Title: ACASA newsletter
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Permanent Link: http://ufdc.ufl.edu/UF00103115/00049
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Title: ACASA newsletter newsletter of the Arts Council of the African Studies Association
Alternate Title: Newsletter
Physical Description: v. : ; 28 cm.
Language: English
Creator: African Studies Association -- Arts Council
Publisher: The Council
Place of Publication: S.l
Publication Date: August 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).
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Bibliographic ID: UF00103115
Volume ID: VID00049
Source Institution: University of Florida
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Preceded by: Newsletter of the Arts Council of the African Studies Association

Full Text

ACASA EBard of IDrectors
Mary "Polly" Nooter Roberts, President
Vick Rovine, Secretary-Treasurer
Kathleen Bickford, President Pro-ter
Daniel Avorgbedor, Editor
dele jegede, Past President
Martha Anderson
Eli Bentor
Betsy Cogger Rezelman

Membership Information (for residents of North America,
Europe, Asia) Vild Rovine, ACASA Secretary -Treasurer,
University of Iowa Museum of Art, 150 N. Riverside Dr., Iowa City, IA
Email: victoria-rovine@uiowa.edu

Annual dues are $35.00 (see membership form in this issue),
payable in January. Checks are payable to "ACASA" and
sent to: Vici Rovine, ACASA Secretary/Treasurer, University of
Iowa Museum of Art, 150 N. Riverside Dr., Iowa City, IA 52242-1789
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) 3574879
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 December 1998.
Please send news Items by November
12, 1998 to:
Daniel Avorgbedor, 110 Weigel Hall,
School of Music, OSU, Columbus, OH
E-mail: avorgbedor.l@osu.edu
fax 614-292-1102 tel.: 614-292-9441


Presidential Notes K
Mary (Polly) Nooter Roberts, ACASA President

Thank you for the opportunity to serve as
ACASA President. Looking to the
Millennium, ACASA is poised on a most
exciting crest of intellectual and artistic expansion.

The 11th Triennial Symposium on African Art held
in New Orleans in April, 1998, was an outstanding
success. ACASA was able to award travel stipends to
ten people, including two fully funded Nigerian
colleagues, four scholars from South Africa, and four
graduate students among the nearly 400 people
attending from at least 14 countries. Never before
have panels addressed such a broad spectrum of
research areas, methods, and theories. "African art"
can no longer be confined south of the Sahara, to the
precolonial period, or even to the African continent.
New research on Diaspora and contemporary arts,
performance and popular arts, museums and the
politics of representation, as well as the continued
integrity of traditional and ancient art studies, are all
indices of the scope and breadth of African art studies
at the Millennium.

In this issue*
Presidential Notes
1998 Triennial Speeches
Arnold Rubin Award
Jobs, Interns & Travels
Noteworthy Publications
... Of People and Places
Outreach & Queries
1998 Acasa Directory


Triennial events at
local universities
and museums,
such as the
opening reception
at the New
Orleans Museum
of Art, where the
"Sacred Arts of

A-C A S A Newsletter

e Ats e ounril nfo te African tubiies Assnciation *

Vol. 52 August 1998

- ~~~~ ~'~'~~"I~'~~~~~"""""~~~~""""'


Presidential (oftes, confd.

Haitian Vodou" exhibition from UCLA was on view,
and activities inspired by the cultural ferment of
"America's most African city" further underscored the
burgeoning of the field.

I have written a detailed account of the Triennial
as a "First Word" for the next African Arts, so I
shall limit my comments here to those of
appreciation and immense gratitude to those who
organized and contributed to the event. Bill Fagaly
was formidable. His vision, creativity, humor,
efficiency, and meticulous attention to detail ensured
the Triennial's success. ACASA is also fortunate to
have enjoyed Bill's steering committee's dedicated
involvement. As Triennial Program Chair, I also wish
to thank all panel chairs and presenters, as well as
audience members for a lively and truly engaging
forum. Thanks too, to Enid Schildkrout and Alisa
LaGamma for organizing such a stimulating Museum
Day, and to the celebrated speakers of the Plenary
Session, who set the Triennial on a most exhilarating

On behalf of the entire ACASA membership, I also
wish to congratulate and thank dele jegede as our
past President. Through dele's exceptional efforts, this
was the first Triennial fully funded by ACASA-a
sign of the organization's growing strength and
autonomy. Many thanks to Board members whose
terms ended in New Orleans: to Jean Borgatti for her
devoted management of the Endowment and Fund-
Raising Committee, Rosalind Wilcox and Eugenia
Herbert for ably handling the Leadership Awards,
Chris Mullen Kreamer who served on the t-shirt and
book award committees, and Bill Dewey who was a
most helpful and loyal Past President and Program
Co-Chair of the Triennial.

New Board members are Martha Anderson, Eli
Bentor, Betsy Cogger Rezelman, and Vicki Rovine.
Vicki will serve as Secretary-Treasurer, replacing
Michael Harris who graciously stepped in during the
last year to replace Kathy Cumow. We also wish to
congratulate Labelle Prussin and Merrick Posnansky
on their richly deserved Leadership Awards celebrated
at the Triennial, and the recipients of the Arnold
Rubin Outstanding Book Awards and honorable
mentions listed in this Newsletter. Thanks, too, to
Kathleen Bickford and her committee for their hard
work choosing these awards, and to Daniel
Avorgbedor for his deft production of the Newsletter

over the past year and a half. Kathleen Bickford
will serve for one term as President Pro-ter, which
means that she will replace me if I am ever prevented
from serving my duties. Finally, ACASA's recent
assignment of the H-African Arts representatives,
Michael Conner and Ray Silverman, as liaisons to
the Board will ensure an efficient flow of information
from the Board to the list-serve, and vice-versa.
Michael and Ray's development of H-African Arts
has been an invaluable service to the field, and if you
have not already subscribed, please do so immediately
(the website address is: http://h-net2.msu.edu/-artsweb).

One of the important contributions of the Triennial
was a public discussion of the recent ICOM
proposals that will affect museum acquisition
practices in the future. Rather than form a sub-
committee that could never fully represent the
diversity of our membership, ACASA will assign a
liaison to keep ACASA members informed of issues
as they develop.

At the ASA Meetings in Chicago next October, we
shall decide the site for the twelfth Triennial. So far,
only The University of the Virgin Islands has been
offered as a venue-thanks to Robert Nicholls. This 2
very exciting possibility would allow us to act on the
commitment that ACASA has made to host Triennials
in Africa and the African Diasporas.

Among my goals as President, I hope to:
(1) maintain the momentum of ACASA's
fund-raising campaign,
(2) strengthen links with colleagues and
institutions in Africa and the African diasporas,
(3) forge closer ties with scholars studying Western,
Asian, Native American, and other arts;
(4) promote exhibitions, publications, and broadly
accessible presentations on African art that will
counterbalance the depressingly narrow depictions of
Africa in the U.S press and popular consciousness;
(5) encourage American museums and universities to
create a more established place for contemporary arts of
Africa; and
(6) join efforts to promote the Arts and Humanities
through the NEA and the NEH.

I hope that you all are enjoying the summer, wherever
you may be. The Board and I shall provide further
updates following the Chicago ASA meetings, which I
hope you will all attend

Sdele jegede Prpsidential address delivered at by any of the myriad of signifiers that you emit,
ee consciously or effortlessly: the snickers the swoosh; the
the banquet for the 11th Triennial Symposium New kakhi jeans and Levi belt; the back-pack or the waist
Orleans,, April 11, 1998 pouch; those dark glasses; the camera; the baseball hat
tutrnA hmtrb~Icarlr the cwar in 1n1ur oait a vnll try tn

t is I, dele jegede, the one whom you summoned to
lead this august body in the last dozen and one half
moons, that stand before you this evening. With
large, open arms and a correspondingly warm heart, let
me bellow my welcome to you. I have seen you: the one
from this clime. Are you not the one who has crossed
state boundaries, from Iowa to Atlanta, Arizona to
Indiana, from Washington to Ohio, New York and
Florida: are you not the one who had to cross state
boundaries, brazing turbulent elements or enjoying the
fresh aroma of spring but enduring bouts of airplane
peanuts and salty pretzels in order to join us? I
acknowledge you: you from any of the fourteen countries
represented here tonight; you who have traversed sleeping
seas and mighty oceans, gliding through smooth and
bumpy clouds just so that you would register your
presence. From the South Pacific, Western Europe and
Africa, you bring grace and wisdom to this meeting, and
your determination to participate lends authority to our
claim of being the only body devoted to the study and
celebration of the material culture of the African
Diaspora. E ki abo.

I welcome you as the one that you have also welcomed. I
honor and dignify your presence the way you have
honored me. I, the exile whom you have enticed,
absorbed and rehabilitated. I, the embodiment of your
manifesto, the mythical African colleague without whose
collaboration your vision will remain an illusion. I, the
tongue in your cheek, the shell on the back of your snail.
I am the strategically placed "A" in the trinity of "A's"
that make up your name. Without me, there will be no
you. And without you...?

You, the stranger amongst my people. Ekii ab6. You the
excited, starry-eyed researcher on a distant, bright, sun-
drenched and color-filled land. You, the one that stands
out in a crowd-any crowd-in my ancestral home. Be it
on the dusty, narrow path that leads to a quiet stream, or
at the village arena where goats still bleat and chickens
are not fed on Pfizer products; where children troop out
flashing broad smiles, wrapping their tiny arms around
your palms and yelling, "Oyibo!" Yes, you stand out in
any crowd on my landscape. Be it at the local beer parlor
where your tolerance for "akpeteshi," the local gin, is
remarkably poor, or in the city where you are betrayed

strike a rhythm; the sweat on your lips as you ponder the
sweltering sun; the grin on your face as you adjust to
your fiercely boisterous and colorful cityscape and-now
I say this with relish-your accent. Eku abo.

Now that I have your ear, let me whisper one or two
words before you roll out the drums for our distinguished
honorees tonight. In the last couple of days, your
discussions have centered, in the main, on the state of the
arts at the turn of the millennium: how do we move on,
and what have we left behind? Insights have been offered
which have catalyzed thoughts in some of us; thoughts
that have left some of us worried about a number of
things. I am worried, for example, that our growth as a
body has not occurred at a rate that is commensurate
with developments in the field. To borrow from one of
our admired statesmen, Bob Dole, it would appear that
"we just can't win." The Africa that constitutes the locus
of our existence continues to reinvent itself, even as we
sip our wine here, completely oblivious of ACASA. Yet,
ACASA is the mirror that gives Africa a sense of self;
that contributes to, and influences, directly or
subliminally, the reinvention of culture on the continent

ome of the issues that continue to challenge our
l corporate existence include African museums,
contemporary African art and liaison with our colleagues
in Africa. At no other time has the need for a
reassessment of our mission and commitment to African
museums been more necessary than now. We must
continue to address the twin issues of morality and
legality as these pertain to African museums. No. Africa
does not need our sympathy as much as it needs our
understanding. Pious preachments and token gestures are
insulting as long as we turn a blind eye to the rapacious
looting of African material culture. While we hold
tenaciously to items in our collections, we as a body have
not been able to solve the perennial loss of priceless
objects that Africa experiences by the hour, literally. "We
just can't win."

On contemporary African art, there is a serious problem
of denial, of elision, delusion and outright confusion. So
long as we treat contemporary African art as "object," so
long shall we continue to be plagued by these problems.
Added to this is the cavalier approach to the matter: our

Triennial Speeches, confd.

curricula simply continue to marginalize this important
aspect of our existence. McEvilley's plaintive sigh, "What
shall we do with contemporary African art?" reverberates
louder today than it did in the past.

&hat can we do to strengthen our resolve to involve
our African colleagues much more actively in our
business? This is our third problem. Of course, we have
continued the tradition of giving full financial support to
those of them who are fortunate enough to be invited to
the Triennial. I should know. This year, many of you have
given generously in order that we may be able to bring
some of our African colleagues here. But as we all know,
the E.J. Alagoas and the Oga Abas that we bring
represent only a negligible percentage of our colleagues in
Africa who would have loved to join us here. One of the
solutions that we may want to consider is holding one of
our Triennials in Africa. Why not?

As we gather here tonight to honor those to whom honor
is due, I leave you with a prayer: may you arrive safely at
your respective stations. May Esu not cross your path.
May we congregate again three years from now, stronger,
wiser and-well, I might as well say this since this is
New Orleans-bigger.

Thank you"

[B Merrick Posnansky Speech
acknowledging ACASA leadership award at the 1lth
Triennial Symposium New Orleans, April 11, 1998
(Award presented by Mary Jo Amoldi)

I was both surprised and delighted when I heard
that I was to receive this award. Surprised because
I only inhabit the fringes of Art History. Delighted
because it afforded me an opportunity to glance back
at my association with your discipline. I hope that you
will excuse me for resorting to anecdote and reflection
this evening rather than to profound comment about
the nature of African art history.

I was first forced to think about African art in 1957 in
Nairobi when the newly established extramural office
of the then sole east African university, Makerere
University College in Kampala, responded to a local
demand for a class in Primitive Art by asking me to
help. I suppose as an historian and archaeologist with
museum experience, I was the nearest they could get
to a suitable lecturer. I learnt a lot in a short time,

there wasn't that much to read other than the splendid
little, both in size and text, books by Leon Underwood
on West Africa.1 We had no real text book except for
the then popular Penguin paperback version of
Leonhard Adams 1940 Primitive Art which rightly
emphasized that fine art was not bound up with any
particular type of human culture and which stressed
the religious context of art and the significance of the
spiritual experience. But what was missing at that
time was any connection between craft and creativity,
or the continuum between the concept of "traditional"
and the present reality. White settlers, including my
then boss Louis Leakey, seem to regard African
culture as something that had become lost. I didn't
know whether to regard "traditional" in this sense as a
past golden age of an untouched Africa or as a dump
site for everything that was not modem. I only learnt
about the dynamism of African crafts and the reality
of African art when I became curator of the Uganda
Museum in 1958.

lduseums in Africa, immediately before the
LMIndependence era were few and far between
and served many functions but one reality was that
art, per se, was separate from ethnography. One joy of
the Uganda Museum was that Margaret Trowell had
been both the creator of the Makerere Art School and
had revived in the 1930's the Uganda Museum which
had a venerable ancestry going back to 1908. Several
of my staff had been trained in the art school. It was
still, however, very difficult to convince the Colonial
civil servants, who then controlled our purse strings,
that what we had in the Museum had anything to do
with art or that the art pursued by the students at
Makerere was not just an European art practice
transplanted to Africa. It should have been all too
clear, however, from a visit to the museum where we
owned several powerful sculptures by Gregory
Maloba, that contemporary African fine arts had an
essential link with the creativity and sensitivity to
Ugandan culture that was at the heart of the crafts of
which the Museum was justly proud. In 1960 we
established a small gallery for rotating exhibitions in
an attempt to bring African art firmly into the ambit
of the museum and began to hold several single artist
shows, a function that was later taken over by the
Nommo gallery with which Sidney Kasfir was early

In the early 1960's African art history did not exist as
an integrated study. The prehistorians researched rock

Triennial Speeches, confd.

art but did not appreciate its full potential,
archaeologists working on later periods discovered
isolated objects, such as the Luzira head in Uganda,
but there was no effort to integrate the material into an
evolving artistic tradition. What of course was lacking
was a sense of context, chronological, social and
aesthetic. Until Frank Willett's African Art in 1971
there was little attempt to put everything together in a
continuous historical sequence. In the years since then
African art history has been created and one of its
principal achievements has been its multidisciplinary
approach. It is this multidisciplinary thrust with art
historians aggressively searching the theoretical
repertoires of colleagues in the Social Sciences and
Humanities, which has provided the sense of context
that was so lacking 40 years ago.

t is tempting to reminisce but most of you know
the history of your own discipline better than
myself. I would, however, like to acknowledge my
own gratitude to your discipline and to my colleagues
within it who have been my friends and teachers over
the years. I personally feel that art history has forced
archaeologists and historians to think a second time
about what we do. Art history has taught me a great
deal not only about the nature of the human
experience but also about the interconnectedness of
much of what we study. We have learnt how many of
the different items of material culture, which
archaeologists previously placed in distinct categories,
are really related physical manifestations emanating
from the same mental constructs. I am reminded how
much I have leamt from the art historians I was
privileged to teach, like Marla Bems, who combined
the historical dimensions of culture change with her
ability to recognize the unifying features of design and
form in body, dress, calabash, brassware, ceramic and
wall decoration.2

In recent years I have spent much of my time on a 28-
year longitudinal study of a Ghanaian village, Hani in
Brong Ahafo, looking at changes in material culture
and spatial dimensions, trying to arrive at insights into
how to interpret past behavior as represented in the
spatial and material patterning of the archaeological
record. In how I organize this ethnoarchaeological
study I realize that, indirectly, I learnt a lot from that
wonderful former colleague Amold Rubin who taught
us about the efficacy of studying contemporary
behavior and creative phenomena, even in such
diverse and popular contexts as Venice Beach and the

Pasadena Rose Parade, as a means of harnessing our
powers to evaluate material and behavioral
manifestations culturally, temporally or
geographically far removed from our own. As
someone particularly interested in the distant past I
feel that archaeologists and art historians alike are
very much indebted to the theoretical insights of David
Lewis-Williams who suddenly in the late 1970's and
early 1980's3 provided us with the tools to unlock the
meaning of Stone Age rock paintings and engravings
based on his understanding of both neuro-behavior
and ethnologically documented religious practice. His
was an universalistic approach just as suited to the
study of Ice Age art in Europe as to San hunter-
gatherer art in South Africa or even the splendid rock
art of Californian stone age peoples.4

In an instant we were freed from highly subjective
interpretations based on generalized analogy by
Eurocentric scholars. I believe that the rigorous
questioning of art historians helped prompt many
archaeologists to ask more serious questions of our
own data concerning gender, power relationships,
status and the individual as artist and craftsperson. In
the same vein archaeologists have influenced the art
historians to examine wear patterns, fabric and the
chemical characterization of the objects they study.
