Title: ACASA newsletter
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00103115/00055
 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 2001
Subjects / Keywords: Arts -- Periodicals -- Africa   ( lcsh )
Genre: periodical   ( marcgt )
Dates or Sequential Designation: Vol. 1, no. 2 (winter 1982)-
Numbering Peculiarities: Vol. designation dropped with no. 3 (spring 1983).
General Note: Title from caption.
General Note: Vols. for Aug. 1992- include Directory of members: addendum.
General Note: Latest issue consulted: No. 34 (Aug. 1992).
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Bibliographic ID: UF00103115
Volume ID: VID00055
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 09794003
lccn - sn 92017937
 Related Items
Preceded by: Newsletter of the Arts Council of the African Studies Association

Full Text

ACASA Newsletter

h At&s C&oMcU 4 theL QArca Studies Asoct

Vol. 60 December 2001

in this issue...

ACASA N ews ................................. ............. 2
Sieber Tributes .............................................. 3
Minutes of Business Meeting ..................... 6 iA
ACASA Awards Speeches ............................ 8
Leadership Award ................................... .................. 8
Artists Aw ard ........................................................ ... 11
ASA N ew s................................................ 13
CAA N ews ............................................... 14
Exhibitions & Events ............................... 15
Conferences & Symposium .................... 18
Summer Programs ................................... 19
Jobs & Fellowships .................................. 20
Of People and Places ............................... 22
Recent Publications & Films .................. 23
Obituaries.......................................... ............ 25
Announcement of Seiber
Outstanding Dissertation Award ........ 26
Membership Form ..................................... 27

http://www.h-net.msu.edu/ artsweb/welcome/acasa.html

ACfASA Board oF Directors
Robert Soppelsa, President
Michael Conner, President Pro-Ter
Rebecca Green, Secretary/Treasurer
Elisabeth Cameron, Newsletter Editor
Martha Anderson, Past President
Joanne Eicher
Babatunde Lawal
Robin Poynor
Enid Schildkrout
Christopher Steiner

For residents of North America, Europe, Asia, correspon-
dence regarding membership information and payment o
dues should be directed to:
Rebecca Green,
Non-Western Art & Culture
1010 Fine Arts
Bowling Green State University
Bowling Green, OH 43403
Email: rlgreen@bgnet.bgsu.edu
Membership information and forms are available at end
of this Newsletter.
For residents of Africa & the Carribean, membership
information can be obtained from:
Janet Stanley
National Museum of African Art Library
Smithsonian Institution MRC 708
Washington, DC 20560, USA
Email: jstanley@ic.si.edu
Tel.: 202/357-4600 Ext. 285
Fax: 202/357-4879
The ACASA Newsletter is published three times a year::
April, August, and December. The Newsletter seeks items
of interest for publication. You can send news about job
changes, fieldwork, travel, exhibitions, new publications,
etc. The next ACASA Newsletter will be in April 2002.
Please send news items by March 13, 2002 to:
Elisabeth L. Cameron
Porter Faculty Services
University of California
1156 High Street
Santa Cruz, CA 95064
E-mail: ecameron@cats.ucsc.edu
Phone: 831/459-2763
Fax: 831/459-3535


Presidential Notes
Robert Soppelsa, ACASA President

December, 2001

The autumn term has come and almost gone and
Thanksgiving is behind us. We are all busy making
plans for the holidays to come. We'll soon be shop-
ping, decorating, baking and making preparations to
receive guests, or frantically finishing-up fall term
projects, or both. In any case, the year is drawing
rapidly to a close, which prompts a look back on
recent events.

The first weeks of autumn were not easy ones for
anyone in the U.S., and they were particularly
difficult for those of us in the African art community.
We all watched in horror as the Twin Towers of the
World Trade Center in New York became smoking,
streaming piles of dust and rubble, taking thousands
of lives (and untold quantities of art) with them.
Then later that same week came the announcement
that Roy Sieber had died in Bloomington, Indiana.
Roy was (and is still) admired, respected and loved
by everyone who knew him. No one who came into
contact with the academic family he and Sophie
headed at Indiana University came away untouched.
Roy somehow managed to sustain a unique combina-
tion of avuncular protectiveness and supportiveness
with a keen, challenging intellect that inspired
excellence in his students. He demanded hard work,
and got it from all of us. The long shelf of disserta-
tions written under his supervision is one indication

ACASA Newsletter

n. 60 htp//www.he -nAt.msu.edu/ ar tswe/wlcn me u csaie Dcemociaeron 200
Vol. 60 http://www. h-nct,,tu.,cdu/~artswelwecome.acaa.html December 2001

of his contribution to the discipline. The other, of
course, is his long list of publications, and the ways
in which they helped define and shape our disci-
pline. The Akan metaphor of the-great tree falling,
used again and again in tributes to the great man, is
truly applicable to Roy. His physical presence is
gone, but his energy and creativity live on in his
work and the work of his students and successors
We will all miss him, but we will also feel his pres-
ence as long as the study and appreciation of Africa's
arts persists in this world.

Shocked and saddened by these events, most of us
either stumbled through the semester or walked
through the autumn months like sleepwalkers.
Before anyone knew it, the ASA convention in
Houston was upon us. The African art community
did itself proud at these meetings, with a show of
nine art and art-related panels. It was nice to see
familiar faces, and even nicer to see numerous new
ones. Panels on costume, archaeology, pottery and
performance gave our colleagues from other disci-
plines some idea of how African art studies have
grown in recent years. A discreet memorial statement
to Roy Sieber on the inside cover of the conference
program was a reminder for all of us, but I person-
ally felt Roy's presence much more strongly in the
galleries of the Menil collection and the Houston
Museum of Fine Arts, both of which house remark-
able collections of art from Africa. The Menil collec-
tion was a particular pleasure, as it is chock full of
extraordinary objects displayed in a beautiful, simple
architectural setting. So many objects there have been
included in exhibits of African art that my time there
was like a visit to a reunion of old friends. If you
have never visited this remarkable place, you should
plan to do so some time. It's well worth the trip, not
just for its African art, but for the high quality of all
its collections.

The ACASA Board of Directors met twice during the
conference, and several decisions were made. In this
newsletter, there is a call for donations to a fund in
memory of Dr. Roy Sieber to establish a prize for the
best dissertation on African art, to be awarded at
each Triennial Symposium. We hope to make the first
award at the 2004 Triennial. We are currently negoti-
ating the location for these meetings, and hope to
announce a venue and dates soon. We have also
updated ACASA's dues structure to reflect current
costs, so your memberships will cost you a bit more
beginning in 2002. Don't forget-membership in
ACASA is from January through December, and the
membership renewal form is attached to the end of
this newsletter. Of course, the ACASA endowment is
always in need of additional funds. If you are look-
ing for places to donate money before the end of the

year, please consider either the ACASA endowment
or the Sieber Fund.

As we enter the new year, we are on the verge of
establishing an electronic membership database,
provided through the H-Africa service at Michigan
State University. This will be available to all mem-
bers. We will also have an official ACASA archive, to
be housed in the Herskovitz Library at Northwestern
University. The Board of Directors is in the process of
reviewing and updating the organization's bylaws
and committee structure, to reflect current needs. The
future holds many challenges, and our organization
is, we believe, ready to meet them. I'm sure I speak
for the entire Board of Directors when I send sincere
wishes to all of you for a happy, healthy holiday
season and success in 2002.

Bob Soppelsa,

A Great Tree Has Fallen:
Personal Tributes to Roy Sieber by ACASA

Dear Siebers-
There are so many fond memories of Roy it's hard to
know where to begin. I first met Roy when I was an
undergraduate at the University of Minnesota and
was thinking about graduate school. Having just
spent a year in Nigeria I was contemplating switch-
ing from pre-med and studio art to studying African
art. Little did I know then that Roy had taken that
very same path many years before. His talk that day
at the Minnesota Museum of Art inspired me to seek
his advice and ultimately make the switch. He wisely
advised me that I'd have to make it as a general art
historian as well doing African work and so there
was no escaping taking French and German as well
as an African language. Not what I wanted to hear
but he was right. I didn't see Roy again until three
years later when, after having been abandoned as an
academic orphan by Frank Willett's departure from
Northwestern University, I was trying to find a new
place to study. Barb and I stopped by your house to
talk about possible funding sources at Indiana and
our fate was sealed. Met at the door by Gorgon
jumping up on our shoulders and licking our faces,
what an introduction we got to the Sieber world. The
piles of books, art everywhere, homey atmosphere
and undeniable aura of fun exuding from every
corner were all we needed to convince us we'd come

to the right place. (it also didn't hurt that Roy had
secured a language fellowship for me, rather un-
heard of for a first year grad student).
The next twenty-one years have gone by too quickly.
Memories incTude countless parties at your house
meeting scholars, collectors, dealers and sundry
other characters--being amazed at how Roy's teach-
ing could speak eloquently to beginners but at the
same time provide insights for experts. Many African
Studies Wednesday night seminars and the time
when I had just heard I'd won a Fulbright-Hays and
we went over to your house and dug around in the
refrigerator to find a bottle of champagne to cel-
ebrate. Flea markets. An ASA conference in
Bloomington with a forest of vigangos. Bobby Knight
and basketball discussions. Getting lost together in
the streets of Evanston when Roy kindly helped out
as 'outside examiner' when I finished up my
Master's degree at Northwestern. Numerous trips to
Washington and staying at your house there (suppos-
edly always with the justification or excuse that you
needed a tall guy to change lightbulbs). Smelly
memorial cloth for Roy's retirement and Chris Roy
and I desperately trying to get to the affair but
thwarted by icy roads. Telephone calls seeking
advice, letters of recommendation or who knows
what, that always started with conversations with
Sophie. And in later years actually missing that latter
part when Roy took to answering the phone himself.
Our sorrow is great and he will be missed immensely
but oh what a life well lived!
The Deweys
Remembering Roy Sieber
I first met Roy in 1978 or 1979, when I was a new
graduate student at U.C.L.A. The event was probably
one of the lectures or panels of visiting experts that
were organized by Arnold Rubin and the African
Studies Center. I had already enjoyed the traveling
version of Roy's innovative "African Textiles and
Decorative Arts" exhibition, and I remember being
impressed by the quality of Arnold's interaction with
this visitor. During any pause in the proceedings, the
two of them would become involved in challenging
discussions. These exchanges were demolishing the
artificial boundaries that warped western approaches
to African art. But while Roy was sharing revolution-
ary insights, he spoke without a hint of intellectual
pretension. He seemed to be stating simple and
obvious truths that others had ignored.
The first time that I met Roy individually, rather than
as a member of a U.C.L.A. group, was in Europe in
1980. I was still a graduate student, gathering data in
preparation for work in Benin. I had made arrange-
ments to photograph the motifs on an ivory tusk

