Association, and
Michigan State University.

H-ORALHIST is the successor to OHA-L,
which began in 1993. H-ORALHIST is a
network of people Interested in oral
history. Oral history is commonly
defined as a method of collecting and
preserving tape-recorded remembrances
of past experiences. Although
historians have been interviewing
people since the ancient Chinese
dynasties, the modern oral history
movement is considered to have begun in
1948 when Allan Nevins established the
Columbia University Oral History
Research Office. The Oral History
Association, with 1,200 members,
promotes oral history internationally.
H-ORALHIST invites subscriptions from
people with a broad range of
backgrounds, including public
historians, students, local historians,
and university faculty members. Active
editing will stimulate discussions
which reflect the theory as well as the
practice of oral history interviewing.
The list also seeks to provide an
interactive forum for individuals
interested in using oral history as
defined above or for those who wish to
contest the above definition.

The H-ORALHIST list is co-edited by
Jeff Charnley, Michigan State
University ;
Gene Preuss, Texas Tech University,
; Cheryl Oakes,
Forest History Society,
; and Michael
Gordon, University of Wisconsin
Milwaukee, . The
editors serve two-year renewable terms,
with the approval of the H-Net
Executive Committee and rotate their
duties. The current editor will be
identified in all messages coming from
the list. The editors will solicit
postings (by email, phone and even by
regular mail), will assist people in
managing subscriptions and setting up
options, will handle routine inquiries,
and will consolidate some postings.
Anyone with suggestions about what

rft on the Internet, contd.

H-ORALHIST can and might do is invited
to send in ideas. The editors will
solicit and post newsletter-type
information (calts for conferences, for
example, or listings of sessions at
conventions.) They will also commission
book and article reviews, and post book
announcements from publishers. H-
ORALHIST will be moderated to filter
out extraneous messages (like requests
for subscription) and items that do not
belong on H-ORALHIST. They may belong
somewhere else, or in the judgment of
the editors they do not aid the
scholarly dialogue. The editors will
not alter the meaning of messages
without the author's permission. It is
advised by a board of scholars and is
sponsored by the Oral History

More information about the Oral History
Association may be found at the
Association's web site:


Logs and more information about H-
ORALHIST can also be found at the H-Net
Web Site, located at

To subscribe, send an e-mail message
(no signatures or styled text), from
the account where you wish to receive
mail to LISTSERV@h-net.msu.edu, with
the following command as its only text:

lastname, institution Example:
Pioneer State U

Please follow the instructions you
receive by return mail. For additional
information please write:
Jeff Charnley, charnle2@pilot.msu.edu
For technical assistance please contact
the H-NET help staff at:
Thank you for your interest in H-
The O-Or~rhisf Cditors

* "We have just loaded approximately
1,000 titles of our in stock African
Art books to our new website
The site is still a bit of a mess for
which I apologize but the link to the
African Art catalogue is operational.
Shoud you feel this is of interest to
your newsletter subscribers I would
greatly appreciate you passing the
information along to them. Thank you.

Bob Sutherland
CMG Books & Art

Date: Fri, 23 Jan 1998
From: cboramha@osu.edu
Carol Boram-Hays
Copyright 1998 by United Press
International ** via ClariNet **
* CLEVELAND, Jan. 21 (UPI) -- The FBI
has entered the investigation into the
theft from the Cleveland Museum of Art
of a solid bronze ring that once
belonged to a 12th century Nigerian
king. The 10-inch ring, resembling a
crown, was stolen earlier this month.

Museum officials said the ring,
purchased from a New York dealer in
1953, is one of only about 20 in the
world. FBI spokesman Bob Hawk told UPI
today the bureau's art theft division
is investigating the incident.

The ring, on display in the museum's
African gallery along with other
Nigerian grave decorations, was crafted
by servants to a Nigerian king.
Weighing several pounds, the ring
features seven human figures playing
drums and wielding swords. Two other
humans lie prone and decapitated.
Four birds with long necks are pecking
at the bodies. The assistant curator of
the gallery, Margaret Young-Sanchez,
told the Cleveland Plain Dealer: 'A
loss like this is a loss for the
community. We hold these objects in
trust for the community and when
someone does something like this, we
all suffer.' Cleveland police officials
said they believe the theft was
committed by someone probably playing a

Ort on fhe Infernet, contd.

joke, and not by professionals trying
to sell the object. Museum spokesman
Bill Prenevost said the museum tried to
keep the Jan. 3 theft a secret, but
decided this week to ask the FBI for
help and to make the incident public.
Prenevost said: 'Maybe someone saw
something or a mother will recognize it
in a kid's bedroom.'"

