Title: ACASA newsletter
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00103115/00054
 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: December 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: VID00054
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



* W/m Ma wt,.,uncit,4altA sdea Studie, ~ sociatiora

VOL 59


in this issue...

ACASA NEWS........... ................ 1
CAA-ACASA PANELS .................... 14
EXHIBITIONS ......................... 15
CONFERENCES......................... 17
JOBS................................. 19
S. .OF PEOLE & PLACES................ 20
OBITUARY.............. ............... 21
TRAVEL INFORMATION................. 22
FORM S.................................................../.APPEND


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: rlgreen(itbgnct.bgsu.cdu (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) 3574879
E-mail: jstanley@ic.si.edu

The ACASA Newsletter is published
April, August and December. The news
interest for publication. You can send
news about job changes, fieldwork,
travel, new publications, etc. The next
ACASA Newsletter will be in April
2001. Please send news items by
March 17, 2001 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

three times a year:
letter seeks items of



WARNINGG!! This co
Although newsletters are
members, ACASA has co
long-even years--after th
We need to return to cale
from Jan. 1 to Dec. 31 of
end of the year to remind
year. Because of the app
granting a six-month gra
July 1, 2000 will cover m
After that date, we will go

Please check with Rebecc
Treasurer, if you have an
membership status(


Presidential Notes e
Martha G. Anderson, ACASA President


Last March, ACASA lost its non-profit status
when The African Studies Association abruptly
withdrew the use of its tax-exempt number, citing
legal reasons. When we appealed to the ASA board to
reverse this decision, Loree Jones, the executive
director, suggested that ASA might apply for a
different status that would allow it to extend tax-free
privileges to sponsored organizations. In September,
when it became apparent that ASA was not actively
pursuing this solution, ACASA decided to file for
incorporation. As of Nov. 15th, when we submitted
our application for 501 (c) (3) status, we were able to
resume functioning
as an independent
OU HERE? non-profit organizat-
'uld be your last newsletter, ion.
a privilege offered only to
intinued to mail them to people Please join me in
heir memberships have lapsed. thanking our Secretary/
endar-year memberships, running
each year, with notices sent at the Treasurer, Rebecca Green,
Members to renew for the coming for the countless
reaching Triennial, we are hours she spent
ce period, so that dues paid after gathering informat-
embers through Dec. 31, 2001. fi g
strictly by the calendar-year policy. ion, filling out forms,
and navigating her
:a L. Green, ACASA Secretary/ way through Byzant-
y questions about your ie bureaucratic pro-
Scedures. In the end,

A A S A LNewsletter

Wie, s tt ssaunci 4 tew, s fuacat v Sutdies& 4ssaciatianv

Vol. 59 http://www.h-net.msu.cdu~artsweb/welcome/acasa.html December 2000

she did such an outstanding job that the lawyer and
accountant she consulted decided not to charge us.
(She thinks that lookTng pathetic helped as well.)
Remarkably, she has agreed to extend her original
commitment to a full three-year term.

Acquiring this new status raised questions about
ACASA's relationship with ASA. Some ACASA
members feel that ASA did not adequately explore
other possibilities because it does not fully appreciate
everything ACASA brings to the organization. At our
business meeting at the ASA meetings in Nashville
this November, however, the membership reaffirmed
the importance of our relationship with ASA. The
following day, Bill Dewey, Rebecca, and I met with
the ASA board, and its members reassured us that
they realize our importance and will investigate other
ways of offering support, such as administering the
grants we hope to receive.

Fudraishig resumes
The temporary change in our status meant that
ACASA had to suspend its fundraising campaign
in March. Now that we have submitted our
application for tax-exempt status, letters requesting
tax deductible contributions have gone out to ACASA
members and friends living in the U.S., Canada,
Europe, Asia, and Australia. When we chose the St.
Thomas venue for this Triennial, we committed
ourselves to raising additional funds for travel
stipends to enable both graduate students, scholars
and artists from Africa and the Diaspora can join us.
Please give soon and give generously, so we can meet
our ambitious goal of $30,000. See the Fundraising
Committees report elsewhere in this newsletter for
further details.

We have also sent out flyers asking people to
participate in an online auction of Afrcan/Diasporan
items on ebay.

In addition to these options, we are accepting
donations of frequent flyer miles. Contact Babatunde
Lawal at ILawal@aol.com or (804)828-2784 if you
have any to spare.

Triennial update
Plans for the Triennial are moving forward, and we
have included a very preliminary schedule. Hotel
reservations are picking up, but we must continue to
encourage everyone to make their travel plans as soon

as possible. Please check our Triennial web site for
further details about the conference and travel tips as
we get closer to April. Anyone interested in a day
trip to St. John should express their interest in this
option to Susan Edwards, susanedwards@islands.vi

Are you really a member, or mill C50SR follow suffer the fate of
bowling leagues?

According to a recent study by Robert D. Putnam,
L civility is breaking down as Americans become
increasingly disconnected from anything beyond their
immediate families. This phenomenon threatens not
only the very organizations that give life to
democracy, but also bowling leagues, the metaphor
Putnam chose for his book. In Bowling Alone: The
Collapse and Revival of American Community,
published by Simon and Schuster in June 2000, he
observes that we already feel the effects of this
breakdown, for we often express a desire for "a more
civil, more trustworthy, more collectively caring

Could this trend be affecting ACASA? Our African
and Caribbean membership continues to grow, but the
number of American and European has begun to
shrink. Our numbers have fallen just as our expenses
have risen.
As soon as Rebecca Green took over as
Secretary/Treasurer, she began pursuing people who
hadn't renewed their memberships for the current year.
Some claimed they had paid their dues for 2000 in
September 1999, and she kept them on the books.
Others argued that they must be current members
because they continue to receive newsletters.

Many of us--myself included--have forgotten to renew
our memberships once or twice, but a large number of
our past board members have failed to renew and we
no longer have addresses for several of them on a list
goes back several years. If you are guilty of
freeloading, please redeem yourself by sending
Rebecca a check covering current and back dues. We
must enforce stricter limits on membership and return
to sending out renewal notices at the end of every year.
This year, we included a membership form in our
annual fundraising mailing.

ASA Anhual Meetiqgs
The meetings held at Nashville in November
included a series of excellent panels, thanks to
Patrick McNaughton, who served as this year's Panels
Chair. The ACASA board held two fruitful meetings
and an intimate, but stimulating, business meeting. A
record number of ACASA members turned out to
watch as ASA bestowed its Distinguished Africanist
Award on one of our own, Roy Sieber. The board had
resolved to revive the ACASA party in his honor, but
when the African Studies Program at Indiana
University scheduled a reception for all three
recipients-including Bernth Lindfors and J.H.
Kwabena Nketia--for the only available time slot, we
decided to sign on as a co-sponsor. The elegant event
featured delicious food, real plates, and white
tablecloths, as well as a performance by Olabayo
Seven Seven. We only fear that members will never
again be satisfied with ACASA's usual beer-in-the-
bath-tub format. Our thanks go to Bob Soppelsa for
overseeing arrangements for the meetings and

Minutes of the Board Meeting, Saturday 11/18100 1:00-3:00 PM,
Nashville. TN submitted oy Michael Conner

Present. M G Anderson IPresident) R L Green
(Secretar/'Treasurer). M. N Roberts (Past President) E Benror. M
Conner C M Kreamer, B Lawal ana R Soppelsa Absent D
Aiorgbedor and V Roeine

The meeting opened with approval of the minutes recorded at the
board meetings in Philadelphia in 1999. The following reports were

Museum and Outreach Days: Chris Mullen Kreamer (Special Guest
of the Board)
Museum Day, April 25th, will be a day of dialogue and discussion with
our colleagues from Africa and the Caribbean. Roundtable sessions
will be product-oriented, with particular emphasis on Virgin Island
Discussion will focus on challenges in presenting aspects of local
culture and the conservation of culture. Select ACASA members will
be invited to participate as resource people. A grant proposal has
been submitted to the Rockefeller Foundation to fund participation by
18 Islanders and 6 African representatives. They will receive
information packets containing model projects and a summary of the
presentations. The seminar will be videotaped for others who could
not attend. Outside evaluators will also be appointed.

Bentor suggested that African guests arrive early and be given the
opportunity to contribute to Museum Day. Those who come
specifically for Museum Day should stay for the conference.

Outreach Day, on April 24th, is being coordinated by Veronica Jenke,
and will include presentations by noted scholars and educators to
schoolteachers from the Virgin Islands.

Secretary/Treasurer: Rebecca L. Green
ACASA's Total account balance is $34,865.68. The Endowment and
Symposium Funds have been separated to help keep them straight.
Current membership numbers are low-174-and expenses high.
Memberships cover a calendar year and should be renewed in
January each year.

ACASA had to temporarily suspend fundraising in March 2000, when
ASA withdrew use of its tax-exempt number. This situation also
caused a delay in processing credit card billings made through the
firm handling Triennial registration. In September, the ACASA Board
decided to incorporate and file for tax-exempt status. As of Nov. 15th,
when we submitted our application, we could resume functioning as a
non-profit organization.

Last year's fundraising campaign garnered $2,790 for the
Endowment Fund and $3,425 for Symposium travel stipends.
$700 in undesignated contributions was split between the two funds.
We have received an additional $380 in pledges. A decision was
made to release the names, but not the amounts of the donations.
Donors can request anonymity.

Fundraising: Martha G. Anderson
This year's committee (including M. Roberts and Skip Cole) is
committed to raising funds for travel stipends so graduate students
and African colleagues can attend the Triennial. Letters will be mailed
by early December.

Lawal suggested that members contribute frequent flier miles and
volunteered to investigate this idea further. We will also try to arrange
for graduate students to stay in UVI dorms, with ACASA providing a
daily shuttle to MFR. David Binkley and Chris Kreamer are trying to
find a sponsor for the ACASA Triennial Program brochure.