belonging to a wealthy and prominent collector. An
elegant secretary had met me at the appointed time,
and I was somewhat dazzled by my surroundings,
feeling out of place. I had worn a scruffy shirt and
trousers that had already seen several weeks of
Eurail travel, because clothes shared the space in my
suitcase with camera equipment, offprints, and
copious notes. Nevertheless, the outfit was practical
for crawling on the floor to peer through close-up
lenses at motifs near the base of the upright tusk-
and also for climbing on a stool to photograph the
elaborately carved tip of this ivory. By the end of the
two-hour session involving these activities, I needed
a shower.
Just as I finished, the collector herself appeared,
beautifully dressed, and I was amazed to see that she
was accompanied by Roy and Sophie Sieber. Having
been invited as distinguished guests to view a new
acquisition, they were passing through the house
enroute to an upscale restaurant. Their hostess had
instructed the chef to prepare a particular specialty
for three persons.
It would have been quite natural for them to have
greeted me politely as a student acquaintance, and to
have moved on. But Roy immediately stopped to ask
questions about the ivory project, and introduced me
to Sophie and to the collector. Then, to my chagrin,
he invited me to share in their meal. Ignoring protes-
tations, he steered us all out of the room and into the
expensive vehicle that took us to the restaurant.
Because he was totally at ease, the awkwardness
dissolved in good conversation and wonderful food.
I learned that day that Roy was more than a brilliant
and innovative scholar. His heart was as large as his
Barbara W. Blackmun
Only Roy Sieber...
I remember as a first year graduate student at
Indiana, Roy Sieber was gone for my first semester
and existed only as a name spoken of with both
affection and reverence. The first time I ever spoke to
him, he approached me in a hallway and engaged me
in a shocking normal conversation-not about Africa,
not about art, but about how who I was and how I
was managing thus far. The most ordinary of conver-
sations, but it made a world of difference to a student
who felt far out of her league among harried profes-
sors and nervous fellow students. After that conver-
sation, I felt that I knew Roy Sieber. He never wa-
vered from that warm, open tone in the years that
passed. He has shaped my writing, my research, and
my thinking through his example and his subtle
editorial suggestions. Most of all, I admired and
strive to emulate his constant engagement with the

field-his scholarship combined up-to-the-minute
awareness of the work that others were doing with
an incredible historical depth. How could a student
slip by using "hip" theoretical jargon when Sieber
had such a complete mastery of the ideas that jargon
failed to address? I look back at his comments on
papers, grant proposals, and my dissertation in awe!
How could he have managed to convey such good
humor as he attacked weak arguments, awkward
writing, and even misspellings (once even a misspell-
ing of his name!)? Only Roy Sieber.
Vicki Rovine
Memory of Roy Sieber
I have always felt privileged to have studied with
Roy Sieber and to have had my career shaped by his
knowledge, insights and humanity. In 1968, I began
work on an M.A. at I.U., having recently spent two
years with the Peace Corps in Sierra Leone. Indiana
accepted me as a conditional student because al-
though I had some art history and anthropology
coursework, my degree was in biology. At the time, I
was unsure about my ability to do graduate work in
art history. I was one of those risky students. Under
Roy's guidance, I received an M.A. and entered the
PhD. program. Later, when I felt more confident, I
asked Roy why he had taken a chance and admitted
me to the program. Without hesitation, he said that
when he looked at potential students, he considered
them holistically- their experiences and goals, not
just the academic records. In your case, he told me, I
realized something had happened to you in Africa to
make you want to change and study African art.
While I have not thought about this conversation for
a long time, I realize that I internalized Roy's ap-
proach, modeling my own after his, because each
spring when our faculty would meet to review
applications, I found myself looking at applicants as
broadly as possible, often relying more on an unex-
plainable instinct about an individual's potential
than the academic transcript. As we all know, Roy's
remarkable, uncanny instinct about people extended
to objects. I remember one time among many when
we had gathered to look at the treasures brought to
town by an African traders, I asked Roy what criteria
he used to determine if an object was really fine. He
said after considering all that he knew and saw in the
object that it had "to smell right." Thanks Roy for
having taken that chance long ago; it has made all the
Judith Perani
Professor Art History, Ohio University

A great tree has fallen;
a great tree has flourished.
Words in memory of Roy Sieber at his memorial on
October 6, 2001
Roy Sieber was my academic father, my mentor and
my friend. When Sophie called and asked if I would
speak, my immediate answer was I'd be honored, but
I am also humbled. What can I add that has not been
said about Roy Sieber by so many who have pre-
ceded me, not only here today, but those who have
praised him and his work in the past when he and
William Fagg were honored as the first ACASA
awardees, or when the lifetime ASA award was
bestowed on him last year by the African Studies
Association. I knew I would not have time to men-
tion his numerous achievements, which we all know.
There is hardly a program in a college or university
in this country that has a course in African art or a
museum collection of African materials that has not
been somehow affected by the mind and the eye, if
not actually by the hand and voice, of Roy Sieber.
For a year I had Roy and Sophie close by. He came to
the University of Florida as the first Ham Eminent
Scholar in Art History. It was with great pride that I
watched him work with my students. In a recent
Eminent Scholar Committee, the Dean of the College
remarked in making his charges to the committee
that, in his mind, our first eminent Scholar, Roy
Sieber, embodied all those qualities we wanted in an
Eminent Scholar-a productive scholar, but a person
generous in spirit who could interact effectively with
our students.
The other day I received an email from one of the
students he worked with in Florida-Ann Baird. Ann
said: "Thank you for forwarding Roy Sieber's
obituary. Reading it made me realize I'd never
thanked you for bringing him to Florida and allow-
ing all of us to learn so much from him, not only
about African art, but also about generosity, integrity
and the human spirit. Its seems at times that only
after someone is gone do you really realize the extent
of what you gained by knowing them." It was not
only the greatness of the scholar she thanked me for
sharing with her, but mainly the human being who
was so generous, not only with his knowledge but
with his being. It is that human spirit that I want to
I think of what a kind man he was. In today's Post
Modern dog-eat-dog world of academe, this is
almost a negative. On any number of occasions
people who had met Sieber or who had come in
contact with him just by hearing him speak com-
mented first on what a nice man he was. A friend of
mine in Gainesville said to me, "Roy Sieber is just a
sweet man, a really sweet person!"

I am likely the shyest of his students. When I arrived
at IU, I snuck in the back door. He had no idea I was
coming to study with him. I just showed up-as he
put it once, "out of the woodwork." I did not
introduce myself. I was in a class with Roz Walker,
who is exceptionally outgoing in comparison to me.
She asked what I planned on studying. I said African
art. Being Sieber's assistant at the time, Roz was on
the "in" with him, knowing who was coming and
who was going. She looked at me sideways as only
Roz can do. "Oh, does PaPa know you're here?" I
had no Idea who PaPa was. "Well you need to
introduce yourself!" So I timidly approached him the
next week and said I had come to study with him.
He took me in. A while later he gave me a talk on
visibility. That visibility talk has come up several
times in my career, as he gave it to me several times,
but I have also given it to some of my students, with
due reference and reverence to Roy Sieber.
When my fellow students and I reminisce, we often
refer to Sieber's sense of humor. He had a sly wit that
could play on words. He could be droll, but he also
had a broad sense of humor that enjoyed practical
jokes. His eyes twinkled as he'd regale us with stories
of past pranks. I can remember sessions with Judy
Perani and Sieber in which he would wink at me and
make a funny remark to her, or vice versa, the
twinkle in his eyes showing the fun he was having. I
saw that twinkle time and again over the years-a
sign of satisfied amusement and good humor.
I am reminded of the Akan linguist staffs topped by a
mother hen and her chicks, referring to the Akan
proverb "A mother hen protects her chicks." Like an
Akan chief, Sieber took care of his students. He made
sure they were considered for assistantships and for
fellowships and for grants. I remember a fellow art
history grad student telling me years later how the
students in other specializations envied Sieber
students for the way he worked individually with us
and took care of us. But he worked with us as a team
as well. Once Judy and Fred and I were in Sieber's
office studying together for our qualifying exams. A
student from Northwestern dropped by to see Sieber
and found us instead. When we told her we were
studying together, she was dumfounded. In her
experience students were expected to be protective of
their knowledge and not share. But Sieber shared,
and we followed suit. I think he produced his quota
of good colleagues for a number of institutions!
As Sieber students we did not get a professor who
merely lectured in class. The Siebers invited us over. I
once heard another IU professor state that "Sieber"s
students lived in his back pocket." I recall Judy
Perani, Fred Smith, Bill Siegmann and me lying on
the floor of the Sieber living room, Sophie working

on a project, Sieber sitting ready to advise. As we
worked and reworked proposals for Fords and
Fulbrights, we'd show them to him and hear, "but
you still haven't told me what you want to do. State
what it is you want to do."
Since his daughter Ellen's email about Sieber's death,
we have all thought of the Akan proverb, "A Great
Tree has fallen." Roy Sieber was indeed a great tree.
His roots ran deep into the soil of scholarship and
Africa and pulled nutrients from all areas. The
sturdiness of the trunk manifested itself in the
steadfastness of the man, the solidity of his scholar-
ship, the depth and effectiveness of his teaching. His
branches reached in all directions-into museums,
into private collections, into teaching, and into
research and writing. His leaves were the myriad
pages of articles, and books that he produced, the
groundbreaking exhibitions and catalogues that led
us to extend our definition of African art and to
change the way we look at and study and perceive
African art and culture today. The Tishman collec-
tion exhibition referenced language, the MOMA
exhibition introduced personal adornment as art and
textiles as art, the household object exhibition
allowed us to look at common place objects and
ordinary things as aesthetically formed works of art,
the cycle of life exhibition reminded us once again of
the contextualization of art, the hair exhibition
reminding that we may each create art of ourselves.
And the scions, on a personal level, are his children-
Mark, Thyne, Ellen, Matt-and the grandchildren.
They are direct cuttings that will continue the
insistence on human qualities.
A Great Tree has fallen, but the timbers from that tree and
the leaves and the forest of saplings from the cuttings and
the seed of that great tree will long remind us that a great
tree stood and that this great tree flourished.
Robin Poynor

Minutes of ACASA Business Meeting

Saturday, November 17,2001
ACASA Board Meeting, Houston
Hyatt Regency, Saturday 7-8:30 p.m.
(25 members present)
Robert Soppelsa (President)
Martha Anderson (Past President)
Michael Conner (President Pro Ter-Archivist)
Rebecca Green (Secretary-Treasurer)
Elisabeth Cameron (Newsletter Editor)
Joanne Eicher
Babatunde Lawal
Robin Poynor
Enid Schildkrout
Absent: Christopher Steiner

Bob Soppelsa-President
The ASA Board ofDirectors metThursday, November 15,5:00 p.m.
Bob Soppelsa and Michael Conner attended. Bob reported that
ACASA now has its own Not-for-Profit tax status, that the 2001
Triennial at St. Thomas was well attended and that the ACASA
Board of Directors was discussing the next venue. He also reported
that ACASA has established an organizational archive at North-
western University, and briefly described ongoing ACASA/H-Net
Africa initiatives. ASA Vice President Alien Issacman expressed
regret at the passing of Roy Sieber and pointed out that Dr. Sieber
has been acknowledged only the year before as a Distinguished
Africanist by the association.