Date: Thu, 8 Jan 1998
From: Derek Jones, Editor Fitzroy
Dearborn Publishers
I am seeking contributors for a two-
volume project: Censorship: An
Encyclopedia, to be published by
Fitzroy Dearborn Publishers in 1998. I
am particularly interested in finding
authors for entries on the top priority
topics listed below. If you would
like more information about this
project, including a full list of
unassigned entries and some sample
entries, please email me at
fitzroy.dearborn@virgin.net, placing
the word "followup" on the subject
line, and including your postal
address, phone/fax numbers, etc.
Otherwise please email me direct on

If you know of any organization,
person, or list that may be interested
in the project, I would be most
grateful if you could forward this
email to them on my behalf. Likewise,
if you have any comments,
recommendations or observations about
the project I would be very pleased to
hear from you.

Country entries which trace the history
of censorship in political, moral and
religious context for: Eritrea, Benin,
Cote D'Ivoire, Mali, Niger, Burindi,
Burkino Faso, Chad, Congo; individual
Entry for Okot'Bitek (Uganda).


[ Shje editor wisales to thank Janet Stnaley, Mary
(Polly) Nooter Roberts, Bill Fagaly, and Michael
Harris for their great cooperation during tte
ebitarial proreas of tlis issue.

[E] We uisly to inform members tlat t1le Birertorg,
wllirlc is usuaUgl publis eb in tie April issue of the
newsletter is being belb for the next issue in orber
to print the full Oriennial program in tiis April

Jtank lou!

April 8 12, 1998


Museum Day
Chairs: Enid Schildkrout, American Museum of Natural
History and Alisa LaGamma, Metropolitan Museum of

Danel Uiscussion Cf Recent I.C.C.M.
UreposIals [Salon J, 4th floor]
Enid Schildkrout, American Museum of Natural History
Alisa LaGamma, Metropolitan Museum ofArt
Robert T. Soppelsa, Mulvane Art Museum, Washburn
David Binkley, Nelson-Atkins Museum ofArt
Chap Kusimba, Field Museum of Natural History
Susan Vogel, Independent Scholar
Victoria Rovine, University of owa Museum ofArt
William Siegmann, Brooklyn Museum ofArt

*12:00-5:00 [Foyer, 4th floor]

Lunch Ireak

Collaborative Projects With African
Museums [Salon J, 4th floor]
Suzanne P. Blier, Harvard University
Christrand Geary, Smithsonian Institution
Mary Jo Arnoldi, Smithsonian Institution
Doran Ross, University of California, Los Angeles Fowler
Museum of Cultural History
Christine Mullen Kremer, Smithsonian Institution
William Dewey, University oflowa
Chap Kusimba, Field Museum ofNatural History
Enid Schildkrout, American Museum ofNatural History

Cpenina Reception [New Orleans Museum of
Art, co-hosted with the Greater New Orleans Black
Tourism Network]
By pre-paid charter shuttle bus ticket to and from hotel

Sacred Arts of Iaaltlan Vedcu Exhibition
Permanent Collection of African, Oceanic and Americas

ealistration (continues) [Foyer, 4th floor ]

*8:00 8:30
Opening Remarls [Salons A-D, 3rd floor]
dele jegede, A CASA President
William Fagaly, New Orleans Triennial Coordinator
Mark Grote, Chair ofArt Department, Loyola University
Fr6re Joseph Coret, Fexhe-slins, Belgium

Ilenary Session [Salons A-D, 3rd floor]
Chair: dele jegede, Indiana State University

J. D. Lewis-Williams, University of Witwatersrand,
Johannesburg, South Africa
Ethnography and Southern African Rock Art
Moyo Okediji, Gettysburg College
21st Century African Art: Downloading an Invisible
Margaret Thompson Drewal, Northwestern University
Performance Studies and the Prospects for African Art
in the New Millennium
Babalorisa John Mason, Yoruba Theological
Archministry, New York
Diaspora at the Turn: A Brass Ring to Snare Unless
We Forget
NOTE: All Session Meeting Rooms (Salons I, J, L, M)
are located on the 4th floor of the hotel