H-AfrArts ACASA/H-Net: Michael Conner
Membership on the ACASA/H-Net sponsored Listserv is restricted to
those who have demonstrated scholarly achievement or special
interest and/or expertise in African expressive culture. The editor
must approve all messages before they are posted. Membership has
increased 25% this year, and 477 users are subscribed. The vast
majority connect from the U.S. (378), but many are from Belgium
(12), Great Britain (10) and South Africa (21). The number of users
from Belgium has dramatically increased (from 2 to 12) and the
number from Great Britain has doubled (5 to 10).
Countries that have only recently registered a presence are France
(5), and New Zealand, Gambia, Kenya, Zambia and Zimbabwe with
(1) each.

The African Music Caucus, which is coordinated by Cynthia Schmidt,
is a special interest group within ACASA that strives to promote
music and performance related panels/events at ASA and SEM
(Society for Ethnographic Music). Frank Gunderson is the U.S.
Secretariat Coordinator and music editor on H-AfrArts. At these
meetings, it was decided that the Listserv Afrimuse would revitalize
itself as an independent academic discussion group, while the
performance and cultural touring component would apply for H-Net
sponsorship to form H-AfrPerformance, the 8th sub-group in a family
of Africa-related H-Net Listserv and web pages. Conner will edit the
visual arts and Bob Newton (Africa Performance Clearinghouse) will
edit the performance component of this potentially active new

ASA/CAA: Bob Soppelsa
Due to a resignation from the board, there were no ACASA
sponsored panels at the Nashville ASA meetings. Labelle Prussin will
organize a sponsored panel for the CAA meetings in Philadelphia in
2002, and Helen Shannon will head a shorter session held during one
of ACASA's meeting slots.

Alyssa Gamma is coordinating the ASA Houston panels, and
Soppelsa will work with her.

Nominating: Eli Bentor
R. Green agreed to continue as Secty/Treasurer and a strong slate of
candidates has been identified.

Triennial Symposium: Overview by Martha G. Anderson Robert
Nicholls and the VI steering committee have been actively involved in
planning the conference and raising funds to cover much of the cost.
They have recommended special awards for VI and Caribbean
artists. As of Nov. 1st, 57 rooms were reserved at Marriott
Frenchman's Reef. The hotel will provide free meeting rooms, a
boardroom, and a banquet hall if ACASA fills a minimum of 100
rooms for 4 nights.

Program and Travel Stipend Committees: Eli Bentor 44 panels
and 18 independent paper proposals were submitted, but some
attrition is expected. Discussion led to scheduling 5 concurrent
panels on the 26th-28th, without any on Sunday, the 29th. Only one
session is scheduled for Saturday so that everyone can go to the
Adult Parade. 22 graduate students and 29 Africans/Diasporans have
applied for travel stipends. Green and Roberts suggested that
potential visitors be identified early, so other institutions can benefit
from their proximity and help defray the costs of attending the

Book Award Committee: Babatunde Lawal
The committee is in the process of reviewing 24 books, including 2
that came out too late in 1997 to be considered for the last Triennial.
Books from a wide variety of disciplines have been submitted, and
Lawal suggested that the committee draft guidelines for submission
to help publishing houses to determine suitability before mailing
books for consideration.

Book/Electronic Media Display Committee: Bob Soppelsa
Planning is underway. Anderson proposed a book 'shower' for the
University of the Virgin Islands. Attendees could bring spare copies of
their books and other appropriate material to be displayed at the
conference, then given to the University of the Virgin Islands or local

Leadership Award Committee: Michael Conner As in past years, 2
awards will be given. A special award has also been approved. A
formal announcement will follow acceptance by the nominees.

Short Summary of the Business Meeting, Saturday, Nov. 18th
(22 members present)

Bob Soppelsa's nomination to the Board was unanimously approved,
as were the minutes from the business meeting at Philadelphia.
Following committee reports (see above), members discussed the
pros and cons of remaining affiliated with the African Studies
Association, given our own, new tax-exempt status. Those present
reaffirmed their commitment to ASA. Individuals pointed out that
sponsorship broadens our base of influence, and that ASA can save
us the burden of reporting to the IRS if ASA can administer our

dele jegede wanted us to remind the ASA Board that ACASA brings a
great deal to the organization and that it is clearly in their own interest
to support us. ACASA is the only ASA sponsored group that hosts its
own symposia. In fact, all 3 of the Distinguished Africanists honored
at this conference represent the arts and humanities.

Members agreed that the Social Science and Humanities Committees
stipulated in the By-laws are no longer useful, and that we should
simply aim to represent both areas on the board. Concerning the
pressing need for an official ACASA Archive, it was noted that David
Easterbrook of Northwestern University has agreed to oversee this

Barbara Frank, the African Arts Book Review Editor, appealed for
reviewers. Phil Peek announced plans for Drew in West Africa in
2001. A trip to Mali will be substituted if complications arise in C6te
d'lvoire.Babatunde Lawal has been named Field Editor of African art
on the Electronic Journal, CAA Review. Martha Anderson announced
that now is the time to start thinking about a venue for 13th Triennial
in 2004.

ACASA board meeting, Sunday, 11/19/00 7:45-8:45 AM,
Nashville, TN, submitted by Bob Soppelsa

Present M. G. Anderson, E. Bentor, M. Conner, R. L. Green, M.
Roberts, R. Soppelsa
Absent: D. Avorgbedor, B. Lawal, V. Rovine

Non-profit status: Forms have been submitted, but will probably be
returned for changes and resubmitted before final acceptance by the

Archives/Record-keeping: R. Green suggests that board members
keep a record of what they do and the dates they do it, and submit
reports when they leave the board to guide future board members. E.
Bentor suggested that this should also apply to the chair of the
program committee.

M. Anderson suggested that the terms of the President and
Secretary/Treasurer should be staggered, so that both officers do not
change at the time of the Triennial. This situation has led to problems
in resolving budgets in the past.

Fund raising for Triennial Travel Stipends: As suggested in the
business meeting, we need a goal. We have already raised $10,000,
including $6,000 from previous Triennials and $4,000 in donations
from this past year. 22 students have applied. $10,000 would support
20 at $500.00 apiece. Fully funding 7 African/Diasporan visitors
would require approximately $3,000.00 apiece. (Some may receive
partial funding.) Our net goal is thus $20,000.00.

Triennial planning: MFR will supply AV services, but it may be
possible to save money by bringing a data projector, laptops, and
extra carrousels. Panel chairs must submit equipment requests
ASAP, so we can determine our needs. We may need 3 VCRs, 2 for
panels and 1 for the media display area. E. Bentor will produce a
preliminary program.

An ad for the Triennial was placed in African Arts at a 25% discount.
R. Soppelsa will inquire about placing ads in the ASA, CAA, Textile
Society, MAAAS, and African Literature Association newsletters. R.
Green will contact MAHS.

M. Anderson and Robert Nicholls are working on the keynote session.
It was suggested that Olabayo Seven Seven perform for awards

The book and video display will need daily set-up and takedown, as
will other displays.

Triennial coordination: Board members could meet on Tuesday
evening to discuss conference logistics before official conference
events begin.

M. Roberts suggested that we assign sponsors/escorts to visiting
African scholars, to help them be more involved in the events.
Sponsored students might do this. That way, they would get to know

the visiting scholars better, and the stipends won't be simple
Following discussion of ticketing and transportation, the meeting was

PRobin Poynor
One of my interests has been the dissemination of
information on African arts and cultures to a variety
of levels in the educational system. This is partly
because of my involvement each summer in a two
week African Studies Institute at Florida introducing
K-12 teachers to issues of African studies and the
programs The Center for African Studies at my
institution has in which we reach out to traditionally
Black colleges in the southeast. Curating numerous
exhibitions of African art and working in docent
training has furthered my interest in outreach as well.
My interest in education led me to organize the
ACASA roundtable discussion on the need for a
textbook in African art, leading to the appointment of
the ad hoc Textbook Committee by the ACASA
Board, the establishing of the educational incentive to
explore the need for a textbook, and eventually to the
publishing of A History of Art in Africa this year. I
am concerned that the results of the research we do in
African art will be used not only by our Africanist
colleagues but that it enhance the understanding of
African arts and cultures among our non-Africanist
colleagues who must teach Africa as a second or third
area. I have worked closely with the African Studies
outreach program at my own institution and with
Outreach Day for the Triennial Symposium.

If elected, I anticipate working for ACASA in the
areas of outreach and education. I'd like us to explore
the possibility of establishing an ACASA speakers'
bureau linking smaller institutions and organizations
with Africanist scholars who are able to address up-
to-date issues in the study of African cultures*

IChristopher Steiner
If elected to the board of ACASA, I should like to
draw upon my prior board affiliations with both the
Association for Africanist Anthropologists and the
Council for Museum Anthropology to strengthen and,
in some cases, create professional linkages between
ACASA and these two units of the American
Anthropological Association. There are obvious

connections between all of these organizations, and it
seems to me that all of them may be well served by
increased cooperation and possible joint ventures
(symposia, publications, grants, etc.). There are, of
course, long standing institutional ties between ASA
and AAA, and if elected to the board of ACASA I
pledge to use my position to mine deeply any further
connections that might lead to shared initiatives for the
enrichment of the intellectual life surrounding the
study of Africa's arts and visual cultures*

)Elisabeth Cameron
In my view, ACASA plays the essential role in the
field of African art of promoting scholarship,
coordinating and informing its membership of events
and conferences, and creating a network for scholars
throughout the world.