Bob reminded ACASA members that our endowment needs to
continue to grow so that Triennial travel grants to Africa-based
scholars can be awarded well ahead of time.

Secretary/Treasurer's Report
Rebecca Green
Regular members: 186
Student and retired: 85
Lifetime members: 12
Institutional members: 15
Total paid membership: 298

African and Caribbean memberships are handled by Janet Stanley
and have not yet been tallied. Membership runs from the calendar
year January 1 to December 31.

The Triennial was a success and the costs have been well managed,
leaving the organization with money that will be carried over to
help cover expenses of the next Triennial. Final attendance figures
for the Triennial have not been tallied; however there were 171 pre
registered and 183 attended the banquet. Rebecca could only
estimate attendance for faculty and staff of the University of the
Virgin Islands but thought the total number attending the
conference was around 210. ACASA was able to help eight African
scholars and awarded 21 travel stipends to students. ACASA's
total account balance: $41,804.09.

The location of the next Triennial has not yet been determined. DC,
UCLA, and Chicago each suggested interest to host the meeting in
2007 but not 2004. Martha Anderson and Bob Soppelsa are
exploring an alternative within the continental U.S.A.

For many years Bob has been the ACASA liaison to both ASA and
CAA. Enid Schildkrout and Joanne Eicher will now organize the
ASA panels and Robin Poynor has volunteered to be the CAA
liaison. The next CAA meeting will be held in Philadelphia. There
will be an ACASA sponsored panel chaired by Labelle Prussin on
African art and Modernism. A mini-panel is being hosted by Robin
Poynor at CAA to discuss classroom application of The History of
Art in Africa textbook.

Special Projects
Membership on H-AfrArts is restricted to those who have
demonstrated scholarly achievement, or special interest and/or
expertise, in African expressive culture. H-AfrArts is an edited
Listserv, which means that the Editor must approve all messages
before they are posted and subsequently archived. There are 433
subscribers to H-AfrArts. This is down slightly from last year's
high of 477. Twenty-eight countries are represented, including
eight African nations. The vast majority of subscribers are listed as
connecting from the US. (347). However subscribers who use one
of the internet-based mail services (hotmail.com, Yahoo, etc.) are
tabulated as logging in from the USA although they may actually
reside anywhere in the world. Countries new to the list are Senegal
(3), and Ghana (2).

Of the over 100 Lists affiliated with H-Net, the H-Net Africa lists
comprise the most cohesive'family' of Lists (9). H-Net has agreed
to provide staff and computer support to help establish an H-Net
Africa E-Journal. The first edition will be launched in time for the

next ASA meeting to embrace the ASA theme "Africa in the
Information and Technology Age". Contact Michael Conner if you
are interested in participating in this project.

Eli Bentor and Michael Conner are composing a website celebrat-
ing the life and times of Roy Sieber. They hope to collect an archive
of QT video clips from the October'01 memorial service in
Bloomington; an academic genealogy a timeline of significant
events, publications, interviews and personal reminiscences.

Chris Mullen Kramer will be editing a special section in African
Arts, the journal dedicated to Roy Sieber.

Bob Soppelsa announced that a generous initial pledge has
resulted in ACASA launching an endowed monetary triennial
prize in Roy Sieber's honor to recognize the best dissertation in
African art history.

ACASA Newsletter editor, Elisabeth Cameron, will be including
informal remembrances in the December issue of the newsletter.
Janet Stanley will no longer be able to mail the Newsletter to our
overseas members. Bob Soppelsa, Enid Schildkrout, and
Babatunde Lawal will investigate alternative funding for this
important activity. Until then, ACASA will have to bear the
expense itself. It is unclear if the African book project will also be

David Easterbrook, Archivist for the Melville J. Herskovits Library
of African Studies at Northwestern University, has offered to
accept ACASA papers for archiving. Items of interest to The
Herskovits Library include Newsletters, papers form conferences,
papers that have to do with the development of the discipline,
posters, photographs, and the presidential papers of the organiza-

ACASA dues have been raised. Student and retired dues, formerly
$15.00 will be raised to $20.00. Regular dues, formerly $35.00 will
be raised to $50.00. Institutional membership, formerly $35.00 will
be raised to $75.00.

Michael Conner reminded the Board that the African Music
Caucus coordinated by Cynthia Schmidt is a loosely organized
special interest group within ACASA itself. The Caucus strives to
promote music and performance related panels and events at ASA
and S.E.M. (Society for Ethnographic Music). The caucus works
closely with the International Center for African Music and Dance
(ICAMD) which was established at the University of Ghana in
1992 by Dr. Kwabena Nketia. Frank Gunderson (UM) is the U.S.
Secretariat Coordinator and music editor on H-AfrArts. Kwame
Labi (University of Ghana), works closely with Dr. Nketia and
offered to notify him of our desire to maintain this relationship.

The Board feels that the ACASA By-Laws need updating. Board
Members have been asked to send comments, suggestions for
changes, and additions to the President as soon as possible. Two
obvious suggestions were mentioned -to separate the position of
Secretary-Treasurer, and to establish a provision for an H-AfrArts
liaison to the Board.

Joanne Eicher announced a new textile exhibition catalog entitled
Cloth is the Center of the World: Nigerian Textiles, Global

Tavey Aherne announced that the Madison, Wisconsin software
DID is now available as freeware and urged ACASA members to
submit digital images to a growing database accessible with this
software. Information about current product features, technical
specifications and product demonstrations is available at: http://
cit.jmu.edu/ mdidinfo.

Robin Poynor reiterated the importance of ACASA's commitment
to educational outreach. He asked for ideas which might include
ACASA offering teacher's workshops year around, perhaps by
establishing a speakers bureau and to make more links and
African art related educational materials are available on our

Congratulations was extended to Babatunde Lawal for his recent
article in Art Bulletin Journal. Dr. Lawal serves on the editorial
board of Art Bulletin and appealed to all ACASA members to
consider contributing to the journal as Art Bulletin is actively
seeking non-Western art content.
Meeting adjourned at 8 pm. Informal ACASA Reception followed.

ACASA Awards Speeches

IACSLI Leadership Award to Her6ert h. Cole

Presentation by Doran H. Ross
I once began a lecture in Santa Barbara with two slides
of the first paper I ever wrote for Dr. Herbert M. Cole
better known as Skip. One slide showed a page from
the paper with twice as many words in Skip's hand-
writing on it that I had typed on the page in the first
place. The second slide was a tight shot of the A- he
gave me for that paper. After showing the slides I
apologized to the audience for Skip's inability to find
one of his A students to give the lecture and swore un-
der my breath that Skip would one day pay for that A-
, which I still consider an egregious crime against hu-
manity. Well, it's payback time Skip! I have stories to
tell. I have slides to show. And I have witnesses. Un-
fortunately, I only have ten minutes and fortunately
for you Skip, I have no projector.
Let's do the basics first.
Skip was awarded his BA at Williams College and
earned his MA and Ph.D. at Columbia University
under Doug Fraser as his first Africanist student. In
1968, he began teaching at the University of Califor-
nia, Santa Barbara. For those of you who must know,
Skip turned 66 last April 15.
Skip's first important published contributions to the
field of African Art History were a series of three
1969 articles in the very early issues of African Arts
based on his dissertation on Igbo mbari houses. The
series concluded with the article Art is a Verb in
Igboland, a title inspired by Amiri Baraka that has
served as a leitmotif in virtually all of Skip's subse-
quent research and publications. Confronting the
tyranny of the denuded object, his emphasis on
process, on performance, and on the interaction of
artistic ensembles set the stage for much of what is
being done in the field today.
We have all lamented not seeing certain exhibitions,
but African Arts of Transformation in 1969 remains my
most lamented. This was and is an enormously
influential exhibition and publication for those who

know it, but it still hasn't received the recognition it
deserves. The exhibition included three video
stations, three slide programs, 14 mannequins, 30
backlit transparencies, and at least an equal number
of photographic prints. I see this project as a model
for all of the most successful exhibitions that we have
presented at the Fowler Museum of Cultural History.
Interpretive, contextual, multidisciplinary and
performance-centered, in many ways it defined a
significant part of the Fowler Museum's mission
statement as it evolved into its present wording.
Similarly the accompanying publication with 98
contextual photographs and 40 studio images clearly
set a standard that privileged ensemble over object,
that privileged the complex organic whole over its
parts. I have a "Work Copy" of the publication
heavily annotated by Skip that remains one of the
treasures of my personal library. In both printed text
and marginalia Skip's thinking and research on body
arts, masquerades, and festivals is richly articulated.
African Art and Leadership, co-edited with his profes-
sor Douglas Fraser and published in 1971 also broke
new ground as it examined the political issues
involved in the production and display of art in
Africa. Remarkable in its range even today, the
overview essay helped shape our thinking about
these arts for both centralized and more acephalous
I was a graduate student at UC Santa Barbara
beginning 1972, and I am here to tell you that in my
mind Skip is the best damn teacher on the planet. I
know that some of you out there think that your
professor is the best damn teacher on the planet, but I
also know for a fact that all of you tend to exagger-
ate. Skip is an energetic and thoughtful lecturer, a
sensitive and encouraging listener, and an absolutely
stimulating commentator on papers and exams.
Colleagues of mine have frequently and disappoint-
ingly complained of drafts of their thesis and disser-
tations that have received only token remarks.
Under Skip that never happened, regardless of
writing exercise, small or large, one got a profoundly
thoughtful education.
Skip taught a stimulating variety of courses includ-
ing seminars on body arts and festivals long before
many turned their attention to them. In addition to
addressing interviewing, and other fieldwork
methodologies, Skip was also one of the very few to
address photographic skills as an essential part of
documenting the history of African art. We had a
series of photographic assignments of people and
events deliberately selected and prompted by Skip to
be as difficult and uncooperative as possible. And as
many of you know, Skip is a terrific photographer in
his own right.