We both have much to learn from each other. Our
discoveries of the past 30 years have dramatically
changed our appreciation of Africa's creative
experience. One of the great excitements of meetings
such as this is the announcement of significant new
discoveries like the fabulously rich 9th-century site of
Calabar described to us today by Ekpo Eyo in which
we can all rejoice as Africanists. I trust the new
millennium will bring expanded cooperation.

s a museum man at heart I would now like to
tum to the state of African museums. Though
there have been notable improvements in the past
dozen years, since the rather gloomy prognostications
at the 1986 Triennial at UCLA, largely because of the
work of such agencies as WAMP, ICOM, the Getty
Conservation Institution, there still remain strong
underlying structural problems. Many of these
problems were discussed in the papers edited by Peter
Schmidt and Roderick Mclntosh in 1996 Plundering
Africa's Past, nevertheless I think it is important to
seek solutions.

Triennial Speeches, confd.

Large numbers of assistants have been trained in
special courses, grants have assisted museums
to acquire needed items of equipment, bilateral
collection programs, such as our own with Mali at
UCLA, have been implemented and there is certainly,
in some still all too few institutions, a positive
momentum. But what is noticeably lacking is a sense
of commitment, a zeal which only comes from an
inner dedication to a particular discipline. As yet
museum work is just another job, poorly paid, little
understood before being embarked upon, rather than a
true vocation. This is where we as professionals in
America can make a difference. What is needed in
Africa, especially in tropical Africa, is hands-on
training. Museum work is different from academic
research in that it requires learning by emulation and
much of the necessary work is perforce routine.

Most foreign scholars still go to Africa for periods of
a year or more for doctoral field research, they then
return for shorter periods for specific research projects
or they accept such awards as Fulbright fellowships
for research or teaching at the local university, but it is
rare that any scholars spend any further extended
periods at African institutions. Skills are learned not
from two week or even three months special training
programs but from day to day interaction. Yet it is just
that sort of interaction that it is lacking. Experience in
America may be beneficial but it cannot compare to
working on material in one's own institution using the
resources that are locally available and facing the
prevailing constraints which can include, as at the
present time in West Africa, an uncertain electric and
water supply. What is needed is a Peace Corps type of
approach for African museums with young American
professionals with skills in registration, conservation
and display, as well as research interests, going out for
a minimum of two years.5 Such experience will be
invaluable for our own art historians and future
museum personnel by affording them with an
opportunity to become familiar with the breadth of
African material culture that is impossible in the
States; it will provide research opportunities and ideas
for future cooperative research with the host museum.
As many of the "volunteers" will be drawn from the
ranks of doctoral and post-doctoral candidates,
opportunities could be provided for part-time teaching
in the local universities. Art history is either non-
existent, or weakly developed, at African universities
and such teaching initiatives are just what is needed

for really establishing art history within an African

I returned from my last visit to Ghana less than a
week ago and was impressed with the escalating
strength of the performance arts, the vibrancy of
research into oral literature, the surge in creative
writing and the resilience of archaeology, now that it
has been fortified by the material rewards of cultural
resource management. I was, however, saddened that
art history and material cultural studies have still not
taken hold. This is also certainly true of other African
countries. Art appreciation, the sensitivity to social
and spiritual context cannot be learnt in short
museological courses; they have to be instilled through
constant observation, object handling and discussion.

Uut, just how feasible is the implementation of
such a multi-year program of cooperation and
training? If costed by the standards of AID, or an UN
agency, with vast administrative overheads and
allowances, it would be beyond reach but if
programmed to conform with generous African
standards such as the provision of housing and health
care and perhaps an allowance of around $10,000 a
year per volunteer and round-trip airfare for the
participant, it would stand a chance. A pilot project
which would take 20 museologists/art historians to
Africa for two year terms over a five-year period, and
which could also provide funds for the support of
counterpart African colleagues with limited funds for
programmatic needs and equipment could be initiated
for as little as $1.5 million. As a pilot project it would
have to be targeted to a few key centers and be closely
monitored, but there is no doubt in my mind of the
long term benefits which would accrue: these would
include stronger ties with the designated African
institutions, the establishment of routine well-proven
museum practices, the strong possibility of generating
some worthwhile courses in art history and material
culture using local resources and the long term
training of technical staff within their own institutions.

But I believe such a program would in particular
demonstrate a sense of commitment to Africa by
American academia. All too often in Africa I sense a
skepticism about American aid. It is appreciated, but
there is certainly the feeling that both doctoral
students and Faculty researchers go out to benefit
their own careers rather than to enhance the capability
of African institutions. We all benefit if African

Triennial Speeches, contd.

institutions can be improved, if young American
scholars are willing to commit themselves to an
African institution for two years, working closely with
their counterparts then strong links will be established.
If we as a body were willing to launch such an
initiative, which would be viewed as representative, in
some small measure, of the institutions with which we
work, I feel convinced that we would eventually
receive support. But it demands commitment on our
behalf, a willingness for us to support, through our
institutions, our brightest and best equipped young
professionals to go out to Africa to work in an African
institution. It is important that at this last Triennial of
the 20th century we commit ourselves to a positive
collective measure larger than our already successful
book gifts, or the sponsorship of a few African
scholars to our periodic meetings.

SLeon Underwood, Bronzes of West Africa. London:
Alec Tiranti, 1949; pp.32 + 64 pp plates (also his 1947
Figures in Wood, of West Africa and 1948 Masks of
West Africa)

2 Marla Berns, "Art and History in the Lower Gongola
Basin, Northeastern Nigeria," unpublished Ph.D
dissertation, UCLA, 1986

3 David Lewis-Williams, Believing and seeing; Symbolic
meanings in southern San rock paintings. London:
Academic Press, 1981

4 David Lewis-Williams and T.A. Dowson, "The Signs of
all Times: Entoptic Phenomena in Upper Palaeolithic
Art," Current Anthropology, 29 (1988):201-45

SI dealt with this whole question in my chapter, "Coping
with collapse in the 1990's: West African Museums,
Universities and National Patrimonies," in Schmidt and
McIntosh, Indiana University Press, 1996, pp. 143-63

[ Labelle Prussin ACASA Speech
acknowledging ACASA leadership award at the llth
Triennial Symposium New Orleans, April 11, 1998
(Award presented by Simon Ottenberg)

The Haggadah, in which the story of the Exodus is
recounted and re-enacted, opened the first Seder
last night with a question by the youngest member in a
family of elders: "Why is this night different from all
other nights?"

It is 37 years, to the day, that I first arrived in Africa,
landing in Accra on a Ghana Airways DC-3, my two
little girls in tow. The hot, humid air which greeted us
as we stepped out onto the tarmac that Easter morning
continues to evoke the most poignant visceral greeting:
"Welcome to Africa!"

Sdvised of this honor, I was overwhelmed; the
Aunemory of building blocks which have gone into
the construction of a lifetime crowded my mind,
jostling for recognition like djinn in a calabash. The
honor of this Award is not mine alone; it belongs
equally as much to families and experiences too
numerous to mention. Born of perversity, perseverance
and a social conscience instilled by my parents, fed by
a curiosity and a delight in discovery taught to me by
my children, nurtured, inspired and shaped by both the
criticism and praise of mentors, colleagues, friends,
students and a recently-acquired, no-questions-asked
silent partner, it is ultimately a life's construction
humbled by the African experience itself.

* it was my parents who tried to discourage me from
exploring architecture as "the most human of things, a
reality in every culture"-but by pointing to the
locked doors they challenged me: my response to the
thrown gauntlet became a way of life.

* it was they who introduced me to writers like Jack
London whose sympathies fired my imagination to go
forth in search of new worlds, not to conquer, but to
learn from. Where we are is only a starting place as
the little boy in London's Valley of the Moon
proclaimed. But going forth to seek adventure has
traditionally, like architecture, been regarded as a male
specialty. That, my parents never warned me about.

* it was they whose openness to alternatives of belief
and custom fired my imagination of alternative ways
of living and instilled in me a belief that every
individual, male or female, every culture, oppressed or
denigrated, is entitled to pursue his, her, its own
potential and destiny.

* innocents abroad, it was my children's insatiable
curiosity, exponentially enlarged by this new world of
Africa we had come to, which fed my own excitement
and experience of discovery. They taught me to see
with new eyes. "Look mommy, why is that man
wearing a skirt?" Like Alice through the looking

Triennial Speeches, confd.

glass, I assumed that to succeed in a new world, one
must leave behind the baggage and expectations born
of the culturally familiar. Instead, I learned to mediate
between two worlds of culture and gender, alternately
donning professional couture and African cloth,
alternately wearing a hard hat and a maternity smock.
The expectations in one do not hold for the other and
perhaps that is the virtue of multiplicity:

it has been their acceptance, over the decades, of a
mother so different than those of their peers and
contemporaries. I was not good at baking PTA
cookies, but I tried like hell to create an angel food
birthday cake in 120 degree heat and a rusty old egg
beater, to sew tutus and grass cutter costumes for
them on an old hand-propelled sewing machine
borrowed from the seamstress in the market, and to
combine Sunday outings with the search for other-
world artifacts in the fishing villages along the coast.

it has been our shared pride in the occasional
success of a myriad of marathons which convinces me
of the wisdom (and fulfillment) of a life of multiple
careers. Ultimately, being an independent parent made
me a better architect and scholar; having a full-time
career made me a better parent.

it is to colleagues in Ghana during the first vibrant
years of African independence, who readily accepted
new ideas and new expertise in their efforts to build a
dream, with whom this honor should be shared: to
field assistants who patiently explained to the elders
that hanging a plumb line from the walls of a northern
compound was not an act of sorcery; to fellow
lecturers in and out of Africa who encouraged my
efforts to add a new dimension to the Westem
construct of architectural history still dictated by
Janson's History of Art and Fletcher's History of

T he '60s were also a heady time for Western
architects; arrogantly, we all thought the built
environment with its technological handmaidens and
'functional' approaches was the solution for the
seemingly less-developed social and cultural
environment. Such arrogance did not, I soon learned,
sit well with the humility of cultural empathy and
understanding. A respect for
traditional ways in moving toward modernization,
bom of the African milieu in which I worked, led me

back to school in search of more appropriate
* it is colleagues in the academic world that this honor
should also be shared with: Doug Fraser and Sylvia
Williams in memorial, Roy Sieber and Simon
Ottenberg, who supported and endorsed my search for
new answers, and above all to the Department of the
History of Art at Yale which offered me a home in
New Haven. Venturing into the academic domain, I
brought the baggage of my previous modus vivendi
and operandi with me. As a designer, my curiosity
had sought out those conditions which could uniquely
explain the complexities of the African design process.
As a scholar, I sought answers by applying three-point
perspective to the research design. But to Robert
Farris Thompson goes the honor of introducing me to
that fourth dimension which begets the creative

soon discovered that traditional education in the
design process is different-in some ways the
reverse-from traditional training and research in the
humanities. Functionalism in architecture and
functionalism in anthropology are not synonymous, as
I once tried to discuss in a brief paper for a graduate
anthropology class. In architectural design, one starts
by defining a set of human needs and constraints,
transposing them into physical functions and enabling
technologies, then organizing the resulting spatial
parameters into a cohesive whole, creating, in the
multidisciplinary process, a new design product. In the
humanities, more specifically art history, the process
is often the reverse: one starts with an end product and
works backwards, exploring and analyzing the process
which brought it into being.

Ultimately, realizing that design itself has a gender
component, I began to look for new role models, and I
found them, no longer in the person of Julia Morgan
and Denise Scott Brown, but among the African
nomads where building design and its implementation
are in the hands of women. We design from the inside
out, men design from the outside in. While I have
come to think that perhaps the same holds true for
research, I cannot deny that inner and outer, as for the
Gabra, are no more than a mirror reflection of each

Fifty years ago, when offered the only seemingly
viable option for young women-marriage and
children-I turned the offer down. My then-suitor had

Triennial Speghee. contd.

already seen the world-albeit through the sight of a
machine gun, behind the wheel of a jeep and in front
of the barbed wire enclosure of a death camp-I had
not. Ten years ago, presented with a similar offer by
my then-suitor, I accepted. I had truly "seen the
world." And so, finally, it is with my husband that this
honor should be shared: for his patience with a
perverse, singularly-minded but diversely-directed
companion, and for his support of endeavors which, to
this day, I continue to jealously keep hidden from
intrusion, like the protective cover surrounding the
hidden script within an African amulet.

There is an Akan goldweight, familiar to many of you,
which symbolizes an ancient proverb: two crocodiles
who share the same stomach should never fight over
food. The interpretation relates more broadly to those
who share the same interests, e.g. extended families-
in this evening's context, the same subject matter and
professional interests.

The icon of this particular proverb was also the logo
of the Town and Country Planning Board in the
Ministry of Housing of the Government of Ghana.
When I had finished my "tours of duty" as a
government officer in the Ministry, my staff organized
a sendoff: lots of pito, jiufu, kelewele and a gold
pendant, a replica of this particular goldweight.

Years later, on the day I dropped my finished
dissertation in the mail, a small package arrived by
return mail. In it was a necklace, designed and created
by Dieter Muller-Stach, once a faculty colleague at
Kumasi in the Art Department at KNUST, now a
world-renowned silversmith. When his family was in
need of help I shared some of my own belongings with
them and this necklace came back by way of a
traditional African gift exchange. To some it looks like
a Christian cross, to others an Islamic medallion, yet
to others a Croix d'Agades, but it is, in fact, the very
same goldweight design, culturally and aesthetically
reinterpreted yet again. For me it continues to embody
the very essence-and process-of what African arts
and architectures are all about.

pn this night, different than all others for its
Commemoration of the past, it seems equally
appropriate and timely to commit the future, laying
down with what Margaret Mead once called "post
menopausal zest," yet another new foundation.

Boldness--or chutzpah-may be its vice, but intuition
and innovation are surely its virtues.

Arts Council of the African Studies
Association Arnold Rubin Outstanding
Publication Award, 1998

The Arnold Rubin Outstanding Publication
Award Committee: Kathleen Bickford, Christine
Mullen Kreamer, Tina Loughran, Ikem Okoye

The Arnold Rubin Outstanding Award, first
bestowed in 1989, honors publications for excellence
in scholarship on the arts of Africa and the African
Diaspora. The committee received nominations for
close to sixty publications. The depth and breadth of
subject matter these books addressed is truly
impressive and evidence of the ever-expanding
boundaries of our field and the rich creativity of the
cultures they represent. Topics covered by these
publications included North America, Malagasy, and
Zanzibar architecture; Southern African rock
painting; performance art; fashion; contemporary art;
vodou; and Mardi Gras costumes.

As the boundaries of our field continues to
. expand, so too does this award. This is the first
time we have given the award in two categories: one
for works of original scholarship by one or two
authors, and the other for works by three or more
authors. Among the nominations, we received several
from publishers located in Africa that are deserving of
special mention, and, as a committee, we felt strongly
that ACASA could make more of an effort to help
facilitate the participation of foreign presses,
especially those in Africa and the African Diaspora.

It would be an understatement to say that our work on
the committee has been daunting and difficult. This
has truly been a humbling experience for us, and we
would like to salute and recognize the hard work, care,
and dedication that our colleagues have devoted to the
preservation and dissemination of knowledge through
their research and publications. We recognize the
important contributions they are making to our
disciplines and to enhancing awareness and
appreciation of the arts and expressive cultures of
Africa and the African Diaspora.

Receiving Honorable Mentions in the category of
"outstanding publication by one or two authors are,
in alphabetical order by author: Playing with Time:
Art andPerformance in Central Mali, by MARY JO
ARNOLDI; African Vodun: Art, Psychology, and
Gelede Spectacle: Art, Gender, and Social Harmony
in an African Culture, by BABATUNDE LAWAL;
and New Traditions from Nigeria: Seven Artists of
the Nsukka Group, by SIMON OTTENBERG.

T he winner in this category is: Veit Erlmann, for
SNightsong: Performance, Power, and Practice
in South Africa, published by the University of
Chicago Press. This book provides the first
comprehensive interpretation of the South African
vocal genre known as isicathamiya, performed by a
cappella choirs composed of Zulu migrant workers
during all-night competitions in South African cities.
Erlmann's work incorporates a deep understanding of
the music's history and its place within South African
history. Part of the history of this genre is conveyed
through the illustrations of album covers, programs,
posters, and photographs of the performers. The
publication effectively addresses the dynamism of
isicathamiya performances and issues of class, race,
oppression, struggle, triumph, and creativity. Like the
music itself, Erlmann's interpretation shifts in tempo,
at times providing the theoretical and social frames
within which the performances are grounded; at other
times offering us the perspective of performers or
members of the audience. The work is nicely framed
by the thoughts of renowned isicathamiya performer
Joseph Shabalala, leader of the acclaimed Durban
group Ladysmith Black Mambazo.