None of these functions we all depend on would occur
without members, including myself, working on the
administrative tasks necessary to keep ACASA
functioning and healthy. As an African art historian
working presently as a curator, I am active within the
informal network of museum professionals and would
like to see ACASA promoting more communication
and networking between professionals in museums
and academics. If selected, I would be honored to
serve on the Board*

bEnid Schildkrout
As an anthropologist with mostly on-the-job training
in art history, ACASA has been very important to me
over the years as a forum, a place to meet and learn
from colleagues, and a source of inspiration and ideas.
If elected my efforts would be to continue to assist in
whatever way I can with the development of
interdisciplinary projects and initiatives and with the
outreach activities of ACASA to educators and the
public. I believe that digital libraries are a way that
institutions and researchers can collaborate and that
ACASA should continue to work on the development
of creating and disseminating such libraries. The
interface between the academic community and
museums is also an important area in which ACASA
can contribute, as it has in its "museum day"
programming, but perhaps in other ways as well.
Collaborative research, documentation, collection and
exhibition projects between museums in the USA and
Africa and the Diaspora are a priority in my own
work and I would seek to facilitate ACASA

involvement in on-going projects as well as working
with its members to develop new initiatives*

)Joanne B. Eicher
I am pleased to be nominated to serve ACASA on the
Board. I am particularly devoted to furthering
interdisciplinary connections on the arts of Africa
among art historians, anthropologists, historians,
folklorists, and other social scientists and humanities
scholars whose interests inter-relate. I am also
particularly interested in the arts that have fallen
earlier into the category of crafts and everyday
objects, such as textiles, the arts of dress and
household artifacts*

(Chair: Eli Bentor)
To the degree that a scholarly meeting such as the
Triennial reflects the state of the art of a discipline,
African art studies seem to be in an exciting phase. If
the papers are going to be half as interesting as the
titles and abstracts, the Triennial Symposium is
promising to be a very stimulating event. As you can
see from the preliminary program, there are many new
themes, issues, theoretical perspectives and
geographical configurations that occupy our collective

Putting the program together the committee has to
take many constraints into consideration. We have a
large number of interesting panels, but very little time.
Following Museum Day, the official program will
open on Wednesday evening with a reception and a
keynote address. Daytime on Thursday and Friday is
filled with panels with little time to spare. In the
evenings we have two off-site receptions; the first to
celebrate an opening of an art exhibit of Virgin Islands
artists and the second hosted by the University of the
Virgin Islands. On Saturday, after one session in the
morning, most participants will probably want to
attend the adult parade. In the evening we will gather
again for the banquet where the awards and food will
be topped by a spectacular display of firework. We
will not hold any sessions on Sunday.

Please consider the fact that this is an early draft of
the program. We have received an unprecedented
number of travel grants applications and many

hopeful participants depend on our financial support
for their participation. This is particularly true for
our colleague residing in African and the Caribbean.
This underscores the importance of contributions to
ACASA made elsewhere in this issue. It also means
that we should expect major revisions to the final
program and even last minute changes. Please bear
with us as we go through the process. Updates to the
programs can be found on the Triennial web site at

Please review the preliminary program and report any
errors, omissions, or problems to Eli Bentor
(bentorc:@appstatc.cdu. Department of Art,
Appalachian State University, Boone, NC 28608,
USA, tel.: 828-262-2579, fax 828-262-6756)


Session I 8:30-10:45
Active Arts of Africa and Its Diasporas
Chairs: Allen F. Roberts (UCLA) and Donald Cosentino
Donald Cosentino, (UCLA) "Holy Shit!: Refetishizing
Catholic Iconography in Afro-Atlantis.
William J. Dewey, (University of Tennessee) and Prita
Meier, (Michigan State University) "Worship at the
'Tombs' of Baba Ghor: African Performance in Muslim
Communities of India"
David Doris, (Yale University) "Vigilant Things: the
Strange Fates of Ordinary Objects in Southwestern
Michele-Baj Strobel, (Musde Saint-John Perse in Pointe A
Pitre, Guadeloupe) "Possession cults and visual arts: A
Comparative Study of Paintings in Haitian Vodou and by
Gnawa Artists from Morocco"
Allen F. Roberts, (UCLA) "'Paintings as Prayers': The
Hidden Side of Senegalese Reverse-Glass 'Image/Texts'"

The Symbolic Woman: Gender Symbolism in the
Visual Culture of Africa and the Diaspora
Chair: Jean M. Borgatti, (Clark University)
Christine Mullen Kreamer, (National Museum of African
Art, Smithsonian Institution) "Women's Work: Everyday
Utensils and Daily Work as Symbols of Moba Women"

Cynthia Becker, (University of St. Thomas, St. Paul, MN.)
"Arts, Gender and Identity: The Role of Women in the
Creation of Images of Amazigh (Berber) Identity in
Mary Jane Montgomerie House, (The Surrey Institute of
Art and Design) "'New Cloth' and Ramadan: Gender
Olukayode Sola, (University of Lagos, Nigeria)
"Osun Oshogbo: A Spiritual River Goddess"
Adisa Ogunfolakan, (Awolowo University, Ile-Ife,
Nigeria) "Luwo: The First and Only Female Ooni of Ife"

Title: Masks: Transformations, Identities and
Adaptability in Contemporary Society
Chair, Laurel Birch Aguilar, (University of St Andrews)
Christopher Roy, (University of Iowa) "Performance and
Identity in Masquerades among the Voltaic Peoples"
(Requests digital capability for video and CD)
Simon Okorie, (National Commission for Colleges of
Education, Nigeria) "Masks and Masquerades: the dying
cultural legacy of the Amechi Awkunanaw People"
Martha Anderson, (Alfred College of Art and Design)
"Dancing with Fishes: Fishing and Masking in the Niger
Ngozi Agujiobi, (University of Nigeria) "Modern
Transformations in Three Selected Masquerades in
Nsukka-Ngwo Cultural Complex of Igbo Land"
Laurel Birch Aguilar, (University of St Andrews)
"Nyau and Caravaggio: from secrecy to knowledge"
Equipment: VCR or Data Projector

Title: New African Genres: Popular Art in Public and
Private Spaces
Chair: Peter Bloom, (IUPUI)
Peter Bloom, (IUPUI) "Recent Ghanaian 'Horror' Films:
Popular African Films in Public Spaces"
Katherine Hagedorn, (Pomona College) "'Authenticity'
and 'Africanness' in the Performance of Cuban Santeria"
Barbara Plankensteiner, (Museum fiir Vl6kerkunde)
"Where Paintings Live: Wall Decoration and the Urban
Living Room in the D.R. Congo"
Bennetta Jules-Rosette, (University of California-San
Diego) "The Secret World of Popular African Painting:
Private Meanings in Public Spaces"
Discussant: Filip deBoeck, (Catholic University of
Leuven. Belgium)
Equipment VCR and Monitor, Audio Player for CD
and Cassette Tape

Title: Aspects of Carnivals and Caribbean Festivals
Chair: Ededet Iniama, (University of Virgin Islands)

Jennifer G. Bailey, (Richard T. Farmer School of
Business, Ohio) "Resplendent Vista: Trinidad Carnival
and the Image of National Unity"
Gary Garcia, (University of West Indie, Trinidad &
Tobago) "The Organization of Carnival and its Impact
and Contribution to the Economy"
Marilyn Krigger, (University of the Virgin Islands)
"The Historical Impact of Race and Class on Carnival
Themes in the Virgin Islands" James Early, (Policy,
Center for Folklife Programs, Smithsonian Institution)
"Cultural Policy and Tradition Bearing: Collaborations
and Interpretations"
Ededet Iniama, (University of Virgin Islands) "Cultural
Tourism: Carnival, Art, Music & Dance"

Title: Multidisciplinary Study of African and
Caribbean Expressive Art
Chair: Barth Chukwuezi, (University of Nigeria, Nsukka)
Barth Chukwuezi, (University of Nigeria, Nsukka)
"Multidisciplinary study of African and Caribbean
Expressive Art"
Doris Green (USA) "African Music And Dance; How did
the middle passage affect African Dance?"
Veronica Okeke, (University of Nigeria, Nsukka)
"Cultural objects that symbolize the Power, Status and
Authority of Women in traditional Igbo society with
specific reference to the West Niger Igbo of Nigeria"
Ndubuisi Nnamani, (University of Nigeria, Nsukka)
"Musical Instruments and the study of cultural behaviors
in Nigeria"
Prince Pascal Mabunge- Obaa, (National Council For Arts
And Culture, Enugu, Nigeria) "The value of Nri Artifacts
in the New Millennium to Africa-Diaspora"
Equipment VCR and Monitor

Session II 11:00-1:00
Title: Yoruba Influences in the African Diaspora Art
Chair: Babatunde Lawal, (Virginia Commonwealth
Mikelle Smith Omari-Tunkara, (University of Arizona)
"Orixa / Inquize: Manipulating Sacred Art in Bantu
Bamidele Agbasegbe Demerson, (Charles H. Wright
Museum of African American History) "New Eyes for
Ancient Gods: Orisa Themes in Works of Art by African
Arturo Lindsay, (Spelman College) "Presnte! The
Dwelling of the Orisas in My Art"
Tom Larose, (Virginia Commonwealth University)
"African/Yoruba Influences on Seminole Beadwork"

STitle: Craft/Art Projects in Africa, the Caribbean and
Other Localities of the African
Diaspora: Remedy or Malady? (Part I)
Chair: Antoinette du Plessis, (University of South Africa,
Brenda Schmahmann, (Wits University) "Developing Art
Projects via a Public Commission: Needlework Made for
the Legislature in Mpumalanga, South Africa."
Elizabeth Terry, (Windoek, Namibia) "The Economic and
Social Significance of Botswana's Craft Industry."
Chris van Vuuren, (University of South Africa, Pretoria)
"What next for Ndebele Beadwork and Mural Art? The
Politics of Recycling, Commoditization and Consumption
Of Identity."
Antoinette du Plessis, (University of South Africa,
Pretoria) "The Mapula Embroidery Project in the
Winterveld, South Africa: Analysis of a Success Story."