Chair: William Fagaly, New Orleans Museum of Art

Gwendolyn Hall, Rutgers University
Africans in Louisiana 1720-1820: Changing Patterns of
Introductions to Louisiana
Jerah Johnson, University of New Orleans
Congo Square
Darryl Daniels, New Orleans architect, preservationist,
The Role of Free People of Color in the Evolution of
New Orleans Architecture
Jason Berry, New Orleans author
New Orleans Jazz Funerals
Kalamu ya Salaam, New Orleans writer
New Orleans Mardi Gras Indians

Chair: Rowland Abiodun, Amherst College

Denis Dutton, University of Canterbury, New Zealand
How is Cross-Cultural Aesthetics Possible?
Barry Hallen, W.E.B. Du Bois Institute, Harvard
University and Morehouse College
Handsome Is as Handsome Does: Interrelations of the
Epistemic, the Moral, and the Aesthetic in an African
William Hart, University of Ulster, Northern Ireland
Depth in African Art
Wilfried Van Damme, University of Ghent, Belgium
African Art and Ontology: Locating the Dynamic
within African Art
Discussant: Gene Blocker, Ohio University

[Salon L]
Chair: Mary Jo Aroldi, National Museum of Natural
History, Smithsonian Institution

Kristyne Loughran, Florence, Italy
Jewelry, Fashion and Identity: The Tuareg Example
Rhoda Rosen, Chicago, Illinois
Set in Stone: Monuments and Identity in
Contemporary South Africa
Victoria Rovine, The University of Iowa Museum of Art
Tradition on the Catwalk: Bogolan in National and
International Fashions
Mary Jo Aroldi, National Museum of Natural History,
Smithsonian Institution
Beautifying Bamako's Streets: Dialogues Surrounding
Public Sculpture in Mali
Discussant: To be announced

Chair: Z.S. Strother, Columbia University

Manuel Jordan, Birmingham Museum of Art and
Elizabeth Cameron, Los Angeles County Museum of Art
The Shelter and the Crossroads: Male and Female
Perspectives on Mukanda in Northwestern Zambia
Lubangi Muniania, Museum for African Art, New York
Military Service as Continuation of Male Initiation
Filip De Boeck, Catholic University of Leuven, Belgium
Mukanda's Modernity: Ritual, Violence, and
Education in Southwest Congo
Costa Petridis, Metropolitan Museum of Art
Art at a Crossroads: Masks and the Mukanda
Initiation among the Luluwa, South-Central Congo

Triennial Patron Lunch
by invitation
Palace Cafe, 605 Canal Street
Lunch (on your own) for H-AfrArts Roundtable
(no invitation required)
Chairs: Ray Silverman and Michael Conner
Messina's, 200 Chartres Street (at corner of Iberville
Street, directly behind hotel)

Vodun/Vodou: A La Recherche Du
Temps Perdu [Salon I]
Chair: Donald Cosentino, University of California, Los
Karen McCarthy Brown, Drew University
Binding Relationships: Race, Memory and Historical
Consciousness in Vodou
Elizabeth McAlister, Wesleyan University
The Jew in the Haitian Imagination: Rara Festival,
History and the Politics of Catholicism
Suzanne P. Blier, Harvard University
If You're Talking to the Gods, What Language Do You
Speak: The Dialect/ic of VoudouVodon Art
Marilyn Houlberg, The School of the Art Institute of
Leaves of Memory: Spirit Healing in Vodou Art and
Donald Cosentino, University of California, Los Angeles
The Altar as Palimpsest: An Archeology of Vodou

Pock Art Studies In Southern Africa:
New Vistas For A New Millennium [Salon J]
Chair: Nancy Ingram Nooter, Smithsonian Institution,
Washington, D.C.