Receiving Honorable Mentions in the category of
"outstanding publication by three or more authors"
are, in alphabetical order by editor: Status and
Identity in West Africa: Nyamakalaw of Mande,
FRANK; Seven Stories about Modern Art in Africa,
edited by CLEMENTINE DELISS; Memories: Luba
Art and the Making of History, edited by MARY
and Let's Get it ON: The Politics of Black
Performance, edited by CATHERINE UGWU.
The winner in this category is: Sacred Arts of
Haitian Vodou, edited by DONALD J. COSENTINO
and published by the UCLA Fowler Museum of

Cultural History. This volume of essays is a tour-de-
force that addresses in a sensitive manner a
challenging and potentially politically charged topic.
Much as the dramatic display of vodou flags
shimmers and sparkles in the wonderful exhibition
that the publication accompanies, this beautifully
produced, full-color, almost larger-than-life
publication shimmers and sparkles in celebration not
only of the arts of a complex and dynamic religious
and artistic tradition, but also of the work of specific
artists. The richness of the images is balanced by the
multifaceted texts covered in the publication offers all
of us-students and scholars-multiple ways to
understand and appreciate the creative spirit that
infuses the artists and practitioners of Haitian vodou.


* AUG. 16 NOV 29 1998 "African Forms in the
Furniture of Pierre Legrain" opens at the
Smithsonian's National Museum of African Art. The
exhibition compares three African works to four by 10
the French designer Pierre Legrain (1889-1929), one
of the founders of Art Deco movement. Jacques
Doucet and Jeanne Tachard, two of Legrain's clients,
commissioned Legrain to create furniture to
complement their African sculpture. Visit the
museum's homepage for details: http://www.si.edu/

* SEPT. 20 1998 FEB. 28 1999 "South Africa,
1936-1949: Photographs by Constance Stuart
Larrabee" will be on view in the Sylvia H. Williams
Gallery of the Smithsonian's National Museum of
African Art, Washington, D. C. Constance Stuart
Larrabee (b. 1914) lived and worked as a professional
photographer in South Africa until she moved to the
United States in 1950. The 79 featured images, drawn
from a large collection of photographs given to the
museum by the photographer in 1997, reveal her
imaginative vision and attentiveness to human
expression. The images are divided into three sections:
"Observing Life in the Countryside," "Witnessing
History in Southern Africa," and "Depicting Life in
the City and Mines." Christraud Geary, head of the
museum's Elliot Elisofon Photographic Archives and
Curator of the exhibition, will give a free gallery talk


SNorth America, Europe & Asia *

Norbert Aas
amt/ahc, Aelolf-von-Gloss Str. 8
95445 Bayreuth, GERMANY
Home: 001-921-22781
Office: 001-921-22781
Fax: 001-921-852506

Rowland Abiodun
Amherst College
Department of Fine Arts
Amherst, MA 01002
Home: 413-253-4069
Office: 413-542-5801
Fax: 413-542-2133

Joshua Adamo
P. 0. Box 2004
Sheperdstown, WV 25443

Sarah Adams
106 Exchange Street
New Haven, CT 06513

African Arts
James Coleman African Studies
Box 951310, UCLA
Los Angeles, CA 90095-1310
Office: 310-825-1218
Fax: 310-206-2250
email: afriarts@ucla.edu

African Studies Center
University of California
Los Angeles, CA 90024-1479
Office: 213-825-1218

African Studies Association
Rutgers University 132 George St
New Brunswick. NJ 08901-1400
Office: 732-932-8173
sFax: 732-932-3394
email: callasa@rci.rutgers.edu

Martha Anderson
64 W. University St.
Alfred, NY 14802
Home: 607-587-9550
Office: 607-871-2468
Fax: 607-871-2490

Lois Anderson
4521 Humanities Bldg
455 N. Park St., School of Music
University of Wisconsin
Madison,WI 53706
Tel. 608-238-8613
email: Lama@macc.wisc.edu

Karel Arnaut
Eendrachtstraat 71
Gent, Belgium 9000
Te. 09/2342498

Mary Jo Arnoldi
Smithsonian Institution
Dept.of Anthropology NHB 112
Washington, DC 20560
Home: 202-357-1396
Office 202-357-2208
email: mnhan033@sivm.si.edu

Lisa Aronson
Dept. of Art and Art History
Skidmore College
Saratoga Springs, NY 12866
Home: 518-458-2491
Office: 518-584-5000 x2741
Fax: 518-581-8386
email: laronson@skidmore.edu

Art Institute of Chicago Ryerson
111 South Michigan Ave.
Chicago, IL 60603-6110

Kelly Askew
20 Exeter St.
Arlington, MA 02174
Home: 617-641-4541
Fax: 617-496-8041
email: kaskew@fas.harvard.edu

Ron Atwood
44913 Meadow Circle
Mendocino, CA 95460
Tel: 707-937-3819

Paul Austerlitz
Music Dept.
Brown University
Providence, RI 12912

Home: 401-863-3711
Fax: 401-863-1256
email: paul_austerlitz@brown.edu

Ramona Austin
Dallas Museum of Art
1767 Harwood
Dallas, TX 75201

Daniel Avorgbedor
110 Weigel Hall
School of Music
Ohio State University
Columbus, OH 43210-1170
Home: 614-261-6756
Office: 614-292-9441
Fax: 614-292-1102
email avorgbedor.l@osu.edu

Megan G. Bahr
1312 New Sharon Church Road
Hillsborough, NC 27278

Susan Bailey-Lang
6108 Indianola Ave.
Indianapolis, IN 46220
Home: 317-923-1331 x 136
Office: 317-253-2385
Fax: 317-926-8931

Baltimore Museum of Art
Art Museum Drive
Baltimore, MD 21218
Home: 410-235-6130
Office: 410-396-7056
Fax: 410-396-6562

Cynthia Becker
726 W. Main St., Apt. 305
Madison, WI 53715
LeGrace Benson
314 E. Buffao St.
Ithaca, NY 14850
Tel. 607-256-0807
email: lbenson@sescva.esc.edu

Eli Bentor
Department of Art
Appalachian State University
Boone, NC 28608
Home: 704-264-6173

Office: 704-262-2579
Fax: 704-262-6312
email: bentore@appstate.edu

Lane K. Berk
210 E. Montgomery St.
Baltimore, MD 21230
Home: 410-727-1880
Judith Bettelheim
5308 Manila Ave.
Oakland, CA 94618
Home: 510-653-1769
Offie: 415-338-2176
Fax: 415-338-6537
email: Betheim@sfsu.edu

Kathleen E. Bickford
Asst. Curator for African Art
The Art Institute of Chicago
111 S. Michigan Ave.
Chicago, IL 60603-6110
Home: 773-728-9511
Office: 312-857-7172
Fax: 312-443-0849
email: kbickford@artic.edu

Kenneth Bilby
3 Mount Rutsen Rd.
Rhinebeck, NY 12572

David Binkley
Nelson-Atkins Mus of Art
4525 Oak Street
Kansas City, MO 64113
Home: 816-523-8482
Office: 816-751-1210
email: 816-561-7154

Barbara W. Blackmun
9850 Ogram Drive
La Mesa, CA 91941
Home: 619-461-5930
Office: 619-627-2928
Fax: 619-461-1013
email: 76256.2125@compuserve.com

Leslie T. Blanton
1171 East Grant House B
Tucson, Arizona 85719
Tel. 520-670-0090
email: blanton@u.arizona.edu

Jean Borgatti
295 Maple Avenue
Shrewsbury, MA 01545
Home: 508-793-9695
Office: 508-799-2570
Fax: 508-752-4383
email: jborgatti@aol.com

Diane Bouchard
c/o 8745 14th Ave., Suite 216
Lakewood, CO 80215
Home: 303-235-0823
Office: Zambia 2601-263446
Fax: 303-237-0772

Peter Brach
240 Park Street
Haworth. NJ 07641
Home: 201-385-2869
Office: 212-612-0395
Fax: 212-667-0797
Sarah Brett-Smith
287A Nassau Street
Princeton, NJ 08540
Home: 609-921-3463
Office: 908-932-7041
Fax: 908-932-4603

Ernest Brown
Williams College
Department of Music
54 Chapin Hall Drive
Williamstown, MA 01267
Home: 413-458-3556
Office: 413-597-3266
Tel. 413-597-3100
Alice Burmeister
Dept. Art & Design
Winthrop University
140 McLaurin Hall
Rockhill, SC29733
email: BurmeisterA@Winthrop.edu

Elisabeth L. Cameron
1429 S. Westgate
Los Angeles, CA 90025
Home: 310-479-2902
Office: 310-825-1030
Fax: 310-206-7007
email: ecameron@fmch.ucla.edu

Bolaji Campbell
116 Collidge St., #3
Irvington, NJ 07111

Amanda Carlson
22 1st avenue, Apt. 4
New York, NY 10009
Tel.: 212-9951113
email: findamanda@aol.com

Theodore Celenko
Indianapolis Museum of Art
1200 West 38th Street
Indianapolis, IN 46208
Office: 317-923-1331
Fax: 317-926-8931

S. Terry Childs
Archaeology & Ethnography
National Parks Service
1849 C. St. NW (MS2275)
Washington, D.C. 20240

Cleveland Museum of Art
Library-Serials Dept
11150 East Blvd.
Cleveland, OH 44106
Office: 216-421-7340 x550
Fax: 216-421-0411
email: bm.cmt@rlg.bitnet

Herbert M. Cole
Art History Department
UC-Santa Barbara
Santa Barbara, CA 93106
Office: 805-893-3501
email: skipcole@humanitas.ucsb.edu

College Art Association
275 Seventh Avenue
New York, NY 10001
Office: 212-691-1051

Michael Conner
821 W. 6th Street
Bloomington, IN 47404-3633
Home: 812-334-0131
Office: 812-334-0131
Fax: 812-323-1438
email: conner@indiana.edu

Susan Cooksey
508 Brown Street #2
Iowa City, IA 52245
Home: 319-341-9874
Office: 319-335-1771
email: susan-cooksey@uiowa.edu

Jeremy Coote
Pitt Rivers Museum
South Parks Road
Oxford OX1 3PP
Office: 1865-270929
Fax: 1865-270943
email: jeremy.coote@prm.ox.ac.uk

Elis6e Coulibaly
12 Rue Fessart
Paris, FRANCE 75019

Elsbeth Court
6 Grenville Mansions
40 Hunter Street
London WC1N 1BG
Fax: 44-171-637-1006
email: ec6@soas.ac.uk

Alison Laird Craig
630 Fort Washington Ave. # 4E
New York, NY 10040
Tel. 212-7950453

Mary E. Cumming
266 Tuthill Lane
Mobile, AL 36608

Esther A. Dagan
42 Anwoth, Westmount
Quebec H3Y 2E7
Office: 514-931-4747
Fax: 514-931-4747

Patricia Darish
5825 McGee
Kansas City, MO 64113
Home: 816-523-8482
Office: 913-864-4713
Fax: 913-864-5091
email: pdarish@falcon.cc.ukans.edu

Bing Davis
201 Lexington Avenue
Dayton, OH 45407

Brooke Davis Anderson
Diggs Gallery
Winston Salem State University
601 Martin Luther King, Jr. Drive
Winston-Salem, NC 27110
Home: 910-777-8313
Office: 910-750-2458
Fax: 910-750-2459

Willis Bing Davis
Central State University
Paul Robeson Cultural Center
Wilberforce, OH 45384

Warren D'Azevedo
1755 Allen Street
Reno, NV 89509
Home: 702-786-5331
Office: 702-784-6704

Louis de Strycker
Av. des Prisonniers Politique 2/12
B-1150 Brussels
Office: 32-2-762-9965
Fax: 32-2-770-5528

Aboudja Derencourt
c/o B. Quick
Fowler Museum UCLA
Los Anageles, CA 90095-1549

William J. Dewey
2506 Princeton Rd.
Iowa City, IA 52245
Home: 319-351-3721
Office: 319-335-1784
Fax: 319-335-1774
email: william-dewey@uiowa.edu
Boureima Diamitani
201 I St., Apt. V-127
Washington, D.C. 20024

J.I. Dibua
Department of History
Morgan State University
Baltimore, MD 21239

Lidia Domaszewicz
3402 Tulane Drive, Apt. 34
Hyattsville, MD 20783

Anne Doquet
Lugaignac, FRANCE 33620

David Doris
Yale University
Dept. of the History of Art
P.O. Box 208272
New Haven, CT 06511
Home: 203-787-9227
email: david.doris@yale.edu

Henry Drewal
Dept. of Art
History--Elvehjem Museum of Art
University of Wisconsin-Madison
Madison, WI 53706
Home: 608-233-2348
Office: 608-263-9362
Fax: 608-265-6425

Shannon Dudley
University of Washington
School of Music, Box 353450
Seattle, WA 98195-3450

Roberta Ann Dunbar
CB#3395, 401 Alumni
University of North
Carolina-Chapel Hill
Chapel Hill, NC 27599-3395
Home: 919-732-9647
Office: 919-966-2942
Fax: 919-962-2694
email: radunbar@email.unc.edu

Education Department
Indianapolis Museum of Art
1200 W. 38th Street
Indianapolis, IN 46208

David L. Easterbrook
Melville J. Herskovits Library of
African Studies
Northwestern University
Evanston, Illinois 60208-2300

Martha J. Ehrlich
338 N. Fillmore Street
Edwardsville, IL 62025-1758
Home: 618-692-6262
Office: 618-692-3183

Joanne B. Eicher
2179 Folwell Ave.
St. Paul, MN 55108
Home: 612-645-2914
Office: 12-624-7710
Fax: 612-624-2750
email: jeicher@che2.che.umn.edu

Stefan Eisenhofer
Planegger Str 83A
81231 Munchen
Home: 089-88-33-39

Kate Ezra
5483 Hyde Park Blvd.
Chicago, IL 60615
Home: 312-955-0413
Office: 312-663-1600 x5749
Fax: 312-663-1707
email: kate.ezra@mail.colum.edu

William A. Fagaly
915 Saint Philip St. #15
New Orleans, LA 70116-2407
Home: 504-522-9142
Office: 504-483-2630
Fax: 504-484-6662

Richard J. Faletti
3165 E. Stella Lane
Phoenix, AZ 85016
Home: 602-224-9297
email: rfaletti@aol.com
D. Francine Farr
1435 4th St. SW, #B-102
Washington, DC 20024
Tel. 202-488-7401
Laurie Farrell
600 North Pantano Rd,
Tucson, AZ 85710

Roslyn Fassett
165 Little York Rd.
Warwick, NY 10990

Tel. 912-258-4396

Marc Leo Felix
20 Avenue Marie-Clotilde
B-1170 Brussels
Home: 32-2-672-7054
Office: 32-2-672-7054
Fax: 32-2-672-6176

Monique Fowler-Paul
844 E. Lee St.
Tuscon, AZ 85719
email: monique@uarizona.edu

Pamela Franco
1322 N. Damen St., Apt. #3
Chicago, Illinois 60622

Barbara Frank
SUNY-Stony Brook
Department of Art
Stony Brook, NY 11794-5400
Home: 516-474-2986
Office: 516-632-9257
Fax: 516-632-7261
email: bfrank@ccmail.sunysb.edu

Steven Friedson
College of Music
University of North Texas
Denton, TX 76203

Andrea Frohne
P. O. Box 780
Vestal, NY 13851
Tel. 607-786-0866
email: bf20415@binghamton.edu

June Gaddy
91 Wellington St.
Hempstead, NY 11550

Phyllis Galembo
125 West 16th, Apt.140
New York, NY 10011
Home: 212-645-2378

Mona Gavigan
Gallery Affrica, Inc.
2010 1/2 R Street, NW
Washington, DC 20009
Office: 202-745-7272

Christraud M. Geary
National Museum of African Art
MRC 708
950 Independence Ave. SW
Washington, DC 20560
Home: 202-863-9468
Office: 202-357-4600 x280
Fax: 202-357-4879
email: afaem016@sivm.si.edu

Serials Dept.