Title: 'Power Objects' in the New Millennium
Chair: Elisabeth L. Cameron, (The Nelson-Atkins
Museum of Art)
Michele Tobia-Chadeisson, (Centre Universitaire
Saint-Charles, Paris I Pantheon-Sorbonne) "French
perspective on the African 'power object': travel,
philosophical and anthropological accounts"
Dunja Hersak (Universit6 Libre de Bruxelles) "Some call
them 'fetishes' and others refer to 'power objects': who is
talking about what?"
Z. S. Strother. (University of California, Los Angeles)
"A Threatening Mimesis: Chiefs, Power Objects, and the
Value of Contradictory Messages"
Boris Wastiau, (Royal Museum of Central Africa,
Tervuren, Belgium) "Placement, Embodiment and
Ridding of Spirit Agencies in Luvale Possession Ritual"

Reconceptualizing African/African Diasporan exhibits
in the 21st century
Chair: Mary Jo Arnoldi, (National Museum of Natural
History, Smithsonian Institution)
Christraud Geary, (National Museum of African Art.
Smithsonian Institution) "Background Noise or
Meaningful Object? Contextual Images in African Art
Susan Edwards, assistant to the curator, (Fort Christian
Museum, Virgin Islands)
"The Challenges of exhibiting Afro-Caribbean culture in a
330 year-old Danish fort."
Enid Schildkrout, (American Museum of Natural History)
"Alternate Spaces/New Audiences: Exhibiting Africa at
the San Francisco Airport"
Mary Jo Arnoldi, (National Museum of Natural History,
Smithsonian Institution) "Representing Contemporary
African Life: Challenges and Strategies"

Discussant: Christine Mullen Kreamer, (National
Museum of African Art, Smithsonian Institution)
Equipment: Data Projector

Title: The Arts of the Rastafari
Chair: Gene Emanuel, (University of the Virgin Islands)
John P. Homiak, (National Museum of Natural History)
"'Sighting Up' Africa: Art and the Diasporic Vision of
Rastafari, Part 1"
"'The Rainbow Circle Throne Room': Art and the
Creation of Visionary Space in Rastafari"
Carole Yawney, (York University) "'Sighting Up' Africa:
Art and the Diasporic Vision of Rastafari, Part 2."
"'Marching on to Zion': How Rastafari Art Sacralizes
Public Space"
Afreekan Southwell, (Artist, Virgin Islands) "Rastafarian
Art in the Caribbean, its African Continual Connection"
Gene Emanuel, (University of the Virgin Islands) "Art
and the Artists: In Search of Jah's Spirit"

Session III- 2:00-4:00
Title: Subjectivities in the Arts of Africa and the
Chair: Suzanne Preston Blier, (Harvard University)

Suzanne Preston Blier, (Harvard University)
"The Rape of Yemoo: Social Conflict and Gender
Refashioning in Ancient Ife Art"
Steven Nelson, (UCLA) "Being Bamum:
Self-Representation, Memory and Patronage in the
Drawings of Ibrahim Njoya"
Dominique Malaquais, (Columbia University) "Subject
and Subjectivity in Joseph Sumegne's 'Nouvelle Liberte'"
Karen McCarthy Brown, (Drew University)

Title: Craft/Art Projects in Africa, the Caribbean and
Other Localities of the African
Diaspora: Remedy or Malady? (Part II)
Chair: Antoinette du Plessis, (University of South Africa,
John Steele, (Border Technikon School of Applied Arts,
East London) "Clay: a Slippery Medium Linking
Insiders, Outsiders and Patrons in Rural Pondoland, South
Silvia Forni, (Universita di Torino) "Molding Modernity:
The Development And "Side Effects" of a Pottery Project
in The Western Grasslands (Cameroon)."
Janet Goldner, (Independent Artist) "Small Business, Big
Thinking: a Fabric Dying Project in Mali."
Wendy Gers, (King George VI Art Gallery, Port
Elizabeth) "Ardmore Ceramic Art Studio in the
Drakensberg, South Africa."

Title: Aspects of African and Diasporan Dance
Chair: Irene Jackson-Brown, (Phelps-Stokes Fund and
Kennedy Center African Odyssey Project)
Hazel B. Franco, (University of West Indies, Trinidad and
Tobago) "Influence of Orisa and Yoruba Religious Beliefs
on Dance in Trinidad and Tobago"
Kariamu Welsh Asante, (Temple University) "Call and
Response as Performance in the African American
Dmitri Copeman, (Virgin Islands) "The Creolization of
the European Quadrille."
Irene Jackson-Brown, (Phelps-Stokes Fund and Kennedy
Center African Odyssey Project) "Motion and Movement:
Essential Aspects in the Traditional African American
Worship Event."

Title: Over Here and Back There: Global Approaches
to Understanding Locality: Part I Localizing
Chair: Sidney L Kasfir, (Emory University)
Till Foerster, (University of Bayreuth)
"Visualizing the Dead: Media in Northern Cote d'Ivoire"
Michelle Gilbert, (Trinity College) "From Highlife to
Hellfire: Ghanaian Concert Party Paintings"
Chika Okeke, (Emory University) "Recovering the Art of
Sunday Jack Akpan"
Jessica Taplin, (Emory University) "Emergence,
Consensus and Uncertainty: the personal and the
communal in contemporary San/Bushman art and craft"
Discussant: Bennetta Jules-Rosette, (University of
California-San Diego)

Title: Across the Oceans: the Delineation of Black
Artistic Expression from Africa around the World
Chair: Ramona Austin, (Dallas Museum of Art)
Dana Rush, (University of Michigan) "Proto-Meta
Diaspora: Transoceanic Vodun Art and Thought along
Coastal B6nin and Togo."
Randall Morris, "Further Redemption Songs: Self-Taught
Artists of the African-Jamaican Homeground."
Grey Gundeker, "Trans-Atlantic Commemoration as Seen
in the Developing Morphology of the Black grave in the
Southeastern United States."
Ramona Austin, (Dallas Museum of Art) "The
'Moralizing Authority of Death': Creolization in Afro-
Atlantic Art as Seen in an Early 19h Century Staff from
North Carolina."

Title: Woman and Child in African and Diaspora Art
Chair: Herbert M. Cole, (University of California, Santa

Herbert M. Cole, (University of California, Santa Barbara)
"Mother and Child Imagery in Africa: Problems,
Bert Woodhouse, (University of Pretoria) "Women and
Children in South African Rock Arts"
Micelle Duran-McClure, (University of California, Santa
Barbara) "The Power of the Madonna and Child in the
15th-C. Ethiopian Cult of Mary"
Earnestine Jenkins (University of Memphis) "Black
Women Artists, Mammy and Aunt Jemima: a Study in
Elizabeth Rankin, (University of Auckland) "Penny
Siopis: Artist, Mother -- the Baby and the Bathwater"

Session IV 4:15-6:30
Title: National Identity, Creolization and the Individual
in Caribbean Art
Chair: Judith Bettelheim, (San Francisco State University)
Peter Mark, (Wesleyan University) "Afro-Portuguese
Architecture in 17century Brazil"
Myron Jackson, (Archeology and Historic Preservation
Project, Virgin Islands) "Danish and West African
Influences on Folk Art and Creole Design in the Virgin
Magda Smith, (Virgin Islands Humanities Council)
" The Art of Albert E. Daniel, Virgin Islands Artist"
Saadia Lawton, (University of Wisconsin-Madison)
"The Haitian Marketplace: Defying Notions of Isolation
through Imagery of the Collective"
Judith Bettelheim, (San Francisco State University)
"The Art of Jose Bedia: Encounters with Afrocuban and
Amerindian Spirituality."

Title: Creating with Breath and Tongue: Art as
Language / Language as Art
Chair: Vincent Cooper, (University of Virgin Islands)
Pearl Eintou Springer, (National Heritage Library,
Trinidad and Tobago) "The Case of the Traditional
Carnival Characters: the Imperialism of Language and
Cultural Resistance"
Eleanor W. Traylor, (Howard University) "Poetry of the
Middle Passage"
Clement White, (University of Rhode Island) "Depictions
of Africa(ns) in Afro-Cuban Poetry"
Velma Pollard, (University of West Indies, Jamaica)
"Sounds and Power: Artistry in the Language of
Gilbert Sprauve, (University of Virgin Islands)
Virgin Islands Oral Heritage: Vital Links to the Pan-
Caribbean Cultural Engine"

Title: Spirits Without Boundaries
Chairs: Susan Cooksey, (University of Iowa) and Barbara
Thompson, (University of Iowa and University of
Northern Iowa)
Osa D. Egonwa, (Delta State University, Abraka)
"From Queen Fathers to King Mothers, White Mothers
but Black Children: With Spirits, Some Things are
Onyile B. Onyile, (Binghamton University)
"Nkugh6 Oro: The Transformation of the Body as a Text"
Barbara Thompson, (University of Iowa and University of
Northern Iowa) "In the Spirit of the Winds:
Transnationalism in Shambaa Healing Arts"
Idowu Ogunmefun, (University of Ibadan) "Spirits and
Their Reflections in Contemporary Yoruba Writing: Focus
on Wole Soyinka and Amos Tutuola"
Susan Cooksey, (University of Iowa) "Routes and Roots of
the Spirits, Boro and Koruba"
Equipment VCR and Monitor

Title: Over Here and Back There: Global Approaches
to Understanding Locality: Part H The near and far of
collecting and display
Chair: Sidney L Kasfir, (Emory University)
Kinsey A. Katchka, (Indiana University)
"Institutionalizing the Popular as Global and
Transnational: the Ecopole in Dakar
Monica Udvardy, (University of Kentucky)
"The Involuntary Voyage ofKatana's Vigango : Giriama
Memorial Posts as Ritual Objects and Global
Commodities" (Part 1)
Linda L. Giles, (Illinois State University) and John B.
Mitsanze, (Coastal Forest Conservation Unit, National
Museums of Kenya) "Ancestors, Art Collectors and
Museums: Giriama Memorial Posts as Ritual
Objects and Global Commodities" (Part 2)
Discussant: John Picton, (School of Oriental and African
Equipment: Overhead Projector, Data Projector

Title: Public Visual Culture and Collective Memory in
Africa and the African Diaspora
Chairs: Matthews Christensen, (UCLA) and L. Lloyd
Frates, (UCLA)
Matthews Christensen, (UCLA)
"Painting and the Amistad Revolt: War, Male Youth, and
the Visual Culture of Collective Memory in Sierra Leone"
Petrina Dacres, (Emory University) "Constructing
Memory in Modern Jamaican Art"
L. Lloyd Frates, (UCLA) "Performing Place: Gender,
Memory, and the Urban Landscape in Late Colonial
Lourenco Marques"

Leah Niederstat, (Oxford University) "Hotel Art in
Ethiopia: Creating a Past and Defining a Future"
Ozioma Onuzulike, (University of Nigeria, Nsukka)
"Chambers of Collective Memory: Cartoonist Posters as
Public Art in Nigeria"
Andrea Frohne, (SUNY Binghamton)
"Commemorating and Remembering the African Burial
Ground in New York City"
Equipment: Overhead projector

