Title: ACASA newsletter
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00103115/00053
 Material Information
Title: ACASA newsletter newsletter of the Arts Council of the African Studies Association
Alternate Title: Newsletter
Physical Description: v. : ; 28 cm.
Language: English
Creator: African Studies Association -- Arts Council
Publisher: The Council
Place of Publication: S.l
Publication Date: April/August 2000
Subjects / Keywords: Arts -- Periodicals -- Africa   ( lcsh )
Genre: periodical   ( marcgt )
Dates or Sequential Designation: Vol. 1, no. 2 (winter 1982)-
Numbering Peculiarities: Vol. designation dropped with no. 3 (spring 1983).
General Note: Title from caption.
General Note: Vols. for Aug. 1992- include Directory of members: addendum.
General Note: Latest issue consulted: No. 34 (Aug. 1992).
 Record Information
Bibliographic ID: UF00103115
Volume ID: VID00053
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 09794003
lccn - sn 92017937
 Related Items
Preceded by: Newsletter of the Arts Council of the African Studies Association

Full Text

*4# r~l



W*A M&4t Ssaufnit 4 tAe/ sM~Aicwav Studies& ssaaan/ c&a

in this issueooo
Presidential Notes 1
Committee Reports 6
News from ASA 9
Exhibitions 10
Conferences 14
Jobs & Interns 16
Of People & Places 17
Obituary 19
Addendum: 2000 Directory 20
Registration Forms Appendix


April/Auq 2000 1



I [ol.58

ACASA Board of Directors

Martha G. Anderson, President
Rebecca L Green, Secretary-Treasurer
Vicki Rovine, President Pro-tern
Daniel Avorgbedor, Editor
Mary (Polly) Nooter Roberts, Past President
Eli Bentor
Michael Conner
Babatunde Lawal
Robert Soppelsa

Membership Information (for residents of North America,
Europe, Asia): Rebecca Green, Non-Western Art and Culture,
1010 Fine Arts, Bowling Green State University, Bowling Green, OH
43403 Email: rlgrcentbgnct.bgsu.edu (419) 372-8514
Annual dues are $35.00 (see membership form in this issue),
payable in January. Checks are payable to "ACASA" and
sent to: Rebecca Green, Non-Western Art and Culture,
1010 Fine Arts, Bowling Green State University, Bowling Green, OH

Membership Information (for residents of Africa & the
Janet Stanley, National Museum of African Art Library
Smithsonian Institution MRC 708
Washington, DC 20560, USA
Tel.: (202)357-4600 Ext. 285
Fax: (202) 357-4879
E-mail: jstanley@ic.si.edu
The ACASA Newsletter is published three times a year:
April, August and December. The newsletter seeks items of

interest for publication. You can send
news about job changes, fieldwork,
travel, new publications, etc. The next
ACASA Newsletter will be in
December 2000. Please send news
items by November 17, 2000 to:
Daniel Avorgbedor, 110 Weigel Hall,
School of Music, OSU, Columbus, OH
43210-1170 USA
E-mail: avorgbedor.l@osu.edu
fax 614-292-1102 tel.: 614-292-9441

in th


Presidential Notes e
Martha G. Anderson, ACASA President

A apSin Bones of AC0AS History

A although I became president of ACASA in November,
it was several months later, when the files arrived in
my office, that I began to feel the full weight of my
responsibilities. As custodian of the six boxes (and surely
there should be seven?) I've been pondering the
organization's history and wondering if our leaders-
predominantly historians of one ilk or another-have
taken adequate measures to preserve it.

Soon I plan to dig through the boxes, which seem to
cover the last several "generations" of ACASA board
members. If my research uncovers important gaps, I
will be contacting those members who might be able to
fill them. I may even
is issue0oo invest in a new filing

Presidential Notes
Committee Reports
News from ASA
Jobs & Interns
.Of People & Places
Addendum: 2000 Directory
Registration Forms


board to appoint an official

system to make re-
cords more easily
accessible. I am also
concerned about the
accessibility of earl-
ier records. Barbara
Frank tells me that
the idea of est-
ablishing an ACASA
archive is not a new
one. Perhaps the
time has come for the
"historian" to safeguard

A CA S LA Newsletter

eol. 58 &tt&p://www-net.msu.edul~a ca Satudi es& &ssaiatiA g

Vol. 58 http://www.h-net.msu.edu/-arshwcb/wlcomc/acasa.html flpril/flug 2000

A m ei114n Ai: Win ee IsPro' u1 d TBAWn

St. Thomas, Virgin Islands

April 20 May 2, 2001

5% off the lowest applicable fare
10% off the full Coach fare*
A ***Receive a bonus discount of 10% for tickets purchased 60 days in advance***
For Reservations, Call 1-800-433-1790 and Reference STARfile: 1441AD

* Certain restrictions apply. Advance reservations and ticketing required. Seats are limited. Applicable taxes and service charges may apply.


For reservations and ticketing information, call American's Meeting Services Desk, or have your travel professional call,
toll-free at 1-800-433-1790 from anywhere in the United States or Canada, seven days a week from 7:00 a.m. to
12:00 ciidpight CST) and reference the STARfile number on the front of this certificate. Reservations for the hearing
and speech: impaired are also aL atable 24 houIrs a cly., da\s a week by calling 1-800-543-1586.
Discounts fares are valid for round-trip travel on American Airlines and American Eagle to your meeting destination for
. travel from anywhere -in the eootiguousA48 states; Hawaii'-and Canada; Discounts/fares may .also, apply for..travel o.ii
Canadian Airlnes*.-;'Seats are limited. Certain restrictions may apply Applicable taxes and service charges may apply.
Please call for details.
The AdvaLntage' program \vns the first airllnt. fr-equent traveler program and, for more than 15 years, has offered mem-
bers the mot innovaim\e -ways to earn travel a.wrid.si It just takes a nioment to enroll. Call American Airlines today!

AmericanAirlinesA American9
01997 American Airlines, Inc. AAdvantage and American Eagle are trademarks of American Airlines, Inc. American Eagle is American's regional airline associate. All rights reserved. Printed in U.S.A.

our docume
from one ad

nts and ensure continuity of record keeping done, but we have finally located a conference bureau,
ministration to the next. finalized registration fees, and selected an official air
carrier, American Airways. (See hotel and conference
N" registration forms, details on American Airlines
CA A Report discounts, and hotel reservation form in this issue.)
We continue to urge everyone to make travel plans

in February, I saw many ACASA members at the
College Art Association's Annual Meeting in New
York City, including most of those who are currently
serving on the board. Like many others, I was busy
interviewing candidates for a position at my
institution, but was able to break away to attend three
stimulating panels on African Art. Zoe Strother
chaired the "official" ACASA-sponsored panel,
"Iconoclasm in Africa," which included presentations
by Elisabeth Cameron, Ikem Okoye, and Annie
Coombes. Robert F. Thompson, Frederick Lamp, and
Mary Nooter Roberts delivered papers on
"Methodologies of Communicating African Systems
of Thought and Belief through Artifacts," a panel
organized by Alisa LaGamma at The Metropolitan
Museum of Art. Suzanne Blier, who served as
discussant, added thoughtful comments and a bit of
levity. Allen Roberts not only chaired "Globalizing
African Art," but delivered a paper, as did Victoria
Rovine, Amanda Carlson, Aimee Bessire, and Dana
Rush. Eli Bentor chaired a more broadly based panel,
"Toward a History of Teaching Art History."

Receptions at the Museum for African Art and The
American Museum of Natural History offered
ACASA members a chance to mingle while ogling
some wonderful art. The Museum for African Art
showcased "Status, Symbol and Style: Hair in African
Art and Culture," curated by Roy Sieber and Frank
Herreman; Natural History displayed, "Body Art:
Marks of Identity," curated by Enid Schildkrout, and
offered a lecture by Daniel Wojcik on "Punk and Neo-
Tribal Body Art."

For the first time that I can remember, ACASA's
presence at CAA rivaled its showing at ASA.
Congratulations to all on ajob well done.

Tr ienn al

since I reported on my visit to St. Thomas in the
special Triennial issue, the board and various
chairs have been busy at work. Much remains to be

well in advance, and plan to have a preliminary
program ready by the December issue of the

few Textbookl

Congratulations on the August publication of the
History of Art in Africa to everyone who has been
involved with the book in some way. This lengthy project
began with a roundtable discussion led by Robin Poynor
at the ASA meetings in 1988. The following year, the
board appointed Barbara Frank to chair a textbook
committee. Several years later, Monica Blackmun Visona,
Robin Poynor, and Herbert M. Cole signed a contract with
Abrams. Michael D. Harris, Suzanne Preston Blier, and
Rowland Abiodun became also became involved in writing
parts of the text. Thanks to the many ACASA members
and others who contributed their expertise and images to
this weighty and lavishly illustrated tome. In addition, we
are most grateful that the authors have generously
arranged to donate a portion of the royalties to ACASA
when the book goes into its second edition. After so many
years without appropriate texts, we now have several to
choose from. For more information on the new text, see
the article included later in this newsletter.

Remembering Betsy

When Betsy Rezelman died in January, within weeks of
suffering a massive stroke, ACASA lost a valuable board
member; those of us who knew her personally lost a
wonderful friend. Kathleen Bickford Berzock wrote a
letter about Betsy's contributions to ACASA on behalf of
board members who served with her. Lisa Aronson, one
of Betsy's closest friends, read the letter at Betsy's
memorial service in February and later incorporated it into
the obituary that follows.

We would like to thank all ACASA members who sent
cards and memorials, or simply offered words of
sympathy and comfort to Betsy's family and friends.

////^/^///c,/.^w/,//,/^^r//v^/ ,

Sn January 27, Betsy Rezelman died after
battling the effects of a severe stroke she had
had earlier in the month. Members of ACASA,
colleagues, friends, and family are greatly saddened
by her death. Betsy graduated from Cornell University
in 1969 where she majored in art history. She went on
to get her MA in Art History from Indiana University
in 1976 and her Ph. D. from there in 1978. In 1981,
Betsy joined the Art Department at St. Lawrence
University in Canton, NY and quickly became among
their more inspiring and popular teachers. She was a
superb administrator as well. Besides chairing her
own department, she was Associate Dean for Faculty
Affairs from 1990 to 1994, and had recently served on
the Board of Trustees Search Committee for their
University President. After the news of her death,
Daniel F. Sullivan, St. Lawrence's president wrote:
"we have lost a wonderful colleague, an inspiring
teacher, a warm and devoted friend, a faculty leader,
and in so many, many ways such a very good person."