Getty Research Institute Library
401 Wilshire Blvd., Suite 700
Santa Monica, CA 90401-1455

Danielle Gold
2 Maple Close
London, UK N31AS
Tel. 44-0181-346-3354
email: dgold@dial.pipex.com

Adrienne Gosselin
2440 Overlook Rd., #14
Cleveland Hts, OH 444106

Suzanne Gott
1300 S. Palmer
Bloomington, IN 47401

Gilbert Graham
6 Harvard Dr.
Woodbury, NY 11797
Tel. 516-692-8706

Roda Graham
6 Harvard Drive
Woodbury, NY 11797
Tel. 516-692-8706
email: gilandr@banet.net

Rebecca L. Green
School of Art
Bowling Green State University
Bowling Green, OH 43403
Home: 419-354-8108
Office: 419-372-8514
Fax: 419-372-2544
email: rlgreen@lognet.bgsu.edu

Janine Gugler
53 Monticello Lane
Storrs, CT 06268
Home: 203-429-3417

Joseph Gugler
Department of Sociology
University of Connecticut
Storrs, CT 06269-2068
Tel. 860-429-3417

Grey Gundaker
400 Laurel Lane
Lookout Mountain, TN 37350

Frank Gunderson
407 2 South Lincoln
Bloomington IN 47401
Tel. 812-337-8407

Rosalind I.J. Hackett
University of Tennessee
Department of Religious Studies
501 McClung Tower
Knoxville, TN 37966
Home: 423-588-1562
Office: 615-974-2466
Fax: 615-974-0965
email: rhackett@utk.edu

Michael Hamson
1304 De La Vina St, #8A
Santa Barbara, CA 93101
Tel. 805-962-9076

Judith Lynne Hanna
8520 Thornden Terrace
Bethesda, MD 20817
Office: 301-365-5683
Fax: 301-365-5683
email: jhanna@bssz.umd.edu

Kris Hardin
1037 Boylan Rd., No. 3
Montana State University
Bozeman, MT 59715

Frances Harding
Dept. of Africa
University of London
Thornhaugh Str. Russell Square
Tel. 0171-323-6246
email: fh@soas.ac.uk

Elizabeth Harney
Draper Program in Library Studies
New York University
285 Mercer St., 2nd fir
New York, NY 10003-6607
Home: 212-260-0790
Office: 212-998-8891
Fax: 212-995-4691
email: eah2@is5.nyu.edu

Michael D. Harris
2 Rhygate Court
Durham, NC 27713
Home: 919-962-2015
Office: 919-572-0150
Fax: 919-962-0722

William A. Hart
University of Ulster-Coleraine
County Londonderry
BT52 1SA Coleraine
Home: 02165-324311
email: WA.HART@ulst.ac.uk

Brigitte Hecker
316 E. Church Street
Iowa City, IA 52245

Arthur Henning
2616 N. Clark St.
Chicago, IL 60614-1531
Home: 312-404-7441
Office: 312-549-1854
Fax: 312-549-1849

Harlan Henson
425 N. College St.
Auburn, AL 36830
Home: 334-844-4504
Fax: 334-844-4983

Eugenia Herbert
26 Ashfield Lane
South Hadley, MA 01075
Home: 413-536-3864
email: eherbert@mhc.mtholyoke.edu

Dunja Hersak
University Libre de Bruxelles
Section d'Histoire d'Art, C.P. 175
Avenue Franklin Roosevelt 50

1050 Bruxelles
Office: 322-650-4356
Fax: 322-658-4349

Beth Huggins
3700 N. Campbell, Apt. 908
Tucson, AZ 85719

Tazim Jaffer
5698 Lamplighter Drive
Girard, OH 44420
Home: 330-759-9742
Office: 330-759-7038
Fax: 330-759-7071
email: maneno@aol.com

dele jegede
2623 Harrison Avenue
Terre Haute, IN 47803
Home: 812-232-0038
Office: 812-237-3722
Fax: 812-237-2567
email: arjeged@ruby.indstate.edu

Veronika Jenke
National Museum of African Art
950 Independence Avenue, S.W.
Washington, D.C. 20560
Office: 202-357-4600, ext 225
Fax: 202-357-4879
email: afaem013@sivm.si.edu

Bennetta Jules-Rosette
UC-San Diego 0533
Department of Sociology
9500 Gilman Drive
La Jolla, CA 92093 0533
Home: 619-436-1621
Office: 619-436-5882
Fax: 619-755-7590
email: bjulesro@weber.ucsd.edu

Al Kagan
Africana Unit, 328 Library
University of Illinois
Urbana, IL 61801

Carolee Kennedy
1050 N. Stuart St. #229
Arlington, VA 22201
Home: 703-841-5871
Office: 202-401-4130
Fax: 703-841-2187

Nadine Kibanda
102-35 64th Road
Forest Hills, NY 11375

Betty LaDuke
610 Long Way
Ashland, OR 97520
Home: 503-482-4562

Frederick Lamp
Baltimore Museum of Art
Art Museum Drive
Baltimore, MD 21218
Home: 410-235-6130
Office: 410-396-7056
Fax: 410-396-6562

Paul Landau
765 Orange St., #2
New Haven, CT 06511
Home: 203-432-1361
Office: 203-562-7942
Fax: 203-432-7587
email: paul.landau@yale.edu

Kirsten Langeveld
Dept. of Cultural Anthropology
W.C van Unninkgehouw
Heidelberglaan 2-III
3584CS Utrecht
Home: 31-20-364-1697
Office: 31-30-253-4103
Fax: 31-305-34-666
email: k.langeveld@fsw.ruu.nl

Babatunde Lawal
Department of Art History
School of the Arts
Virginia Commonwealth University
922 W. Franklin St.-P.O. Box
Richmond, VA 23284-3046
Home: 804-346-4450
Office: 804-828-2784
Fax: 804-828-7468
Elliot Lawrence
129 E. 91st St.
New York, NY 10128
Home: 212-474-6434
Office: 212-860-0835

Sidney Littlefield Kasfir
Art History Department
Carlos Hall
Emory University
Atlanta, GA 30322
Home: 404-633-2660
Office: 404-727-0808
Fax: 404-727-2358
email: hartsk@emory.edu

Carol Ann Lorenz
Dept. of Art and Art History
Colgate University
Hamilton, NY 13346
Home: 315-893-7296
Office: 315-824-7184
Fax: 315-824-7787

Kristyne S. Loughran
Lungarno Serristori 9
Florence 50125
Home: 39-55-234-10-76
Fax: 39-55-234-67-32
email: klough@dada.it

Lorn Lucker
11255 North Torrey Pines Rd.
La Jolla, CA 92037

Wyatt MacGaffey
Department of Antrhopology
Haverford College
370 Lancaster
Haverford, PA 19041

Carolyn P. Maitland
160 Henry Street
Brooklyn, NY 11201

Diminique Malaquais
501 East 87th St., Apt 7J
New York, NY 10128

Amanda Martin
611 W. 6th St.
Lawrence, KS 66044

Babalorisa John Mason
Yoruba Theological Archministry
488 Putnam Ave.
Brooklyn, NY 11221
Home: 718-453-5550
Office: 718-453-5550

Niangi Batulukisi Matota
4 Rue Chome-Wyns
1070 Brussels

Jane Matthews
P.O. Box 483
San Juan Capistrano, CA 92693
Home: 714-248-7404

325 Audubon Blvd
New Orleans, LA 70125

David Mayo
UCLA Fowler Museum
Campus Box 951549
Los, Angeles CA 90095-1549

Elizabeth McAlister
Dept. of Religion
Wesleyan University
171 Church St.
Middletown, CT 06459
Office: 860-685-2289
Fax: 860-685-2821
email: emcalister@wesleyan.edu

Rita Parham McCaslin
School of Art & Art History
James Madison University
Harrisonburg, VA 22807
Home: 540-433-8060
Office: 540-568-3486
Fax: 540-568-6598
email: mccaslra@jmu.edu

Peggy McDowell
Dept. of Fine Art
University of New Orleans
New Orleans, LA 70148
Home: 504-280-6494
Office: 504-288-0768
Fax: 504-280-7346

Linda L. McIntyre
University of Iowa
100 Oakdale Hall, Rm. N1510H
Iowa City, Iowa 52242
Office: 319-335-4098
Fax: 319-335-4097
email: lee-mcintyre@uiowa.edu

Patrick McNaughton
615 E. Northcliff Ave
Bloomington, IN 47408-9749
Home: 812-334-3614
Office: 812-8552548
Fax: 812-855-9556
email: mcnaught@ucs.indiana.edu

Cory Micots
406 Royal Creek Drive
Roswell, GA 30076
Tel. 770-992-4942

Kimberly Miller
303 Glen Thistle Ct.
Madison, WI 53705
Office: 608-233-2348
Home: 608-263-9362

Brenda Molife
630 Reno St.
Iowa City, IA 52245
email: BJMolife@aol.com
Eileen Moyer
228 Brown Street
Iowa City, Iowa 52245
Home: 319-335-4098
Office: 319-338-3661
Fax: 319-335-4097

Rebecca Martin Nagy
North Carolina Museum of Art
2110 Blue Ridge Road
Raleigh, NC 17607
Office: 919-839-6262, ext 2147
Fax: 919-733-8034

Conchita Ndege
1713 Chapel St.
Winston-Salem, NC 27127
Home: 336-723-0457
Office: 336-334-7874
Fax: 336-334-7837

Casimira Nhussi
201 Valhaousie Drive
Winnipeg, Manitoba


Andrea Nicolls
MPC 708
Smithsonian Institution
Washington, DC 20024
Office: 202-357-4600 x234
Fax: 202-357-4879
email: afaem021@sivm.si.edu

Nancy Ingram Nooter
5020 Linnean Avenue, NW
Washington, DC 20008
Home: 202-966-0306
Office: 202-966-0306

Joanna Ochsner
Indiana University
Fine Arts 132
Bloomington, IN 47405
Home: 812-877-6404
Work: 812-855-9556
Fax: 812-855-9556
email: jgrabski@indiana.edu

Ann O'Hear
Room 104, St. Vincent's Hall
Niagara University
Niagara Falls, NY 14109
Home: 716-282-5487
Office: 716-286-8074
Fax: 716-286-8063
email: ohear@niagara.edu

Mikelle Smith Omari
University of Arizona
Tuscon AZ, 85721
Home: 520-621-9330
Office: 520-621-2955
email: msomaoba@ccit.arizona.edu

Simon Ottenberg
University of Washington
2317 22nd Avenue East
Seattle, WA 98112
Office: 206-322-5398

Philip M. Peek
Drew University
Department of Anthropology
Madison, NJ 07940
Home: 201-822-3425
Office: 201-408-3383

Fax: 201-408-3768
email: ppeek@drew.drew.edu

John Peffer
355 Douglass St., #2
Brooklyn, NY 11217
email: jmpl2@columbia.edu

Tristine Perkins
Children's Museum
P. O. Box 3000
Indianapolis, IN 46206-3000
Home: 317-722-1376
Office: 317-924-5431

Constantijn Petridis
245 East 58th Street, Apt. 3B
New York, NY 10022
Home: 212-583-1237
Office: 212-650-2155
Fax: 1-4022822

Renee Pinz6n
3471 Wyman Street
Oakland, CA 94619
Tel. 510-536-5797
email: crystal@fnreach.com

Nancy Poplinger
5300 Aberdeen
Fairway, KS 66205

Merrick Posnansky
5107 Rubio Avenue
Encino, CA 91436-1124
Home: 818-986-1381
Office: 818-986-2014

Robin Poynor
Professor, Art History
102 FAA
University of Florida
Gainesville Fl 32611-5800
Office 352-392-0201 x223
email: rpoynor@ufl.edu

Roger H. Prager
139 Sand Dollar Lane
Sarasota, Fl 34242

Sharon Pruitt
East Carolina University
School of Art Jenkins Fine
Arts Center
Greenville, NC 27858-4353
Home: 919-328-1296
Office: 919-754-2085
Fax: 919-328-6441

Labelle Prussin
3 Anders Lane
Pomona, NY 10970
Home: 914-354-8964
Work: 914-354-8964
Fax: 914-354-0625

Betsy Quick
Fowler Museum
UCLA Box 951549
Los Angeles, CA 90095-1549
Te. 310-825-9341

Benjamin Ray
60 Birch Lane
Charlottesville, VA 22911

Josephus V. Richards
6 Justice Dr.
Amherst, MA 01002

Helen A. Regis
Anthropology Program
Mississippi State Univ.
MSU, MS39762
Tel. 601-325-7523
Fax 601- 325-8690

Betsy Cogger Rezelman
14 Judson St.
Canton, NY 13617-1113
Office: 315-379-5109
Fax : 315-379-7425
email: BREZ@music.stlawu.edu

Robert Goldwater Library
Metropolitan Museum of Art
1000 Fifth Avenue
New York, NY 10028

Allen F. Roberts
Anthropology 114 MH
University of Iowa

Iowa City, IA 52242
Home: 319-351-1885
Office: 319-335-0522
Fax: 319-335-0653
email: allen-roberts@uiowa.edu

Mary "Polly" Nooter Roberts
1510 Muscatine Ave.
Iowa City, IA 52240
Home: 319-351-1885
email: allen-roberts@uiowa.edu

Meredith Rode
5114 Battery Lane
Bethesda, MD 20814
Home: 301-654-1378
Office: 202-274-5548
Fax: 301-656-1322

Arnold M. Rogoff
Ethnographic Arts Publications
1040 Erica Rd
Mill Valley, CA 94941
Home: 415-388-9788
Office: 415-383-2998
Fax: 415-388-8708
email: eapl040@aol.com

Rhoda Rosen
7255 N. Bell#2
Chicago IL 60645

Doran H. Ross
Fowler Museum of Cultural History
UCLA, Box 951549
Los Angeles, CA 90095-1549
Office: 310-825-4259
Fax: 310-206-7007
email: dross@fmch.ucla.edu

Vicki Rovine
University of Iowa Museum of Art
150 N. Riverside Dr.
Iowa City, IA 52242-1789
Home: 319-354-7439
Office: 319-353-2468
Fax: 319-335-3677
email: victoria-rovine@uiowa.edu
Dana Rush
925 E. Wells, #615-616
Milwaukee, WI 53202
Tel. 414-276-7764

Sainsbury Research Unit
Arts of Africa, Oceania, & the
Sainsbury Centre
University of East Anglia
Norwich NR4 7TJ
Office: 1603-592498
Fax: 1603-259401
email: sru.library@uea.ac.uk

Anne-Louise Schaffer
Museum of Fine Arts
P. O. Box 6826
Houston, Texas 77265
emai: ajde@juno.com

Cynthia Schmidt
11744 N. Park Avenue
Seattle, Washington 98033
Tel. 206-543-9878

Elizabeth Ann (Betty) Schneider
876 Melville Ave
Palo Alto, CA 94301
Home: 415-328-3448
Office: 415-328-3448
email: EATS22@aol.com
Timna Seligman
The Isreal Museum
P.O. Box 71117
Jerusalem, 91710 Israel
Home: 972-2-6716159
Office: 972-2 -670-8955
Fax: 972-2-6708094

Serials Office, Library
Thornhaugh Street
Russell Square
London WC1H OXG

Helen Shannon
300 Cathedral Pkwy. #5H
New York, NY 10026

Stacy Sharpes
PO Box 2004
Shepherdstown, WV 25443
Tel. 304-876-1497
email: asharp01@shepherd.wvnet.edu

Thomas Shaw
70 La Salle St., Apt. 12D
New York, NY 10027

Bronwyn Shields
3555 N. 1st Ave., #F 13
Tucson, AZ 85719
Tel. 520-88-9059

Roy Sieber
114 Glenwood East
Bloomington, IN 47401
Home: 812-332-6945
Office: 812-855-1098
Fax: 812-855-9556

William Siegmann
The Brooklyn Museum of Art
200 Eastern Parkway
Brooklyn, NY 11238
email: wsiegm7172@aol.com

Raymond A. Silverman
Michigan State University
Art Department
East Lansing, MI 48824
Home: 517-336-9230
Office: 517-353-9114
Fax: 517-432-3938
email: bonduku@msu.edu

Richard Singletary
3600 Greenwood Dr.
Portsmouth, VA 23701-3341
Home: 757-487-7362
Office: 757-465-2950
Fax: 757-487-1786
email: RASINGLE@aol.com

Christopher Slogar
4704 Calvert Road, #2
College Park, MD 20740

Tel. 301-864-2822
email: slogar@wam.umd.edu

Smithsonian Institution
African Art Library
Quad Room 2138
Washington, DC 20560

L. G. A. Smits
de Friedhof 14
Ellecom, Nederland 6955BP
Tel. 0-313-421318

Neal Sobania
A3930 Beeline Rd.
Holland, MI 49423
Office: 616-394-7605
Fax: 616-395-7937
email: sobania@hope.edu

Robert T. Soppelsa
1655 Illinois Street
Lawrence, KS 66044
Office number: 785-231-1124
Home number: 785-841-1935
Fax number: 785-234-2703
email: zzsopp@acc.wuacc.edu

Anne M. Spencer
The Newark Museum
Box 540, 49 Washington St.