Thomas A. Dowson, University of Southampton, United
Rock Art: Africa's Art of Darkness
Luc Smits, Ellecom, the Netherlands
Rock Painting Sites in the Sebapala-Tsatsane River
Valleys, S.E. Lesotho
Cyril A. Hromnik, Mgwenya College, Capetown, South
The Moon Cave Temple in Oorlogskloof (South
Africa): Where Women Rock Artists and Megalith
Builders Met to Pray
H.C. Woodhouse, University of Pretoria, South Africa
Exploring Theories and Themes in the Rock Art of
South Africa
Peter Garlake, Harare, Zimbabwe
Past and Future in Zimbabwean Rock Art Studies

Mozamblaue: New Opportunities Ior
Exchanges [Salon L]
Chairs: Gilberto Cossa, The University of Iowa and
Harriet McGuire (in absentia), U.S. Information Service,
American Embassy, Maputo, Mozambique

Gilberto Cossa, The University of Iowa
The Development of the National Museum of Art and
the Problematic Preservation of Our Cultural Legacy
Harry West, Sweet Briar College and
Stacy Sharpes, Sweet Briar College
Holding Hands with the Devil: The Meaning of
Tradition and the Marketplace among Makonde
Casimiro Nhussi, Mozambican National Song and Dance
Company (CNCD)
The Impact of International Exchanges of
Choreographers and Dancers

Inside And Outside The PDhiotcraphic
Studio: African Dhtcoraphic Practice
iDast And Iresent [Salon M]
Chair: Christraud M. Geary, National Museum of
African Art, Smithsonian Institution

Vera Viditz Ward, Bloomsburg University
Evolving Traditions: Studio Photography in Sierra
Tobias Wendl, Institute of Anthropology and African
Studies, Munich, Germany
Speaking Grounds: The Semiotics and Aesthetics of
Ghanaian Photographic Studio Backdrops
Heike Behrend, University of KIln, Germany
The Appropriation of Western Tourist Spaces: The
"Likoni Ferry Photographers" in Mombasa, Kenya
Rory Bester, University of Witswatersrand, Johannesburg,
South Africa
At Home in the City: Street Photographers in
Johannesburg, South Africa

AMountina Controversy: Derspectives On
The Development Of The Sacred Arts Of
Haillain Vodou Exhibition [Salon I]
Chair: Betsy D. Quick, Fowler Museum of Cultural

Betsy D. Quick, Director of Education, Fowler Museum of
Cultural History
Transforming Skepticism: Dilemmas and Decisions in
Mounting Vodou at the Museum
David Mayo, Director of Exhibitions, Fowler Museum of
Cultural History
The Plight of the Designer--"If only they could all be
like this"

Henrietta B. Cosentino, Freelance Writer and Editor,
Sacred Arts of Haitian Vodou
Mounting Controversy: From Gothic Horror to Days
of Our Lives
Aboudja Derencourt, Consultant for the SacredArts of
Haitian Vodou
Mounting Controversy: Perspectives of a Haitian
Vodou Priest on the Planning of The SacredArts of
Haitian Vodou
Discussant: Enid Schildkrout, American Museum of
Natural History

Arts, Media And Development: Is
Development A Dirty Word In The
Discourses On Cultural ourms In Africa
[Salon J]
Chair: Frances Harding, School of Oriental and African
Studies, University of London, United Kingdom

Frances Harding, School of Oriental and African Studies,
University of London, United Kingdom
Drama-Works: Showing Realities
Oga S. Abah, Ahmadu Bello University, Zaria, Nigeria
Improvising Everyday Life and Death
Nadia Lovell, University of Kent, Canterbury, United
Videoscaping Demography: From Black Woman to
White Man
Danielle Gold, International Women in Development
Internetting the Artist

African Aesthetics [Salon L]
Chair: Jean M. Borgatti, Clark University
Fred Smith, Kent State University
Comparative Analysis of Frafra and Igbo Aesthetic
Jeremy Coote, Pitt Rivers Museum, University of Oxford,
United Kingdom
Aesthetics: World View versus Canonical Forms
Jean M. Borgatti, Clark University
Transgressing the Canon in Okpella Masking
Kris L. Hardin, Montana State University
Thoughts on the Usefulness of Comparing Aesthetic
Discussant: Benjamin Ray, University of Virginia,

Ievisiting The Art/Craft Dichotomy:
Lookine for New Answers [Salon M]
Chair: Robert T. Soppelsa, Mulvane Art Museum,
Washburn University
Patricia Darish, University of Kansas
Needle and the Adze: Kuba Arts in the 20th Century