Session V 8:30-10:30
Title: Imagining Africa: What is at stake and for
Chairs: Carol Magee, (Dickenson College) and
Erin-Moira West, (University of California, Santa
Carol Magee, (Dickenson College) "Forever in Kente:
Cultural Imperialism and Mattel's Ghanaian Barbie"
Sarah Clunis, (University of Iowa) "The Readymade
Museum: Imagining Africa; Beyond The Barriers of Art
Institutions, With Irony"
Erin-Moira West, (University of California, Santa
Barbara) "Africa, Art History & Education: With the Best
of Intentions"
Discussant: Curtis Keim, (Moravian College)

Title: Routes/Roots: Art, Identity, and Agency in
Africa and the Diaspora
Chair: Mikelle Smith Omari-Tunkara
Laurie Farrell, (The Museum of African Art, New York)
"Shifting the Apartheid Gaze: Renegotiating Art and
Identity in South Africa"
Tani Sanchez, (University of Arizona, Tucson)
"Patchwork Quilting and Kongo Designs: Discourses of
Alterity and Identity"
Reginaldo Prandi, (University of Sao Paulo, Brazil)
Redefining Africa: Routes, Routes, and Orixas in
Contemporary Brazil
Discussant: Rowland Abiodun, (Amherst College)

Title: Boundaries
Chair: delejegede, (Indiana State University)
Obiora Udechukwu, (St. Lawrence University)
"Printmakers and Occasional Printmakers: Thoughts on
Printmaking in Nigeria"
Aim6e Bessire, (Bates College) "Performing the
Barbara E. Frank, (State University of New York at Stony
Brook) "Mining the Canon: Appropriation in
Contemporary African Art"
Betty LaDuke (Artist. Oregon) "Artists and Recipocity:
Eritrea, an artist's journey"

delejegede, (Indiana State University) "Art for Whom?"
Equipment: VCR and Monitor

Title: Aspects of Kaiso (Calypso)
Chair: Ian Isidore Smart, (Howard University)
Lauren Larsen, (Virgin Islands Department of Education)
"Music of Resistance in the Caribbean"
Glen Kwabena Davis and Warrington "Mighty Bird"
Tyson, (Performers/Educators, Virgin Islands)
"The Historical Development of Kaiso and Calypso"
Ian Isidore Smart, (Howard University)
"Kaiso or Calypso: What's in a Name?"
Rudolph Ottley, (Human Resource Specialists Ltd,
Trinidad & Tobago) "Women in Calypso: From the
Gayelle to Center Stage"
Louis Ible, Jr., (Calypso Monarch of the Virgin Islands)
"Crafting Calypso"
Equipment: CD and Cassette Player, VCR and

Title: Atlantic Performance Arts Sequence, Panel I.
Diaspora Carnival and Other Festivals
Chair: John W. Nunley, (The Saint Louis Art Museum)
Barbara Mouldin, (Museum of International Folk Art,
Sante Fe) "Playing the Other: African Masqueraders in
Latin America"
Roy Boyke, (Communications S.T.R.A.T.E.G.I.E.S)
"African Heritage in Trinidad Carnival"
Candice Goucher, (Washington State University)
"Stoking the Furnace, Sailing the Seas: Sailor Bands in
Trinidad Carnival"
M. McVorran, (De Pauw University) "Carnival as
Discussant: John W. Nunley, (The Saint Louis Art

Chair: Juliet Armstrong (University of Natal,
Title: Transitions and Continuities in Cultural
Production/Art from KwaZulu-Natal
Sandra Klopper, (University of Cape Town) "Crossing
Boundaries: or Engendering the production of Zulu
Wirework Baskets."
Juliet Armstrong, (University of Natal) "Zulu Beer
Drinking Vessels: Meaning in Letters Words and Motifs."
Michael Godby, (University of Cape Town) "Text and
Pretext: African Pedagogy in the Linocuts of Azaria
Mbatha and John Muafangejo."
Juliette Leeb du Toit, (University of Natal) "Trevor Phila
Makhoba: the Artist as Visionary and Moralist,
Restructuring self and the Community"

Session IV 11:00-1:00
Title: Reevaluating the Canon: African Art Studies in
Historical Perspective. Part I: Studies of African Art
in an Historical Perspective
Chairs: Christa Clarke, (Neuberger Museum of Art,
State University of New York, Purchase College) and
Constantine Petridis, (Ghent University)
Wendy Grossman, (University of Maryland, College Park)
"Carl Einstein's Negerplastik and the Promotion of a
Modernist Aesthetic: The Role of Photographs as Visual
Christa Clarke, (Neuberger Museum of Art, State
University of New York, Purchase College) "Defining
African Art: Guillaume and Munro's Primitive Negro
Sculpture and the Aesthetic Philosophy of Albert Barnes"
Mary Drach McInnes, (New York State College of
Ceramics at Alfred University) "Africa and African Art in
Georges Bataille's Documents"
Elizabeth Harney, (National Museum of African Art,
Smithsonian Institution) "Presence Africaine: Midwife to
an African Modernism"

Title: Crosstalk: Cultural and Artistic Influences
Across the Atlantic
Chair: Michael D. Harris, (University of North Carolina
at Chapel Hill)
Eileen Moyer, (University of Amsterdam) "Trans-Atlantic
Peace and Love: The Sanctification of Bob Marley on the
Swahili Coast"
Sonya Clark, (University of Wisconsin) "Beaded Prayers:
Beaded Blessings"
Mariama Ross, (University of Wisconsin) "Beaded Prayer
Michael Harris, (University of North Carolina)
"Transatlantic Dialogue"

Title: Atlantic Performance Arts Sequence, Panel II.
Jonkonnu and Related Performance Arts
Chair: Robert W. Nicholls, (University of the Virgin
Linda Carole Werthwein, (East Carolina University)
"Masquerade: African, Caribbean, North Carolina
Nancy Jacobs, (University of the West Indies, Barbados)
The Role of Masquerade Characters within the Barbadian
Context: Shaggy Bear, Mother Sally, Stiltman, and
Joan M. Fayer, (University of Puerto Rico) "African
Influence on the Carriacou Shakespear Mas'"
Joan F. McMurray, (University of Puerto Rico)
"Mumming in St. Kitts-Nevis: Influence of English
Mummers' Folk Plays"

Eddie Donoghue, (US Virgin Islands) "Montserrat
Masqueraders: Cultural Preservation in the Modern
Equipment: VCR and Monitor

Title: Summer Study Programs in Africa
Chair: Robert T Soppelsa (Mulvane Art
Museum/Washburn University)
Philip M. Peek, (Drew University) "The Divining of
Research on a Student Program in Africa"
Robert T. Soppelsa, (Washburn University) "A Senufo
Poro masquerade in a blacksmith's town"
Jerry Vogel, (Drew University and the Museum for
African Art, New York) "History of Drew in West Africa
Photographic Essay (TBA)
Equipment: VCR and Monitor

Title: The Role of HBCUs and Black Museums in
Affirming Trans-African Artistic and Cultural
Chair: Conchita Ndege, (North Carolina A&T State
Frank Eguaroje, (National Afro-American Museum and
Cultural Center, Wilberforce, Ohio) "'When the Spirit
Moves: the Africanization of American Movement': an
exhibition at the National Afro-American Museum and
Cultural Center in Wilberfoce, Ohio
Ampofo, (Hampton University) "The Relevance of
Collecting Contemporary African Art and the Role of
Brooke Anderson, (Museum of American Folk Art)
"Trans-African Traditions in American Folk Art: Ashe,
an exhibition at the Diggs Gallery of Winston-Salem State
University in Winston Salem, North Carolina.
Conchita Ndege, (North Carolina A&T State University)
'"Echoes of Africa', a Trans-African Contemporary Art
Exhibition at the Mattye Reed African Heritage Center in
Greensboro, North Carolina"

Title: Open Session I
Chair: TBA
Onookome Okome, (University of Bayreuth)
"Popular Images From The Traditional Past: Women In
Nigerian Video Film"
Neal Sobania, "Parchment Makers in Ethiopia"
Mark DeLancey, "Creating Dominant History"
Betty Weaver, (University of Iowa), Country Music
Raymond A. Silverman, (Michigan State University)
"An Aesthetic of Accumulation and Display in Akan Tano
W. A. Hart, (University of Ulster, Northern Ireland)

"Rachel Baptist: the career of an 18th Century Diaspora
performing artist"
Karen E. Milbourne, (University of Iowa/National
Museum of African Art) "'To Get Out of the Water': The
Political Landscape of Lozi Performance"

Session VII 2:00-4:15
Title: Reevaluating the Canon: African Art Studies in
Historical Perspective. Session H: regional studies of
African art in historical perspective
Chairs: Christa Clarke, (Neuberger Museum of Art,
State University of New York, Purchase College) and
Constantine Petridis, (Ghent University)
Helen M. Shannon, (Independent Curator and Scholar)
"Alain Locke's Congo collection: An alternative to the
art/artifact dichotomy"
Constantine Petridis, (Ghent University) "Where
Formalism and Contextualism Meet: Frans Olbrechts's
Pioneering Plastiek van Kongo (1946)"

Kate Ezra, (Columbia College, Chicago) "Robert
Goldwater: The Bamana and Senufo Exhibition
Catalogues and their place in African Art Studies"
Monica Visona, (Metropolitan State College, Denver)
"Creating a New Canon: Issues Raised by the Coverage of
A History of Art in Africa"

Title: Performing Cosmopolitanism: History and the
Politics of Being From Somewhere Else, Part I
Chair: Bob White, (University of California, Santa Cruz)
Filip DeBoeck, (Leuven University, Belgium)
"Cosmopolitanism and Congolese Comic Strips:
Pfumu'Eto I and the Post-Global in Kinshasa's Street
Hudita Mustafa, (Cornell University) "Postcolonial
Flaneurs? African Models and Designers on the Global
Michael McGovern, (Emory University) "Competing
Cosmopolitanisms: Marxism and Pan-Africanism in the
People's Revolutionary Republic of Guinea"
Louise Meintjes, (Duke University) "Imitating the Star:
'Overseas' Imagined in Mbaqanga Studio Production"
Discussant: Nancy Rose Hunt ,(University of Michigan)