Newark, NJ 07101
Home: 908-561-6385
Office: 201-596-6663

Barbara Thompson
Art History Department
University of Iowa
Iowa City, IA 52242
Home: 319-351-8743
Office: 319-335-4098
Fax: 319-335-4097
email: bthomps@blue.weeg.uiowa.edu

Janet Stanley
1791 Lanier Place N.W. Apt.23
Washington, DC 20009-2138
Office: 202-357-4600 x285
Fax: 202-357-4879
email: libem010@sivm.si.edu

Nancy Steele Hamme
Art Department
State University of West Georgia
Carrollton, GA 30118
Home: 770-830-7344
Office: 770-836-4532
Fax: 770-836-4392

Scott Stoner
John F. Kennedy Center
Washington, DC 20566-0001
Tel. 202-416-8873
email: stoner@artsedge.kennedy-

Zoe Strother
Department of Art History and
Columbia University
904 Schermerhorn, mail code 5517
1190 Amsterdam Ave.
New York, NY 10027
Home: 212-864-9615
Office: 212-854-4230
Fax: 212-854-7329
email: zssl@columbia.edu

Kalidou Sy
1705 Devon Lane
Bloomington, IN 47401
Home: 812-323-2039
Office: 812-323-2039

Ilona J. Szombati
P O Box 70043
1007KA Amstersdam
Krista Thompson
P. O. Box 21336
Emory University
Atlanta GA 30322

Robert F. Thompson
Yale University
Dept. of the History of Art
New Haven, CT 06520

Diane Thram
608 W. 8th Street
Bloomington, IN 47404

Lillian Trager
Dept. of Sociology&Anthropology
Univ. of Wisconsin-Parkside
Kenosha, WI 53141
Home: 414-632-4610
Office: 414-595-2543
Fax: 414-595-2183
email: trager@cs.uwp.edu

Obiora Udechukwu
Dept. of Fine Arts
St. Lawrence University
Canton, NY 13617
Home: 315-229-5084
Office: 315-379-9075
Fax: 315-229-7425

Wilfried Van Damme
University of Ghent
Tennisbaanstraat 34
Ghent, Belgium 9000
Tel. 31-9-2207043
email: wilfried.vandamme@rug.ac.be

Gary Vanwyk
130 Barrow St.
New York, NY 10014-2856
Tel. 212-924-6034
email: lbrittan@aol.com

Vera Viditz-Ward
Department of Art
Old Science Hall
Bloomsburg University
Bloomsburg, PA 17815
Home: 717-387-8606
Office: 717-389-4851
Fax: 717-389-4946
email: viditz@planetx.bloomu.edu

Monica Blackmun Visona
12542 W. Mississippi Ave.
Lakewood, CO 80228-3519
Tel. 303-989-7748

Jerome Vogel
108 Wooster St.
New York, NY 10012
Home: 212-226-2080
Office: 212-226-2080

Fax: 212-226-2080

Susan Vogel
112 Prince Street
New York, NY 10012
Home: 212-966-7787
Office: 212-431-3930
email: svogel@igc.org

Kersten Volker-Saad
Department of History
Morgan State University
12161 Berlin

Vivian Walker
Box 676
Pomona, NY 10970
Tel. 914-354-6630

Roslyn A. Walker
National Museum of African Art
Smithsonian Institution MRC
Washington, DC 20560
Home: 202-484-1358
Office: 202-357-4600 x203
Fax: 202-357-4879
email: afgem022@sivm.si.edu

Harry West
701 E. High Street
Charlottesville, VA 22902

Jerry Wever
532 S. Dubuque St., No. 1
Iowa City, IA 52240-4244
Tel. 319-354-7180
email: jerry-wever@uiowa.edu

Bob White
Dept. of Anthropology
McGill University
855 Sherbrooke West
Montreal, Quebec
Tel. 514-674-2948
email: bwhitel@pobox.

Rosalinde G. Wilcox
10520 Draper Avenue

Los Angeles, CA 90064
Home: 714-248-2768
Office: 714-582-4404
Fax: 714-347-0580

Frank Willett
583 Anniesland Road
Glasgow, Scotland G13 1UX
Home: 41-959-3424
Office: 41-959-3424
Fax: 41-954-7028

Lyneise Williams
186 Edwards St., # 4
New Haven, CT 06511
Tel. 203-624-7016
email: lyneise.williams@yale.edu

Hans Witte
Museum Kamstraat 55
6522 GB Nijmegen
Home: 024-3238930

Marcilene K. Wittmer
University of Miami
Department of Art/Art History
Coral Gables, FL 33124
Home: 305-661-9069
Office: 305-284-2542

Norma Wolff
Iowa State University
Dept of Anthropology
319 Curtiss Hall
Ames, IA 50011
Home: 515-232-2857
Office: 515-294-5599
Fax: 515-294-1708
Joyce Youmans
9212 Lichtenauer Dr., #540
Lenexa, KS 66219
Tel. 913-599-1742

Jonathan Zilberg
6609 Hillside Dr.
Fort Worth, TX 76132
Home: 817-763-0130

Africa and the Caribbean *

Dr. Arthur Abraham
Institute of African Studies
Fourah Bay College

Mr. Usman Abudah
Estate Woods, 56th Street
Federal Housing Estate, Ikpoba Hill
P. O. Box 5537
Benin City, NIGERIA

University of Abuja Library
P.M.B. 117
Abuja, Federal Capital Territory

Research Library on African Affairs
P.O.B. 2970
Accra, GHANA

Dr. Nurudeen Abubakar
Center for Nigerian Cultural Studies
Ahmadu Bello University
Zaria, Kaduna State, NIGERIA

Mr. Samuel Aco
Inst. National du Patrimoine Culturel
C.P. 1267
Luanda, R.R. ANGOLA

Dr. Alexis Adand6
B.P. 1057
Porto Novo

Dr. Codjovi Joseph Adand6
B.P. 06-1275
PK3 Cotonou

Addis Ababa University Library
P.O.B. 1176
Addis Ababa

Mr. Bayo Adebowale
African Heritage Research Library
P.O. Box 121
Ila Orangun, Oshun State, NIGERIA

Mr. Nath Mayo Adediran
Gidan Makama Museum
P.O. Box 2030
Kano, Kano State, NIGERIA

Mr. Oluremi F. Adedayo
National Museum
P.M.B. 54
Minna, Niger State, NIGERIA

Ms. Adetokumbo Adekeye-Abimbola
4A, Igbore Street, Iwaya Road
Onike Yaba, Lagos, NIGERIA

Mr. Ayodele Adetokumbo
35 Maye Street
P.O. Box 2584
Yaba, Lagos, NIGERIA

Mr. Coffi Guillaume Adjaho
Conseiller Technique A la Culture
B.P. 120

Dr. Cornelius O. Adepegba
Institute of African Studies
University of Ibadan
Ibadan, Oyo State, NIGERIA

Dr. Adimado Aduayom
Departement d'Histoire
University du B1nin, B.P. 1515
Lome, TOGO

Centre de Recherches Culturelles
B.P. 276

Mr. George B. Affia
University of Port Harcourt Library
P.M.B. 5323
Port Harcourt, NIGERIA

Ms. B. M. Pfukani
Africa University Library
P. O. Box 1320

African Art Centre
8 Guildhall Arcade
35 Gardiner Street

Dr. Babatunde Agbaje-Williams
Institute of African Studies
University of Ibadan
Ibadan, Oyo State, NIGERIA

Mr. John-Tokpabere Agberia
Department of Creative Arts
University of Port Harcourt
P. O. Box 41, Uniport P. O.
Choba, Port Harcourt, NIGERIA

Mr. Kokie Agboutaen-Eghafona
Dept. of Sociology and Anthropology
University of Benin

Benin City, Edo State, NIGERIA

Mr. Hassaan Ali Ahmed
28, Gameat EI-Dowal El-Arabia Street
Ground Floor, Apt. #2
El-Mohandissien, Guiza, Cairo,

Mr. L6onard Ahonon
Mus6e Historique d'Abomey
B.P. 25

Mr. A. M. Ahuwan
Department of Industrial Design
Ahmadu Bello University
Zaria, Kaduna State, NIGERIA

Mr. Frank Olusanya Ajayi
Department of Fine Arts
College of Education
Ikere-Ekiti, Ondo State, NIGERIA

Mr. Martins O. Akanbiemu
National Museum
P.M.B. 12556
Onikan, Lagos, NIGERIA

Ms. Justina E. Akata
National Museum of Colonial History
P.M.B. 7116
Aba, Imo State, NIGERIA

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11, Bassie Ogamba Street
Surulere, Lagos, NIGERIA

Mr. Toyin Akinosho
Festac News
Plot 43B, First Avenue
Festac Town, Lagos, NIGERIA

Mr. David A. Akinpelu
National Museum
P.M.B. 12556
Onikan, Lagos, NIGERIA

Mr. Kola Akintola
Gallery 365, c/o Tunakin Group of
18 U. Ibadan Bodija Express Road
P. O. Box 7141 Secretariat
Ibadan, Oyo State, NIGERIA

Dr. Tunde Akinwumi
Department of Industrial Design
Yaba College of Technology

Akbdi Afrika
P.M.B. 1004
Iffe-Ijimu, Kogi State, NIGERIA

Mr. Tunde Akomolafe
Isenbaye Art Gallery and Cultural
52 Catholic Mission Road
Oshogbo, Oshun State, NIGERIA

Professor E. J. Alagoa
P.O. Box 125
University of Port Harcourt
Port Harcourt, NIGERIA

Ms. Sanaa Ali
Curator, Luxor Museum
Luxor, EGYPT

Mr. Zaccheus Sunday Ali
Centre for Black and African Arts
and Civilisation
National Theatre, P.M.B.12794

Dr. Idris O. O. Amali
Department of English
University of Maiduguri, P.M.B. 1069
Maiduguri, NIGERIA

Mr. Gilbert Amegatcher
College of Art
University of Science and Technology
Kumase, GHANA

Mr. El Anatsui
Department of Fine & Applied Arts
University of Nigeria
Nsukka, Enugu State, NIGERIA

Professor Bassey Andah
Department of Archaeology
University of Ibadan
Ibadan, Oyo State, NIGERIA

Ms. Michelina Andreucci
Springstone, The Garden Gallery
5 Idlehurst Way, Avondale

Dr. Chike C. Aniakor
Institute of African Studies
University of Nigeria
Nsukka, Enugu State, NIGERIA

Mr. Chidi Anicho
Ogbete Congregation
30 Port Harcourt Street
Enugu, Enugu State, NIGERIA

Dr. F. N. Anozie
Department of Archaeology
University of Nigeria
Nsukka, Enugu State, NIGERIA

Dr. James Anquandah
Department of Archaeology
University of Ghana
P.O. Box 3
Legon, GHANA

Ms. Chinwe F. Anyaegbuna
National Museum
P.M.B. 1285
Enugu, Enugu State, NIGERIA

Ms. Peggy Appiah
P.O. Box 829
Kumase, GHANA

Dr. Starling E. N. Anyanwu
National Museum
P.M.B. 036

Professor David Aradeon
Faculty of Environment Design
University of Lagos
P.M.B. 12003

Dr. David A. Aremu
Dept. of Archaeology & Anthropology
University of Ibadan
Ibadan, Oyo State, NIGERIA

Dr. P. S. O. Aremu
Department of Fine Arts
Obafemi Awolowo University
Ile-Ife, Oshun State, NIGERIA

Mr. A. A. Areo
Department of Fine and Applied Arts
St. Andrew's College of Education
P.M.B. 1010
Oyo, Oyo State, NIGERIA

Mr. Adebowale B. Areo
National Museum
P.M.B. 5515, Enuwa Square
Ile-Ife, Oshun State, NIGERIA

AREWA House Library
Ahmadu Bello University
P. O. Box 2006
Kaduna, Kaduna State, NIGERIA

Dr. Kwame Arhin
Institute of African Studies
University of Ghana
Legon, Accra, GHANA

Mr. James E. Arhuidese
Institute of Archaeology/Museum
Jos, Plateau State, NIGERIA

Mr. Emmanuel Arinze
Heritage Consultancy Bureau
P. O. Box 71041
Victoria Island, Lagos, NIGERIA

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15 Polo Road, Observatory
Cape Town 7925, SOUTH AFRICA

Arquivo do Patrimonio Cultural
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C.P. 2702

Ms. Ibironke P. Ashaye
National Museum
P.M.B. 1469
Ilorin, Kwara State, NIGERIA

Dr. Raymond N. Asombang
Centre for Anthropological Studies
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B.P. 1844

Mr. Romain-Philippe Assogba
Mus6e d'Ethnographie
B.P. 299
Porto Novo

Mr. Tsenum Awua
N5/808H Academy, Iwo Road
University of Ibadan P. O. Box 19381
Ibadan, Oyo State, NIGERIA

Mr. Bernard Ayuk
Ministry of Information and Culture
National Museum

Dr. Daniel Ola Babalola
Department of Fine Arts
Ahmadu Bello University
Zaria, Kaduna State, NIGERIA

Mr. Obare B. Bagodo
B.P. 82
Porto Novo

University de Bangui
B.P. 1450

National Cultural Foundation
West Terrace
St. James

Mus6e National de Prehistoire
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3 rue Franklin Roosevelt
Algiers, ALGIRIA

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Barbados Museum & Historical
St. Ann's Garrison
St. Michael, BARBADOS

Bayero University Library
Nigeriana Section
P.M.B. 3011
Kano, Kano State, NIGERIA

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University Art Galleries
University of the Witwatersrand
Private Bag 3, Wits 2050

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South African National Gallery
Government Avenue, P.O.B. 2420
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Dr. Henry Bell-Gam
Department of Creative Arts
University of Port Harcourt
Port Harcourt, NIGERIA

Ms. Rasidat
Isenbaye Art Gallery and Cultural
52 Catholic Mission Road
Oshogbo, Oshun State, NIGERIA

Dr. Sule Bello
National Council for Arts & Culture
Iganmu, National Theatre
P. O. Box 2959
Surulere, Lagos, NIGERIA

University Library
University of Benin
Benin City, Edo State, NIGERIA

University Nationale du B6nin
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B.P. 1515
Lome, TOGO

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Ahmadu Bello University
Zaria, Kaduna State, NIGERIA

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31 Putney Road
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Kentse Bogatsu
Private Bag 114
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History of Art
University of the Witwatersrand
WITS 2050, Johannesburg, SOUTH

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J. W. Jagger Library
University of Cape Town
Rondebosch 7700, SOUTH AFRICA

Musee National du Congo
B.P. 459

British Institute in Eastern Africa
P.O. Box 30710
Nairobi, KENYA

Mr. Jerry Buhari
Department of Fine Arts
Ahmadu Bello University
Zaria, Kaduna State, NIGERIA

University Officielle de Bujumbura
B.P. 1320
Bujumbura, BURUNDI

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National Museums of Kenya
P. O. Box 40658
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11 Bolton Avenue
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P.M.B. 1115
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Direction Nationale de la Culture
B.P. 617

Mr. Mamadou Camara
C. N. Gunes Co., B.P. 964

Mr. Bolaji Campbell
Department of Fine Arts
Obafemi Awolowo University
Ile-Ife, Oshun State, NIGERIA

Mr. Leonard Cardoso
B.P. 338

Dr. Charles V. Carnegie
African-Caribbean Institute of Jamaica
12 Ocean Boulevard, Kingston Mall
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c/o Yemi Adekeye
4A Igbore Street, Iwaya Road
Onike, Yana, Lagos, NIGERIA

Centre Amadou Hampat6 Ba
B.P. 1511, Missira Rue 20x35
Bamako, MALI

Centre Culturel Africain
Rue Victor Hugo
Bell Village Port-Louis

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University of Lagos
Akoko-Yaba, Lagos, NIGERIA

B.P. 770
Libreville, GABON

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Ave 3ra 1805 e/18 7 20
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Department of Religious Studies
Chancellor College, P. O. Box 280

Mr. Martin Chembere
5 Chatima Road
P. O. Box Mbare

Mr. C. T. Chimimba
Museums of Malawi
P. O. Box 30360
Blantyre 3, MALAWI

Ms. Gloria Chianu Chuma-Ibe
Centre for Black and African Arts and
National Theatre, P.M.B. 12794

Dr. V. E. Chikwendu
Department of Archaeology
University of Nigeria
Nsukka, Enugu State, NIGERIA

Mr. Chinedu Chukueggu
Department of Creative Arts
University of Port Harcourt, P.M.B.