Christine Mullen Kreamer, Smithsonian Institution
Expanding Parameters: Work as an Interpretive
Frame in Moba Art and Ritual
Brenda Schmahmann, University of Witswatersrand,
Johannesburg, South Africa
Art versus Craft and Culture versus Nature: The
Appliques of the Weya Women of Zimbabwe
Jerry Vogel, New York City
Talking to the Potters in Tanoh Sakassou: Aesthetics,
Inspiration and Classification of the Arts
Discussant: Maria C. Berns, University Art Museum,
University of California, Santa Barbara

University NiQht I Deceptions
By pre-paid charter shuttle bus ticket to and from hotel
and universities Tulane and Loyola are adjacent to each
other and all three venues are within walking distance

R[Amistad Research Center, Tulane University
Selections from the Toussaint L'Ouverture Series by
Jacob Lawrence
ENewcomb Art Gallery, Woldenburg Art Center, Tulane
African American Art: 20th Century Masterworks V
[Danna Art Center, Loyola University
African Basketry and Bamana Puppetry from the
Kitten and Mark Grote Collection exhibition
Preview of the Fr~-re Joseph Comet Archives

Registration (continues) [Foyer, 4th floor]

iastorallsts As Uerformers And
Mediated Silns Of Identity [Salon I]
Chairs: Sidney L. Kasfir, Emory University and
Corinne A. Kratz, Emory University

Sidney Kasfir, Emory University
Slam-Dunking and the Last Noble Savage
Neal Sobania, Hope College
But Where are the Cattle? Popular Images of Maasai
and Zulu Across the Twentieth Century
Paul Landau, Yale University
Visuality and Containment: George Eastman and the
Corinne A. Kratz, Emory University
Which Wodaabe?: Cinematic Representations of
Pastoralists, Gender, and Ritual
Discussant: Robert Gordon, University of Vermont

Written Culture: Arts Of Writina And
Inscription In Afican Art (Part I) [Salon J]
Chair: Mary (Polly) Nooter Roberts, University of Iowa

Mary (Polly) Nooter Roberts, University of Iowa
"I am a pen in the hand of God": Sufi Saints and
Healing Scripts in Contemporary Senegal
Labelle Prussin, National Museum of African Art,
Smithsonian Institution
"Those who write are magicians": Kabalistic Secret
Writing and the Judaic Presence in Sub-Saharan
Frederick Lamp, The Baltimore Museum of Art
Sacred Signs of Poro
M.B. Visona, The Metropolitan State College of Denver
Art, Image and Word in the Art of Kemet (Ancient
Simon Battestini, Georgetown University
Art and Literacy

Music Of The African Diaspora:
Transformation And The Creation Cf
Meaning In Performance [Salon L]
Chair: Cynthia Schmidt, University of Washington

Ernest Brown, Williams College
Peter Minshall and the Callaloo Company: African-
Inspired Creativity in a Trinidadian Masquerade
Shannon Dudley, University of Washington
Dropping the Bomb: Steelband Music and Power in
the 60s in Trinidad
Cynthia Schmidt, University of Washington
Issues of Meaning Surrounding a Mende Funeral Song
Sung in Sierra Leone and by the Gullah of Coastal
Kazadi wa Mukuna, Kent State University
Bumba-meu-Boi in Maranhao: Resilience of an
African-Brazilian Folk Drama
Paul Austerlitz, Brown University
"Textiled" Notation as Synesthetic Discourse on Black
Atlantic Aesthetics

Art: The Unseen Uart Of Life [Salon M]
Chair: Susan Vogel, Independent Scholar, New York

W. Perkins Foss, Plymouth State College
Viewing Urhobo Art: the Private, the Dramatic, and
the Public
Sarah Adams, Yale University
Keeping it Under Wraps: Uli Body Painting and the
Clothed Body

Boireima Diamitani, National Museum of African Art,
Smithsonian Institution
Out of Sight, Out of Mind: Secret and Sacred Objects
of the Tagwa-Senufo
Susan Vogel, Independent Scholar, New York
Not for Human Eyes: Baule Sculptures
Discussant: Henry John Drewal, University of Wisconsin

Diviners And Spirit Mediums As Foci
Of Artistic Iroduction In Central
And Southern Africa [Salon I]
Chair: William J. Dewey, The University of Iowa