Title: Atlantic Performance Arts Sequence, Panel HI.
African and Caribbean Symbols and Icons in
Performance Elsewhere
Chair: John W. Nunley, (The Saint Louis Art Museum)
Gerhard Seibert, (Centro de Estudos Afrianos e Asiaticos
IIct, Lisbon) "Danco Congo Masquerades, Tchioli and
Auto da Floripes in Sao Tome and Principe"
Lowel Fiet, (University of Puerto Rico)
Transmogrifications: Puerto Rican Festival Masks"

- Gerald Besson, (Paria Publishing, Trinidad and Tobago)
"Big Drum and the Rebirth of Shango in Trinidad"
Flemming Harrey, (National Humanistic Research
Council, Denmark) "Gumbay from the Caribbean to West
Africa: the roles of the Kro and Krio"
John Collins, (University of Ghana) "Gumbay Drums of
Jamaica in Sierra Leone"
Equipment: VCR and Monitor

Title: Trauma and Representation: Issues in the
Imaging of Violence
Chairs: Shannen Hill, (University of Denver) and Kim
Miller, (Transylvania University)
Kim Miller, (Transylvania University) "Women's Art and
Activism in Crossroads, South Africa: Memories of
Violence Made Visible"
Shannen Hill, (University of Denver) "Issues in Imaging
the Death of Bantu Stephen Biko"
Liese van der Watt, (State University of New York at
Stony Brook) "Trauma, Testimony and Performative
Witnessing: Exploring White Identity in Contemporary
South African Art"
Nicholas Mirzoeff, (State University of New York at Stony
Brook) "Remembering Rwanda: Genocide, Photography
and Performance"
Moyo Okediji, (University of Colorado-Denver and
Denver Art Museum) "Painful Pleasure, Pleasurable Pain:
Yoruba Diasporic Recollection of Trauma"
Equipment: VCR and Monitor, Overhead Projector

Title: Wearable Tradition: Africa and the Idea of
Africa in Contemporary Fashion
Chairs: Victoria Rovine, (University of Iowa) and Kristyne
Loughran, (Independent Scholar, Florence, Italy)
Rebecca Green, (Boiling Green State University) "The
power of Fashion: Ancestors Silk and Imported Plastic in
Highland Madagascar."
Peri Klemm, (Emory University) "Blending the Old with
the New. Oromo Women's Costumes in Eastern
Suzanne Gott, (Indiana University) "The Ghanaian Kaba
Fashion that Sustains Culture"
Didier Gondola, (IUPUI) "La Sape: Fashion and Fashion
Discourse among Congolese Youth"
S.R. Ogunduyile, (University of Agriculture, Abeokuta)
"Trends in Nigerian Clothing Culture and Its Implications
for the Fashion World in the New Millennium"
Discussant: Joanne Eicher, (University of Minnesota)

Session VIII- 8:30-10:30
Title: Postal Images of Africa; a last frontier

Chair: Merrick Posnansky,(University of California, Los
Merrick Posnansky, (University of California, Los
Angeles) Propaganda for the millions": Images from
Lisa Aronson (Skidmore College) "Stamps, Trademarks,
and the colonization of Nigeria"
Agbebenyega Adedze (Illinois State University, Normal)
"Re-Presenting French West Africa Commemorative
Stamps of Colonial Exhibitions"
Jessica Levin (Harvard University) "Sculpted Posts:
Gabonese stamps featuring architectural decoration"
Equipment: Overhead projector

Title: The View from Africa: Internal Evolution of
Contemporary African Art
Chair: Simon Ottenberg, (University of Washington)
Oluka Yode Shola, (University of Lagos, Nigeria)
"New Museums Roles and the Artist in Nigeria"
Simon O. Ikpakronyi, (National Gallery of Art, Abuja,
Nigeria) "The 20th Century Review: A Hundred years of
Contemporary Nigerian Visual Art"
Simon Ottenberg, (University of Washington)
"On Some Early Training and their Trainers in
Contemporary Nigerian Art"
Joanna Grabski, (Denison University) "Local
Practices/Global Intersections: The 'Third Generation' of
Artists in Dakar"

Title: Travelers to the Stream': African-American
Artist-Travelers to the Caribbean, 1930-1960
Chairs: Krista Thompson, (Emory University) and Jackie
Francis, (University of Michigan)
Krista Thompson, (Emory University) "Haiti in the
African Diasporic Imagination (during the U.S.
occupation, 1915-1934)"
Jacqueline Francis, (University of Michigan) "The
Caribbean Journeys of Eldzier Cortor and Ellis Wilson"
Pamela Franco, (Tulane University) "Dance, Ethnography,
and the Primitive: The Case of Katherine Dunham In The
Margaret Vendreyes, (Princeton University) "Forgotten
Inspirations, Unheralded Patrons: Richmond Barthe, an
American Sculptor in Haiti"
Discussant: Petrina Dacres, (Emory University)
Equipment: VCR and Monitor

Title: Performing Cosmopolitanism: History and the
Politics of Being From Somewhere Else, Part II
Chair: Bob White, (University of California, Santa Cruz)
Louis Chude-Sokei (UC Santa Cruz)
"Of Mimicry, Minstrelsy and Modernism: Bert Williams
and the Politics of Disappearance"

Eric Gable (Mary Washington) "Where Emigrants Dance:
Locating Cosmopolitanism in Ancestral Space among
Manjaco in Rural Guinea-Bissau"
Bob White (UC Santa Cruz) "Rumbas and Other
Cosmopolitanisms in the Belgian Congo"
Kamari Clarke (Yale) "From Far Away Shores Home Isn't
Far: Disjunctures of Space and Time in Yoruba
Transnationalist Movements"
Discussant: Chris Waterman
Equipment: VCR and Monitor

Title: Femmes Fatales: The Politics of Seduction in
African and African Caribbean Art and Performance
Chair: Mary (Polly) Nooter Roberts, (UCLA Fowler
Museum of Cultural History)
Cynthia M. Oliver (University of Illinois,
Urbana-Champaign) "Queen of the Virgins: Queen
Shows, the Popular Women's Theatre of the U.S. Virgin
Alison Fraunhar (University of California, Santa
Barbara) "Mujer Fatal: The Mulata Cubana and the
Economy of Desire"
Alison Saar (Artist. Los Angeles) "From Love Zombie to
Sledgehammer Mama: The Sculpture of Alison Saar"
Mary (Polly) Nooter Roberts (UCLA Fowler Museum of
Cultural History) "Seducing the Spirit: The Politics of
Femininity in Luba Royal Culture"

* Final session statement CAA Annual Conference
2002 CAA-ACASA Panel: African Crossroads
Labelle Prussin

Traditionally, the Sahara desert has been viewed as
an impenetrable barrier. separating regions south
of the desert from those north and east of it. Long
distance trade however, when viewed in partnership
with nomadic movements across the continent,
resulted in communication and correspondence across
cultural boundaries and beyond the African continent.
The resultant complex relationships set the stage for
the emergence of diverse artistic phenomena reflecting
an interface among traders, scholars, artisans and
nomads along the web of routes crossing North, East
and West Africa. As a consequence, striking stylistic
and technological affinities, particularly in the fields
of metalworking (iron, brass and copper), weaving
(silk and cotton), embroidery (gold and silk on cloth
and leather), and rare metalworking (gold and silver),
evolved. Consideration of these affinities across
varying cultural contexts adds a new dimension to

discussion of the African aesthetic. Papers should
address methodological, conceptual, stylistic or
technological aspects of artistic creativity and
performance in the course of these economic,
scholarly and artistic Diasporas within and beyond the
African continent*

2002 CAA-ACASA Panels

Bob Soppelsa

CASA will sponsor two panels at the CAA
conference in Philadelphia in February, 2002. The
panels are:

I: "African Crossroads" chair: Labelle Prussin.
Subject: Viewing the Sahara as an avenue of cultural
communication rather than as a barrier to the same.
The panel seeks to remedy incorrect past assumptions
by examining the nature of aesthetic and cultural
continuities which unfolded in the course of cultural
migrations and Diasporas across the continent, over
time. Contact: L. Prussin, 3 Anders Lane, Pomona, NY
10970 USA.

II: "Modernisms and the Reception of African Art"
chair: Helen Shannon.
Subject: An examination of the reception of African
art by Westerners in the early 20th century through a
critical examination of three current avenues of art
historical scholarship: the documentation of the global
impact of African cultural practices, the examination
of the historiography of African Art, and the critique
of modernism and its cognate, modernist primitivism.
Contact: Helen M. Shannon, 300 Cathedral Pkwy #5H,
New York, NY 10026.

Presenters must be current CAA members. Panel
chairs must submit abstracts of papers to CAA by
mid-2001, so contact them soon if you are interested
in participating*


(Recent and Current)
IFor current events at the National Museum of
African Art at the Smithsonian, visit
http://www.si.edu/nmafa. Or, call (202)357-2700.

a SEPT 1, 2000 MARCH 31, 2001 East Africa in
Renaissance-Paintings by Ugandan artists David
Kibuuka, James Kitamirike, and Dan Sekanwagi
explore personal visions and cultivate new cultural
identities for East Africa's emerging artistic
Renaissance. This exhibition marks the historic
reunion (after 20 years) of three leading members of
the Ugandan school of fine painting.

During the 1970s and early 1980s, Kibuuka,
Kitamirike, and Sekanwagi were considered three of
the most influential and accomplished fine painters
whose art defined the internationally recognized art
scene in Nairobi, Kenya. Since that time, all three
artists have worked individually to spearhead the
recognition of Uganda's contemporary arts movement;
this historic reunion and exhibition embodies the
vitality of East Africa's Cultural Renaissance.
The Art Room, Fine Arts Center for East Africa
San Francisco, CA 94112 (415) 333-9363
gadart@aol.com www.theartroom-sf.com

ESEPT 9, 2001 JAN 13, 2002 The Lawrence
Gussman Collection of Central African Art The
Neuberger Museum of Art, The national Museum of
African Art, and the Israel Museum in Jerusalem were
recent recipients of gifts of outstanding Central
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) in 2001-2002.
Following the tour, the Neuberger's holdings from the
Gussman collection will be integrated into the
Neuberger's existing collection of African Art as part
of a planned major reinstallation of its permanent
collection. An illustrated catalogue accompanies the
exhibition, which includes an essay by Christa Clarke,
PhD, Neuberger Museum of Art Curator of African

* 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.