Port Harcourt, Rivers State, NIGERIA

Mr. B. K. Chukwuezi
Departmentof Sociology/Anthropology
University of Nigeria
Nsukka, Enugu State, NIGERIA

Mr. LeRoy Clarke
28 West Hill, Cascade
Port of Spain

Coastal Museums Programme/Coastal
Fort Jesus Museum, PO Box 82412
Mombasa, KENYA

Mr. C. Bellarmia Codo
B.P. 03-2891

Ms. Mary O. Coker
Old Residency Museum
P.M.B. 1180
Calabar, Cross River State, NIGERIA

Community Arts Project (CAP)
Sir Lowry Road, P.O. Box 13140
Cape Town 7900, SOUTH AFRICA

Bibliothbque Universitaire
B.P. 2025

Mr. Roy Cook
Matombo Gallery
6 Zimre Centre, 114 Moffatt Street

Mr. Alda Costa, Director
Departamento de Museus
Ministerio da Cultura, Casa de Terro
C.P. 2702

Musde Nationale d'Abidjan
B.P. 1600
Abidjan 225, COTE D'IVOIRE

Tony Cunningham
Plants Initiative
P. O. Box 42
Betty's Bay 7141, SOUTH AFRICA

Africana Museum
Cuttington University College
Box 277
Monrovia, LIBERIA

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15 Dunblane Road
Bulawayo, ZIMBABWE

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Tanzania Library Service
PO Box 9283
Dar es Salaam, TANZANIA

University of Dar es Salaam Library
P.O.B. 35092
Dar es Salaam, TANZANIA

Ms. Patricia Davison
Department of Ethnography
South African Museum
P.O. Box 61
Cape Town 8000, SOUTH AFRICA

Mr. Ahmed Dawalbeit
Project Ecomusee Urbain de Dakar
ENDA Tiers-Monde
B.P. 3370

Mr. G. W. K. Dawson
Dawson Art Centre
P. O. Box 2
Nima, Accra, GHANA

Ms. Henrietta Dax
Clarke's Bookshop
211 Long Street
Cape Town 8001, SOUTH AFRICA

Mr. Francois de Necker
Department of Fine Art
University of Namibia
Private Bag 13301
Windhoek 9000, NAMIBIA

Mr. Abi A. Derefaka
University of Port Harcourt Museum
Choba, P.M.B. 5323
Port Harcourt, NIGERIA

Mme. Rachida De Souza
Musee Ethnographique de Porto Novo
B.P. 299, Porto Novo

Dr. Victor Diabete
Institute d'Histoire, d'Art et
d'Arch6ologie Africains
University d'Abidjan
08 B.P. 945, Abidjan, COTE

Mr. M. Diaby
B.P. 25
Djenn6, MALI

Mr. Ibnou Diagne
B.P. 5303
Dakar-Fann, SENIGAL

Mr. Tiohona Moussa Diarrassouba
Institute d'Histoire, d'Art et
d'Arch6ologie Africains, Universit6
08 B.P. 945

Dr. J. I. Dibua
Department of History
University of Benin
Benin City, Edo State, NIGERIA

Dr. Chike Dike
National Gallery of Modern Art
National Theatre

Mr. Ifedioramma Dike
Department of Fine & Applied Arts
Nnamdi Azikiwe University
Awka, Anambra State, NIGERIA

Ms. Ndidi Dike
230 Awolowo Road, Flat #3
P.O. Box 51866, Ikoyi Post Office
Falamo, Ikoyi, Lagos, NIGERIA

Ms. Marie-Amy Mbow Diop
Musee d'Art Africain de Dakar
B.P. 6167
Dakar-Etoile, SINIEGAL

Mr. Denis C. Dohou
Musee Historique
B.P. 25

Dr. Francis Duah
Ghana National Museum
P.O. Box 3343
Accra, GHANA

Mr. Neville Dubow
Michaelis School of Fine Art
University of Cape Town
Rondebosch 7700

Ms. Abgail & Mr. Isaac Dzingire
5696 Juluka Road
Bulawayo, ZIMBABWE

Mr. Christopher Ebigbo
Department of Fine Arts
University of Benin, P.M.B. 1154
Benin City, Edo State, NIGERIA

Mr. Joe Eboreime
National Museum
P.M.B. 1115
Benin City, Edo State, NIGERIA

Department de Arqueologia
Universidade Eduardo Mondlane
C.P. 257

Mr. Osa D. Egonwa
Department of Fine, Applied and

Performing Arts
Delta State University, Abraka
Abraka, Delta State, NIGERIA

Ms. Annaleen Eins
National Art Gallery of Namibia
P. O. Box 994
Windhoek, NAMIBIA

Dr. L. C. Ekechukwu
Department of Archaeology
University of Nigeria
Nsukka, Enugu State, NIGERIA

Ms. Violetta I. Ekpo
National Museum
P.M.B. 1109
Uyo, Cross River State, NIGERIA

Mr. Rod Adoh Emi-Oliseyenum
Department of Fine Arts
Ogun State College of Education
P.M.B. 2118
Ijebu-Ode, Ogun State, NIGERIA

Ms. T. B. Eniade
No. 64 Odi-Olowo Street
Oshogbo, Oshun State

Mr. Joseph I. Enuechie
Delta State Council for Arts and
P. O. Box 71
Ogwashi-Uku, Delta State, NIGERIA

Mr. Toni Eseagwu
Department of Industrial Design
Ahmadu Bello University
Zaria, Kaduna State, NIGERIA

Mr. Nsikek Essien
Department of Fine Arts
Institute of Management & Technology
Enugu, Enugu State, NIGERIA

Dr. J. M. Essomba
Departmente de l'Histoire
University de Yaound6

Mr. Patrick C. Ezeh
National Museum
P.M.B. 1585
Owerri, Imo State, NIGERIA

Mr. Nfor G. Fai
St. Rita's College
P. O. Box 52, Nkambe
Songa-Mantung Division

Northwest Province, CAMEROON

Ms. Anthonia K. Fatunsin
National Museum
P.M.B. 5524
Ibadan, Oyo State, NIGERIA

Mr. Manzambi Vivu Fernando
Museu Nacional de Antropologia
C.P. 2159
Luanda, ANGOLA

Mr. Manuel Figueira
Centro Nacional de Artesanato
S. Vicente

Mr. Kunle Filani
Department of Art
Federal College

of Education

Mr. Matt Fischer
P. O. Box 1375

Dr. C. A. Folorunso
Department of Archaeology
University of Ibadan
Ibadan, Oyo State, NIGERIA

Ms. Nancy Forgione
46 Melvill Road
Illovo 2196, SOUTH AFRICA

University of Fort Hare Library
Private Bag 1313
Alice 5700, Ciskei

Fort Jesus Museum Library
P.O. Box 82412
Mombasa, KENYA

Mr. Kojo Fosu
Department of Art Education
University of Science and Technology
Kumase, GHANA

Institute of African Studies Library
Fourah Bay College

Dr. M. Oladipo Fowowe
Department of Fine and Applied Arts
University of Benin
Benin City, Edo State, NIGERIA

Mr. Japhet Funwayo
853 Old Magwegwe
P. O. Magwegwe
Bulawayo, ZIMBABWE

Mr. Degife Gabre-Tsadik
Institute of Ethiopian Studies Library
P.O.B. 1176
Addis Ababa University
Addis Ababa, ETHIOPIA

Dr. Boub6 Gado
Institute de Recherches en Sciences
Humaines, Universit6 de Niamey
B.P. 318
Niamey, NIGER

Ms. Helen-Afi Gadzekpo
Ghana Film Industry Corporation
P. O. Box M83
Accra, GHANA

Mr. Nalikuleni Gama
56717 Old Lobengula
P. O. Magwegwe
Bulawayo, ZIMBABWE

Gambia National Library
Reg Pye Lane PMB

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Centre for Trans-Saharan Studies
P.M.B. 1069
Maiduguri, Borno State, NIGERIA

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P. O. Box BW 238, Borrowdale

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Institute Nacional des Artes
Direcgao Feral da Cultura
C.P. 338

Ms. Mariame Gba
Bibliotheque Municipal
Avenue Crosson duPlessis, B.P. V254

Mr. Kolawole Patrick Gbaja
National Museum, P.M.B. 2004
Idi-Aba, Abeokuta, Ogun State

Dr. Emmanuel A. Gbajavi
NW5/259, Idioro Ekotedo
Ibadan, Oyo State

Dr. Yaro Gella
National Commission for Museums
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P.M.B. 12556

Balme Library
University of Ghana
P.O.Box 24
Legon, Accra, GHANA

Mr. Ablade Glover
Department of Art Education
University of Science and Technology
Kumase, GHANA

Professor Michael Godby
Department of the History of Art
University of Cape Town
Private Bag Rondebosch
Cape Town 7700, SOUTH AFRICA

Ms. Colette Gounou
Mus6e Honm6
B.P. 299
Porto Novo

Mr. Felizardo A. J. Gourgel
Museu do Dundo
C.P. 54

Mus6e National du Costume
Grand Bassam 225

Museu da Guine-Bissau
C.P. 37

Mus6e National du Guinee
B.P. 561

Mr. Jorge Gumbe
C. P. 5754

Mr. Roy Guthrie
Chapungu Sculpture Park
Msasa, P. O. Box 2863

Regional Director
Zimbabwe Military Museum
P. O. Box 1300


Ms. Beverly Hall-Alleyne
Institute of Jamaica
12-16 East Street
Kingston, JAMAICA

Mr. Magdy Sayed Kalifa Hassanein
Cairo Museum
Kasr El Nile, Tahrer Square
Cairo, EGYPT

Reverend Joseph Healey
Maryknoll Missioners
P.O. Box 867
Dar es Salaam, TANZANIA

Professor Paulin J. Hountondji
Interafrican Council for Philosophy
B.P. 1268

Mr. Wessel van Huyssteen
Visual Arts and Craft Academy
46 President Street
Germiston 1401, SOUTH AFRICA

Reference Librarian
University of Ibadan Library
Ibadan, Oyo State, NIGERIA

Mr. Anselm Ibeanu
Department of Archaeology
University of Nigeria
Nsukka, Enugu State, NIGERIA

Mr. Ba Ibrahima
Service du Patrimoine MJS/C
B.P. 215
Niamey, NIGER

Dr. Benjo N. Igwilo
Department of Fine & Applied Arts
University of Nigeria
Nsukka, Enugu State, NIGERIA

Dr. Bashir Ikara
AREWA House, Ahmadu Bello
P.O. Box 2006
Kaduna, Kaduna State, NIGERIA

Mr. Okay Ikenegbu
P. O. Box 9032
Enugu, Enugu State

Mr. Peter Ikechukwu O. Ikwueme
National Museum
9 Ogui Road, P.M.B. 1285

Enugu, Enugu State, NIGERIA

Mr. C. Krydz Ikwuemesi
Equemesy Place, P. O. Box 134
Ogidi, Anambra State

University Librarian
Obafemi Awolowo University
Ile-Ife, Oshun State

University of Ilorin Library
P.M.B. 1518
Ilorin, Kwara State, NIGERIA

Institute des Mus6es Nationaux de Zaire
B.P. 4249

Museum, Institute of Ethiopian Studies
Addis Ababa University
P.O.B. 1176
Addis Ababa, ETHIOPIA

Institute of Kiswahili and Foreign
Sanduku La Posta/P. O. Box 882
Kidutani, Zanzibar

Mr. Levi Izuakor
National Museum
P. M. B. 12256

Ms. Vicky James
National Commission for Museums
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P.M.B. 12556
Onikan, Lagos, NIGERIA

Mr. Jacob Jari
Department of Fine Arts
Ahmadu Bello University
Zaria, Kaduna State, NIGERIA

Dr. J. F. Jemkur
Centre for Nigerian Cultural Studies
Ahmadu Bello University
Zaria, Kaduna State, NIGERIA

Professor Elias Jengo
Art, Music & Theatre Department
University of Dar es Salaam
P.O. Box 35044
Dar es Salaam, TANZANIA

Mr. B. F. Jenkins
Department of Fine Arts

Yaba College of Technology

Mr. Rashid Jogee
144 Fourth Street
Bulawayo, ZIMBABWE

Johannesburg Art Gallery Library
P. O. Box 23561
2044 Johannesburg, SOUTH AFRICA

Jos Museum
Jos, Plateau State

Mr. Abdu Rahman Mohamed Juma
Zanzibar Museum
P.O. Box 116
Zanzibar, TANZANIA

Mr. Joseph Jumah
33 Jarvis Road
Queenspark West
Bulawayo, ZIMBABWE

Ms. Otilia Kadenge
National Gallery of Zimbabwe Library
P.O. Box CY 848, Causeway

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P.O. Box 987
Ogbomosho, Oyo State

Mr. Muhammed Kamoga
African Research Center for the
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P.O. Box 9312
Kampala, UGANDA

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Department of Antiquities & Museums
P. O. Box 5718
Kampala, UGANDA

Mr. Benjamin W. Kankpeyeng
Upper East Regional Museum
P. O. Box 86

Ms. Aneesa Kassam
P.O. Box 40319

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South African National Gallery
Government Avenue, P.O.B. 2420
Cape Town 8001, SOUTH AFRICA

Mr. Roy Kausa
c/o Zambia National
Henry Tayali Visual
Lusaka, ZAMBIA

Visual Arts

Arts Centre,

National Museums of Kenya Library
P.O. Box 40658
Nairobi, KENYA

Kenyatta University Library
P.O. Box 43844
Nairobi, KENYA

University of Khartoum Library
P.O.B. 321
Khartoum, SUDAN

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B.P. 4278
Ouagadougou, BURKINA FASO

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Department of the History of Art
University of Cape Town
Private Bag Rondebosch
Cape Town 7700, SOUTH AFRICA

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303 Fattis Mountain
66 Harrison Street
Johannesburg 2001, SOUTH AFRICA

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Musee Nationale
B.P. 262

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Association des Artistes Plasticiens du
B.P. 04-0001

Mr. Mamman Kuku
Government Teachers' College
P.M.B. 1017
Wukari, Gongola State, NIGERIA

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437 A Square, Njube Suburb
P. O. Mpopoma
Bulawayo, ZIMBABWE

Mr. M. G. Kumwenda
Museums of Malawi
P.O. Box 30360, Chichiri
Blantyre, MALAWI

University of Kwa Zulu Library
Private Bag
Kwa-Dlangezwa via Empangeni
Natal 3880, SOUTH AFRICA

Mr. Atta Kwami
College of Art, PO Box 50
University of Science & Technology
Kumase, GHANA

Mr. David M. Kyule
Department of History
University of Nairobi, P.M.B. 30197
Nairobi, KENYA

Ghandi Library
University of Lagos
Akoko-Yaba, Lagos

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Mus6e d'Art Africain de Dakar
B.P. 6167
Dakar-Etiole, SINIGAL

Lamu Museum Library
P.O. Box 48

Mr. Djould6 Laya
Centre d'Etudes Linguistiques et
Historiques par la Tradition Orale
B.P. 878
Niamey, NIGER

Ms. Peju Layiwola
c/o O. O. Layiwola
Institute of African Studies
University of Ibadan
Ibadan, Oyo State, NIGERIA

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Department of Fine Art and Art
University of Natal
Private Bag X01
Scottsville 3209, SOUTH AFRICA

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Johannesburg Art Gallery
P. O. Box 23561
2044 Johannesburg, SOUTH AFRICA

National University of Lesotho Library
P.O.B. Roma

Mr. Sikiru Akinlabi Liasu
National Museum
P.M.B. 2031


National Museum of Liberia HOLD
P.O. Box 101
Monrovia, LIBERIA

Livingstone Museum
Mosi-oa-Tunya Road
P.O.B. 60498
Livingstone, ZAMBIA

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Mahatma Gandhi Institute

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P. O. Box 50079
Lusaka, ZAMBIA

Univ. National



Campus de Lubumbashi
B.P. 2896
Lubumbashi, DEMOCRATIC

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Museu de Angola
C.P. 1267C
Luanda, ANGOLA

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64647/64 Tshabalala
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Mr. Rufaro Mahonde
Natl Museums and Monuments of
P. O. Box 8540, Causeway

University of Maiduguri Library
P.M.B. 1069
Maiduguri, Borno State

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P.M.B. 1285
Ogui Junction
Enugu, Enugu State, NIGERIA

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Meridien BIAO Bank
P. O. Box 37158
Lusaka, ZAMBIA

University of Malawi Library
Chancellor College
P.O. Box 280

Service de Documentation
Musee National
B.P. 159
Bamako, MALI

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Musde National
B.P. 248
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Funda Centre/Funda Community
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Department of Fine Arts and History
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University of Durban-Westville
Private Bag X54001
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University of Dar es Salaam
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African Window
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National Museums and Monuments
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Vista University
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Association for Creative Teaching
ACT Office, KRC, P.O. Box 510
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Institute Nacional de Estudos
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Mr. Georges Meurillon
Mus6e National
B.P. 159
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Kabulonga Girls Secondary School
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Museu Nacional de Antropologia
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Mzilikazi Art and Craft Centre
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National Museum
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60 Ascot Road
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Department of Fine Art
Kenyatta University
P.O. Box 43844
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Department of Arts, Music and
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University of Dar es Salaam
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5903 Luveve (5)
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Moto Moto Museum
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Southern Africa Federation of the
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Department of Music
University of Natal
King George V
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Museums of Malawi
P.O. Box 30360
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Kamwala Secondary School
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National Museums and Monuments
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University of Namibia
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Mundema African Art Workshop
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University of the Witwatersrand
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History of Art Department
University of the Witwatersrand
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Advance Afrika (Int.) Dynamics
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University of Zambia
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Musee Historique d'Abomey
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Yaba College of Technology
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University of Nigeria
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O-kun Cultural Centre
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National Museum
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Federal College of Education
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National Museum
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Department of Fine and Applied Arts
Federal College of Education, P.M.B.