Part of Skip's many dimensions as a supportive
professor is his open willingness to foreground the
work of his students in publications and exhibitions.
I am only one of many such students whose work
was so featured and I was both privileged and
honored to work with Skip on the Arts of Ghana,
perhaps the ultimate educational experience any
graduate student could have.
Of all the exhibitions we have done at the Fowler
Museum Igbo Arts: Community and Cosmos remains
one of the two or three most important. Curated by
Skip with a publication co-authored by Chike
Aniakor, the project avoided the reductionist,
essentializing rhetoric that characterizes many
monographic projects by addressing the diversity of
Igbo expressive culture that often finds more differ-
ences than similarities across various subgroups. The
book continues Skip's interests in body arts, mas-
querades, and festivals and is cited by virtually
everyone addressing the arts of southeastern Nigeria.
Equally influential and often cited is the lead essay
from his 1985 edited volume I Am Not Myself: The Art
of African Masquerade featuring essays by eleven
graduate students. This volume was used as a text in
at least fifteen different African art history courses
nationwide in the mid '80's before it sold out in less
than three years. We still receive frequent requests to
include Skip's essay in selected course readings each
While working on Igbo and I Am Not Myself, Skip was
also curating a series of four exhibitions with publi-
cations at the Los Angeles County Museum of Art,
three of which explored key themes in African art:
male and female, equestrians and other riders of
power, and the mother and child. These were
precursors for the 1989 exhibition and publication at
the National Museum of African Art titled Icons:
Ideals and Power in the Art of Africa. The volume
received one of two book award honorable mentions
at the 9th Triennial Symposium and the exhibition
broke ground in bringing more contemporary
African art into the National Museum while present-
ing a splendid array of works from across Africa.
Of course, Skip's most recent major publication is the
massive textbook A History of Art in Africa co-
authored by Monica Visona, Robin Poynor, and
Michael Harris with an introduction by Suzanne
Blier and a preface by Rowland Abiodun. In its short
time out, it has already established itself as an
enormously successful survey of key issues, periods
and geographies of the arts of the whole continent,
past and present.
Skip is currently editing what will certainly be an
important companion text to A History of Art in

Africa. Building upon his substantial review article of
the African entries in the Dictionary of Art, Skip is
working with Jeremy Coote and Dunja Hersak on an
expanded, free-standing version that will feature
even more entries on contemporary artists and will
be titled The Encyclopedia of African Art.
Digesting a career of accomplishment into a short
talk cannot do justice to anyone's achievements. Skip
was a founding member of ACASA and on its first
board. He has been a consulting editor to African
Arts for 32 of its 33 years. He has been in my face for
the past 29 years, much to my benefit.
In 1985 I proposed the idea of the ACASA leadership
Award to the board and it was people like Skip that I
had specifically in mind. Skip has been a model of lead-
ership as educator, scholar, and perhaps more impor-
tantly for many of us here, colleague and friend in the
biggest and best senses of those words. I am absolutely
delighted to present one of the two 2001 ACASA lead-
ership awards to one of my favorite people, Dr. Herbert
M. Cole. We love you Skip.

Do NOT Stand in One Place
to Watch a Masquerade!
I am enormously gratified to receive this award even
if I feel embarrassed to be in the lofty company of
those previously honored. I accept it with great
pleasure and thank those responsible, as I thank
Doran Ross for his very generous words.
Two factors stand at the base of my career-good
luck and good timing. Those, along with students
who have inspired me. Students, and the African
people among whom I worked and collaborated,
helped me formulate whatever fresh ideas I may
have had. There is a wonderful Igbo proverb: "You
do not stand in one place to watch a masquerade"-
that will serve as the basis of my brief remarks. Let
us imagine the field as a masquerade, ever dynamic.
Like a masquerade, African art and its study are both
real and illusory, chimeras that are hard to pin down.
As this metaphorical masquerade has kept changing
over the years, I've tried not to stand in one place to
watch it. The view expands with each new trip, each
new art form, each new people I have worked
among-and there have been quite a few.
In 1962 the field appeared to have limited horizons. I
went to Columbia to study medieval architectural
history, but if you wanted to study African art you
could have gone there or to Indiana with Roy Sieber
or the Institute of Fine Arts with Robert Goldwater.
Bob Thompson was not teaching at Yale until 1965.
Almost by accident I took a Congo art seminar with
Paul Wingert my first term at Columbia, and I never
looked back. In '62, both Wingert and his former

student, Douglas Fraser, who later became-ny
advisor, published books entitled Primitive Art-
which like that phrase, are dinosaurs today. Two
years later I submitted a master's thesis on Yoruba
sculpture, which I soon came to renounce. I was so
unsure of myself I decided to quit graduate school in
favor of museum work. I asked Fraser if he would
recommend me for a Rockefeller Museum Training
Fellowship and he said, "No, continue on with the
PhD." Entering the field in the 60s turned out to be
perfect timing, for there were then vast regions still
unexamined by art historians. I chose to work among
the Igbo.
In late 65 I headed off for Eastern Nigeria via En-
gland and its great museum collections. Both Bill
Fagg and G.I. Jones said they thought I'd find little
Igbo art left in the field. Fagg was then in his "Afri-
can Art is Dead" phase, which he later took back, but
even Kenneth Murray, in Lagos, thought there would
be little to study in Igboland. Thankfully all three
were wrong. Igbo art thrived, as it continues to,
however dramatically those masquerades may have
changed. My fieldwork preparation mostly consisted
of a hasty reading of Notes and Oueries in Anthro-
polog, now an antique, plus an hour with Bob
Thompson and a half-hour with Dick Henderson in a
hotel bar at an ASA meeting. Their work among
hierarchical peoples wasn't too useful for me with
the mostly egalitarian Igbo, but somehow I muddled
My family and I weathered two coups in 1966, then
the succession of Biafra as an independent nation,
then the beginning of the Nigeria-Biafra Civil War. A
few days before I left I was initiated into the mens'
water spirit association that sponsors Okoroshi
masking. This took about 25 minutes and consisted
of my producing 4 yams, 4 pounds, 4 baby chicks, 4
kola nuts, and 4 jars of palm wine. Then I was to
dance 4 times and stop exactly when the music stops.
Of course I couldn't hear the stop signal, so I took an
extra step or two in total silence, until the compound
broke up in laughter. Those were neither the first or
last times I have been laughed at in Africa, I assure
you. This short ritual was fun, although I dismissed it
as something devised to get a few more shillings
from the odd Stranger who asked dumb questions.
For years I wondered about this initiation, fake or
My wife and two kids had been evacuated on a
rickety airplane six weeks earlier with most other
Americans. I stayed in Owerri for a few days after
the initiation trying hastily to finish a few projects,
until an Igbo friend said, "Skip, you don't want to be
the last white man in Owerri." Apart from a couple
of missionaries, I was. The university town of

Nsukka had already fallen to federal troops; the war
was well underway. I left behind 146 masks I had
collected for the Nigerian Museum. That was a
difficult, aching thing to do, but I had promised the
police chief not to take any art out of Biafra, and I
was pretty nervous about getting myself and my
fieldnotes out safely. The several hundred other Igbo
objects collected earlier were already in Lagos. I left
Biafra at Onitsha as the war had taken out the bridge.
I got out unscathed, but not unshaken.
In Lagos I negotiated with Kenneth Murray to take
home some of the 441 Igbo objects I had collected for
the Museum. He allowed me 25 pieces, most virtual
duplicates of those left behind.
On my way to New York via London I stopped in
Ghana to visit Roy Sieber, who was teaching in
Legon. I took a quick trip to Kumase and bought a
batch of goldweights for a couple hundred dollars.
Eight were so nice I feared they might be fakes. Roy
assured me they were real, so I breathed a sigh of
relief, that is, until I showed the same eight to Bill
Fagg three days later, whereupon he pronounced that
six were excellent sculptures, yet unmistakable fakes.
Now which of these two gurus do you believe? (Two
of those weights were published in the "fakes" issue
of African Arts IX, 3, 1976).
In 1968 I finished my dissertation on mbari houses
and moved to Santa Barbara. By then you could
study African art at UCLA and the University of
Washington. Frank Willett was at Northwestern, and
Bob Thompson was at Yale. African Arts magazine
was launched a year earlier. Between 1968 and today
about 130 PhDs have been earned in roughly 200
American institutions, with more added yearly, as
this year's many open jobs indicate. We've come a
long way.
I've returned to Africa 12 times since that initial year
and a half. In 1972 an NEH fellowship took us to
Ghana, and sort of by accident, to Kenya, each for
about 6 months. I'd promised the family we'd see the
animals in East Africa. They loved Nairobi (and
animals) so we stayed in Kenya, where I spent time
among the Samburu, Pokot, and Turkana. I got back
to Ghana three more times, twice with batches of
students. I later spent a week in Mali on my way to
five weeks among the Senufo.
Then in the early 80s I went back to Igboland for
about 7 months, including one summer with my son
Luke. Because of the exodus of thousands of art
objects during and after the Civil war, this time it was
I who expected to find little art left in the field. But
the creative Igbo proved me wrong. Luke and I
picked up my earlier research on Okoroshi masking.
Naturally I'd told him of the initiation in 1967, and

we asked the elders in that same town to initiate him.-
He had commissioned a White Man mask and
wanted to dance it. They agreed, and asked for 4
yams, 4 heads of kola, 4 chicks, and so forth; he
danced 4 times, to the same raucous laughter. Only
then did I realize that those great people of Agwa
had not created that ritual fifteen years before just for
In the early 90s I went back to Igboland, this time
with my son Thomas. This was a six-week urban
study in Onitsha: sign-writing and cement sculpture
and wrought iron portals for the houses of the rich.
And Tom, now 32, had logged 5 years to date on the
continent, three of those in Mocambique. More
recently still I've made a few short trips to Zimbabwe
and South Africa. My third son, Peter, an artist, had
not been back to Africa but he makes that up by
creating some sculpture with an abiding African feel,
among them power figures such as a Kongo nkisi
called Tweety Bird in the Maria Berns collection, and
a Fon bochio called Homer Simpson in mine.
The classroom, photography, the state of the field,
regrets and mistakes-there is much to say about
each but already I am going past my allotted time, so
I'll just say a few words about teaching. I had a
year's trial by fire teaching high school right out of
college, but I really started in Santa Barbara in 1968,
at the peak of the Black Power movement. In one of
my classes, I was confronted by an angry Black
student who challenged both my right to teach
African art and my ability to know anything signifi-
cant about African culture. I've not forgotten that
challenge. I'm not sure about the inherent knowledge
of Africa on the part of African-Americans, but I do
know that Africans themselves, even when trained in
the West, have unique and critical contributions to
make. I am therefore pleased that Sylvester Ogbechie
is going to be my replacement. There is symmetry in
his being Igbo.
One of the great if ironical rewards of teaching is the
vast amounts I have learned over these 33 years from
my students, undergraduate and graduate students
alike, people like Doran, Monica Visona-and Jean
Borgatti and Elisabeth Cameron from the UCLA
group-and current ones like Carol Magee and
Moira West, and many others. After last quarter a
student thanked me for my still-evident passion for
African art, and I was pleased because I think its
true, and I hope not to lose that.
As the masquerade is different with each perfor-
mance, of course, so is every new class, and I've tried
fresh approaches. I've had fun especially when I tried
experimental exercises-a mock initiation, for
example, and sending grad students into the commu-
nity to practice their photography and other aspects

of fieldwork. I've come to a few classes dressed up,
once wearing a mask, once in drag. Teaching, like the
rest of it, has been a ride.
I'm still looking for new places to stand to watch this
rich, complex masquerade I've loved so well, and
which has been so good to me. I'm hoping to teach in
South Africa next year, and later to organize a
mother-and-child exhibition. As the masquerade
changes, so I hope will I.
A new angle I've found satisfying lately is carving
small copies of the very masks I've been looking at
for forty years. Beware, as I may try to compete with
fakers who are still fooling us so-called experts. So
watch Sotheby catalogues; see if you can recognize
the telltale hand of Kofi Cole, the American-African
Thank you again, one and all.
Herbert M. Cole