Interestingly enough, Betsy's area of specialty was not
African art, but rather nineteenth century European
Art. with particular emphasis on Victorian painting.
She published mainly on artists of the Newlyn School,
and was a leading authority on the Newlyn artist
Frank Bramley about whom she had planned to write
a book during her upcoming sabbatical.

A frican art was also important to her. Besides
teaching it on a regular basis, she served on St.
Lawrence's African Studies Board from 1987 to
Present and even spent one semester teaching in their
program in Kenya. It was through Betsy's hard-earned
efforts that St. Lawrence hired Obiora Odechukwu, a
contemporary artists from Nigeria, to teach painting
and drawing. Such efforts were not atypical for her.

As many of you know, Betsy was elected to the
ACASA Board in 1998 and became an enthusiastic
and dedicated representative of the organization. In a
recent email sent to H-AfrArts on behalf of the
ACASA Board, Kathleen Bickford wrote:

"Betsy was deeply committed to raising the level of
African art education among non-specialist art
historians like herself and she worked as an advocate
and a liaison for taking ACASA's mandate beyond the
parameters of our narrow field. At the ACASA annual
board meeting held in Chicago in 1998, Betsy was
named Chair of a newly formed Education and
Outreach Committee. Her vision as chair was to
create expanded opportunities for ACASA members
and associates to profit from each other's expertise
and experiences in the field of African arts. She was
dedicated to broadening the number and range of
teachers who can benefit from ACASA's considerable
resources for curriculum development. Most
importantly, Betsy helped to spearhead Outreach and
Museum Day for the 12th Triennial Symposium on
African Art, to be held in the Virgin Islands in 2001.
In keeping with Betsy's interests, the day will include
workshops for educators, exchanges with educators
from local communities in the Caribbean, and panels
devoted to pedagogical challenges and creative

I Betsy had remained one of my closest friends and
colleagues ever since we first met in graduate
school at Indiana. I, like many others who have known
her, will forever miss her warmth, infectious laugh,
and spirit, and unending curiosity for life. Sadly.
Betsy's husband Jack, who some of us also knew,
predeceased her in 1997. She is survived by her
mother, her daughter, Alexa, and her fiance, Herb
Bartholomew. The family asks that donations be
made to the Betsy Cogger Rezelman Memorial Fund,
Development Office, St. Lawrence University,
Canton, NY 13617.
)Lisa Aronson (Skidmore College)(

A New text! A History of Art in Africa

Anyone who teaches African art will be pleased to
note the publication of A History of Art in
Africa by Abrams/Prentice Hall. This impressive new
text, authored by Monica Blackmun Visona, Robin
Poynor, and Herbert M. Cole, includes a chapter on
the Diaspora by Michael D. Harris, an introduction by

Suzanne Preston Blier, and a preface by Rowland
Abiodun applauds the scope of the resulting book:

"Organized into five major part" A History of Art in
Africa covers every corer of the continent, including
Egypt, from prehistory to the present day and includes
the art of the African diaspora. The Islamic influence
and the Christian arts of Ethiopia and Nubia are
treated as fully African expressions, as are tourist arts
and the fascinating hybrid art that periodically arose
from interactions with Europe. All art forms are given
equal consideration: from such familiar categories as
sculpture to such quintessentially African forms as
masquerades, festivals, and personal and domestic
adornment. The arts of daily life, of royal ceremony,
and of state cosmology also receive compelling
discussions. And throughout, the authors emphasize
the cultural contexts in which art is produced and
imbued with meaning. Contemporary art forms are
explored both as part of the living splendors of
modem Africa and as ingenious responses to the
experience of the diaspora."

The trade edition is by Abrams, and the paperback
text edition is by Prentice-Hall. The table of contents
and other information about the book can be found on
the web by going to: http://www.prenticehall.com and
searching by author or title.

ACASA negotiates Changce in Gardner Tent

At our Business Meeting in Philadelphia last fall,
Barbara Blackmun reported on Harcourt
Brace's plans for the 11th edition of the Gardner text,
Art Through the Ages. She pointed out that the
decision to split the chapter into two temporally
relevant sections made sense, but questioned why
Harcourt Brace had hired a non-Africanist scholar to
rewrite text authored by distinguished Africanist and
ACASA stalwart, Herbert (Skip) Cole of the
University of California at Santa Barbara. At the
board's request, Blackmun drafted a letter to the
publisher to be sent by the ACASA president. In it,
she described Cole's essay as "accessible, well-written
and accurate, reflecting his teaching expertise as well
as his wide-ranging knowledge of current research."
She added that, "It is therefore incomprehensible to us

that Herbert Cole has not been asked to assist
Harcourt Brace in dividing his Chapter 18 essay... We
assume that you would not choose a specialist in
Egyptian archaeology to rewrite your chapter on the
art of Indian Asia." The letter concluded by
requesting that an Africanist be given final approval
of the manuscript and offering to help solicit a
specialist if necessary.

Following a long delay-Harcourt Brace representatives
claimed not to have received the letter and it had to be re-
sent-the publisher reached an agreement with Cole to
review the two new essays and make changes where
necessary. Of course, having him rewrite the text would
have been preferable, but he declares himself satisfied and
grateful to Barbara Blackmun, Polly Nooter Roberts, and
Martha Anderson for helping to negotiate this

* AAmericanAirlines

ACASA chooses American Airlines as its Official
Carrier for the 2001 Triennial. ACASA has signed a
contract with American Airlines Group and Meeting
Travel to provide travel discounts for travel to and from
St. Thomas between April 20th and May 2nd, 2001.
American Airlines, which flies to the Virgin Islands from
Miami and San Juan, operates more flights into St.
Thomas than any other carrier.

To receive discounted tickets through American
Airlines, travel must originate in the US or Canada. If
others want to take advantage of the discount for
connecting flights originating in the US or Canada,
they must book them separately, using our AN (or
STARfile) Number, 1441AD. (See coupon included in
newsletters sent to US and Canadian addresses.)

American Airlines announces that it is pleased to
handle our air transportation needs and agrees to the

To provide attendees use of the American Airlines
Meeting Services desk toll free number 1-800-433-
1790 for making individual reservations. Meeting
Services will confirm the lowest applicable fare
providing tariff rules are met.

5% DISCOUNT for travel including the 48 states,
Alaska, Hawaii, San Juan, St. Thomas, St. Croix,
Bermuda, Bahamas

10 % BONUS DISCOUNT off applicable fares IF

Discounts do not apply to any other contract or zone
fare, and are not valid for use in conjunction with any
other discounted type fare, i.e. Senior, Child,
Mlty./Govt. AA will allow St. Croix (STX) as
alternate site city, with open jaws allowed between St.
Thomas (STT) and STX.

Please consider flying American Airlines to the 12th
Triennial. For every 40 flights booked using our AN
Number, we will receive one free ticket. If we book
early enough, we may be able to get free tickets in
time to use them for travel stipend recipients.

To take advantage of the travel discounts and earn free
tickets for ACASA, you must book your tickets
through the AA Meeting Services toll-free number, 1-
800-433-1790, using our AN Number, 1441 AD.

Whether or not you choose to fly American Airlines,
please book your tickets as early as possible.
Spokespersons for the airlines remind us that:

1. Spring breaks make April a busy month for travel,
and 2. Flights for St. Thomas at that time of year
always sell out well in advance of departure dates.

Avis Rent a Car is offering symposium attendees a
10% discount off their promotional rates. It will be
valid for up to one week before to one week after the
event. Those who wish to rent cars while in St.
Thomas can get the discount by calling the Avis
Meeting Reservation and Information Desk at: 1-
800-331-1084 and mentioning the Avis Worldwide
Discount (AWD) number for the group: D006127

Avis will provide a certificate for up to one week of
free car rental for every 20 reservations that utilized
the Avis assigned discount number (AWD).

Please note that cars drive on the left in St. Thomas
and traffic jams are frequent during carnival week.

Delectable OptionsB A N Q U E T

WI e urge you to take advantage of the options
offered on your registration form. These
include the Awards Banquet and the two .off-site
receptions. The Virgin Islands is rolling out their red
carpet for us, and you can expect some great local
delicacies and entertainment at these events. (Please
note that there will be another reception at the hotel on
Wednesday evening to welcome attendees and honor
our stipend recipients.)

She board considers the Awards Banquet on
Saturday evening to be an integral and
important part of the Triennial. ACASA uses this
occasion to honor conference donors, local sponsors,
and conference organizers, as well as awardees. In the
past, fewer than half of all registrants have attended
this event, at least partly because of high ticket prices.
Even so, organizers of the New Orleans conference
decided to move the banquet to a less expensive venue
to keep within the budget; in St. Thomas, we do not
have that option. Two trial runs during presidential
site visits convinced us that horrific Carnival night
traffic jams would prevent us from arriving at our
destination unless we took the sensible course and
chose the hotel. The Marriott has given us a price
break and offers an enticing menu with a choice of
entrees, but the cost of the meal would probably be a
deal breaker if we didn't subsidize the tickets, as has
been done at least one earlier Triennial.

Although we do not like spending ACASA's
Uunoney, we want to make this event as affordable
as possible. We have eliminated the patron's lunch and
will dedicate those funds as well as an unexpected
"windfall" from the last Triennial toward covering the
difference between the actual cost of the banquet and
the ticket price. Robert Nicholls is arranging for a
local band versatile enough to play old-time scratch
band songs and Calypso, but also able to up the tempo
to the Soca music that characterizes modern carnivals.
We will break for a spectacular view of the Carnival
fireworks over the harbor from the Marriott's terraces.
So please plan to attend and be prepared to party!


Anyone interested in finding a roommate for the
Triennial should visit and post notice on the
Discussion area of the Triennial website:
You must exit and reenter in order to see your

'-0 YOu o notd plan on spending 6 Me
whole pey'lo ait e si1aqe osluI ijo sIhould
please 6olleoi ese pmedeures.

*contact Lian LaPlace of Group Reserations
11-800-828-0745 ext. 62031
*fill out the hotel reservation form with tenatnct dates
and then reconfirm later \Mth positive dates

(Chair: Eli Bentor)

September 15, 2000 is the deadline for paper
proposals. There are two options for submitting a
paper proposal. The preferred way is to identify a
panel that you wish to contribute to and submit a
proposal directly to the chair of that panel. For
abstracts of panels and contact information for panels'
chairs please check the previous, special issue of the
ACASA Newsletter. The same information with
longer versions of panel descriptions and more
information on the Triennial is available at the
Triennial web site at:

If there is no listed panel that you with to contribute
to, you may elect to send an individual paper proposal
to the chair of the program committee. The committee

will attempt to form thematic open sessions from these
proposals. However, the program is already crowded
and there will be only a limited number of open
sessions. Because of the high cost of equipment rental,
we may not be able to provide all special equipment.
Please indicate such needs on the paper proposal

S scholars who are unable to submit a proposal on
hi time because of delays in mailing to and from
Africa are encouraged to submit proposals directly to
the program chair even beyond the deadline. While
we cannot guarantee that these papers will be
accepted, we will make sure that they will receive
proper consideration even if they are turned in late.