Rebecca L. Green, Bowling Green State University
The Art of Healing: Divination and Art in Highland
Diane Janell Thram, Indiana University
Performance as Ritual, Ritual as Performance: The
Interplay of Indigenous Religion and Entertainment
Art in Contemporary Dandanda Song and Dance
Kathryn Kendall, University of Natal, Pietermaritzburg,
South Africa
Izangoma: Zulu Spirit Mediums Performing for the
William J. Dewey, The University of Iowa
Ndau and Manyika Shona Diviners and Spirit-
Mediums as Culture Brokers in Southeastern Africa

Written Culture: Script And Inscription
In The Art Cf Africa And The African
Americas (Part H) [Salon J]
Chair: Grey Gundaker, Center for the Study of American
Religion, Princeton University

Amanda Carlson, Indiana University
Nsibidi and the Art of the Ejagham
Sarah Brett-Smith, Rutgers University
The Anomalous Style of Basiae Mud Cloths Among the
Bamana of Mali
Maude Southwell Wahlman, W.E.B. Du Bois Institute,
Harvard University
Secret African Scripts Recreated in New World Arts
Judith McWillie, The University of Georgia
Writing in an Unknown Tongue
Grey Gundaker, Center for the Study of American
Religion, Princeton University
Narrative, Wrapping and Emblems: Three Modes of
African Diaspora Inscription

TcDics In Museum Uractice And Theory
[Salon L]
Chair: Marie-Therese Brincard, The American
Federation of the Arts, New York

Helen Shannon, Columbia University
Between "291" and the Museum of Modern Art:
Explaining the Erasure of Two American Exhibitions
of African Art of the 1920s
Cory Micots, Independent Curator
Challenges at the Small Museum Level
Leasa Farrar Fortune, National Museum of African Art,
Smithsonian Institution
A King and His Cloth: The Story of an Exhibition
Andrea Nicolls, National Museum of African Art,
Smithsonian Institution
A Spiral of History: A Figurative Ivory Tusk from the
Loango Coast on Display
Marie-Therese Brincard, American Federation of the
Arts, New York
Some Aspects of African Funerary Art: A Prospective
Exhibition Idea

Contemporary African Art Practice And
Studies At The Turn Of The Millennium
[Salon M]
Chairs: Sylvester Ogbechie, Northwestern University and
John Peffer, Columbia University

John Peffer, Columbia University
Helen Sibidi Invented Art in Contemporary South
Joanna Grabski-Ochsner, Indiana University
Genre and Memory in Contemporary Congolese
Michelle Omari-Obayemi, University of Arizona
Pasts in the Present: Negotiating "Tradition" in the
Art Practice of Two Southern African Women Artists
Elizabeth Harney, New York University
Fabric-ating Nationalism: The Thibs Tapestries in
Discussant: Okwui Enwezor

Lunch Ureak
ACASA Board Meeting (Part I)
[Palace Cafe, 605 Canal Street]

Altars, llags, And Other Works Of Art
And DPwer Within The Lellelons Of The
African Diaspora [Salon I]
Chair: Patrick A. Polk, University of California, Los

LeGrace Benson, Arts of Haiti Research Project, Ithaca
Ironies of Modernism in Haitian Art
Patrick A. Polk, University of California, Los Angeles
Fabric and Power: Interpreting the Sacred Banners of
Haitian Vodou

Cross Currents In The Nicer Delta (Part 1)
[Salon L]
Chair: Martha Anderson, Alfred University
1Iartha Anderson, Alfred University
Queen of the Rivers and Other Ijo Diviners: Artistry
as a
Path to Power
E. J. Alagoa, University of Port Harcourt, Nigeria
Neighbors of Benin in the Niger Delta
Osa D. Egonwa, Delta State University, Nigeria
Plural Identity, Singular Heritage: Dress and
Masquerading in the Niger Delta
Rosalinde Wilcox, Saddleback College
Cameroon Coastal Masking Traditions

Teaching Studio Art In Africa [Salon M]
Chair: Betty LaDuke, Multi-Cultural Images, Ashland,

Elsbeth Court, School of Oriental and African Studies,
University of London, United Kingdom
Still Seeking Raphael? Studio Practice in Africa
Sy Kalidou, Dakar, Senegal
Contemporary Senegalese Art: Crossroad of Culture
Obiora Udechukwu, St. Lawrence University
The Freedom of Tradition: Teaching Art in Nsukka
Betty LaDuke, Multi-Cultural Images, Ashland, Oregon
Eritrea Art Workshop: Artists/Fighters and New