ACASA Artistl ward

Tribute to John Cupid by Pearl Eintou Springer

Bow your head
And bend your knees
To a king of Caribbean Culture.
Out of the belly of Trinidad he comes
And when he was born
All the varied elements of the culture smiled
Knowing he would save them
From the threat of oblivion
And European Cultural domination;
Bringing them out of the shadows
Into the spotlight.
Amerindian, Carib, Arawak
African, French influence
Bongo and bele
Kaiso lavway;
Promoting steelband and the mas
Giving values to traditions
Out of the past.
Best village to Carifesta
Expo, trade fair, FESTAC in Africa,
North, South America, Europe, Asia.
Fearless Cupid
Always right there-
This warrior of culture
Making he manema
Dancing, choreographing
Researching, writing, talking
Anything to prevent
Trinabago culture from dying.

Especially, the carnival -
The traditional mas
He busy promoting;
Jab jab, jab molassie,
Fancy sailor, moki jumbie.

From early youth
He had this vision
That send him on a journey
Of cultural preservation,
Conservation, and transmission.
He in the language business too,
Patois and kweol too, doo doo.
Cupid encourage boisman
And boismen to carray
And the calypsonian sweet lavway.
He know is real people in the Caribbean
With a culture that help them
Survive a history of exploitation.
At this function here tonight.
Where ACASA in the spotlight,
Them I congratulate
For this award most appropriate.
To introduce this icon of my country
Is a great privilege for me
Please get off your chair
Honour John Cupid
Cultural warrior

Acceptance Speech by John Cupid

Merci un pile, as we say in Patwa, a pile of thanks to
all you excellent people who have made possible this
moment in history-the first ever ACASA Caribbean
Artist's Award.
I feel honoured. I am truly grateful. I am so happy to
be the recipient. It has come at a very critical juncture
in what has been for me an odyssey of more than half
a century. It has been an adventurous mission which
had its genesis in Trinidad when I was a little boy
watching mas on Carnival days with my
grandmother, Mama May, in the Quaysay where four
roads meet.
I shall never forget a particular Carnival day when
one stick fighter (African) and one jab jab (East
Indian) defended the Quaysay at the crossroads
against a whole band of jab jabs from Tunapuna.
In those days mas in the town of San Juan radiated in
and out of the Quaysay-North, Santa Cruz's
Guarahaughns zigzagging along the banks of the San
Juan River; East, Petit Bourg's and West, Barataria's
stickfighters, drummers and chantwels; South, El
Socorro Jab Jabs cracking whip and chanting; and

Gran Curucaye's Sibucan dancers rotating around
the pole with string band music and Trinidad
Spanish songs, and the whole Quaysay was filled
with laughter and talk in Patwa and English. Dat was
The importance and significance of my early
experiences of Carnival in Trinidad was fully realized
in Saskatchewan, where I lived for five years (1959-
1964) a far away place on the way to Alaska. In
Regina, Moose Jaw and Saskatoon where in response
to a request to do a dance from my Country I
developed a Group-"Calypso Dancers" (1960-
1964)-80% of whom were white Canadians. The
Bongo, Shango, Limbo, Trinidad Carnival, Steel Pan
and Calypso received standing ovations and rave
reviews in the snows of Saskatchewan.
The World Exposition (Expo '67) May to October
1967 in Montreal, Canada in which more than fifty
nations participated provided the launching pad for
the international testing of the cultural traditions of
Trinidad and Tobago particularly those of the
Leonidof, a top director from Radio City New York,
was contracted by the Government of Trinidad and
Tobago for the Carnival Presentation at the Expo. The
core of T&T Band Leaders, after the first night's
Performance refused to follow his stage directions.
They took over from Leonidof who subsequently
confessed that with his fifty years performance
experience and expertise he never would have
imagined the result. The seats emptied as the patrons
jumped up and danced following the Steelband and
masqueraders in the finale around the stadium
track-a formidable week for Trinidad performance
on the world stage!
The world press corps rated the contributions of
Trinidad and Tobago at Expo'67 to be second only to
Czechoslovakia. Great Britain, France, USA and
Russia followed.
I had the signal honor to manage more than five
hundred performances, a contingent of one hundred
performers for six months at Expo and to experience
T&T at the pinnacle of the cultural world.
My next international production involvement, 1972
Comptoire Suisse in Lousanne, Switzerland. The
people of Lousanne against all predictions,
abandoned their jobs and joined spectators on the
streets to participate in Trinidad Carnival-Mas,
Calypso and Steelband at 3.00 p.m. on a workday.
Earlier the President at highnoon was spontaneously
dancing to calypso and steelband at a special
performance in the Trinidad Carnival Pavilion on his
way to Parliament in Lousanne, Switzerland where

he announced an austerity budget-Apres Carnaval
L'Austerit6 was the front page headline of the
following day's newspaper.
I also managed T&T presentations with equally
outstanding success at the following: *1976
CARIFESTA in Jamaica, the Trinidad Carnival
Cultural Presentation reigned supreme. 1977
FESTAC WORLD FESTIVAL in Lagos, Nigeria. *1992
and 1995 CARIFESTAS, 5 and 6. I conceptualised and
managed the first ever Community Festivals for
CARIFESTA. Ironically, in the 1980s the Traditional
Mas which was central and the true flag bearer in all
these tremendous achievements on the international
stage was in very real danger of becoming extinct.
The threats included: no appreciation for and the
natural death of the older culture bearers; absence of
facilities and funding for preservation and
transmission and the recent trend of T&T's wholesale
adoption of Rio, Brazil and New Orleans types of
Traditional Mas seemed destined for extinction just
when more than one hundred cities and communities
world wide were copying T&T Style Carnival: New
York three million, London one million (the best
street festival in Europe), Toronto eight hundred
thousand; and Tallahassee Florida Jouvay several
In these adverse conditions and challenges I
conceptualised, designed, developed and delivered
processes for preservation, conservation and
transmission of the unique and very valuable
cultural, particularly Carnival features of Trinidad
and Tobago.
Nationally: in the process, veteran mas people and
youth have been intermingling in creative and
interactive situations through workshops, seminars,
lecture-demonstrations; exhibitions, presentations,
performances; and also special and new community
festivals with Carnival Friday Traditional Mas in Old
Port of Spain as the crowning event.
Internationally: additionally the processes have been
designed for continuation in the Trinidad and Tobago
Diaspora and also mainstreamed in their countries of
adoption through many Carnival manifestations,
exhibitions, workshops, master classes, cultural
exchanges and World Carnival Conferences.
In conclusion, President Obasanjo of Nigeria at the
Banquet for Heads of State of all Nations of Africa
(FESTAC '77) declared that the greatness of the
contribution of Trinidad and Tobago lies in the fact
that they not only created their music, the Calypso,
but also their own musical instrument, the steel

The National Carnival Commission and the Carnival
Institute of Trinidad and Tobago were the principal
facilitators. The outstanding generosity, the expertise
and resilience of the veterans of Traditional Mas
together with the enthusiasm and genuine interest of
the children enabled the successes which the
renaissance of traditional masquerade in Trinidad
and Tobago has been able to achieve.
The ACASA award will be a powerful beacon
helping to light the way forward for Mission
Carnival, in this era of multiculturalism and
Once more, encore, merci un pile tout mund.
John G. Cupid

ASA News

Call For /Arh Papers For LAS 2002

Based on conversations held at and after the ACASA
business meeting in Houston, Enid Schildkrout and
Joanne Eicher, panel organizers, are calling for papers
for the 2002 ASA meetings in Washington. D.C.
Please Email titles and abstracts to:
eschild@amnh.org. Enid Schildkrout will forward the
abstracts to panel chairs. Please check the ASA
website and the H-Africa list for registration and
abstract due dates. We do not have this information
as we go to press.

The Impact of Technology on African Visual Arts
Chair: Patrick McNaughton

Somali Dress Codes Africa and Beyond
Chair: Joanne Eicher

Body Art and Material Culture in Africa
Co-Chairs: Enid Schildkrout and Lisa Aronson

Visualizing the African Cosmos
Chair: Christine Kreamer

African Studies Association Announces Test Prize Winner
The African Studies Association (ASA) is pleased to
announce the winner of the 2001 Text Prize. The Text
Prize honors the translator, compiler, or editor of the
best critical edition or translation into English of
primary source material on Africa. Texts published in
1999 and 2000 and were eligible for the 2001 award.
The winner is: John Hunwick, ed. and trans.
Timbuktu and the Songhav Empire: Al-Sa.di.s Ta.rikh

al-sudan down to 1613 and other Contemporary
Documents. Leiden: E. J. Brill, 1999.
The honorable mentions are: Selena Axelrod
Winsnes, ed. an trans. A Reliable Account of the
Coast of Guinea (1760), by Ludewig Ferdinand
RImer. London: Oxford University Press for the
British Academy, 2000. Fontes Historiae Africanae
new series: Sources of African History 3.
Jean Derive and Gerard Dumestre, eds.Des homes
et des betes: Chants de chasseurs mandingues. Paris:
Classiques africains, 1999.
African Studies association Herskouits award 2001
Suzanne Preston Blier (chair), Donald Donham,
Nelson Kasfir, Martin Klein, and Alain Ricard served
as members of this year's Herskovits Prize Commit-
tee to select the best scholarly book on Africa pub-
lished in 2000 in English and distributed in the
United States. As in the past, only books nominated
by their publishers were considered. As such, we
thank all publishers who submitted entries.
The depth and breadth of this year's nominees were
very impressive, as was the range of intellectual
concerns represented in the books nominated for this
award. Political Science, History, and Anthropology
were well represented in this year's nominees. There
were relatively fewer books in the Humanities.
Regardless of discipline, one of the particularly
striking aspects of many works this year was the
creativeness with which authors both chose and
approached their subjects. As in earlier years, these
books offer testimony to the intellectual acuity, hard
work, and courage of the authors and to their dedica-
tion to Africa's rich and diverse peoples and history.
Six books were chosen as finalists for the Herskovits
* Karin Barber, The Generation of Plays: Yoruba
Popular Life in Theater (Indiana University Press)
* Eric Charry, Mande Music: Traditional and Modern
Music of the Maninka and Mandinka of Western
Africa (University of Chicago Press)
* Jeffrey Herbst, States and Power in Africa,
(Princeton University Press)
* Wyatt MacGaffey, Kongo Political Culture: the
Conceptual Challenge of the Particular (Indiana
University Press)
* J. D. Y. Peel, Religious Encounters and the Making of
the Yoruba (Indiana University Press)
* Luise White, Speaking with Vampires (University
of California Press)
We found them all extremely impressive making the
selection of a winner was in turn very difficult. In the

end, awardw were given to both Karin Barber for The
Generation of Plays: Yoruba Popular Life in Theater
(Indiana University Press) and J. D. Y. Peel, Religious
Encounters and the Making of the Yoruba (Indiana
University Press).