Panel Chairs are requested to consider proposals
solely on their merit and to avoid promising a slot on
their panel before examining all proposals. The
program committee is looking forward to receiving
the panel rosters from panels' chairs by the
deadline of October 1, 2000. The program
committee plans to submit a preliminary program for
the approval of the ACASA Board at their meeting in
Nashville during the ASA annual meeting in

Please communicate any ideas, problems, or concerns
about the program to Eli Bentor, Department of Art,
Appalachian State University, Boone, NC, 28608,
USA bentore@appstate.edu tel.: 828-262-2579, fax:
828-262-6756. Visit the Triennial web site for
updated information at:

(Chair: Robert Nicholls)

The University of the Virgin Islands (UVI)
welcomes the opportunity to host the 2001
Triennial Symposium. As the first and only American
HBCU in the Caribbean region, the university has a
special commitment to fostering appreciation of the
Caribbean cultural heritage, a heritage that has been
powerfully shaped by African influences. A
consortium of Virgin Islands agencies is helping UVI
host the event, including the West Indies Company, the
VI Council on the Arts, the VI Humanities Council,



+ +



the VI Cultural Heritage Institute, and the St Thomas
- St John African Association.

It seems a natural transition to follow the last ACASA
triennial of the 20th century, held in New Orleans, a
notably Creole city, by holding the first of the 21st
Century in the Caribbean, thereby fulfilling a
commitment to hold a triennial outside mainland US,
and in the midst of an African Diasporan population.
It is not surprising, therefore, that many Virgin
Islanders view the forthcoming symposium as one of
the more significant events of the new century, and it
is generating an amount of excitement. The
juxtaposition of Conference and Carnival--Academia
and Ritual--seems to be commonly applauded by the
ACASA membership and Virgin Islanders alike. It
was recognized from .the outset that, as the first
triennial of the millennium and the first in the
Caribbean it is precedent-setting and will likely impact
significantly on the future direction of African and
Diasporan cultural studies.

T he US Virgin Islands are located in the Eastern
Caribbean and have a healthy Afro-Creole
culture, including masquerades such as Carnival
Clowns and Mocko Jumbie stilt dancers. The Islands
enjoy the appellation "The American Paradise," and
are undoubtedly lovely--the sea, the sun and the white
beaches lighten the soul. Visitors are welcomed and
no special visas are required for US residents. St.
Thomas is known as a desirable location for cultural
tourism, and the Marriott Frenchman's Reef Resort
has its own beach and excellent amenities. This, plus
the fact that the Carnival is taking place concurrently,
makes the Twelfth Triennial a unique event.

The Virgin Islands Steering Committee early voiced a
goal of highlighting Caribbean culture while
promoting interaction between Caribbean and
Africanist scholars. Discussions with Polly Nooter
Roberts, Martha Anderson and Eli Bentor revealed
they were of the same mind, and they encouraged
original panels such as the "Art of the Rastafari" and
"Language as Art." The aim, in Polly's words, was
"to invest the triennial with an overarching theme that
will encompass the African crosscurrents, passages,
and transformations represented by Caribbean art and
expressive culture." While previous triennials have
focused on the African visual arts, musicology, and
dance, in which our interests are rooted, current panel
offerings are an eclectic mix which reflect the

resonance of African, Caribbean and Diasporan
expressive culture.

The VI Steering Committee was tasked locally with
making the event visible and meaningful in the eyes of
Virgin Islanders; accordingly the first event of the
week will be Outreach Day on Tuesday which, as
Veronika Jenke describes, will consist of workshops
for Virgin Islands teachers. This will be followed on
Wednesday by Museum Day, described by Chris
Kreamer, which consists of morning and afternoon
roundtables and discussions on topics ranging from
historic preservation to cultural tourism, and including
local museum curators and other professionals in
relevant areas.

The conference theme "Transitions, Passages, and
Confluences" has ritualistic overtones, and the
symposium, immersed as it is in the glittering
spectacle of Carnival, itself serves as a rite of passage
in some respects. Virgin Islanders have sensed this
and have envisaged ways in which local masquerades
such as the Mocko Jumbies can attend to the ritual
elements. Accordingly, on J'Ouvert morning,
Thursday April 26, 2001, the opening plenary session
will begin with libations to the ancestors, and
performances will be intertwined with the
presentations and proceedings that follow.

The ACASA receptions presented a challenge to the
VI Steering Committee. It must be remembered that
St. Thomas is a small island and lacks university
galleries and museum exhibitions of a sufficient size
to host the receptions. The problem was solved by
creating events suitable for the receptions. For
example, the VI Steering Committee is sponsoring an
exhibition of contemporary Virgin Island art, and this
will comprise the site of one reception. The exhibition
will open for two weeks in St. Thomas then travel to
the African Heritage Museum of A&T State
University, Greensboro, NC. The other reception will
take place at the University of the Virgin Islands'
Reichhold Center for the Performing Arts, where
entertainment that combines folk art and stage art will
be performed. This includes the Wake Scene from a
play by a local playwright, Edgar Lake, "The Killing
of Arthur Sixteen," in which six generations of bull
masquerades appear (the late Arthur Sixteen was a
well-known John Bull masquerader).





a19 Dig'L+++

Because of the social dynamics of a small
aCaribbean island, where people know each
other's business and local events become part of the
public discourse, the symposiuir' local impact will be
considerably greater than in previous triennial
locations. Knowing that it will impact significantly on
communal culture and the ways in which that culture
is represented, creates both a responsibility and an
opportunity. I suspect the ripples of the ensuing
synergy will spread throughout the Caribbean and

The VI Steering Committee will surely find a red
carpet to roll out for symposium attendees, but more
than that we offer palm fronds and turquoise surf,
steel pan and calypso, carnival troupes and floats and
Creole masquerades 0

Outreach Day Committee

(Chair: Veronika Jenke)

IThe Outreach day is beginning to take shape. Robert
Nicholls has been instrumental in establishing the
contacts with appropriate offices, administrators and
other resource people in the Virgin Islands. At this
point we expect morning sessions to focus on museum
collaborations, provide teaching materials, and include
a cultural performance workshop, possibly with a
performance of Moko Jumbie. There will probably be
sessions focusing on music and visual arts.

The afternoon sessions will be more technologically
oriented with possible presentations on the internet as
resources for African, Caribbean resources, and
possible demonstrations of multimedia packages.
Contacts with school administrators are still being
made to assure that teachers will be able to come to
the conference.

Museum Day Committee
(Chair: Christine Mullen Kreamer)

25 APRIL 2001

You don't have to work at a museum to take part in
the Triennial's Museum Day! Museum exhibitions are
at the forefront of critical dialogues about:

eThe place and meaning of objects in changing
cultural contexts;
*Strategies for educating about the visual and
performing arts;
*Ways for individuals and communities to conserve
their cultural heritage and to represent themselves and
their cultures to the public.

Come to the Virgin Islands a day early! There is no
extra registration charge for attending Museum
Day sessions. Participate in discussions with your
colleagues from Africa, the Caribbean, Europe and
the U.S. Learn about important cultural heritage
work in the U.S. Virgin Islands and other Caribbean
islands. Join us on Wednesday, 25 April 2001*

For further information contact:

Christine Mullen Kreamer
Curator, National Museum of African Art
Smithsonian Institution
Washington, DC 20560-0708
tel: (202) 357-4600, ext. 236
fax: (202) 357-4879
e-mail: krcamcrcianmafa.si.edu

U1 CAA's 9th Annual Conference will be held in
.Philadelphia, February 20-24, 2002, at the'
Philadelphia Marriott and the Philadelphia Convention
Center. All organizations affiliated with CAA are
encouraged to submit affiliated society-sponsored
session proposals for consideration by the Annual
Conference Committee. Each CAA affiliated society
may submit one proposal that follows the call for'
proposals and the submission guidelines published in
the May 2000 CAA news. The submission due date is
September 8, 2000. Please forward proposals to Bob
Soppelsa, 1655 Illinois Street, Lawrence, KS 66044
SEmail: sobania@hope.edu


AGENDA C --A ASA General Business Meeting
November 2000, Nashville, TN

Secretar /Treasurer
Fund-raising Committee
ASA/CAA Committee
Tnennial Commitees
H-African Ans
*Old Business
*New Business
Non-profit status
Vote to affirm the appointment of new board members
B-lan s discussions
appoinung replacements to serne on the board
possible changes in Secrelarv/Treasurer position
Sponsonng Afncan and Caribbean scholars
Seeking Venue for 13 Triennial m 2004

African Studies Association Presents Its
2000 Distinguished Africanist Award

New Brunswick, NJ July 13, 2000 The African
Studies Association is pleased to announce its 2000
Distinguished Africanist Award winners:

*Bernth Lindfors
*J.H. Kwabena Nketia
*Roy Seiber

very year the Association offers the
Distinguished Africanist Award in recognition of
a lifetime of distinguished contributions to African
studies. This year the Association received several
outstanding nominations and unanimously agreed that
these three candidates fully deserved recognition. The
awards ceremony is Friday, November 17, at 5:30 pm
in the Nashville Renaissance Hotel, Tennessee Room
during this year's 43rd Annual Meeting of the African

Studies Association. The winners will be presented
with a lifetime membership to the African Studies

The ASA Distinguished Africanist Award was
established in the 1980's to recognize and honor
scholars who have contributed a lifetime record of
outstanding scholarship in their respective field of
African studies and service to the Africanist
community. Each year the Award is presented at the
Annual Meeting to individuals who achieved a
consistently high standard of excellence in African
studies. Criteria for the Award are the distinction of
contribution to Africanist scholarship, as measured by
a lifetime of accomplishment and service in the field of
African studies. Contributions to scholarship within
and without the academic community are considered.

This year's recipients have demonstrated extraordinary
diligence in African studies. Bernth Lindfors is one of
the most esteemed and accomplished scholars in the
field of African literature. Currently Dr. Lindfors is a
Professor of English and African Literatures,
University of Texas at Austin. Roy Sieber is an
internationally renowned historian of African Art and
has worked throughout his career to establish African
arts firmly in the area of African studies. Currently
Dr. Sieber is a Rudy Professor Emeritus at the School
of Fine Arts, Indiana University and Research Scholar
Emeritus at the National Museum of African Art
Smithsonian Institution. J.H. Kwabena Nketia is one
of the world's foremost authorities on the subject of
traditional African music. Dr. Nketia is a Professor
Emeritus at the University of Ghana and was Cornell
visiting Professor and a Distinguished Hannah
Professor at Michigan State University.