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Treasure House Limited
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Department of Industrial Design
Federal University of Technology,
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Natural History Museum
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Department of Modern European
Ogun State University
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Erusui Secondary School
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Serem, KENYA

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Department of Industrial Design
Federal University of Tehcnology,
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Department of Fine Arts
Obafemi Awolowo University
Ile-Ife, Oshun State, NIGERIA

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c/o Ms. C. O. Ojo-Ade
Obafemi Awolowo University Library
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Department of Fine & Applied Arts
Federal Polytechnic, P.M.B. 21
Oko, Aguta, Anambra State,

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Box 583
Saba, Lagos


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Department of Fine and Applied Arts
University of Nigeria
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P. O. Box 3032
Department of Fine and Applied Arts
University of Nigeria
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Asele Institute
P.M.B. 1001
Nimo, Anambra State, NIGERIA

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20 Eaza Road
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Abakalili, Enugu State, NIGERIA

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Centre for Nigerian Cultural Studies
Ahmadu Bello University
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P. O. Box 9284
Enugu, Enugu State, NIGERIA

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National Commission for Colleges of
P.M.B. 2341

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Department of Fine Arts
Ahmadu Bello University
Zaria, Kaduna State, NIGERIA

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Institute of African Studies
University of Nigeria
Nsukka, Enugu State, NIGERIA

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Department of Archaeology
University of Nigeria
Nsukka, Anambra State, NIGERIA

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Department of History
University of Ilorin
Ilorin, Kwara State, NIGERIA

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N5/808H Academy Iwo Road
U.I. P. 0. Box 19381


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Maasai Cultural Center
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Nairobi, KENYA

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P. O. Box 1970
Luanda, ANGOLA

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Department of Fine & Applied Arts
University of Nigeria
Nsukka, Enugu State, NIGERIA

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National Museum, P.M.B. 1115
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Isenbaye Art Gallery and Cultural
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Joymab Gallery, 22 Tapa Street
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International Black
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Centre for Cultural Studies
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Ovuomaroro Gallery
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Department of Fine and Applied Arts
Ahmadu Bello University
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Owerri, Imo State, NIGERIA

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P. O. Box 40536
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Isenbaye Art Gallery and Cultural
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Department of English
Ogun State University
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Secretariat P. O.
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National Museum
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Department of Fine Arts
Ahmadu Bello University
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Zambia National Visual Arts Council
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Anse Chaudiere
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East African Centre for Research
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Department of English
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Mus6e d'Art et d'Archeologie

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Department of Art History
University of the Witwatersrand
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Centre d'Art et d'Archeologie
University de Madagascar
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Department of Fine Art & Art History
UNISA, P.O. Box 392
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Merit Colour Laboratory, No. 26 Oyo
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1 Magnet Street
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Vice President's Office
Oral History and Antiquities
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Mus6e National
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Ethnographical Museum

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University of the Witswatersrand
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National Museum
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Centre Ahmed Baba de Tombouctou
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National Heritage Conservation
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Ministry of Culture
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National Museums of Kenya
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Dept. of History, Archaeology Section
University of Zimbabwe
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ADA P. O. Box 16093
Vlaeburg 8018, SOUTH AFRICA

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Ministere de la Culture et des
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Government Avenue
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P. O. Box 53864
Ikoyi, Lagos State

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Johannesburg Art Gallery
P. O. Box 23561, Joubert Park
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Margaret Trowell School of Fine Art
Makerere University
Kampala, UGANDA

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Private Bag
Kwalusene, SWAZILAND

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Mus6e National du Mali
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Centre National de Documentation et
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College of Social Sciences
Addis Ababa University
P.O.B. 1176
Addis Ababa, ETHIOPIA

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Inst. de Arte e Communicaglo Social
Universidade Federal Fluminense
Rua Prof.Lara Vilela,126-CEP 24210-
Niter6i Rio de Janeiro, BRAZIL

Dr. Toussaint Tchitchi
University Nationale du B1nin
B.P. 526

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Design and Development Services
P.O. Box 82
Windhoek, NAMIBIA

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Department of Paintings and Sculpture
University of Science and Technology
Kumase, GHANA

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National Gallery in Bulawayo
P. O. Box 1993
Bulawayo, ZIMBABWE

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Department of Anthropology
University of the Witswatersrand, P.O.
Johannesburg 2050, SOUTH AFRICA

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University of Namibia
P. O. Box 8221
Windhoek 9000, NAMIBIA

Centre de Documentation et de
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B.P. 14
Tombouctou, MALI

Mus6e National de Togo
Departement Cultural Affairs
Lom6, TOGO

Ms. Florence Torson
W. E. B. Dubois Memorial Centre for
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P. O. Box C975
Cantonments, Accra, GHANA

Mr. Samson Uchendu
Department of Fine Arts
Institute of Management & Technology
Enugu, Enugu State, NIGERIA

Professor Obiora Udechukwu
Department of Fine & Applied Arts
University of Nigeria
Nsukka, Enugu State, NIGERIA

Uganda Museum
5-7 Kira Road
P.O. Box 365
Kampala, UGANDA

Mr. Ogbuefi Vincent Ughenu
P. 0. Box 37
Nkpor, Idemili Local Government
Anambra State, NIGERIA

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c/o Mr. Chukwuma Ugwuanyi
National Commission for Colleges of
P.M.B. 2341
Kaduna, Kaduna State, NIGERIA

Mr. Uyilawa Usuanlele
National Council for Arts & Culture
P.O. Box 12708
Benin City, Edo State, NIGERIA

Serials Division
University of South Africa Library
P. O. Box 392
Pretoria 0001, SOUTH AFRICA

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Rex Fashion & Design
25 Ibiyoye Street
Mile 2, Ojo Road
Ajekunle, Apapa, Lagos, NIGERIA

University of Uyo Library
P.M.B. 1017

Uyo, Akwa Ibom State

Dr. Johnny A. Van Schalkwyk
National Cultural History Museum
P.O. Box 28088
Sunnyside 0132, SOUTH AFRICA

Dr. E. ViviersP. O. Box 905
Ifafi 0260

Mr. James H. Wade
P.O. Box 5441
Maiduguri, Borno State

Ms. Bolanle Wahab
P. O. Box 22182
University of Ibadan Post Office
Ibadan, Oyo State, NIGERIA

Dr. Solomon Irein Wangboje
Creative Arts Centre
9 Utomwen/Owoseni Street
P.O. Box 3596, New Benin
Benin City, Edo State, NIGERIA

Ms. Ann Wanless
Africana Museum
Market Square
Johannesburg 2001, SOUTH AFRICA

Dr. Liese van der Watt
Department of History of Art and Fine
UNISA, P.O. Box 392
Pretoria 0003, SOUTH AFRICA

Dr. J. A. R. Wembah-Rashid
Institute of African Studies
University of Nairobi
P.O. Box 30197
Nairobi, KENYA

University of the West Indies Library
Mona, Kingston 7

University Librarian
University of the Witwatersrand
Private Bag 31550
Braamfontein, Johannesburg 2017

Yaba College of Technology Library
P.M.B. 2011
Yaba, Lagos, NIGERIA

University de Yaound6
B.P. 1312

Mr. Lawrence Yombwe
Matero Boys Secondary School
P. O. Box 32494
Lusaka, ZAMBIA

Mr. Gavin Younge
Michaelis School of Fine Art
University of Cape Town
Rondebosch 7700, SOUTH AFRICA

University of Zambia Library
P.O.B. 32379

National Heritage
Chishimba Falls Road
P.O.B. 60124
Livingstone, ZAMBIA


Ms. Grazyna Zaucha
Choma Museum
P. O. Box 630189

Mr. Ahmed Zekarias
Institute of Ethiopian Studies Museum
Addis Ababa University, P.O.B. 1176
Addis Ababa, ETHIOPIA

Zimbabwe Museum of Human Sciences
P. O. Box 8006, Causeway

Zimbabwe Museum Natural History
Leopold Takawira Avenue & Park
P.O. Box 240
Bulawayo, ZIMBABWE

exhibitions, contd.

on Sept. 20 at 3 p.m. Geary is the author of a free
exhibit brochure.

*The National Museum of African Art exhibition is
being held in conjunction with two other area displays
of Larrabee's work: "Constance Stuart Larrabee: Life
During Wartime, 1936-1945," at the Corcoran
Gallery of Art (Aug. 15 Oct. 15) and "Faces of
Tangier Island: Photographs by Constance Stuart
Larrabee" at the Chesapeake Bay Maritime
Museum in St. Michaels, MD (Aug. 29 1998 -
March 14, 1999). Visit the museum's website at:

MAR. 27 AUG. 15 Heritage of Peace and
Reconciliation opened at the Nairobi National
Museum. This exhibition is a result of four years of
learning experiences focusing on Eastern Africa's
"Cultures of Peace" by a team led by Sultan Somjee
of the division of Ethnography, National Museums of
Kenya. Over 200 artifacts, which refer to a diversity
of reconciliation rituals and events among pastoralist
groups of Eastern Africa, are supported by texts,
photographs, slides, and videos. The exhibit is
accompanied by the publication, Honey and Heifer,
Grasses, Milk and Water: A Heritage of Diversity
and Reconciliation. For details, contact:
biodive@tt.gn.apc.org. Tel. (02)742131/4.

JUNE 8 23 Three Painters from Ethiopia:
Adamu, Kidane, Qanna opens at the Leighton
House Museum, 12 Holland Park Rd, London. The
London exhibition introduces forty allegorical works
on canvas of three contemporary artists from
Ethiopia. Eva Dadrian, writer, broadcaster, and
specialist on East African affairs, will give an
illustrated talk on "Contemporary Ethiopian Art
Scene" on June 13, 1998 at 3 p.m. The exhibition is
organized by Rose Issa and Remy Audouin. Call
Rose Issa (0171-243-8111) for details.

JUNE 29 JULY 12 Letters in Clay, Silk, Paper
& Steel Rachid opens at the Leighton House
Museum, 12 Holland Park Rd, London (tel. 0171-
602-3316). The leading Algerian artist Rachid
Koraichi (b.1947) presents some thirty works on
paper, silk, clay, and steel. Koraichi has been actively
involved in the struggle for democracy and freedom of
speech in Algeria and he lives mostly in Sidi Bou Said

in Tunisia. The exhibition is organized and curated by
Rose Issa.

* MIXED DATES: 1998 National Art Gallery of
Namibia, Windhoek exhibits and activities this
year include Kuru Art Project (art and craft
from D'Kar, Botswana, Oct. 15 Nov. 15); Expo
'98 (Namibian art in Lisbon, Portugal, May -
Oct.); Visual Art Heritage (collection of
Namibian art from 1864-1997; till Dec.). For
additional information and to send news items for
publication in the Gallery's newsletter arterial,
send e-mail to: nagn@nam.lia.net (tel. 231160)

* MAY 23 SEPT. 7 African Pathways: From
Birth to Rebirth, which opens at the Columbus
Museum of Art examines the cycle of life through
works from permanent and local private collections.
(tel. 614-221-6801)

* THRU AUG. 15. African Artistry: Textiles and
Sculpture, The Dolly Barnes and Jim Langley
Collections opens at the King Arts Complex, 867
Mount Vernon Ave., Columbus, OH (tel. 614-252-

* MIXED DATES. Paul Robeson: Artist and
Citizen. A travelling exhibit: Rutgers University
Museum; James Voorhese Zimmerli Art Museum
of the State University of New Jersey (thru July 31);
California African-American Museum, Los Angeles
(Sept. 10 Dec. 31); National Portrait Gallery,
Washington D.C. (Feb. 1 April 3, 1999); and
Museum of the City of New York (June 1- Sept. 30,

* AUG. 1 OCT. 31, 1998 Nigerian Traditional
Artifacts Ralph Proctor's Gallery's seventh on-line
exhibit of African art opens at:


E OCT. 29 NOV. 1 1998 Annual Meeting of
the African Studies Association-Hyatt
Regency, Chicago. The national panels chair for the

Conferences, confd.

conference is Tiyambe Zeleza of the University of
Illinois at Urbana-Champaign. The conference theme,
"Africa's Encounter with the 20th Century,"
challenges the Africanist community to evaluate the
transformations that Africa and the study of Africa
have undergone in the 20th century, a century
characterized by massive, complex, and contradictory
transformations in all domains of human experience.
The conference will also explore ways in which the
pressures of this extraordinary century have
reconfigured or even dislocated the epistemological
frameworks and discursive systems of African
Studies. For details about the meeting, visit the ASA
website at: http://www.sas.upenn.edu/
African Studies/ASA Menu.html.

P*NB: Preliminary information about ASA:
Preregistration: ASA Members $60; ASA members
earning <$15k, $40; Non-members $90; Non-
members earning <$15k, $55; and persons
currentlyteaching at African institutions $40.
Preregistration fees must be received by Sept. 1,
1998. Please use form in ASA News # 1 or get one
from the webpage.

Sessions will take place in the Hyatt Regency
1X Chicago (151 East Wacker Dr, Chicago, IL
60601, Tel 312-565-1234, Fax 312-616-6838), our
headquarters hotel. Please contact them directly for
bookings, rates are single $129/night & double
$149/night (plus 14.9% tax). Get there for less! ASAs
official travel agent is Conventions in America (1-
800-929-4242, ask for Group #319). Outside 800
area call 619-453-3686 / Fax 619-453-7976. Visit the
travel website: www.scitravel.com (#319)

African Studies Association
Rutgers, The State University of New Jersey
Douglass Campus, 132 George St
New Brunswick, NJ 08901-1400
Voice: 732-932-8173 Fax: 732-932-3394
E-mail: callASA@rci.rutgers.edu

F*NB: ACASA Board encourages members to
participate in CAA meetings

* CAA, CHICAGO, 2001
T he Program Planning Committee is seeking
nominations and self-nominations from
Artists, art historians, and museum

professionals to serve as Program Chairs for the 89th
Annual Conference of the College Art
Association to be held in Chicago in 2001.
Submissions are sought for both studio art and art
history categories from individuals active in the
Chicago/Midwest area who will work with the
Program Planning Committee to form the program for
the Chicago conference. Chairs work in an honorary
capacity, without compensation, as a service to the
membership. A modest budget is available; however,
it is customary that chairs who are affiliated with
institutions will request assistance for clerical and
travel support. Institutional affiliation is not required
to submit proposals, and proposals from members
who are not affiliated with an institution are

Submit qualifications in the form of a one-page
written proposal and approach along with a one- to
two-page r6sum6. Co-proposers should submit
information under the same cover. Send materials to:
Program Chair Search, Chicago 2001, c/o Mary-Beth
Shine, CAA, 275 7th Ave., New York, NY 10001.
Deadline: Sept. 30, 1998. This information is also
available at COO website: http://www.collegart.org/

* JULY 15-17, 1999 Encounters with
Photography: Photographing People in Southeri
Africa, 1860 to 1999 will be held at the University
of Cape Town, in association with the South African
Museum (Cape Town). Papers and discussions will
focus on Colonial Encounters (Elizabeth Edwards,
keynote speaker), Aesthetic and Commercial
Encounters (Christopher Pinney, keynote speaker),
Documentary Encounters (Martha Rosier, keynote
speaker), and Curatorial Encounters (Christaud
Geary, keynote speaker). For proposal and paper
inquiries, contact: Prof. M. Godby, History of Art
Department, University of Cape Town, Private Bag,
Rondebosch, 7700 SOUTH AFRICA;

*NOV. 25-28, 1998 Urhobo Art: Past & Present -
an international conference in conjunction with an
exhibit of the same title. All events will take place at
the Ovuomaroro Gallery, Agbarha-Otor, Nigeria.
Paper abstracts should be sent to: Mac Diakparomre,
Department of Fine & Applied Arts, Delta State
University, Abraka, Delta State, Nigeria. Conference
registration fees are: $60; $30 (students). The
exhibition is curated by John-Tokpabere Agberia.


* MARCH 14-21, 1999 The 5th International
Conference on Word and Image Studies,
sponsored by the Association of Word and Image
Studies, will be held at Scripps College. For
information: Peter de Voogd, IAWIS, Imoversoteot
Utrecht, English Dept., Trans 10, 3512 JK Utrecht,
The Netherlands; www.let.ruu.nl/scholarassocs/
iawis/index.html. Extended deadline: September 1,

* SEPT. 23-2, 1998 Museum Computer Network
Annual Conference, "Knowledge Creation,
Knowledge Preservation, Knowledge Sharing,"
will be held at the Loewes Santa Monica Beach Hotel.
The conference will be devoted to all aspects of
technology use in museums. For information:
Museum Computer Network, 8720 Georgia Ave., Ste.
501, Silver Spring, MD 20910; 301/585-4413.

* FEB. 7-11, 1999 "Igniting the Edge: Forging
New Geographies, Categories and Identities," the
Women's Caucus for Art 1999 National Conference,
will be held in Los Angeles. Papers, panels,
exhibitions, and workshops will be presented by
artists and scholars. For information: WCA, PO Box
1498, Canal St. Station, New York, NY 10013.

* FEB. 18 20, 1999 Southern Conference on
Afro-American Studies --Houston, Texas. The
theme of this conference is: "African Americans and
their Ancestors: Down through the Ages. Deadline
for paper proposals is SEPTEMBER 20, 1998.
Contact Dr. Howard Jones, SCAASI, P.O. Box 330163,
Houston, TX 77233-0163 (713)641-9711.

J 0 B S/I N T E R N S

* One-Year Replacement Position in African Art
University of Michigan, Ann Arbor is searching for a
one-year replacement position in African Art, with the
possibility of the candidate being considered for
permanent tenure-track or tenured joint position in Art
History Department and the Center for Afro-American
and African Studies. The position is for either fall
term 1998 or academic year 1998-99. PhD required
and commitment to teach undergraduate students.
Must be able to teach large survey course,

Introduction to African Art in the fall (with 2 graduate
teaching students). Candidates are encouraged to use
African Art collection at the University Museum.