University N lht II Receptions
(Pre-paid charter shuttle bus ticket to and from hotel and
between universities)
E Samuel Dubois Cook Fine Art Gallery, Dillard
Willis "Bing" Davis: Spirit, Ceremony and Ritual
[ Southern University at New Orleans
Jimoh Buraimoh exhibition
Selections from the Permanent Collection of African Art


Arts Cf The lulani Cuundtable [Salon I]
Chair: Thomas M. Shaw, Kean University

Tavi Aherne, Indiana University
Fulani Art in Fouta Djallon, Guinea
Alpha Ba, The College of Charleston, South Carolina
Brief History of the Fulbe Diaspora with Emphasis on
the Mano River

Phyliss Galembo, State University of New York
Images of Fulani in Northern Ivory Coast
Tierno Bah
The Verbal Art of the Fulbhe of Fuuta Jaloo (Guinea)
Salamatou Sow, Niamey, Nigeria
The Ideal Fulani Woman

Atlantic Uim Ierlormance Arts: Links
And Missina Unks In The Development
(O Caribbean And West African
Masquerades [Salon J]
Chair: John W. Nunley, Saint Louis Art Museum

John W. Nunley, Saint Louis Art Museum
Masquerades of Sierra Leone and the West Indies
Joe Roach, Yale University
Indian Masquerades of Trinidad and Tobago and New
Kenneth M. Bilby, Rhinebeck, NY
Music and Performance of the West Indies: African
Lori Dumm-Mbengue, University of Wisconsin
Beyond the Caribbean: The Politics of Ghanaian
Robert W. Nicholls, University of the Virgin Islands
Creolization and Masquerades in the Virgin Islands

Cross Currents In The Ni er Delta (Part I1)
[Salon L]
Chair: Philip M. Peek, Drew University

F.N. Anozie, University of Port Harcourt, Nigeria
Nki Body Decoration of Nembe Women
Lisa Aronson, Skidmore College
Tricks of the Trade: A Study of "Ikakibite" (Cloth of
the Tortoise) among the Eastern Ijo
Eli Bentor, Appalachian State University
Up and Down the River: The Spatial History of Mask
Exchanges in the Niger Delta and Southern Igboland
Discussant: Philip M. Peek, Drew University

Visual Diplcmacy: Comical
Representations In African Art [Salon M]
Chair: Babatunde Lawal, Virginia Commonwealth Univ.

Judy D. Freeman, University of Arizona
Monstrous Mounts, Rapacious "She-males" and other
Anomalies: Theorizing Indecent Sex at the Ritual
Babatunde Lawal, Virginia Commonwealth University
Funny but Serious: Poetic Humor in Yoruba Art
Nancy R. Hunt, University of Michigan
Congolese-Zairian Comics Since the 1930s
Discussant: Flora E. Kaplan, New York University

Contemporary Trends In Yoruba Textile
And Clothine Traditions [Salon I]
Chair: Norma H. Wolff, Iowa State University

Norma H. Wolff, Iowa State University
The Impact of Fashion on Yoruba Textile Traditions
Duncan Clarke, School of Oriental and African Studies,
University of London, United Kingdom
Super Q: Women Entrepreneurs, Ewe Weavers and
the Transformation of Yoruba Aso Oke
Elisha Renne, Princeton University
Cloth and Conversion: Yoruba Textiles and
Ecclesiastical Dress
Victoria Scott, Black Arts Studio, Santa Fe
The Career of Nigerian Textile Artist Nike: A
Personal View
Discussant: Joanne Eicher, University of Minnesota

The Non-Specialist Teacher And The
African Art Course [Salon J]
Chair: Betsy Cogger Rezelman, St. Lawrence University

Rita Parham McCaslin, James Madison University
Collaborative Strategies for Meeting the Educational
Challenges of Interdisciplinary Teaching of African
Arts and Culture
Meredith Rode, University of the District of Columbia
Translating Art: Speaking Another's Language
Nancy Steele Hamme, State University of West Georgia
Professional and Pedagogical Strategies of a
Pretender: The Personal Odyssey of a Non-Specialist
Gilbert Graham, Long Island University
From Medicine to Teaching African Art: An
Adventure in Exposing Students to Beauty,
Ethnography and History of a Subject Not Previously
Taught at Long Island University