Past recipients of the award are:

1984: Gwendolyn M. Carter
1985: Elliot Skinner
1986: Jan Vansina
1987: Joseph Greenberg

Credits: The stickmann" logo used for the cover (and
elsewhere) was designed by dele Jegede; it is closely
associated with the 2001 Triennial. Robert Nicholls
submitted the piece that borders his report.
9 -J

The Arts Council of the African Studies
Association announces The Arnold Rubin
Outstanding Publication Award

T he Arts Council of the African Studies
Association (ACASA) invites publishers to
nominate titles for the prestigious Arnold Rubin
Outstanding Publication Award. This important
award, first bestowed in 1989, honors publications for
excellence in scholarship on the arts of Africa and the
African Diaspora.

The award, offered every three years, is given to
works of original scholarship and excellence in visual
presentation that make significant contributions to our
understanding of African and African Diasporic arts
and material culture. This year the award will be
offered in two categories; four honorable mentions in
each category will also be named. The award
presentations will be made at the ACASA Triennial
Symposium on African Art, to be held April 25 29,
2001 in St. Thomas, the Virgin Islands. The winning
titles will also be announced in the ACASA
Newsletter and the ASA News and will earn the right
to use the award designation in publicity connected
with the distribution of the publication.

nominations for the Rubin Award may be made
L directly by publishers and should meet these
1. Submissions must be original scholarly
texts published from 1998 through 2000.
2. Topics may include visual arts and material
culture of Africa and the African Diaspora.
3. Symposium proceedings, new editions of
previously published works, bibliographies,
articles, dissertations, and books of
photographs without scholarly texts fall
outside the scope of this award.

Awards will be given in two categories:
A. Original scholarly works by one or two
authors published in English, includingbooks
published in conjunction with exhibitions.
B. Original scholarly works by three or more
authors published in English, including
books published in conjunction with exhibitions.

Publishers who wish to nominate a title or titles
should send one copy to each of the three committee

members: Dr. Victoria Rovine, The University of Iowa
Museum of Art, 112 MA, 150 N. Riverside Dr., Iowa
City, IA 52242-1789. Dr. Elisabeth Cameron,
Nelson-Atkins Museum of Art, 4525 Oak Street,
Kansas City, MO 64111. Dr. Babatunde Lawal, Art
History Dept., Virginia Commonwealth University,
922 Franklin St., PO Box 843046 Richmond, VA

1, 2000.

(Recent and Current)

E FEB 5 JULY 2, 2000 The Field Museum, Chicago
(http://www.fieldmuseum.org). Africa: From Eritrea
with Love presents paintings by BETTY LADUKE
that capture the diverse cultures of Eritrea. During her
travels over a four-year period, Betty recorded on
canvas the daily life of the Eritrean people, their
agricultural and spiritual beliefs and practices. She
also has organized exhibitions of women's art from
India, Borneo, Latim America, and Africa.

Betty's recent exhibitions include Eritrea: Ethiopia,
Prayers for Peace (Jan 7 -Feb 25, 2000, Reflections
Gallery of the Dayton cultural center, Ohio), and
Betty LaDuke & Africa: Myth, Magic, and Reality
(Jan Feb 2000, Museum of Discovery--Arkansas
Museum of Science & History).

* RECENT Cape Town, South Africa (tel. 021-
465-1628) TRANCEsending Time and Space is one
of several exhibitions mounted under the title, Theory
and Myth by the National Gallery (South Africa) in
collaboration with the South African Museum. The
exhibitions break new ground by shifting the locus of
San rock art outside of the conventional context of
ethnographic or anthropological displays in museums
of natural history and instead presenting it within an
art gallery, and advancing the view that the San rock
art tradition is as significant and aesthetically potent
as any other. Carol Kaufmann is the curator and
Craig Foster's photographs are probably the most
powerful and compelling records of San rock art that
have ever been produced.

*RECENT-- GHANA An exhibition was mounted
focusing on the history and culture of the Tongo Hills
in the Bolgatanga Distric of the Upper East Region
of Ghana. The Tongo Hills constitute a unique
cultural landscape which Ghana has proposed to
UNESCO as a World Heritage Site, beginning in the
year 2001. The exhibition was made possible through
the collaboration of the Ghana Museums and
Monuments Board, Fulbright Researchers,
Universities of Minnesota and London, the U.S.
Embassy in Ghana, and the Bolgatanga District

Two solo exhibitions were mounted in Ghana by Kofi
Dawson (Art Brush "00") and Kofi Agorsor
(Agorsor Bursts Open: An Exhibition of Recent
Paintings), two Ghanaian artists.

SMARCH DEC 2000. Reversing the Trend for the
21st Century is the theme of quarterly exhibitions and
lectures in Benin City, Nigeria. The exhibition artists
for the 4th through the 7th quarter, 2000 are: Abraham
Uyovbisere (painter, March 23), Augustine Bardi
(June 22-28), J. Ehigiamusoe (sculptor, Sept 21-27),
and J.N. Tubonim (textile technology). The exhibition
series was officially opened by Dr. A. O. Izevbigie,
High Commissioner for Information, Youth and
Culture on June 24, 1999. For further information,
contact M.E. Imonikebe: ononemeet,,uniben.educ.nig.

mMAY 31, 2000 MuseumAfricA, 121 Bree Street,
Newtown, Johannesburg.. An exhibition titled
Johannesburg's War 1899 1902 celebrates the
centenary of the fall of Johannesburg. On May 31,
1900 Johannesburg fell to Lord Roberts. Although the
Boer capital, Pretoria, was only captured five days
later, and the war dragged on for another two years,
Britain had achieved its main objective--control of the
gold fields.

Johannesburg was pivotal to the war. The gold mines
of Johannesburg were both the cause of the war, and
the means for waging it so successfully on the part of
the Boers. Although Johannesburg had no major
battles, it was profoundly influenced by the Anglo-
Boer War. This exhibition explores the role of its
inhabitants in the war using MuseumAfricA's rich
collection of photographs, illustrations and objects.

Related exhibits that will also be displayed are:
Jews and the Anglo-Boer War curated by David
Sacks of the Jewish Board of Deputies. The
Johannesburg Fort in the War curated by the
Parktown Westcliff Heritage Association.

Visual Reports: Artists in the Anglo-Boer War,
MuseuMAfricA display; Gandhi's Johannesburg
(Gandhi organised an Indian ambulance corps during
the war), MuseuMAfricA display.
Submitted by Mrs H.J. Bruce, Acting Metropolitan

For details contact Marius Basson tel. 833-5624 fax
833-5636e-mail: museumniLmi.org.za

* JULY 20 AUG 18, 2000 The Gallery, 530 West
22nd Street, New York, NY 10011. Brent Sikkema
presents The Magic City, a group exhibition curated
by Trevor Schoonmaker. The Magic City is a place
of "possibilities and beauty," where multiple worlds
come together and traditions, popular culture and
fantasy all have equal footing.

The artists in The Magic City explore cultural identity
and challenge the viewer to delve into their personal
vocabularies of symbolic materials, icons and colors.
While grounded in historical and contemporary
realities, the works in the exhibition are viewed
through a lens of otherworldliness, creating an
improvisational, running dialogue about cultural
politics, appropriation and representation.

Artists featured include: Rina Banerjee, who uses a
combination of Indian and western cultural markers in
her installation to examine the displacement of desire
and power and their relationship to the idea of the
exotic in the mind of the west; Tim Evans, generates
a pantheon of hybrid deities in his large-scale
paintings using his Japanese-esque/ hip-hop style of
appropriation; Tony Gray, who explores African-
American history and fantasy through images of Black
Panthers and Black Fairies; Barkley L. Hendricks,
presents his confrontational, seductive, and iconic life-
sized painted portraits of urban people of color;
Wangechi Mutu, who investigates the exoticization of
African and other non-western peoples through her
use of video and her creation of pop-artifacts;
Roberto Visani, who interrogates the black condition
through his works on paper and assemblages of

discarded material and ready-made objects in his
Ghanaian-inspired guns.

The title of the exhibition is borrowed from the
seminal 1965 Sun Ra album and was originally a
promotional slogan for Birmingham Alabama, the
place where Sun Ra was born and raised.

M THRU SEPT 3, 2000 Transatlantic Dialogue:
Contemporary Art in and Out of Africa, National
Museum of African Art, Smithsonian
(http://www.si.edu/nmafa) This exhibition involving
sixteen contemporary African and African-American
artists charts the interrelationship between a group of
African artists who have visited or lived in the West
and a group of African-American artists who have
traveled primarily in West Africa. The artworks on
view represent shared influences and experiences, and
a cultural dialogue between Africans and African-
Americans. Similarities of style as well as diversity of
expression have emerged from a shared African

Featured are 40 paintings, drawings, sculptures,
ceramics, prints and mixed media works by Jean-
Michel Basquiat (American, 1960-1988), John
Biggers (American, b. 1924), Skunder Boghossian
(Ethiopian, b. 1937), Sokari Douglas Camp
(Nigerian, b. 1958), Rashid Diab (Sudanese, b. 1957)
Jeff Donaldson (American, b. 1939), Yvonne
Edwards-Tucker (American, b. 1941), Amir Nour
(Sudanese, b. 1939), Moyo Ogundipe (Nigerian, b.
1948), Moyo Okediji (Nigerian, b. 1956), Ouattara
(C6te d'Ivoire, b. 1957), Winnie Owens-Hart
(American, b. 1949), Charles Searles (American, b.
1937), Alfred Smith, Jr. (American, b. 1948), Curtis
Tucker (American, b. 1939-1992), and an unknown
Yoruba artist from Nigeria.

An 80-page, full color catalogue accompanies the
exhibition. Michael Harris and Moyo Okediji put
together companion essays that explore the exhibition
themes. The exhibition was organized and circulated
by the Ackland Art Museum, University of North
Carolina at Chapel Hill and was guest-curated by
Michael Harris.

Other current exhibitions at the National Museum of
African Art include Audible Artworks: Selected
African Musical Instruments (June 25, 2000 April

8, 2001), and Identity of the Sacred: Two Nigerian
Shrine Figures (Sept 24, 2000 April 2, 2001).