CAA News
All information is based on the preliminary program. Please check the
final CAA program to confirm times and locations.
The ACASA-CAA Panel of the College Art Associa-
tion (February 20-23, 2002), "African Crossroads," is
scheduled to meet at the Philadelphia Marriott, 1201
Market Street, Philadelphia on Saturday, February
23rd, 9:30-Noon, Level 5, Salon I and J.
The panel, chaired by Labelle Prussin, includes the
following participants:
* Mary Jo Arnoldi "Objects, Ideas and People on
the Move-Rethinking the Presentation of African
Arts in Museums"
* Cynthia Becker "Slavery and the Arts of Resis-
tance and Accommodation: the Influence of the
Trans-Saharan Trade on the visual Culture in
North Africa"
* Ray Silverman and Neal Sobania "Gold and
Silver at the Crossroads in Highland Ethiopia"
* Tina Loughran "Nomadic Jewelry Forms: The
Tuareg Example"
* Labelle Prussin "The Odyssey of a wooden Lock:
Axum to Surinam"

The ACASA panel is "Strategies for Using the New
Textbook: Art in Africa," chaired by Robin Poynor,
will meet Friday 7:00-8:30 a.m. Participants will
include Robin Poynor, Christopher Roy, Robert T.
Soppelsa, and Monica Visona.

Also watch for these panels:
"The Symbolic Woman: A Cross-Cultural Exploration
of Gender Symbolism" chaired by Jean M. Borgatti.
Part 1 is Friday from 2:00-4:00 p.m.; Part 2 is Satur-
day, 9:30 a.m.-noon.
"Resistance, Response, and Empowerment in Art,"
chaired by Suzanne Preston Blier. Part 1 is Friday
9:00-11:30 a.m; Part 2 is Saturday 9:30 a.m.-noon.
"Modernisms, Modernities, and the Reception of
African Art" chaired by Helen M. Shannon, meeting
Friday 6:00-8:30 p.m.

Exhibitions & Events

Frans M. Olbrechts (1899-1958)
In Search of4Art in Africa
Etnografisch Museum, Antwerpen, Belgium

...a journey in search not of gold or ivory, nor of ebony
or radium, but of that which perhaps will make Africa
more famous than all these riches ... its art and artists
The Belgian scholar Frans Olbrechts (1899-1958) has
profoundly influenced the study of African art. He
may be regarded as the 'spiritual father' of the
Ethnographic Museum. Olbrechts was one of the first
to describe and exhibit African art as art, rather than
purely as ethnographica. His fieldwork among
various Native North American peoples and his
travels in West Africa made him realize that the art of
non-Western cultures could only be understood
properly when studied in situ.

Two important Antwerp events are at the heart of the
present exhibition: "The Congolese Art" exhibition
held in 1937-38 in the City Festival Hall on the Meir,
and "The Ivory Coast Expedition of Ghent University
and the Antwerp Vleeshuis Museum," which was
undertaken in 1938-39 with the support of a number
of Antwerp patrons. Throughout the exhibition runs
the theme of Olbrechts's interest in the personality
and work of the African artist.

Of the more than 1500 Congolese works of art
Olbrechts assembled in the Antwerp City Festival
Hall, 72 have now been chosen from various Belgian
museums and private collections. Some of these rare
and aesthetically outstanding works have not been
exhibited since 1937-38.

The expedition to C6te d'Ivoire is illustrated in this
exhibition by a large number of masks, sculptures,
utensils and jewelry, acquired in situ in 1938-39 by
Olbrechts' students Pieter Jan Vandenhoute and
Albert Maesen during their fieldwork among the
Dan, We and Senufo. These well-documented objects
are placed in their original context by means of
hitherto little-known photographs and films made
during the expedition.

Etnografisch Museum
Suikerrui 19, B 2000 Antwerpen
T. + 32 (0)3 220 8600 F.+ 32 (0)3 227 08 71
E-mail: Etnografisch.museum@antwerpen.be
Website: http/ /www.antwerpen.be/cultuur/

29 of the objects exhibited in 'Congolese Art' (1937-
38) and 'Ivory Coast Expedition of Ghent University
and the Antwerp Vleeshuis Museum' (1938-39) are
reproduced in colour in five catalogue sections and
are succinctly elucidated by Els de Palmenaer, Elze
Bruyninx, Rik Ceyssens, Mieke van Damme-Linseele,
Anja Veirman and Constantine Petridis. Following a
general introduction, Part One focuses on Olbrechts's
period of study and fieldwork in North America. In
her essay on Franz Boas Aldona Jonaitis outlines the
environment in which Olbrechts's growing interest in
African art was nurtured. Mireille Holsbeke explores
the fieldwork Olbrechts carried out between 1926
and 1930 among the Eastern Cherokee, Tuscarora and
Onondaga. In Part Two the emphasis shifts from
America to Africa. Herman Burssens and Daniel
Biebuyck discuss Olbrechts' affiliation with two
institutions which, under his influence, long
dominated ethnological and art-historical African
research in Belgium: Ghent University and the Royal
Museum for Central Africa in Tervuren. In Part Three
a number of Olbrechts's theoretical ideas are more
deeply examined. Constantine Petridis places
Olbrechts's contribution to stylistic research in
historical perspective. Wilfried van Damme analyses
what he refers to as Olbrechts's morphosemantic
approach. In Part Four Constantine Petridis subjects
the 'Congolese Art' exhibition to a critical
reappraisal. Annemieke van Damme-Linseele lifts
the art of the Nkanu from the shadow of their Yaka
neighbours. Rik Ceyssens discusses the contiguous
existence of Kanyok court art and Kete popular art.
Part Five concentrates on the 1938-39 C6te d'Ivoire
expedition. Anja Veirman sheds light on Olbrechts's
first African journey in 1933 and examines the field
research Albert Maesen carried out among the
Senufo in 1938-39. Elze Bruyninx provides an
account of Pieter Jan Vandenhoute's stay among the
Dan and the We. In the Epilogue, Luc de Heusch
pays tribute to his late colleague, Marie-Louise
Bastin, a follower of Olbrechts from the first.
464 pages with 137 colour and 121 black and white illustrations.
Catalogue 1492 BEF
Dutch / English

Extended Lives:
The African Immigrant Experience in Philadelphia.

Two years in the making, this interactive exhibit was
sponsored by the Balch Institute for Ethnic Studies
and features photographs made by Vera Viditz-Ward.
The exhibit ethnographer and curator is Dr. Leigh
Swigart. The Exhibition will be on display at the
Balch Institute for Ethnic Studies in Philadelphia, PA
April, 2002 and will travel throughout the country

after that.
For more information about programs, future venues or bookings
contact The Balch Institute at 215-925-8090 or

Two exhibitions opened at
the University of Iowa Museum of Art

"African Inspirations: Sculpted Headwear"
by Sonya Clark
"African in America: An Installation"
by Olabayo Olaniyi
November 16t-January 13th

The two exhibits address issues of culture contact
and transformation, one through hats and coiffures
based on African forms, the other in a room-sized
installation that combines light, textiles, and sculpted

A catalogue for the Sonya Clark installation will be available on
November 28th, with 12 color reproductions (9 of Sonya Clark's
pieces, 3 of African hats from the UIMA collection).
$5.00 plus shipping. Call (319) 335-1727 to order a copy.

"Colors of Africa Contemporary Perspectives"
Friday, November 16, 2001 to Saturday, January 5,

Wolford is the Director of the MBARI Institute for
Contemporary African Art (MICAA) in Washington,
D.C. and has assembled this exhibition featuring 36
artists from 18 countries, from Benin to Zimbabwe. It
celebrates the vibrant colors of Africa as expressed in
artworks from oil paintings to pen and ink, from
handmade paper to works in bronze, all created by
well-known and upcoming contemporary African

This exhibition includes not only well-known veteran
artists such as Ibrahim El Salahi and Amir Nour from
Sudan, El Loko from Togo, Bruce Onobrakpeya and
Twins 7-7 from Nigeria, Sane Wadu from Kenya,
Wosene Kosrof and Sofia Kifle from Ethiopia and
William Kentridge from South Africa, but also many
young artists such as Florence Adeyemi from Nigeria
and Sanaa Gateja from Uganda who are still forging
their own niches.

Friday, November 16, 2001 to Saturday, January 5, 2002 at the Art
Gallery on the University of New England's Westbrook College
Campus, 716 Stevens Avenue, Portland, Maine
Admission is free. Gallery hours are Wednesdays, Fridays,
Saturday and Sundays 1:00 4:00 p.m. and Thursdays 1:00 7:00
p.m. (207) 797-7261 x4499

The Art of Existence in Mali
Guest Curators, Jean-Paul Colleyn and
Catherine De Clippel

Museum for African Art, New York
19 September 2001 through 3 March 2002

This exhibition provides the most complete examina-
tion ever undertaken of the Bamana people of Mali,
affording unprecedented insight into the living art
and culture that is, in numerous ways, a paradigm
for many West African traditions. "Bamana" features
approximately 90 Bamana art objects, 40 photo-
graphs, and video footage taken in field study. A
concurrent exhibition at the Museum Rietberg in
Zurich will feature objects from European collections.

http: / / www.africanart.org / html / exhibitions.html

Dreaming in Pictures/Bilder aus Traumen Jak
Galerie 37, Museum der Weltkulturen
15 September 2001 31 March 2002

A retrospective exhibition is celebrating the artwork
and artistic career of Jak Katarikawe, one of the most
prominent artists in East Africa today. He spent his
professional life in both Kampala and Nairobi. His
home now is Kigezi in southern Uganda. The artist
invented and has developed a dynamic process of art
making which combines expressionistic color paint-
ing with story telling. The stories are intrinsic to the
pictures. This exhibition reveals Katarikawe's
changes in technique and palette over the years.