For details, contact Barbara Morgan at
barbaara.morgan(i4'purchase.cdu. 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://www.lapca.org: or
Kim Longfield
(klongfi@mailhost.tcs.tulane.edu; 504-861-1442) or Mary
Fitzpatrick (fitzjfmc@aol.com: 504-888-6734).

*OCTOBER LATE 2001 Contemporary African
Art: Five Artists, Diverse Trends, curated by dele
jegede, opened at the Indianapolis Museum of Art. An
accompanying catalog of the same title, written by
dele jegede, is now available. In addition to a broad
discussion of contemporary African art, the essay also
focuses on the works of the five artists: Ezrom Legae
(South Africa), Magdalene Odundo (Kenya), Twins
Seven Seven (Nigeria), Kane Kwei (Ghana), and
Mariam Abdel Aleem (Egypt). All the twenty-four
pieces are illustrated in color. Inquiries should be
directed to Myrna Nisenbaum at the Indianapolis
Museum of Art, telephone (317) 923-1331. Or, by e-
mail: mnisenbaum@ima.art.org. dele can be reached
at his new email address: dele-jegede@indstate.edu.

m NOV 2000 ? 2001 Women to Women:
Weaving Cultures, Shaping History-Terre Haute,
Indiana State University; curated by dele jegede.
Sokari Douglas gave lectures on her work as part of
the opening reception of the exhibition, which is
scheduled to travel to the Tarble Arts Center at
Eastern Illinois University, Charleston
(January/February, 2001), and the Hearst Art Gallery
in Moraga, California (September/October, 2001).

The show is available for tour to any interested gallery
between March and August, 2001. Please contact:
Acting Director, University Gallery, Indiana State
University, Terre Haute, IN. 47809. Tel. (812) 237-3787
or (812) 237-3697.

* 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:

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@i!usa.net Or,

mAfrica: From Eritrea with Love (Jan 19 March
200-Chandler Center for the Arts, San Marcos
Place, Chandler, AZ; Aug 13 Sept 16, 2001-
Dallas Museum of Art, Dallas, curated by Maria
Theresa Garcia Pedroche); Africa: Myth, Magic, &
Reality (Jan Feb 2001-Chattanooga African
American Museum, TN; Sept Dec 2001-Children's
Art Museum, Duluth, GA, curated by Lucy Elliott;
April May 2002-William King Regional Art
Center, Abington, VA, curated by Tom Perryman);
Eritrean Artists in War & Peace are the themes of
paintings by BETTY LADUKE on the exhibition
circuit (see previous issue).


* FEB 16-17, 2001 Fighting Back: African
Strategies Against the Slave Trade An International
Conference at Livingston Campus, Rutgers
University, New Jersey. The Rutgers Department of
History and Center for African Studies in
collaboration with the UNESCO/SSHRCC Nigerian
Hinterland Project of York University, Canada, are
sponsoring this conference.

This conference is unique in its topic and scope, and
constitutes the first scholarly attempt to consolidate
scattered information about the various dimensions of
African people's resistance to the slave trade. Scholars
will present research that will open up new directions
for studies in African history, as well as the history of
the Atlantic World, African-American history and the
history of the African Diaspora. It will challenge
widely-held myths of African passivity and complicity
in the slave trade by using history, literature, oral
tradition, psychology, the arts, traditional cultural
forms and political science to show that resistance to
enslavement and involvement in the slave trade was
much more pervasive than acknowledged by the
orthodox interpretation of historical literature.

The conference is free; however, registration is
required. For updated information about the
conference, as well as registration forms, conference
program and hotel and travel information, please visit
http://history.rutgers.edu or send email inquires to
Center for Historical Analysis
Rutgers, the State University of New Jersey
New Brunswick, N. J. 08901 Tel. 732/932-8701

* FEB 23, 2001 The Ties that Bind: Constructions
of Family, Childhood, and Home in the Visual Arts
is the theme of the this year's Art History Graduate
Student Symposium to be held at the University of
Arizona, Tucson. Graduate students from art history
and related disciplines are encouraged to submit paper
topics concerning how family, childhood, children, and
the home have been represented in the visual arts from
prehistory to the present, crossculturally. For details,
Art History Graduate Student Symposium

c/o Fran Maffetone, 7364 East Shoreline Drive, Tucson,
AZ, 85715 aileen@u.arizona.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. Visit:
(see previous issue for details).

m MARCH 29 APRIL 1, 2001 PSi Performance
Studies international and the Department of Theatre
Studies at the University of Mainz, Germany
announces the conference Translation, Transition,
Transformation: The impact and power of
discovering languages, changing perspectives,
transforming through performance, to be held at the
The 7th Performance Studies conference will soon
explore questions of translation and transformation
between languages, performance traditions and modes
of perception. Conference participants are invited to
examine issues touching on any of the following areas:
new disciplinary perspectives, interculturalism and
aesthetics, European performance traditions (East and
West), Multilingualism and performance, Translation
between performance and performance studies,
Performance as transformation, the visual versus the

The Performance Studies Conference was originally
launched by the Department of Performance Studies
at New York University in 1995. For further
information contact:
PS7 Conference Office, Univ. Mainz, Institut fuir
Theaterwissenschaft, Christopher Balme, Ute Ritschel,
Vera Apfelthaler, Welderweg 18, D-55099
Tel. (int.+49) 6131 39 23 775; fax: (int+49) 6131-39-23-
776; email: ps7conference@mail.uni-mainz.de

* 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
decolonization 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.

* 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 bfine(gvt.edu. For additional
information, call 540-231-9593 or email bfine0i:vt.edu.
Visit http://www.cis.vt.edu/humanities for updated
conference information.

* APRIL 19-22, 2001 Islam in Africa: A Global,
Cultural and Historical Perspective -The Institute
of Global Cultural Studies at Binghamton University,

New York. This interdisciplinary conference will focus
on the uniqueness of Islam in Africa emphasizing its
global context, from the first arrival of the religion on
the continent up through current events in which Islam
plays a role. For more information contact Michael
Toler or Tracia Leacock:
The Institute of Global Cultural Studies Binghamton
University, PO Box 6000 LNG-100
Binghamton, NY 13905 Tel: (607) 777-4494
Fax: (607) 777-2642
e-mail: igcs@binghamton.edu

* MAY 27-30, 2001 Africa: Between the Demons
of the Past and the promises of the Future /
Afrique: Entre les Demons du Passi et les
Promesses de I'Avenir Canadian Association of
African Studies, Laval University, Quebec City. For
paper proposals and submissions, contact the program
chair, Sean Hawkins at sean.hawkins@utoronto.ca

* OCTOBER 25-27, 2001 Laying Claim:
(Re)Considering Artists of African Descent in the
Americas -Colgate University. Proposals for papers
and panels that address issues of production,
representation and reception in the work of African-
American and other artists of African descent in the
Americas are invited. Papers welcome on artistic 18
expression in any visual medium. Potential topics
include access to training (art schools/academies,
historically black colleges and universities, community
art centers); expatriation; patronage and collecting;
exhibition opportunities; institutional discrimination
(schools, museums, galleries, publications);
historiography; popular and critical reception; canon
formation and revision. Proposals that address the
rhetoric of the image-issues of representation,
figuration and abstraction. are also welcome. Other
relevant concerns include recent critical theory and
other conceptual formations, such as the New Negro,
modernism, black folk art, cultural nationalism, the
"black aesthetic," issues of high and low,
postmodernism, womanism, feminism, post-
colonialism, and critical race theory.

Please submit a 1-2 page proposal and a c.v. by
January 31, 2001 to both Mary Ann Calo and Helen
Shannon (mcalo@mail.colgate.edu):
Mary Ann Calo, Department of Art and Art History
Colgate University, 13 Oak Drive, Hamilton, NY 13346
Helen Shannon, 300 Cathedral Parkway
Apt 5H, New York, NY 10026


The Saint Louis Museum is accepting applications
from graduate students and beginning professionals
just out of graduate school for a one-year position
designed to build a pool of outstanding minority
professionals for art-museum work. The Bearden
Fellow will work with various departments in the
Museum to develop programs aimed at increasing the
diversity of the Museum's programs and audiences.
Fellows should have completed at least one year of
graduate school by August 2001 in art history, art
education, museum studies, areas studies, or related
fields. Proficiency in a foreign language is preferred.

The one-year appointment runs from Sept 2001 to
Aug 2002. Deadline for applications is March 1,
2001. Send letter, resume, official transcripts of all
undergraduate and graduate work, writing sample in a
humanities area, and names/phones of three academic
or professional references to:
Sandra Tudos, Human Resources Manager, The Saint
Louis Art Museum, #1 Fine Arts Drive, Forest Park, St.
Louis, Mo 63110-1380. Direct questions to 314-655-5264.

EThe Textile Museum seeks a full-time Curator for
Eastern Hemisphere Collections. This leadership
position requires a highly motivated, cooperative, and
flexible individual with subject area expertise and an
established record of scholarly achievement; effective
oral and written communication skills; comfortable
with computer applications for research and writing;
familiarity with collections database software;
familiar with textile structures, technologies and
Application deadline: January 31, 2001. Please send
letter, resume, and three references to:
Search Committee, Curator of Eastern Hemisphere
Collections, The Textile Museum, 2320 S Street, NW,
Washington, DC 20008

mArizona State University's Department of
Anthropology announces a full-time tenure-track
position at the Assistant Professor level beginning in
Fall 2001. PhD in hand and eligible candidates will
actively contribute to the development of the
department's graduate program in museum studies
while also supporting the anthropology department's

overall mission. Preference will be given to applicants
who demonstrate research and teaching expertise in
museum studies topics, including one or more of the
following: material cultures, collections management,
public dimensions of museums (exhibition
development, museum interpretation, visitor studies),
electronic applications, current theoretical issues in
museum studies, community and/or international

Send a cv; the names, addresses, and telephone
numbers of three references; and a letter of application
that describes your education and experience, as well
as research and teaching interests, strengths, and
future plans to:
Search Committee Chair, Department of Anthropology,
Arizona State University, Box 872402,
Tempe, AZ 85287-2402.
Application deadline: January 5, 2001, or monthly
thereafter until the position is filled.