* JUNE 8-, 2000 The Institute of International
Visual Arts (inIVA) is a contemporary visual arts
organization promoting artists from diverse cultural
backgrounds through exhibitions, publications,
research and educational ventures. inIVA has a
special interest in new technologies, international
collaborations and site-specific artworks.

inIVA launched new digital artworks for x-space
(http://www.iniva.org/xspace), a virtual gallery and
online project space. For details about x-space,
contact Antonia Carver
(acarvcriiiniva.org) at tel.: 020-7729-9616.

* JULY 28 SEPT 2, 2000 Kubatana Gallery,
1841 Peachtree Road NE, Atlanta, GA 30309. In
association with the 2000 Atlanta National Black Arts
Festival, the Kubatana Gallery announces
Transgression & Transformation, featuring the work
of Arturo Lindsay and Michael Harris.
Transgression & Transformation will explore, through
the use of artistic expression, the surviving spirit and
mobilization of Africans and descendants of the
African diaspora. "Art is best as the articulation of
spiritual ideas or transformative intention," explains
Michael, who expresses his increasing interest and
knowledge of Yoruba culture through his work. Arturo
Lindsay, whose work carries similar themes, was born
in Panama, and then moved to the Brooklyn, New
York. He calls himself a "mestizo," since he is
Yoruba, Ashanti, and French Creole. His work
represents a union of these cultures; there are cubist
influences in his work, as well as images of African
masks and ancient words and symbols. He was
greatly influenced by the New World religion of
Santeria, which is based on Catholic and Yoruba
traditions. He uses intense colors that are seen in the
tropics, and integrates his heritage with contemporary
African American issues. For details, contact Jason
Wertz, 404-355-5764 kubatana@earthlink.net.

* SEPT 9, 2000 JAN 13, 2002 Neuberger Museum
of Art, Purchase, NY African Art from the
Collection of Lawrence Gussman Seventy-five
works drawn from the three museums' collections will
travel to Jerusalem, Purchase (NY), Washington
(DC), and Tulsa (OK). An illustrated catalogue
(includes an essay by Christa Clarke, Neuberger

Museum of Art Curator of African Art) accompanies
the exhibition Object and Intellect: African Art from
the Permanent Collection is part of the Museum's
ongoing display.

On Sept 19, 2000 at 2 p.m. Lamidi Fayeke will
present a slide/lecture/carving demonstration at the
museum. For details, contact Barbara Morgan at
barbaara.morgyan@,purchase.edu. Visit the museum's
website at http://www.neuberger.org.

* SEPT 22, 2000 FEB 28, 2001 Memories of
Africa: Objects and Artifacts Collected by Peace
Corps Volunteers New Orleans. The Louisiana
Peace Corps Association (LaPCA) and the African-
American Museum of Art, Culture and History
present an art exhibition featuring objects and
artifacts collected by Returned Peace Corps
Volunteers (RPCVs). Two members of the LaPCA
Board, Kim Longfield (C.A.R. 1993-1995) and
Mary Fitzpatrick (Benin 1973-1977), serve as co-
chairs for this exhibition. For the last two years, they
have worked with Stephanie Jordan, the museum
director and her assistant Albert Cooper, as well as
curators Sarah Hollis (Nigeria 1964-1966) and
Michael Conner, to create an exhibition that features
"art in everyday life" from over 25 different African

More than 200 objects including musical instruments,
furniture, kitchen utensils, tools, charms, jewelry, and
cloth will be featured. A curriculum written by
educators from the New Orleans Public School
District and RPCVs will complement the exhibition
and enhance the teaching of African art, culture, and
history in local classrooms. A web page, RPCV slide
presentations, footage from homemade videos,
popular African music, and photos will add a multi-
media component to the exhibition and combine
modern technology with "traditional" art forms. For
more information, visit http://wmwl.apca.org; or
contact Kim Longfield
(klongfi@mailhost.tcs.tulane.edu; 504-861-1442) or
Mary Fitzpatrick (fitzjfmc@aol.com; 504-888-6734).

* FALL, 2002 UCLA's Fowler Museum of Cultural
History has just launched a website for its exhibition
program "Passport to Paradise": Visualizing Islam
in West Africa and the Mouride Diaspora. The
exhibition, co-curated by Mary Nooter Roberts and
Allen F. Roberts with support from Doran Ross and

the Fowler staff, opens in Fall, 2002, to begin a
national tour. A major book will be published in 2002,
with contributions from noted Senegalese, Congolese,
French, British, Canadian, and U. S. scholars.

The Mourides are a Senegalese Sufi movement
centered upon the life and teachings of Sheikh Amadu
Bamba (1853-1927). Nowadays, Mourides are to be
found in most major cities of the world, through an
actively expanding commercial diaspora. Arts
illustrated and discussed in the exhibition and website
include urban murals and related ephemerae,
devotional portraits, calligraphy and healing arts,
architecture, contemporary "gallery" arts, and music.
Although there have been several museum exhibitions
of Islamic art from Africa, "'Passport to Paradise'" is
the first to address contemporary urban expression.

The Fowler's website offers an exhibition walk-
through, artists' portraits, and an educational
program; interactive features will be added in months
to come. Visit the website at:
http://www. finch.ucla.edu/passporttoparadise.htm.

ARTISTS The International Commission for the
Promotion of African Arts is planning a traveling
exhibition to take place in European countries, 2001
to 2002. The exhibition, titled Sharing Cultural
Heritage of Africa in the New Millennium will
provide a comprehensive perspective of African
forms. The exhibition aims to bring together about
150 works to represent every regions of Africa.

However, the organizers are looking for visual artists
across the world dealing with elements of Africa.
Interested artists should send the following to the
address below: a short CV; photograph of the work;
size, medium and the title of the work; and a brief
information about the work.

Send to:: WSE, The Coordinator, P.O Box 6093,
Shomolu, Lagos, NIGERIA
Email: africarts ,.usa.nct or



* AUGUST 2000 Osun Osogbo International
Festival and Meeting (OSIAFEM) This festival is
dedicated to the wife of the founder of Osogbo town
and who became deified as a goddess of fertility. The
Osogbo festival, which includes as symposium,
workshops, performances, and exhibitions allows
participants to investigate and explore the rich cultural
diversity of Yoruba. For details, contact: Ogunsola
Kayode Oluremi, Office of the Co-ordinator, Box
5093 Shomolu Lagos Nigeria, L.C.H.E, Block 185
Flat 5, Oke-Afa Isolo, NIGERIA; fax: 234-01-

* SEPT 20-23, 2000 Crossing Boundaries: The
African Diaspora in the New Millennium is the theme
of a conference to be hosted by the Schomburg Center
for Research in Black Culture and by New York
University. The conference will also launch a new,
multi-disciplinary association, tentatively called "The
Association for the Study of the Worldwide African
Diaspora," or ASWAD. For details, contact: Michael
Gomez, Dept. of History, 53 Washington Square
South. New York University, New York, NY 10012-
1098 Tel. 212-998-8624 Fax 212-995-4017; E-
mail: Michac. Gomcza n u.cdu.

* SEPT 21-23, 2000 Approaching Textiles, Varying
Viewpoints is the theme of the Seventh Biennial
Symposium of the Textile Society of America to be
held at La Fonda Hotel in Santa Fe, New Mexico.

For details, contact: Ann Lane Hedlund, The GFR
Center for Tapestry Studies, P.O. Box 3305, Tucson,
AR 85722 Tel. 520-626-8364 Fax 520-621-2976
Or: Margot Blum Schevill, San Francisco Airport
Museum. Tel. 650-652-2767 Fax 650-652-2778
E-mail: tapestry@u.arizona.edu

mOCT 12-15, 2000 "The End of Tradition?"
Seventh Conference of the International Association
for the Study of Traditional Environments
(IASTE), Trani, Italy. IASTE is an academic, non-
profit association, based at the University of
California, Berkeley, concerned with the cross-cultural
study of traditional dwellings and settlements. This
conference will be concerned with a specific historical

moment, one where a seemingly all-consuming late
capitalism levels differences and particularities, but
where there is at the same time a resurgence of
localisms, populisms, and fundamentalists. It is this
paradoxical simultaneity which necessitates the
question: The End of Tradition? The conference will
investigate the following sub-themes: Deter-
ritorialization/ Globalization, Tradition as a Call to
Arms, and Practice and the New Technologies of

Inquiries should be directed to IASTE 2000
Conference, Center for Environmental Design
Research, 390 Wurster Hall, University of California,
Berkeley, CA 94720-1839, USA. Phone
510.642.6801, fax 510.643.5571;
e-mail: iaste@uclink4.berkeley.edu; website:
-- -- - - - ----- --- -----

mOCT 19-22, 2000 Playing with Identities in
Contemporary African Music is the title of an
international symposium organized by The Nordic
Africa Institute and the Department of Musicology
and the Centre for Continuing Education at Abo
Akademi, Turku, Finland. The symposium is part of
the research project "Cultural Images in and of
Africa" of the Nordic Africa Institute which deals with
cultural dynamics and questions of identities in
contemporary African culture.
E-mail: Mai.Palmberg@nai.uu.se
website: http://w\\vw.nai.uui.sc/
(see previous issues for conference details)

* NOV 16 -19, 2000 People and Power in 21st
Century Africa is the theme of the 43rd African
Studies Association annual meeting to be held at the
Convention Center and Renaissance Hotel, Nashville,
Tennessee. The Preliminary Program for the African
Studies Association 43rd Annual Meeting is now
available on the ASA website at:
http:// www.africanstudies.org.

The program lists all scheduled panels and
roundtables by session day and time and all
conference presenters alphabetically in the index. The
program will also appear in the next ASA NEWS
(July/September 2000).

Hotel: ASA discount rates: Single: $109; Double:
$119; Triple: $129; Quadruple: $139. A portion of

hotel costs will offset meeting room rental. The rates
are guaranteed through October 15, 2000.

Renaissance Hotel, 611 Commerce St., Nashville, TN
37203 Tel: 615-255-8400;Tel: 800-327-6618
Fax: 615-255-8163

Travel: Please use the Association travel agency,
Stellar Access/Conventions in America. This year
American and Southwest are our preferred airlines.
The phone number is 800-929-4242, and our group
number is 319. The agency is also accessible on the
web at www.stellaraccess.com. Please call early to
ensure low fares.

Book Exhibit Manager (and for Ads for Final
Mr. Harve Horowitz, Exhibit Promotions Plus, Inc.
11620 Vixens Path, Ellicott City, MD 21042-1539
T: 410-997-0763; F: 410-997-0764
exhibit /;erols.com.