Candidates may in addition teach undergraduate or
graduate courses. Salary competitive. Fall term
begins Sept. 7, 1998. Interested applicants should
apply as soon as possible. Submit along with letter of
application, a c.v. and names and addresses (also fax
and/or e-mail) of three references to Margaret Root,
Chair, History of Art Department (734 647-4121) or
Sharon Patton, director, CAAS (734 764-5514).
Deadline: AUGUST 1, 1998.

* Assistant Professor (tenure-track) position
with specialties in Black World Studies (BWS) and
any other appropriate academic area Miami
University, Middletown Campus. The position is a
joint one: half-time in the Black World Studies
Program, half-time in Department of academic
specialty; the tenure-track is in the academic
department. Successful candidates will teach courses
in BWS (featuring an Afrocentric perspective) and
other appropriate courses as needed for an expected
twelve-hour teaching load. Additional courses may be
in area of academic specialty (e.g., African-American
literature or history-interdisciplinary courses are 13
possible) cross-listed with BWS, or other introductory
courses as negotiated with the campus. Additional
duties to include student advising, community service
(extending the reach of the BWS program into the
community), and scholarship. Ph.D. required.
Previous teaching experience is desirable. Send letter
of interest, r6sum6, statement on Afrocentric
education or philosophy, and three letters of reference
to: Gary Wheeler, Black World Studies Search
Committee, Miami University Middletown, 4200 East
University Boulevard, Middletown, Ohio, 45042.
Review of credentials begins OCTOBER 15 and
continues until the position is filled.


To order the Job Guide send the following message


or view it at http://www.matrix.msu.edu/jobs

On some mail systems, you will have to send the

get h-net jobguide f=mail

to receive the Guide. If you still have trouble, please
contact help@h-net.msu.edu. When applying for a
job, please mention you saw it on H-Net. Please
submit jobs to hjobs@h-net.msu.edu. Jobs must be
submitted by Noon on Friday for inclusion in the
following Monday's Guide.

* 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@starmailcom. For
applications & brochures, go to Websites:
diaspora/index.html OR: http://www.igc.org/oca.

i*Noteworthy Publications

AGUILAR, Laurel Birch de. Inscribing the Mask:
Interpretation of Nyau Masks and Ritual Performance
among the Chewa of Central Malawi. Fribourg:
Universitatsverlag Freiburg Schwiez, 1996

AJAYI, Omofolabo. Yoruba Dance: The Semiotics of
Movement and Yoruba Body Attitude. New Jersey:
Africa World, 1998. New Jersey. $21.95/pb

ARDOUIN, Claude Daniel, ed. Museums and Archaeol-
ogy in West Africa. Washington, DC: Smithsonian
Institution Press, 1997

ARNOLDI, Mary Jo; Christraud M. GEARY; and Kris L.
HARDIN, eds. African Material Culture. Bloomington:
Indiana University, 1996

BAEKE, Viviane, et al, eds. Masterpieces from Central
Africa: The Tervuren Museum. Munich: Prestel-Verlag,

DE PALMENAER, Els, et al. Legacies of Stone: Past
and Present. 2 vols. Tervuren: African Museum, 1997

FAIK-NZUJI, Clementine M. Tracing Memory: A
Glossary of Graphic Signs and Symbols in African Art
and Culture. Canadian Museum of Civilization, 1996

GERDES, Women, Art and Geometry in Southern
Africa. Lawrenceville, NJ: Africa World, 1998 (originally
published in 1995 by the Universidade Pedagogica in
Mozambique and received the Special Commendation in
the 1996 NOMA Award for Publishing in Africa

HASSAN, Salah. Gendered Visions: The Art of
Contemporary Africana Women Artists. Africa. World
Press, 1997

KEIM, Curtis; Enid SCHILDKROUT, ed. The Scramble
for Art in Central Africa. New York: Cambridge
University, 1988. 272pp. $64.95 $19.95/pb

LEMS-DWORKIN, Carol. Videos of African and
African-Related Performance: An Annotated
Bibliography. Evanston: Carol-Lems Publishers, 1996.
An informative guide to videos featuring music, dance,
drama, ritual, storytelling, games, etc. $57.

LILIENTHAL, Adelheid. Art in Namibia: National
Gallery of Namibia. Windhoek: National Art Gallery of
Namibia, 1997. 242pp. Photos; brief biographies and list
of works by various artists, descriptions of collections, etc.
With contributions by Annaleen Eins and Jo Rogge.

MAGNIN, Andr6; Jacques SOULILLOU, eds.
Contemporary Art of Africa. New York: Harry N.
Abrams, Inc., 1996. 192 pp. $60.00 (cloth)

PERRIOS, Louis P and Jean-Paul NOTUE. Rois et
sculpteurs de l'ouest cameroun: la panthere et la
nygale. Paris: Editions Karthala; Paris: ORSTOM, 1997

ROBERTS, Mary Nooter & Allen F. ROBERTS. A Sense
of Wonder: African Art from the Faletti Family
Collection. Phoenix: Phoenix Art Museum, 1997

SMITH, Benjamin W. Zambia's Ancient Rock Art:
Paintings of Kasama. National Heritage Conservation
Commission of Zambia, 1997

STROTHER, Zoe S. Inventing masks : Agency and
History in the Art of the Central Pende. Chicago:
University of Chicago, 1998. 348 pp.

VOGEL, Susan M. Baule: African Art, Western Eyes.
New Haven: Yale University, 1997

otCeworthy Publications, contd.

) ATHEIA HENRIETTA PRESS, Publishing in the
Name of OrinmilA publishes books exclusively on the
Yoruba religion of Nigeria, Benin, Togo and the African
Diaspora consisting of Cuba, Brazil and North America.
Over 25 titles have been published, including Ifism: The
Complete Works of Orunmila, Introduction to Yoruba
Philosophy, Religion and Literature, Beads of Glass,
Beads of Stone, Yoruba Medicine, etc. Contact Athelia
Henrietta Press for a complete catalog of its titles
(718)493-4500; Attn: Order Dept., Athelia Henrietta
Press, 1194 Nostrand Avenue, Brooklyn, NY 11225.

) DICTIONARY OF ART, ed. Jane Turner
Dear African art scholars:
The monumental, 34-volume Grove/Macmillan
(London and New York, 1996), gives extensive coverage
to the arts of Africa, approximately 460,000 words. A
227-page double-column section that surveys African arts
from a number of perspectives is supplemented by 40
alphabetized entries by country, as well as 66 articles on
ethnic groups, from Akan to Zulu.

Nearly 200 specialists wrote for this. I have, in fact,
reviewed its African coverage at some length in African
Arts, xxx/1 (winter 1997).

Rather than discuss the Dictionary further here, I want to
announce the initial preparatory stages of a spin-off from
the larger work, a one-volume Dictionary of African Art,
to be published in late 1999. This reference book will
include the entries on African art from the 1996 work,
updated. Diaspora coverage will be expanded. There will
be substantial new material on contemporary art, plus
artists' biographies, more African authors, entries on 20
additional ethnic groups and some 20 new topics, among
other things. The book will contain over 600,000 words,
with many new illustrations, including 192 in color. I'm
very pleased to have been asked to edit this revised and
expanded book with Jane Turner.

We seek input from anyone acquainted with the original
Dictionary of Art, both those who wrote for it and those
who didn't. All past contributors will have a chance to
revise and update their entries and bibliographies (and
will receive compensation for the reuse of their material).
In fact, most letters have already gone out about these
updates. Criticism of the African coverage (especially
things not mentioned in my review) and constructive
suggestions for the new book are invited and will be
carefully considered. The publishers, Jane Turner and I
are deeply committed to making this the most
comprehensive reference book ever published on African

Please address your comments to me by e-mail at the
following: skipcole@humanitas.ucsb.edu

Herbert M. Cole

>CONTOURS, a new interdisciplinary journal
exploring the experiences of people of African descent
invites submissions for its premier issue. Contours is
published by Indiana University Press. For details,
contact: Contours, African and African-American
Studies Program, Duke University, Box 90719, 121-A
Carr Bldg, Durham, NC 27708 (919)660-3198.

>'POSTCOLONIAL STUDIES: Culture, Politics,
Economy is a new journal exploring the various facets -
textual, figural, spatial, historical, political and economic
- of the colonial encounter, and the ways in which this
encounter shaped the West and non-West alike.
Contributions to the journal are invited, and please visit
http://www.carfax.co.uk/pcs-ad.htm for notes for
contributors, etc.

)Anon. "La arte pldsticas angolanas: una mirada de
la prehistoria a nuestors dias," Actualidad Angola:
Revista de Actualidad Informativa, n.2, December
1997, pp.53-55 (brief overview of Angolan artists)

>) THE DRAMA REVIEW: The Journal of
Performance Studies a special issue is being created on
the subject of puppet, mask, and object performance at the
end of the century. What is the situation of the very old
arts of puppet and mask performance after a century of
modernism, after the development of mass-media
techniques using glass, metal, plastic and electricity rather
than wood, paper, bone, metal, and muscle?

Articles focusing on African performance forms in the
following areas will be considered:
1. Analyses of particular puppet, mask, or object
performances which take into account the relationship
between traditional African forms and twentieth-century
2. Theoretical analyses of the development of puppet,
mask and object performances in larger areas of the
African continent
3. Analyses of the relationship between European and
African performance traditions as they have developed in
particular puppet, mask, and object performances in
present-day Africa. Send abstracts, questions, or
comments to: John Bell, Contributing Editor, The Drama
Review jb44@is3.nyu.edu


[We encourage members to send news items about
grants, jobs, research, and others]

E ELISEE COULIBALY completed a doctoral thesis
titled, Savoirs et savoir-faire des anciens
metallurgistes: recherches interdisciplinaires sur les
proc6des en siderurgie directed dans le Bwamu
(Burkina Faso, Mali). Une contribution a I'histoire des
techniques en Afrique [Universiti de Paris 1, June 1997].
The thesis, which is based on field research and laboratory
analysis, studies the evolution of direct metallurgy, with
focus on processes and techniques of metal iron
transformation in the forge, as well as on the economic
and social history of mines and iron metal in ancient rural
societies of the Bwamu (from the third century B.C. to the
early 20th century).

* If anybody is interested in the Dogon of Mali or in
metallurgy in Africa or in African visual anthropology,
try a new site explaining a scientific observation and a
documentary film called "Inagina, the last house of iron",
now distributed by Documentary Educational Resources.
The address is: http://anthropologie.urnge.ch/inagina
[submitted by Anne Mayor]

* The 1st Experimental Workshop at
Ovuomaroro Studio and Gallery, Agbarha-Otor,
Nigeria This event was held on March 15, 1998 as
the 1st Harmattan Experimental Workshop.
Participants included fifteen artists, namely: Bruce
Onobrakpeya (workshop director and printmaker),
Ladapo Afolayan (sculptor and lecturer at Yaba
College of Technology), Duke Asidere, Olugbenga
Olatunji, Ray Onodje, Nseabasi Inyang, Godwin
Onobrakpeya, and Ufuoma Onobrakpeya. Two art
correspondents from the Guardian Newspaper and the
Daily Times were in attendance.

* OTU-EWINA (Urhobo word for "professional
artist") is an outgrowth of the workshop and this
group is planning a semi-annual journal to be edited
by Omoighe and Asidere. An executive committee will
run this group till the second Harmattan Workshop in

* The archaeological survey of Osun North east of
Osun state, Nigeria is aimed at exposing the
archaeological potential of the area, and at identifying the
occurrence of potsherd pavement in the area as it occurred
in Ile-Ife, the ancient city of the Yorubas.

The first phase of the project, which was started in 1993,
took me to Ila-Orangun, Iresi, Oyan and Asi.
Interestingly, lots of archaeological sites were discovered,
including abandoned settlement, rockshelter, town walls,
defence trench, and embankment. Most common to this
area is the potsherd pavement, a feature common in Ile-

In 1997, I embarked on the second phase of the project.
This is a potential area for archaeological research and
interested institution or and individual is encouraged for
collaborative work in this area.
[B.A Ogunfolakan email: bogunfol@oauife.edu.ng]


N I am producing a documentary on African religions
as a part of the PBS series Religions of the World. I am
looking for images to support the sections on Akan,
Vodun and Santeria. In particular we need images
(moving or still) of Akan, Vodun Santeria services, rituals,
any historic photos or any related paintings.

This documentary treats the traditional African religions
with the same respect it shows to Christianity or Judaism.
It is not intended to show Vodun or Santeria as occult
religions. If you have any images we can use or know
where I might find them I would really appreciate you
contacting me. You can reach me by phone at 615-269-
7211, fax 615-269-6115 or e-mail at coleyc@home.com.
[Coley Coleman email: coleyc@home.com]



dL oustapha Dim6, 1952-1998
u Moustapha Dime, the noted Senegalese
I sculptor, died on June 29th, 1998. He
was 46, and had suffered a prolonged
illness. After fifteen years of participation in
Senegalese exhibitions, Dime gained international
recognition in 1992 when he was awarded first prize
at Dakar's first Bienniale of Contemporary African
Art. The following year his sculptures were shown at
the Venice Biennale, and thereafter he was one of five
artists featured in the exhibition "Fusion: West
African Artists at the Venice Biennale" at the Museum
for African Art in New York. Thomas McEvilley's
long interview of Dime is featured in the book of the

Obituary, contd.

same title, in which five of the artist's sculptures are
illustrated. More recently, Dime was offered one-man
shows in Dakar (1993, 1996), Marseille (1994), and
Munich (1997); he and the Senegalese painter Viye
Diba were given a two-man exhibition in Brussels
(1997); and he joined larger groups of artists in
exhibitions in Tokyo (1995-7), Tumhout (1995),
Bruges (1996), Johannesburg (1997), Paris (1997),
and Berlin (1997). He was planning an installation
for an upcoming exhibition in Montr6al, and had
several other projects in progress at the time of his

Moustapha Dime divided his time between homes in
Dakar, Louga, and St. Louis (Senegal), and a
stunningly beautiful workshop perched like an aerie on
the seaward cliffs of Gor6e Island-a place where, as
Daniel Sotiaux has written, "a person feels like a
person, [and] where an artist can feel himself capable,
however modestly, of interfering with the forces of
nature" (1997: last page of unpaginated catalog).
Dime's best known works are of wood and iron, often
incorporating found objects and recycled materials in
ways that "that reveal to us our ability-or its lack --
to consider the simple fragments that compose,
sometimes with humility, sometimes with a fresh
outlook, beings that reveal our passions, our monsters,
the world and its future" ibidd).

Dime's early life was tormented, and in his last years,
he increasingly found solace in Mouridism, the
Islamic movement created around Sheikh Amadou
Bamba (1853-1927), a Senegalese Sufi saint. Dime's
sculptures shown in an exhibition accompanying
Dak'Art, the second Bienniale of Contemporary
African Art (1996), included Koranic prayer boards,
and Bamba's philosophy of work and purpose inspired
Dimes deep contemplation, inner peace, and last
works of art. Moustapha Dime was an articulate,
wise, able, and kind man who will be sorely missed by
his family and many friends in Senegal and abroad.

Thomas McEvilley
1993 Fusion: West African Artists at the
Venice Biennale. Munich: Prestel for The
Museum for African Art, New York.
Daniel Sotiaux
1997 Viye Diba/Moustapha Dime.
Brussels: Centre d'Art Contemporain.
C Submitted with fond memories by Mary
Nooter Roberts and Allen E Roberts.

* Ashenafi Kebede, a leading Ethiopian
musicologist and composer, passed away on Friday,
May 8 at his home in Tallahassee, Florida. He
succumbed to long-standing health problems. His
well-known publications include Roots of Black
Music: The Vocal, Instrumental, and Dance
Heritage of Africa and Black America. Englewood
Cliffs: Prentice-Hall, 1982.

S 4 I1T i -. R from the President
*fASA Meetings, Chicago* Please attend the ASA
Meetings in Chicago in late October! At the last ASA
Meetings in Columbus, we had a very low turnout from
ACASA members, and the only panel devoted to our field
was cancelled. It was a very unfortunate set of
circumstances, as quite a number of people from other
fields had been counting on attending art panels. If we are
to strengthen and maintain our position as the Arts
Council of the African Studies Association, we must
consolidate our efforts. Frequently, the ASA Meetings
prior to and following a Triennial are poorly attended
because members reserve their travel funds for the
Triennial. But it is very important that we have a visible
presence and a strong representation at these meetings if 17
we hope to create a more established position for African
art and expressive culture in the broader spectrum of
African Studies.

*dale jqegCd* Last but not least, I would like to extend a
heart-felt oriki to dele jegede, for his tireless and
unwavering leadership during the past year and half. dele
saw ACASA through a most demanding period, and is to
be credited for overseeing the preparations of the New
Orleans Triennial and for launching the energetic fund-
raising campaign that allowed ACASA to self-sponsor the
entire event, dele's vision and impassioned belief in
ACASA were the driving forces behind these
accomplishments. Through it all, he has still managed to
be an active scholar, and we will miss his inspired
newsletter prose. Fortunately, as past President, dele will
continue to lend wisdom to ACASA's mandate, as we
build upon the strong foundations that ACASA's previous
Presidents and board members have worked so hard to


. ... ...

Editor: ACASA Newsletter
(Attn: Avorgbedor)
110 Weigel Hall
School of Musio,-OSU
Columbus, OH 43210-1170


Robert T. Soppelsa
1655 Illinois Street
Lawrence KS 66044

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