* The Old Residency Museum in Calabar, Nigeria is
looking for a building conservator to address the
needs of the colonial structure that houses the
museum. This is an early 20th-Century prefabricated
building, which overlooks the Cross River. The
position was stated as follows.

"We needed a building conservator-prefabricated
building in particular. If not, then a building
conservator who will do a two-three week renovation
work in our museum at Calabar and give a two week
lecture. He/she will have a week to tour round
Nigeria to see some of monuments and museums. The
USIS will sponsor the six week stay in Nigeria and
also give whatever logistic support that might be

Inquires should be addressed to Mayo Adediron
[nmus.ca@rcl.nig.com]. You may also contact
Amanda Carlson [acarlson@satie.arts.usf.edu].

* The University of Florida School of Art and Art
History, College of Fine Arts, invites applications for
a tenure track faculty position with a specialization
in Art History, Archaeology, Anthropology and/or
Museum Studies to serve as Director of the Museum
Studies Program. The position's starting date is
August 10, 2001. Application Deadline: February 12,
2001. For further information, contact Robin Poynor
at: rpoynor@ufl.edu.

mArt History: African Art-California State
University, Northridge. Tenure-track position,
Assistant Professor, Ph.D in Art History in hand by
Sept. 2001; teaching experience preferred. Fall 2001
appointment, Position remains open till filled to:
Chair, Dept. of Art, CSU Northridge, CA 91330-

Submit letter of application, cv, three letters of
reference, examples of research/published work,
SASE. For complete position description and
application procedures, visit: www.csun.edu/artdep

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

m Drew in West Africa is a unique summer study
program in C6te d'Ivoire which allows participants to
explore the rich cultural heritage and artistic traditions
of West Africa with focus on the Baule, Dan, and
Senufo peoples. Under the directorship of Jerry Vogel,
the program includes courses in African cultures and
the history of African art and architecture. Students
are able to work directly with African artists in their
villages and workshops in the areas of ceramics,
fibers, and metals. Program dates: July 8 to August 6,
2001. Cost: $4,250 (includes 8 credits tuition, air
fare, lodging and some meals). Deadline: April 1,
2001. For further information, contact: Drew in West
Africa. African-American/ African Studies, Drew
University, Madison, NJ, 07940. Telephone: (973)
408-3383. Email: ppeek@drew.edu.

* African Cultural Vision is a new organization
established January 1998 to promote African identity
through culture. The head office is located in Ibadan,
Nigeria. AFCUV seeks to provide, among other
things, training programs, public lectures and
symposia, library resources, exhibitions, quarterly
publications, etc. Funds will be generated through
donations and membership dues.
Please direct all correspondence to:
The Executive Director, African Cultural Vision
(AFCUV) No. 1 Baale Amole Street, Apata Ganga,
G.P.O. Box 218 Dugbe, Ibadan. Oyo State E-mail:

Website: http://geocities.com/afcuv/ Tel: 234-02-2312454

mMovement for Creative Drawing (MCD) is a new
organization/association with headquarters is at the
National Museum, Onikan Lagos State, Nigeria. This
is a non-profit making association founded by
Nigerian artists to stimulate and foster the
appreciation of creativity through drawing and to
bring together African contemporary artists for
dialogue and interaction in the mother language" of
visual arts. Research, study, exhibitions, workshops
and seminars are among the objectives of the group.
The movement's Patrons are dele jegede and Onome
Ahante. For membership, suggestions, donations or
general inquiries, contact:
Atiku J. Olorunfunmi, Ateckhu Forms Limited GPO.
Box 9723 Marina, Lagos State, Nigeria;
E-mail: mofedraw@yahoo.com,
Atikuolorunfunmi@yahoo.com Or,
Iretiola kola George, National Museum, PMB 12556
Onikan Lagos, Nigeria. Tel: 01-2634040.

provides annotated links to African art-related sites.

mThe Nordic Guest Researchers' Programme 2001
In 2000, the Nordic Africa Institute initiated a new
Guest Researchers' Programme, aimed at researchers
in the Nordic countries. It began by awarding one
grant for the fall of 2000. The maximum duration of
the stay is two months. The number of guests will be
increased in the years to come.

The program offers opportunities for its participants
to pursue their own research projects and to utilize the
library of the Institute. The guest researchers are
expected to contribute to the intellectual environment
by participating in scholarly exchange with Nordic
and African researchers at the Institute. The research
project should relate to contemporary Africa. Priority
will be given to projects that relate to ongoing
research themes at the Institute.

The Nordic Guest Researchers' grant includes travel
expenses to Uppsala at cheapest rate, accommodation,
a shared office, and access to computer facilities.
April 1, 2001 is the deadline for the period August-
December 2001. Application letters should be
addressed to:
Programme Officer of the Nordic Guest Researchers'
Scholarship Programme: The Nordic Africa Institute

P. 0. Box 1703, SE-751 47 Uppsala, Sweden
For details, visit: http://www.nai.uu.se

* The Art Room--Fine Arts Center for East Africa
is a new website located at http://www.theartroom-
sf.com. The center provides exhibition space and
curatorial focus for leading members of East Africa's
Modem Art Movement. Artworks and essays may be
viewed online.

*The Encyclopedia of African Art (formerly titled
the Dictionary of African Art, DAA) is (as many
know) under preparation. The publisher is Macmillan
in England, Grove in the US. The editors are Herbert
M. Cole and Jane Turner. This work will be a single
volume of doubled-columned text over 900 pages
long, with approximately 1000 black and white and
100 color illustrations.

EAA will incorporate revised and updated African
texts from the 34 volume Dictionary of Art (London,
Macmillan, 1996, ed., Jane Turner) which were ably
solicited and edited by Jeremy Coote and Dunja
Hersak, plus approximately 300 new articles,
amounting to around 150,000 words. Much more will
be included on African artists and on contemporary
arts, for example. More than 100 new articles have
been posted, for example, in the on-line version of
TDA: see

EAA promises to be the largest and most complete
reference work on the arts of Africa published to date.
Publication is currently set for this year. The work has
been delayed (for which the editors apologize) due to
Macmillan's imperative need to assign all its personnel
and resources to the next version of their Dictionary of
Music for a period of several months.

Questions or comments about the
Encyclopedia of African Art should be
directly: skipcole@humanitas.ucsb.edu

sent to Cole

mCONNECT. art.politics.theory.practice. is a
exciting new journal devoted to questions of
transformations of cultural production in an age of
globalization. Resolutely interdisciplinary, intern-
ational and intellectually rigorous, CONNECT
features critical commentary on visual art, curatorial
practice, performance and new media, prose and
poetry, new artwork, historical and contemporary

documents, and interviews with practitioners and

For a glimpse of the first issue, Translation (Fall
2000) and to subscribe, visit the website:
http://www.artsinternational.org/connect. Or, contact:
CONNECT: art.politics.theory.practice
Arts International, Inc., 251 Park Avenue South
New York NY 10010-7302
e-mail: connect@artsinterational.org

*The editors of IJELE: Art of the African World
announce the publication of Volume 1, Number 2. For
details, visit: http://www.ijele.com

*The Musa Heritage Gallery was established in
1996 in memory of Cameroonian artists Daniel and
son, John Musa. The museum's area of focus lies in
the arts and crafts of the Cameroon grass fields. The
museum has become the first heritage organization in
the country to develop a website (developed Dr. Lan
Fowler of the University of Oxford, UK):
P Submitted by the Director, Peter MusaI


Samuel Akpabot was a noted Nigerian musicologist,
performer, and media commentator; he also led a
highlife band called Samuel Akpabot Sextet. Samuel
was educated at the Baptist Academy and Kings
College, both in Lagos, the Royal College of Music,
London, the University of Chicago and then at the
Michigan State University, where he completed his
Ph.D. in 1975. Upon his return to Nigeria, he lectured
in music in various universities, including Universities
of Ibadan, Ife and Nigeria, Nsukka.

His publications include Collected Poems, Four
Orchestra Pieces for Western and African
Instruments, Ibibio Music in Nigerian Culture,
Foundation of African Music, Football in Nigeria,
Form, and Function and Style in African Music.

mOLA ROTIMI [1938-2000] Playwright, director
and scholar passed away on August 18, 2000. He
studied at Boston University and at Yale, where he
became Rockefeller Foundation Scholar. Rotimi was
a professor of Dramatic Arts at the Obafemi Awolowo
University. His list of plays include Our Husband
has Gone mad Again, Ovonramwen Nogbaisi, Hopes
of Livinig Dead (based on the life of composer Ikoli
Harcourt-Whyte), The Gods are not to Blame, and

There are plans to establish an Ola Rotimi
Foundation for the Arts at the University of Port
Harcourt, at the experimental theatre he designed and
named, The Crab*


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.

0 6,


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:

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.


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

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.)

To provide attendees use of the American Airlines Meeting
Services desk toll free number 1-800-433-1790 for making
individual reservations. 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 BOOKED AND

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


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 2)001 hotel mtes


The Arts Council of the African Studies Association
membership form

IDues cover the 2001 calendar year, from Jan. 1 Dec. 31, 20014

Regular member $35.00
Special member (student, unemployed, retired) $15.00
Institutional member $35.00
Additional Voluntary Contribution (please check an option below):
ACASA endowment $
Symposium travel assistance for African scholars and grad studentsS___

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

Name: Affiliation:

Country, if not U.S.
Home Phone:

State: Zip:


Work Phone:



. Africa

Additional Information please circle or complete:
Specialization: Art History Anthropology Ethnomusicology O
Current Memberships: ASA CAA AAA Other
Primary Profession: University Teaching Other Teaching 1
Research Student Other
Primary Regional Focus: W. Africa C. Africa E. Africa 1
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

You can also access thisform online atACASA website at: http://www.h-netmsu.edu/--artsweb/welcome/acasa.html

NB: Foreign subscribers must submit their dues in the form of an international draft drawn on a U.S. bank in dollars only.



Editor: ACASA Newsletter
(Attn: Avorbedor)
llOWeigel Hail
School of Music, OSU
Columbus, OH 43210-1170 USA


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