To contact ASA: Tel.: 732-932-8173; Fax: 732-932-
3394; website: http://www.africanstudies.org
Email: callasa'arci.rutgerss.edu

mFEB 23-24, 2001 Bridging the African Diaspora
in the New Millennium The conference planning
committee of the African American and African
Studies Program at the University of Nebraska-
Lincoln welcomes submissions from a broad spectrum
of disciplines. Individual and panel proposals (150-
200 words) should be submitted with a brief resume
by September 22, 2000 to Professor Venetria K.
Patton, African American & African Studies,
University of Nebraska, 420 University Terrace,
Lincoln, NE 68588-0688 (vpatton.l@unl.edu).

* APRIL 2-5, 2001 The Department of Modern
Languages and Literatures at the University of the
Witwatersrand, Johannesburg is calling for
contributors from the fields of Literature, Culture
Studies, Drama, Film, Visual Arts, and Language
Studies to make presentations on Africa and Europe:
Myths, Masks and Masquerades at this international
interdisciplinary conference. "...Myths, Masks and
Masquerades" seeks to examine how Europeans
perceive and represent African culture, how Africans
perceive and represent the "idea of Europe," how
decolonialisation and the African Renaissance has
affected African-European relations and other issues.

For further information contact, Dr. Carlotta von
Maltzan, Wits University, telephone 011 71 74212,
fax (+27 11) 4037289 e-mail:
120car@muse.wits.ac.za or 120mlf@muse.wits.ac.za.

m APRIL 6-7, 2001 The First National Conference
on Stepping Virginia Tech, Blacksburg, VA.
Stepping is a complex performance involving
synchronized percussive movement, singing, speaking,
chanting, and drama. Developed by African American
fraternities and sororities, it is now practiced by
people throughout the world.

The conference deals with all aspects of stepping as
an art form, including: history of stepping role in
Black Greek-Letter Organizations relationship to
African movement patterns role in developing
leadership, character, and community role in social
action and/or cultural promotion adaptation by Latino,
Asian, and multicultural groups role in popular
culture (film, television, advertising) featuring a
benefit performance by Step Afrika!, U.S.A. for the
restoration of the Christiansburg Institute, an historic
African American school in Christiansburg, Virginia.
and a roundtable discussion on leadership issues and
stepping with Dr. Michael Gordon, immediate past
Executive Director of the National Pan-Hellenic
Council and representatives from the nine NPHC
member organizations.

Submit a 250 word abstract of papers, performances,
events, or entire sessions devoted to any aspect of
"Stepping" as a national or international phenomenon
by September 20, 2000 to:

Professor Elizabeth Fine, Center for Interdisciplinary
Studies, 0227 Virginia Tech, Blacksburg, VA 24061;
or electronically to i'fl .t -L _. For additional
information, call 540-231-9593 or email bfinc:a;vt.cdu.

Visit http://www.cis.vt.edu/humanities for updated
conference information.

* AUG 2-4, 2001 Composition in African and the
Diaspora: An International Symposium and
Festival Churchill College, University of Cambridge,
London. Organizers of this event include the Centre
for Intercultural Music Arts, London (Director, Akin
Euba; Deputy Director, Robert Kwami), the
International Consortium for the Music of Africa and
the Diaspora (Director, Fred Onovwerosuoke), the

International Society African to American Music
(Chair, Mike Wright), and Music Research Institute
(Executive Director, Cynthia Tse Kimberlin). The
event will comprise three sections as follows:

1. Scholarly sessions, featuring papers on aspects
relevant to the topic of the symposium.
2. Composers' sessions, in which composers discuss
their own works, using live or recorded examples.
3. Live concerts, featuring works by composers of
Africa and the Diaspora, as well as works by
composers of non-African origins which utilize
African resources.

Funds available to the organizers are very limited and,
therefore, all participants are expected to provide their
own funds in respect of local and international travel
and board and lodging. Lodging will be available at
Churchill College at the following rates:

eAccommodation with breakfast 48.00 British pounds
per person per night (bathroom and toilet facilities are
located in the corridors.)

*En-suite accommodation with breakfast 65.92 British
pounds per person per night. These prices include
value added tax.

The summer months are very busy at Churchill
College and, in order to ensure your accommodation,
please let us know as soon as possible what your
requirements are so that we can include you when we
make a block booking at Churchill College in
September 2000.

Registration fees will be 40.00 British pounds (when
paid before 1 February 2001) and 50.00 British
pounds (when paid after 1 February 2001).

Other details of the event will be supplied in due
course. Requests for information may be addressed to
the following persons.

Akin Euba, Department of Music, University of
Pittsburgh, Pittsburgh, PA 15260, USA. E-mail:

Robert Kwami, Music and Drama Group, Institute of
Education, University of London, 20 Bedford Way,
London WC1H OAL, England.

Fred Onovwerosuoke, International Consortium for
the Music of Africa and the Diaspora, St Louis
African Chorus, 634 N. Grand Boulevard, Suite 1143,
St Louis, Missouri 63103, USA.
E-mail: fredo@africanchorus.org

Mike Wright, International Society African to
American Music, 49 Waltham Avenue, Guildford,
Surrey GU2 6QF, England.

Cynthia Tse Kimberlin, Music Research Institute,
P.O. Box 70362, Point Richmond, CA 94807-0362,
USA. E-mail: cvnkimni 7home.com


* The Department of Art History at University of
Illinois at Chicago is seeking someone to take a one
year position teaching African and African-
American Art for the 2000-2001 academic year.
The two course load includes one course in African-
American [or African Diaspora] art and a non-survey
Introduction to Art History course in the Fall, and an
African survey and either a seminar in African or
African-American or a repeat of the Introduction to
Art History in the Spring Semester.

Minimum qualifications include an M.A. and some
teaching experience. A search for a tenure-track
position will be conducted during the coming
academic year. Interested persons should contact
David M. Sokol, Professor and Chairperson,
Department of Art History [M/C 201], University of
Illinois at Chicago, 935 W. Harrison Street, Chicago,
Illinois 60607-7039, [312] 996-3303; Fax: [312] 413-

*The Cantor Arts Center (CAC) at Stanford
University seeks an experienced curator with a focus
on African art to oversee and develop the museum's
collection of African, Native American, Pre-
Columbian, and Oceanic art in a variety of media.
Emphasis is on developing exhibitions, collections,
programs, and faculty and student relations, and using
the collection for teaching.

Responsibilities: physical care and installation of
works of art; organizing research, special exhibitions,
and acquisitions; and cultivating donor relations.
Requires a broad knowledge of AOA art.

Qualifications: a Ph.D. in art history or related field
or equivalent experience and scholarship; minimum
four years of museum experience, including
involvement in exhibitions, publications,
project/budget management. Assist with fund raising.
Teaching experience desirable; willingness to
teach/train graduates and undergraduates in area of
expertise. Desire to help faculty integrate the CAC's
collection into teaching curriculum. Ability to foster
appreciation and understanding of AOA art.
Excellent communication and organizational skills
essential. Competitive salary and excellent benefits.

Deadline: Sept. 1, 2000, send resume, references,
and writing sample to: Personnel Office, Cantor Arts
Center, Stanford University, Stanford, CA 94305-
5060. EOO/AA

*The Metropolitan Museum of Art, Arts of Africa,
Oceania and the Americas seeks a parti-time
Research Assistant.

Responsibilities: Assist with research centering on the
permanent collections and special exhibitions of
African art both inside the Museum and for outgoing
loans: projects ranging from cataloguing and
inventory of the permanent collections to exhibition
preparation. Supervision of cataloguing of African
collections in both card and electronic form;
monitoring of ongoing changes in department
database; supervision of African collections in
department storerooms. Other duties as assigned.

Qualifications: M.A. degree in art history with
specialization in African art. Reading knowledge of
French necessary, German helpful. Word processing
experience is essential, IBM PC, Windows,
Dataperfect and TMS software.

Hours. 21 hours per week (Flexible within Mon.-
Fri., 9-5). Salary: $13.00 / hour. Please forward
resume and cover letter to: The Metropolitan Museum
of Art, Human Resources, Box TS AAOA,
1000 Fifth Avenue, New York, N.Y 10028. EOE

[We encourage members to send news items about
grants, jobs, research, etc.]

m Anthropologist Sally Price has been elected to life
membership in the Royal Netherlands Academy of
Arts and Sciences. The only other anthropologists who
are foreign members of the Academy are James J. Fox
and Claude Levi-Strauss.

Price, 56, divides her time between the College of
William and Mary in Virginia, where she holds the
Duane A. and Virginia S. Dittman Chair in American
Studies and Anthropology and teaches every fall
semester, and the island of Martinique, where she and
her husband, anthropologist Richard Price, have had a
home since 1987. Her association with the
Netherlands dates back to 1966, when the Prices
undertook research in the interior of Suriname, then a
Dutch colony. They have since spent three sabbatical
years in the Netherlands, conducting research in
libraries, archives, and museums, and continue to
maintain active ties through their editorial positions on
the New West Indian Guide, a Dutch-based journal of
Caribbean studies.

As a scholar, Price has contributed to the fields of art,
gender, folklore, history, and museum studies. Her
1984 book, Co-Wives and Calabashes, won the
Hamilton Prize in Women's Studies. Primitive Art in
Civilized Places (1989) was featured in Newsweek
and has been translated into six languages. Her most
recent book, co-authored with Richard Price, is
Maroon Art: Cultural Vitality in the African
Diaspora (Beacon Press, 1999). Price has taught at
Johns Hopkins, Princeton, Stanford, the University of
Florida, the University of Minnesota, and the Federal
University of Bahia (Brazil). She is currently
conducting research on the American artist Romare
Bearden who, like the Prices, maintained a home in
the French Caribbean.

m Ethnomuseums is a new listserv designed to
promote discussion on issues relating to museum
ethnography, its practice and theory, and as a forum
for queries and suggestions covering material culture,
anthropology, archaeology, and museum studies topics.
To subscribe, send a message to

mailbase';rmailbase.ac.uk, with the following in the
text area (leave subject blank):

join ethnomuseums First name Last name

For additional information, contact Lisa Harris,
Ethnographic Project Curator, North East Museums,
c/o The Hancock Museum, Barras bridge, Newcastle
upon Tyne, NE2 4PT tel. 0101-222-6778.

PERFORMANCE The Baltimore Museum of Art
plans to publish a catalogue of 100 of the most
significant objects from its collection of African art.
The central focus of the catalogue will be the
reconstruction of the artistic elements of the whole art
form in Africa, confronting the customary privileging
of the sculptural fragment in both museum displays
and the classroom. The essay explores the way the
history of collecting has deformed African art and
how the viewer is deceived.