While the Frankfurt Museum has collected contem-
porary East African art for 30 years, their holdings
were enhanced considerably by the acquisition of the
Jochen Schneider collection. In particular, it extended
the number and range for Katarikawe's works to 150,
with excellent examples for his formative period (60's
& 70's) in watercolor and crayon and fine portraiture
in oil such as 'Princess Bagaya' (c.1974). The current
show displays 62 pictures from the Museum's
permanent collection and a changing number of
recent paintings for sale. Works are arranged in six
themes: Overview, Home setting (Kigezi environ-
ment), Himself (youthful portraits), Cattle, Village
life, and Erotics. There is also a study room with
contextual information including clippings, photo-
graphs, a chronology, and a new video.

Of many works on view, three exemplar works that
demonstrate continuity in the artist's concerns are
'Why are we dying everyday,' 'You can't eat grass,
and a 1995 rendering of a bovine family which is

titled 'Happy about the new baby." Johanna Agthe,
the curator, was assisted most ably by Bettina
Kubanek, from Berlirnwho designed and carefully
realized both the exhibition and its catalogue. A tour
to Nairobi and Kampala is anticipated in 2002-3.

The catalogue Bilder aus Traumen: Dreaming in Pic-
tures, co- authored by Agthe and Elsbeth Court, is
published in English and German (translation:
Benjamin Jones) comprises an 'attempt' at biography,
extensive interviews with Katarikawe, an essay that
locates the artist in a notional East African art history
and appendix.152 pages, with over 100 illustrations,
most in color. It is Katarikawe's first monograph.
Cost: c. 40 dm.

Reinstallation of the African galleries
at the University of Iowa Museum of Art

The newly reconceptualized and reinstalled African
galleries at the University of Iowa Museum of Art
opened in August 2001. The installations present
approximately 500 objects from the Museum collec-
tion, expanded to fill twice the space devoted to
African art in the past. Included in the new installa-
tion are:
* a permanent thematic gallery featuring many
highlights of the collection, organized around
broad ideas such as "Remembering the Past" and
"Communicating with Spirits."
* a changing exhibition space that opened with a
show on African furniture and other domestic
* an open storage facility that is filled with sculp-
ture, masks, ceramics, and many other objects
from the permanent collection.

Most of the objects in the Stanley Collection are now
on display, as well as many other donations and
purchases. A video introduction to the galleries has
also been produced.

The Biennale of Contemporary African Art

The Biennale of Contemporary African Art DAK'ART is
being organized for May 10 to June 10, 2002.
The Secretary General of the Biennale of Dakar,
Ousseynou WADE, would like to encourage the
participation of African artists and of the world. To
get more information about the event, visit the
DAK'ART web site: http://www.biennalededakar.sn

New in "Virtual Africa":

Virtual Africa was born more than four years ago on
the occasion of the exhibition organized by the

Museum of African art in Tervuren about the African
mask. Today, the gallery is showing (free of charge)
the works of about thirty African artists from South
Africa, Mali, Burkina Faso, Siera Leone, Senegal, etc.
No subject has been privileged and all the artistic
disciplines (fashion, plastic arts, photography) are
represented in order to promote African contempo-
rary arts, and to foster dialogues between artists and
scholars. Among the artists are :

Iba Ndiaye, Goudou Bambara, Guy Compaore,
Moussa Kabord, Aboudramane, Joe Big-Big, Abou
Diallo, Sokey Edorh, Claude-Marie Kabre, Takite
Kambou, Unisa Kargbo, Ali Kerd, Godefroy Kouassi,
Iba Ndiaye, Luis Meque, Fernand Nonkouni,
Suzanne Ouedraogo, Malcolm Payne, Blaise Patrix,
Namsiguigna Samandoulougou, Boly Sambo, Adama
Sawadogo, N. J. Shikongeni, Ky Siriki, Amadou Sow,
Oumou Sy, Abou Traord, Saliou Traore.

The electronic "vernissage" of the gallery will be
held on November 9, 2001:
http: / www.olats.org/ africa/ avva.shtml.

Within the context of the "Spirit and Power of
Water", we are pleased to announce the publication
of the following articles:

"Nommo, le genie d'eau. Paroles Dogon, Tellem &
Nongom," by the French Anthropologist Jacky Bouju
http:/ /www.olats.org/ africa/ projects/ gpEau/2001/
mono_index.html, Text in French only

"The Red Sea." by the Artist Michael Maziere:
http: / www.olats.org/ africa/ projects/ gpEau/ 2001/
mono_index.html; Text in English.

For more information, please contact: Jocelyne Rotily

Exhibition in aid of US attack victims
By Joe Antwi Darko & Davis Mensah Eshun

An art exhibition to raise funds in support of victims
of the September 11 terrorist attack in the US was
organized at the National Theatre in Accra under the
theme Statue of Liberty-I'm still standing.
The one day exhibition organized by the American
Chamber of Commerce and the National Theatre of
Ghana with support from some media organizations
brought together nineteen artists including Louise
Clarke, Larry Otoo, Glen Turner, Papa Essel,
Hacajaka, Anane Asare, Owusu Dartey, Amoonoo,
Nestor Hernandez and collections from the Asafo

Even though the occasion was meant for the artists, it
benefited from a dazzling performance of the Na-
tional Dance Company who in a moving choreogra-
phy by F. Nii Yartey paid tribute to those who
perished in the US tragedy. The dance, Lamentation,
featured twenty-two people who wore black and red
costumes, symbolizing agony, sorrow and mourning.
Lamentation enacted a busy office scene which was
suddenly brought to ruin by an explosion causing
many deaths.
The actual art exhibition started right after the dance
session. The artworks on show revealed very sophis-
ticated works of art. One of the most captivating art
pieces was "Upholding Peace," by Anane Asare. The
paintings depicted two hands, one holding a white
dove and the other clutching it to pull it down.
At first sight one was drawn to the picture of the
World Trade Center skyscrapers engulfed in smoke;
and one's curiosity would have ended there. But
according to the artist, the arm holding the dove
represents peace while the other represent confusion.
"Procession" is another painting that attracted a lot
of people. Showing an exodus of a large number of
people, some sitting on horseback, others holding
umbrellas, it portrays people in a festive spirit.
Other works which attracted attention were "Cer-
emonial Day," "Sweet Sound," "Living on Peg" by
Anorff ofAsafo Gallery; "Canoes," "Winneba,"
"Wash Day" by Amoonoo; "Rhythm," "Gwujoje" by
Louise Clarke, and many other works.
Ms. Korkor Amarteifio, Director of Operations at the
National Theatre who opened the exhibition, said
proceeds from the sale of art would be donated to a
charity here in Ghana in the name of the disaster
The President of the American Chamber of Com-
merce, Mr. Ladi Nylander, thanked all present on
behalf of the disaster victims. Ms. Nancy Powell, US
Ambassador to Ghana, and Mr. Nat Nunoo
Amarteifio, former Mayor of Accra, were present at
the exhibition.
Graphic Showbiz, October 18-24, 2001

ConFerences & Symposium

Defining Ritual
Friday January 25, 2002

The University of Arizona's Thirteenth Annual Art
History Graduate Student Association (AHGSA)
Symposium, "Defining Ritual," provides a forum for


graduate students in art history and related interdis-
ciplinary fields such as visual culture, cultural
studies, performance, to present scholarly research
and engage in intellectual debate. This year's sympo-
sium will examine the representation of ritual in the
arts and ways in which art and ritual may relate to
notions and constructions of personal and communal
identity. What is ritual? How is it defined, depicted
and deployed by artists? How is it received and
internalized by audiences? What is the use and
function of art within different practices? How might
ritual relate to issues of race and gender?

Dr. Babatunde Lawal of Virginia Commonwealth
University is the Keynote Speaker.

The Thirteenth Annual Symposium will be held in
conjunction with the exhibition "Defining Ritual" at
the University of Arizona's Lionel Rombach Gallery.
The exhibition dates are January 9 February 14, 2002
with an opening reception on January 18.

"The Cultured Body: African Fashion and Body Arts"
October 18 20, 2002

"The Cultured Body," a public conference to be held
at the University of Iowa, will explore a variety of
perspectives on African fashion, body painting,
jewelry, and other forms of personal adornment. All
of the invited presenters have particular interest in
the role of African body arts in processes of cultural
change, both in contemporary and historical contexts.
In addition, the conference will bring together
scholars whose work focuses on the influence of
African clothing and body arts on global markets for
art and fashion. "The Cultured Body" will explore
the potential insights the arts of adornment provide
into history, religious and spiritual beliefs, political
practices, intercultural contacts, and aesthetic sys-
tems in Africa and beyond. This examination of the
exchange of objects and styles, and the transforma-
tion of their meanings as they travel, has great
relevance beyond the field of African art history,
touching on history, anthropology, sociology, geogra-
phy, women's studies, and numerous other disci-

For further information, please contact:
Victoria Rovine at victoria-rovine@uiowa.edu or (319) 353-2468
Sarah Adams at sarah-adams@uiowa.edu or (319) 335-1771

Call for Papers: Performing the Moral Universe: African
Arts and the Cosmos

This panel will explore how African cultures cre-
atively experience the universe. It will look at the

visible expressions of African cosmology and how
objects and actions symbolize and, in a sense, "per-
form" a society's moral universe. It will be the
starting point for a potential exhibitionand scholarly
publication on this topic to be organized by the
National Museum of African Art, Smithsonian
In Africa, as throughout the world, beliefs about the
cosmos are linked to a society's oral traditions,
myths, and symbolic systems. The cosmos and
notions about the origins of the universe play a
central role in the ways African define themselves,
their moral values, and the place within the world.
Far from abstract, removed concepts, African notions
of the universe are intensely personal and place
human beings in relationships with the sun, moon,
stars and earth. Standing at the core of creation
myths and at the foundation of moral values, celes-
tial bodies are often accorded sacred capacities and
are part of the "cosmological map" that allows
humans to chart their course through life.
African arts-verbal, visual, performing-are central to
articulating this important relationship between
humankind and the universe. While formal proper-
ties visually identify and symbolize prominent
features associated with the identities and qualities of
celestial bodies, the verbal arts of myth, folklore,
proverbs, songs and ritual invocations bring them to
life within a diversity of contexts, such as shrines,
offerings, ceremonies, funeral celebrations, and
agricultural rites. African works of art can be said to
"perform" the moral universe, reinforcing through
poetic imagery key concepts about human morality
as it is linked to the ideal and to the divine.
Papers on the visual arts and/ or drawn from the
fields of archaeoastronomy and ethnoastronomy are
welcome. For further information or to submit a
paper proposal, please contact the session chair.