"Afrlcanness" In Contemporary
South Arican Art [Salon L]
Chairs: Sandra Klopper, University of Cape Town, South
Africa and Michael Godby, University of Cape Town,
South Africa

Janet Hess, Harvard University
Affecting Spaces: Institutional Practices and the
Renegotiation of Identity
Sandra Klopper, University of Cape Town, South Africa
The Africanization of Sartorial Style in Contemporary
South Africa
Kimberley Miller, University of Wisconsin
Defining Women: Sexuality and the South African
Female Body
Michael Godby, University of Cape Town, South Africa
The Early Years of Willy Bester: Art and Identity in
Post-Apartheid South Africa

Gary Van Wyk, Rosen Publishing, South Africa
A Decade of Redefining Decadence: South African
Contemporary Art 1986-1996

Trends Old And New In The
Rerfonnine Arts Of tast Africa [Salon M]
Chair: Lois Anderson, University of Wisconsin

Lois Anderson, University of Wisconsin
Court Jesters in Uganda and Tanzania
James Makubuya, Massachusetts Institute of Technology
Adungu: Trends Old and Trends New
Kelly M. Askew, Indiana University
Swahili Musical Aesthetics: Traditional Innovation

Recent Lesearch On Traditional
And Contemporary NIaerlan Art [Salon K]
Chair: Adetokunbo Abimbola, Songobiyi African
Creations, Lagos, Nigeria

Adetokunbo Abimbola, Songobiyi African Creations,
Lagos, Nigeria
Oyo Orisa Carvings in Transition
Akin Ibidapo-Obe
African Liberation, Pan-Africanism, Alternative
Lifestyles and the Musical Art of Fela
[Other presenters to be announced]

Lunch Ireak

Women's Art/Women's Masauerade:
The Caribbean And Africa [Salon I]
Chair: Judith Bettelheim, San Francisco State University

Pamela R. Franco, Emory University
Playing Mas in Trinidad with La Belle Creole
Krista Thompson, Emory University
FREAKnic: Performing Women and Sexy Dress in
Atlanta's Urban Masquerade
Laurel Birch Aguilar, St. Andrews University, United
Clay Arts and Metaphors for Women in Central
Alice R. Burmeister, Winthrop University, United
Demonstrating lyawa: Art and Aesthetics in Hausa
Women's Wealth Display
Discussant: [to be announced]


S The-Arts Council oF the African Studies Association

January 1, 1998

Dear ACASA member:

With the new year comes our annual request for your ACASA membership renewal. In order to be in the
April directory, your dues must arrive by mid-March, but later arrivals will be listed in subsequent addenda
and receive back issues. Please complete the information below and submit with a check or money order
made out to ACASA. All payments must be in U.S. dollars. Members outside the U.S. may also pay with
postal orders.

Your membership will include the April directory issue of the ACASA newsletter, as well as August and
December issues, and you will support our continuing efforts to increase communication and collaboration
with our African and African Diaspora colleagues. You will also receive first-hand information about
ACASA-sponsored programs for the 1998 ASA Annual Meeting and 1998 Eleventh Triennial Symposium
of African Art in New Orleans. Thank you for your continued participation and support.

Yours truly,

Michael D. Harris
ACASA Secretary/Treasurer
Department of Art
University of North Carolina at Chapel Hill
CB # 3405, Hanes Art Center
Chapel Hill, North Carolina 27599-3405

Regular member $35.00
Special member (student, unemployed, retired) $15.00
Institutional member $35.00
Mailing address and phone numbers for Directory and receipt of the newsletter (PLEASE PRINT)
Name: Affiliation:

City: State: Zip:
Country, if not U.S.
Home Phone: Work Phone:
Fax: Email:
Additional information please circle or complete
Specialization: Art History Anthropology Ethnomusicology Other
Current Memberships: ASA CAA AAA Other
Primary Profession: University teaching Other teaching Museology Research Student Other
Primary Regional Focus: W. Africa C. Africa E. Africa N. Africa Southern Africa Diaspora
Other Ethnic or Country Focus:

Education (highest degree): PhD MA MFA BA Other

Editor, ACS4 Newsetter
(AUt: Avrogedor)
110 Weigel Ha
School of Music, OU
Columbus, OH 43210-1170

DWMIT NO. 7107

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