The individual catalogue entries will not be general
descriptions, nor will they deal with iconography or
with cultural or social context, but they will be tightly
focused on specific aspects of performance and the
artistic context. In the catalogue entries, for each
object, our goal is to restore the other elements of the
whole art form, such as movement, dance, theater,
oral narrative, costume, and accumulation which
often are considered more important than the
sculptural elements by the African practitioners and

We are searching for writers who have concentrated
some measure of research on these and other artistic
elements. While professional expertise in notating
sound and movement would be welcome, even
pedestrian observation would be useful. For many
entries, the data will necessarily be incomplete, limited
in some cases perhaps to accoutrements, companions,
or audience participation. The reconstruction of the
ensemble would apply not only to masks and
headdresses but also to figural sculpture used in
shrines, and even utilitarian forms, where performance
is often key as well, involving music, strategic use of
space, lighting, timing, etc.

Contact Frederick Lamp for a list of objects selected
for the catalogue, listed by ethnic group in
alphabetical order. We would be grateful if you would

check the list for areas of your own research, and to
respond if you would like to participate in the writing
of entries. We have applied for a grant, with
notification in April 2001, and we would like to have
commitments in principle by November 1, 2000.
Copies of the grant proposal narrative and the
introductory catalogue essay will be sent upon

Inquiries should include a current CV and a paragraph
describing your relevant research. Please send
correspondence to:

Frederick Lamp, Curatorial Department Head, Arts of
Africa, Asia, the Americas & Oceania, The Baltimore
Museum of Art, Art Museum Drive, Baltimore, MD
21218 USA Tel. 410-396- 7056 (office) 410-396-
6562 (fax)
Email: lamp@artbma.org

m Diala Toure is editing a publication addressing
issues of perception and representation of African
Arts in cultural institutions for the Smithsonian. He
will welcome submissions from different disciplines
and covering the representation of African Arts in
Europe, USA, Canada, etc. Please address all
correspondence to: Dr. Diala Toure, 3455 Girard
Avenue S. #3, Minneapolis, MN 55408; or the
University of Minnesota, University of Minnesota,
Department of Art History, 338 Heller Hall, 271-19th
Avenue South, Minneapolis, MN 55455-0121.
Email: toure004(@tc.umn.edu

m POSITION WANTED Dr. Ihuoma F. Nwalutu
holds a Ph.D. in African History and Gender Studies
from the University of Lagos, Nigeria and has written
and published extensively on Gender and Women
Studies in Southeastern Nigeria. If anyone would like
to receive her CV and contact information, Please
send email to mails(benin.nipost.com.ng

* Eritrea: Grandmothers Dreaming Peace (1999;
58 x 52, acrylic) a painting by Betty Laduke has
been selected and included in the art exhibition titled,
"Progress of the World's Women," which explores the
ways in which women have been moving towards
equality in their counties and worldwide. Sponsored
by the United Nations Development Fund for Women
9UNIFEM), the exhibition featuring the art of fifty
artists from around the world were displayed at the
United Nations in June, 2000.

* The Junior Art Club of Ghana announces its
existence and seeks to work closely with scholars
interested in African art. Inquiries, donations and
suggestions should be sent to: Junior Art Club, P.O.
Box 1301, Accra, Ghana. Email:
jinator'ilhotmail.com (tel.: 0233-22-303915;


LORD KITCHENER [Aldwyn Roberts] (1922-
2000), Port-Of-Spain, Trinidad) Lord Kitchener, who
rose from a country boy with no musical training to
become the "Grand Master" of calypso in Trinidad
and Tobago, one of the most musical of Caribbean
nations, died on February 11, 2000. He died in the
hospital, where he was admitted 11 days before for
kidney failure and bone marrow cancer.

Together with the Mighty Sparrow, Lord Kitchener is
celebrated as the greatest of the two-island nation's
long, illustrious succession of calypso artists who
gained fame in their homeland. Though their names
remained largely unknown outside the Caribbean, their
musical influence has been felt internationally.

Born Aldwyn Roberts, Lord Kitchener was different
from the time he sang in his first calypso tent at the
age of 15 for 12 cents. In an era when calypsonians
assumed powerful monikers like the Roaring Lion, the
Mighty Killer and Mighty Sparrow, he called himself
Lord Kitchener after the British army officer who
successfully waged a military campaign to win back
the Sudan in 1898. With the theme of fighting and
defending being central to the calypso idiom, the
persona seemed to fit.

He could also be political. Perhaps the most
significant of such moments came in 1950 when,
guitar in hand, he led a group of West Indian
immigrants onto the hallowed turf at Lord's cricket
ground in London to celebrate the first victory of the
West Indies over England, the former colonial power.
He dominated the calypso world in the 1960s and
1970s with tunes such as 'Mama dis is Mas' and
"Rainorama," a comic look at the hysteria created

among his countrymen when Carnival was delayed in
1973 because of an outbreak of polio.

Though he never had formal musical training, he was
vital in fusing the two most popular musical forms in
Trinidad calypso and pan, the music of steel drums.
He composed the first calypso played by a steelband
orchestra. "The Beat of the Steelband," in 1944, and
was closely associated with the steelband movement

Born in north-central Arima in 1922, one of six
children of a blacksmith, his musical spirit was
influenced by the sounds of his father beating metal
and the blowing of the bellows, old friends say. He
began playing guitar at an early age and became a
shantwell, the person who leads the village band in
verbal musical jousts, until he moved to Port-of-
Spain, where he built a reputation in the calypso tents.

After a career that spanned six decades, including a
14-year stint living in England, Lord Kitchener retired
from stage performances last year. He continued to
compose songs that resonated both for his
contemporaries and the younger generations.

This year's carnival celebrations in St. Thomas have
been dedicated to Lord Kitchener.

)from Associated Press news, and from Gage
Averill's Feb 14 posting on H-AfrArts(

* i

* U.



Addendum to the 2000 Directory

SNorth America, Europe, & Asia *

Institutional Members:
Library Serials Dept--Serials/Retrieval Servs
University of Kansas
210 Watson
Lawrence, KS 66045-2800 USA

Individual Members:
Gretchen Beck
Art Department
Concordia University
1530 Concordia West
Irvine, CA 92612 USA
home: 949-733-3485
work: 949-854-8002 x1509
fax: 949-854-6854
email: beckg@cui.edu

Maria C. Berns
University Art Museum
University of California, Santa Barbara
Santa Barbara, CA 93106 USA
home: 805-687-1791
work: 805-893-2951
fax: 805-893-3013
email: berns@humanitas.ucsb.edu

Judith Bettelheim
Art Department
San Francisco State University
5308 Manila Ave.
Oakland, CA 94618 USA
home: 510-653-1769
work: 415-338-1269
fax: 415-338-6537
email: betheim@sfsu.edu

Sarah Brett-Smith
Rutgers University
287A Nassau Street
Princeton, NJ 08540 USA
home: 609-921-3463
email: brettsmi@rci.rutgers.edu

Amanda Carlson
Art Department
University of South Florida
4202 East Fowler Ave. FAH 110
Tampa, FL 33620 USA
home: 813-258-9488
work: 813-974-9325
fax: 813-974-9226
email: findamand@aol.com

Herbert M. Cole
History of Art and Architecture
University of California, Santa Barbara
Santa Barbara, CA 93106 USA
home: 805-893-3501
work: 805-682 1809
fax: 805-893 7117
email: skipcole@humanitas.ucsb.edu

Michael Conner
Southern University at New Orleans
4622 Bienville
New Orleans, LA 70119 USA
home: 504-483-0867
work: 504-286-5208
fax: 504-286-5248
email: MWConner@earthlink.net

Brenda M. Danilowitz
The Josef and Anni Ablers Foundation
88 Beacon Road
Bethany, CT 06524 USA
home: 203-799-3975
work: 203-393-4089
fax: 203-393-4094
email: BMDanilowitz@aol.com

Allen C. Davis
4320 Dolphin Lane
Alexandria, VA 22309-3106 USA
home: 703-360-9572
work: 703-360-9572
fax: 703-360-9572

Boureima T. Diamitani
University of Iowa
1435 4th St. SW #B 213
Washington, DC 20021 USA
home: 202-484-6339
email: bdiamitani@aol.com

D. Francine Farr
1435 4th St. SW, #B-102
Washington, DC 20024 USA
home: 202-488-7401
work: 202-466-0520
fax: 202-466-0583
email: ffarr@elawforum.com

Elizabeth Harney
National Museum of African Arts
Smithsonian Institution
950 Independence Ave. SW
Washington, DC 20560 USA
hoem: 202-537-5567
work: 202-357-4600 x207
fax: 202-357-4879
email: hareye@nmafa.si.edu

Shannen L. Hill
Department of Art History
University of Wisconsin--Madison
9401 42nd Ave, NE
Seattle, WA 98115 USA
home: 206-526-0488
work: 206-526-0488
email: shannen@seanet.com

Marion (Mame) E. Jackson
Department of Art and Art History
Wayne State University
1336 Nicolet Place
Detroit, MI 48207 USA
home: 313-259-9093
work: 313-577-2980
fax: 313-577-3491
email: ac2540@wayne.edu

Frederick Lamp
Baltimore Museum of Art
Art Museum Drive
Baltimore, MD 21218 USA
home: 410-235-6130
work: 410-396-7056
fax: 410-396-6562
email: fjlamb@aol.com

Dori Lemeh
School of Visual Arts
The Pennsylvania State University
210 Patterson Building
University Park, PA 16802-5401 USA
home: 814-235-1365
work: 814-865-0444
fax: 814-865-1158
email: dgll@psu.edu

Carol Lems-Dworkin
2305 Brown Ave.
Evanston, IL 60201 USA
home: 847-328-102
fax: 847-864-4239
email: lemsdworkn@aol.com

Jessica Levin
Harvard University
287 Harvard Street #47
Cambridge, MA 02139 USA
home: 617-441-0746
work: 617-441-0746
email: jlevin@fas.harvard.edu

Carol Ann Lorenz
7097 Indian Opening Rd.
Madison, NY 13402-9778 USA
home: 315-893-7296
work: 315-228-7184
fax: 315-228-7787
email: clorenz@mail.colgate.edu

Carol Magee
Fine Arts Department
Dickinson College
266 S. Hanover St. #6
Carlisle, PA 17013 USA
home: 717-243-6857
work: 717-245-1259
email: mageec@dickinson.edu

Carolyn P. Maitland
New York Technical College
4745 Grosvenor Ave.
Riverdale, NY 10471 USA
home: 718-548-3783
work: 718-260-5205

Peter Mark
Art History Department
Wesleyan University
Middletown, CT USA
home: 860-347-9698
email: pmark@wesleyan.edu

Daniel Mato
Department of Art History
University of Calgary
2500 University Drive
Calgary, Alberta T2N 1N4
home: 403-286-6733
work: 403-220-5251
fax: 403-289-7333
email: dmato@ucalgary.ca

Elizabeth McAlister
Department of Religion
Wesleyan University
171 Church St.
Middletown, CT 06459 USA
work: 860-685-2289
fax: 860-685-2821
email: emcalister@wesleyan.edu

Ivor Miller
6 McIntosh Drive
Amherst, MA 01002 USA
home: 413-256-8090
email: imiller@hampshire.edu

Rebecca Martin Nagy
North Carolina Museum of Art
2110 Blue Ridge Rd
4630 Mail Service Ctr
Raleigh, NC 27699-4630 USA
work: 919-839-6262 x2147
fax: 919-733-8034
email: rnagy @ ncmamail.dcr.state.nc.us

Leah Niederstadt
Wolfson College
Oxford University
Oxford, 0X2 6UD
fax: 011441865-274-125
email: leah.niederstadt@wolfon.ox.uc.uk

Chika Okeke
Emory University
148 Meand Road
Decatur, GA 30030 USA
home: 404-371-4104
fax: 404-371-4104
email: cookeke@emory.edu

Barbara Plankensteiner
Museum Fur Volkerkunde
Neue Burg
Wien 1014 AUSTRIA
home: 1-7868310
work: 1-53430-519
fax: 1-5355320
email: barbara.plankensteiner@ethno-

Helen M. Shannon
300 Cathedral Parkway #5H
New York, NY 10026 USA
home: 212-865-7652
fax: 212-865-7652

Richard A. Singletary
Singletary Gallery & African Art Museum
3600 Greenwood Dr.
Portsmouth, VA 23701-3341 USA
home: 757-487-7362
work: 757-465-2950
fax: 757-487-1786
email: RASingle@aol.com

Katherine M. Sthreshley
National Museum of African Art
Smithsonian Institution
950 Independence Ave, SW
Washington, DC 20560-0708 USA
home: 202-484-4123
work: 202-357-4600 x241
fax: 202-357-4879
email: ksthresh@nmafa.si.edu

Michele Tobia-Chadeisson
Centre de Recherche sur l'Image
Universitaire St-Charles
University de Paris I
6 square Poussin
Le Chesnay 78150
home: 01-39-54-69-41
fax: 01-39-54-69-41
email: michele.chadeisson@wanadoo.fr

Liese Van Der Watt
SUNY, Stony Brook
164 W. 83rd St. #3F
New York, NY 10024 USA
home: 212-721-3935
email: liesevanderwatt@fulbrightweb.org

Guy van Rijn
Van Rijn Documentation Center
Avenue de Broqueville 225
Woluwe-St.Lambert, Brussels 1200
home: 32-(0)2-7790033
work: 32-(0)477-220478 (mobile)
email: cd00815@glo.be

Boris Wastiau
Dept. of Cultural Anthropology
Ethnography Division
Royal Museum for Central Africa
Leuvensesteenweg, Tervuren B-3080
home: 00-32-2-215-70-81
work: 00-32-2-769-56-80
fax: 00-32-2-769-56-42
email: wastiau@africamuseum.be

Conference Registration Form
The Twelfth Triennial Symposium on African Art
St. Thomas, U.S. Virgin Islands
Wednesday, April 25th through Sunday, April 29th, 2001

City State Zip_ Country
Phone (day) Phone (evening) Fax

Early Bird Registration (must be postmarked by Feb. 1):
j $100 Non-Member
L $65 Member
LO $30 Special Member (Student/Unemployed/Retired) Student ID # Subtotal $

Late and On-site Registration (after Feb. 1):
L $150 Non-Member
(i $100 Member
L $50 Special Member (Student/Unemployed/Retired) Student ID # $

Daily rate: L $50 Th. L $50 Fri. ] $25 Sat. ] $25 Sun.

ACASA Membership Dues:
[] $35 Regular and Institutional
[L $15 Special (Student/Unemployed/Retired) Student ID # $

L Museum Day on Wednesday, April 25th (no extra charge)

Evening Receptions, featuring substantial hors d'oeuvres and entertainment (no extra charge):
L0 Transportation to Thursday Reception for a special exhibition of works by artists from
the Virgin Islands: # of tickets __ @ $5/ticket $
L Transportation to Friday Reception at the Reichhold Center for the Arts, University of
the Virgin Islands: # of tickets @ $6/ticket $

[L Saturday Evening Awards Banquet at Marriott Frenchman's Reef: # of tickets
@ $50/ticket. Please note that the entree will be Hazelnut Chicken. If you prefer another $
entree check here: L # Grilled Mahi Mahi or L # Vegetarian Selection
Total Amount Enclosed $
Method of payment: L Check O Visa i Mastercard L AmExpress
Credit Card Number Expiration Date
Checks must be in US Dollars and Drawn on a US Bank, Payable to ACASA
Mail to: Linda Fan
203 Towne Centre Drive
Hillsborough, NJ 08876
Phone: 908-359-1184 Fax: 908-359-7619 E-mail: Ifan@profmgmt.com
No refunds after April 1, 2001. Requests must be made in writing.
I will have special needs for the conference (please notify by Feb. 1). Please specify:
Q sign interpreter L audiotape program L large print Li mobility/accessibility Q dietary

Hotel Reservation Form
Twelfth Triennial Symposium on African Art
St. Thomas, U.S. Virgin Islands April 25 29, 2001

SINGLE OCCUPANCY: $170.00 Daily, plus Service Charge & Tax
DOUBLE OCCUPANCY: $170.00 Daily, plus Service Charge & Tax
SPECIAL: Palm Court Rooms $150.00 Daily, plus Service Charge & Tax (Single or Double Occupancy)
(All Rooms $40.00 extra person charge for persons 19 years or older. Children 18 years and under stay for free
in the parents' room)

Rates quoted are per room, per night based on European Plan (no meals included). Rates are for Run of House
accommodations at Marriott Frenchman's Reef Beach Resort. Room rates are subject to 5% Service Charge
covering gratuities to bellmen, maids and housemen, and 8% Government Room Tax.

Special ACASA group rates will be in effect for the dates of April 23 May 1 (subject to availability at the time
of booking).

A deposit amount of $340.00 is required for guaranteed reservations. Cancellation of any individual reservation
within 30 days prior to arrival will be subject to forfeiture of advance deposit.

Please note that you have been provided a special group rate that includes meeting facilities, other services and
amenities. Should you reserve accommodations at other than the contracted group rate, you will be subject to a
surcharge for the use of our facilities.

For final payment of account, Marriott Frenchman's Reef accepts all major credit cards, traveler's checks and
cash (USD).

Please guarantee my room deposit to my Credit Card: AMEX, VISA, DISC, DC, CB
Card #: Exp. Date:
NAME: (As it appears on credit card):
(Charge will be posted against credit card, once reservation is received)
Reservation to be reserved under the name:
City: State: Zip:
Phone (day): (evening):
Arrival date: Departure date:
Arrival Flight: Departure flight:
Number of rooms: Number of adults:
Number of Children: Ages of Children:
Marriott Reward #
Regular Room: Palm Court Room:

Make checks payable to FRENCHMAN'S REEF. Please allow ten (10) days for mail to reach St. Thomas. Mail
this form along with check or credit card guarantee to:
Marriott Frenchman's Reef
Attn: Group Reservations
P.O. Box 7100
St. Thomas, USVI 00801-0100

Please fax this form with credit card guarantee information to:
Attn: Group Reservations
FAX: 340-715-6191
*These rates are competitive and reflect significant discounting, based on anticipated 2001 hotel rates

Individual Paper Proposal
Arts Council of the African Studies Association
12th Triennial Symposium on African Art


April 25-29, 2001, St. Thomas, US Virgin Islands

Please read the panel abstracts carefully to determine if you wish to submit a paper proposal
to one of the panels. Proposals for existing panels will receive a priority. Mail proposals for
existing panels directly to the panel's chair at the address provided with the abstract. You are
encouraged to communicate with the chair before submitting your proposal. The panel chairs
have the sole discretion in selecting or rejecting your paper. If you cannot find a suitable
panel, you may elect to submit an unattached proposal. The Program Committee will attempt
to organize accepted unattached proposals into open sessions. If the panel chair rejects your
proposal, you may elect to have it forwarded to the Program Committee to be considered as a
proposal for an open session. You may only submit one proposal. Persons submitting
proposals must be members of ACASA (See enclosed Membership Form.) Scholars and
professionals resident in Africa or the Caribbean are exempt. Enclose an abstract of no more
than 500 words outlining the basic premise and scope of your paper and a one page CV. The
deadline for paper proposal is September 15, 2000.

Name: Affiliation:

Paper Title:


e-mail: Tel.: Fax:

Check one
SThis is a proposal for an existing panel (mail directly to panel's chair)
If your paper is not accepted, would you like for it to be considered for
an Open Session ? Yes No n L]

-- This is a proposal for an Open Session (mail to Eli Bentor, Triennial 2001,
Department of Art, Appalachian State University, Boone, NC 28608, USA)

Audio-visual equipment: All meeting rooms will have two slide projectors.
Do you need a VCR & Monitor Overhead projector Other
Please note that we may not be able to provide special equipment.

The Arts Council of the African Studies Association
Membership Form

Regular member $35.00
Special member (student, unemployed, retired) $15.00
Institutional member $35.00

Additional Voluntary Contribution (please check an option below):
Contribution to the ACASA endowment: $__
STriennial travel assistance for African scholars and graduate students: $_

Mailing address and phone numbers for Directory and receipt of the newsletter

Name: Affiliation:

City: State: Zip:
Home Phone: Work Phone:
Fax: Email:

Additional information please circle or complete

Specialization: Art History Anthropology Ethnomusicology Other

Current Memberships: ASA CAA AAA Other

Primary Profession: University Teaching Other Teaching Museology

Research Student Other

Primary Regional Focus: W. Africa C. Africa E. Africa N. Africa

Southern Africa Diaspora Other

Ethnic or Country Focus:

Education (highest degree): PhD MA MFA BA Other

Please send your completed membership form and dues to:

Rebecca L. Green
1010 Fine Arts
Bowling Green State University
Bowling Green, OH 43403

Questions regarding membership in ACASA may be directed to Rebecca L. Green at
This form is available online at http://www2.h-net.msu.edu/-artsweb/welcome/acasa.html

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

A PERMIT NO. 7107 \

Robert T. Soppelsa
1655 Illinois Street
Lawrence, KS 66044

University of Florida Home Page
© 2004 - 2010 University of Florida George A. Smathers Libraries.
All rights reserved.

Acceptable Use, Copyright, and Disclaimer Statement
Last updated October 10, 2010 - Version 2.9.9 - mvs