Christine Mullen Kreamer
Curator, National Museum of African Art
Smithsonian Institution
Washington, DC 20560-0708
tel: (202) 357-4600, ext. 236
fax: (202) 357-4879
email: kreamerc@nmafa.si.ed

Summer Programs:


This 4-week workshop, geared towards university
students, is team-taught by an art historian and

ethnomusicologist and can be taken for either art
history or music history credit. Participating students
are immersed in a contemporary African from the
perspective of the arts-specifically music, dance,
and the visual arts-in order to experience the
vitality of the West African spirit. The class spends
one week at a cultural arts institute near Accra with
the remainder of the time in Kumasi, the capital of
the Ashanti people, further north in the Dagbamba
region, and the southern coast visiting the ancient
slave forts of Elmina and Cape Coast. Students
participate in morning and evening lessons, with
opportunities to study music, dance, and other arts,
such as batik making, kente weaving, adinkra cloth
making, and wood carving. The class also attends
local events, including funerals, rituals, and social
dance clubs, during which music and art play
primary roles. Application deadline: February 1,
2002. Tentative dates for 2002 workshop: May 7-June
5. For more information, contact Dr. Rebecca L. Green
at 419-372-8514 or rlgreen@bgnet.bgsu.edu, or the
website http:/ / www.bgsu.edu/ departments/ art/
studyabroad/ ghana.html.

Drew in West Africa

Drew in West Africa is a unique summer study
program in Cote d'Ivoire which allows participants
to explore the rich cultural and artistic traditions of
West Africa with a 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 arts and architec-
tures. 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, 2002. Cost: $4,395 (includes 8 credits
tuition, air fare, lodging and some meals). Applica-
tion deadline: April 1, 2002. For further information,
contact: Drew in West Africa, Summer Term Office,
Drew University, Madison, NJ, 07940. Telephone:
(973) 408-3013. Email: owl@drew.edu.

Crossing Cultures:
Senegal program ofIntercultural Dimensions.

Since 1993, Intercultural Dimensions, a nonprofit
educational organization, has conducted educational
and volunteer programs to the rural areas of Senegal.
Intercultural Dimensions' educational travel program
"Crossing Cultures" is an introduction to the French-
speaking West African country of Senegal. The
program is custom-tailored to individual interests;
participants visit different parts of the country and
community projects, stay with Senegalese families or
in guest houses, use public transportation, and
experience village life. The ID group is composed of

five participants plus the leaders.

July 3-July 24. Extended stays for field stud-y and volunteer work
may be arranged. For further information, please contact
Janet L. Ghattas, General Director
Intercultural Dimensions
PO Box 391437 Cambridge, MA 02139 USA
Voice: 617 864 8442; Fax: 617 868 1273
E-mail: janetid@aol.com

Jobs & Fellowships:
Columbia University, Department of Art History and
Archaeology, announces a continuation of its search
at an open rank in the field of African art. Please send
application, CV including e-mail address, and three
letters of reference to: Professor Joseph Connors,
Chairman of the Department of Art History and
Archaeology, 826 Schermerhorn Hall, Mail Code
5517, Columbia University, New York, New York,
10027. Application screening begins January 15, 2001
and continues until the position has been filled.
Columbia University is an EO/AAE.WMA.

The Hood Museum of Art at Dartmouth College is
searching for a curator with deep expertise in one or
more of the following culture areas: African, Oceanic,
Native American (includes North, Central, and South
America). The museum's collections in these areas
are extensive (totaling 15,000 works), and diverse
(including archaeological artifacts, examples of
material culture, and modern/ contemporary fine art
objects). Candidates should possess significant
professional experience in museum contexts and an
advance degree (Ph.D. preferred) in Anthropology,
Art History, or other related discipline. The job
requires excellent communication and administrative
skills, sensitivity to the concerns of Native American
and other interested community representatives,
active engagement with scholarly debates and
research, and an appreciation for the value of work-
ing directly with objects. Sharing the Hood's collec-
tion with the scholarly community at Dartmouth,
throughout the surrounding region, and among the
broader museum field is a primary responsibility of
the curator. The position comes with excellent
benefits. Applicants should send a letter of interest,
current c.v., publications, and complete contact
information for at least three professional references
to Derrick Cartwright, Director, Hood Museum of
Art, Dartmouth College, Hanover NH 03755-3591 (no
telephone calls please). A/D is 4 January 2002. EOE

The David C. Driskell Center for the Study of the
African Diaspora at the University of Maryland
invites applications for a post-doctoral fellowship for
the 2002-2003 academic year. A stipend of $45,000
will be provided. Two fellowships will be awarded,
each with the possibility of renewal for one year.

The Driskell Center is committed to a full under-
standing of African and African American life.
Applicants should be working on projects that
address aspects of the African Diaspora understood
in its broadest context between the fifteenth and the
twenty-first centuries. The Center is particularly
interested in inter- and multi-disciplinary studies
that bridge the disciplines of the humanities, per-
forming and visual arts, and social sciences. The
Center is particularly interested in receiving applica-
tions from artists and art historians.

Fellows will be required to be in residence and
participate in the activities and intellectual life of the
Driskell Center and the departments) relevant to
their discipline. Fellows will also teach one course in
their area of specialization. Applicants must have
received the appropriate final degree (doctorate,
masters of fine arts, or doctorate of musical arts)
prior to August 1, 2002.

Please send letter of application, c.v., a 1000 word
description of the project to be undertaken at the
Center, three letters of reference, and sample of
scholarly or creative work.

The University of Maryland is anAA/EOE institu-
tion, and welcomes applications from minorities and
women. For best consideration applications should
be received by January 21, 2002.

University of Maryland, College Park. Assistant
professor, tenure track. PhD required. Teach graduate
and undergraduate courses in art of the African
Diaspora, as well as survey courses in African and/
or American art. Direct theses and dissertations.
Publications and teaching experience are desirable.
The University of Maryland, College Park, is an
Affirmative Action/Equal Opportunity employer.
Women and minorities encouraged to reply. Appoint-
ment to begin August 2002. Send CV, application
letter (with description of specialized research
interests and teaching fields), samples of publications
and names of three referees (with addresses and
phone numbers) to : African Diaspora Search Com-
mittee, Department of Art History and Archaeology,
1211B Art/Sociology Building, University of Mary-

land, College Park, MD 20742?1335. (Address email
inquiries to: aw4@umail.umd.edu) For best consider-
ation submit application by November 15, 2001.

The University of South Florida Art Department
seeks experienced and highly qualified applicants for
a tenure-track appointment at the rank of Assistant
or Associate Professor in African Art History.

As the primary scholar in USF's Stuart Golding
Endowed Chair in African Art, the appointee will
embrace and expand a program focused on Africa
and its Diaspora especially in Latin America and
the Caribbean. We seek an individual with signifi-
cant and innovative achievements in undergraduate
and graduate teaching, scholarly research and
university/ community engagement.

Furthermore, the selected professor will contribute to
the growth of the program particularly graduate
(M.A.) studies and national/international institu-
tional linkages.

The Golding Endowment provides a generous
research stipend, graduate fellowships and adminis-
trative and staff support.
[http:/ / www.art.usf.edu/ african/index.html]

The Department of Art History at Penn State seeks an
art historian in African art, who will develop under-
graduate and graduate courses in candidate's
specialties in African art, as well as teach surveys of
African art. Supervision of M.A. and Ph.D. theses is
also expected. This is a full-time, tenure-track
position at the assistant professor rank, beginning
August 2002. Candidates must have a Ph.D. in art
history, a strong commitment to research and publi-
cation, and a dedication to teaching both at the
undergraduate and graduate levels. Please submit
letter of application, curriculum vitae, an example of
research or published work, and have three letters of
reference sent directly to: Craig Zabel, Head, Depart-
ment of Art History, The Pennsylvania State Univer-
sity, 229 Arts Building, Box F, University Park, PA
16802. Applications received by December 1, 2001
will be assured full consideration. However, applica-
tions will be accepted until the position is filled.
AA/ EOE. For more information about the depart-
ment, please visit: http:/ / www.arthistory.psu.edu/

Art History-Non-Western Art primary. Georgia
College & State University. The Art Department

invites applications for an assistant professor, full-
time, tenure-track position beginning Aug. 2002.
Salary is commensurate with qualifications and
experience. Ph.D. required. ABDs will be considered.
Excellence in teaching, research, and service is
required for promotion and tenure. A small program
in a public liberal arts university, the Art Department
seeks a dynamic teacher and promising scholar,
broadly trained and capable of teaching a range of
courses primarily in non-western art history (in one
of the following areas: African, Latino, Native-
American, Pre-Columbian, Asian) and interdiscipli-
nary studies; must also have a secondary expertise or
ability to teach Western Art in areas Ancient to
Renaissance. Responsibilities would be Non-western
art history and generalist interdisciplinary studies,
the western survey Ancient to Renaissance, upper
level courses in area of specialization, and participa-
tion in senior capstone course. Commitment to
undergraduate teaching 4/4 course load, in a
multicultural, liberal arts environment is essential.
Review of applications will begin December 15, 2001
and will continue until positions) are filled. Send
letter of application, curriculum vita, a one-page
statement of teaching philosophy, and three letters of
recommendation to: Dr. Tina Yarborough, Chair
Search Committee, Department of Art, Georgia
College & State University, CBX 094, Milledgeville,
GA 31061. To learn more about GC&SU, visit: http:/
/ www.gcsu.edu. Women and under-represented
candidates are especially encouraged to apply. Equal
Opportunity/Affirmative Action Institution.

Since 1960, the Center for the Study of World Reli-
gions at the Harvard Divinity School has assumed
the leading role in the United States and internation-
ally in the development of the academic study of
world religions. The Center encourages multiple
disciplinary approaches toward religious expres-
sions, whether in art, medicine, law, literature, music,
economic activity, or cosmological sciences. The
overarching goal is the "sympathetic study" of world

In recognition of this distinguished anniversary, the
Center is pleased to announce that a limited number
of Fortieth Anniversary Fellowships will be awarded
as part of our Senior Fellowship program. We will
also continue to offer Dissertation, Doctoral Fellow-
in-Residence, and Undergraduate Fellowships to
applicants from Harvard University.

We seek applications from leading scholars who wish
to conduct research in the study of the religions of
the world. Selections will be made on the quality of
the proposed research project. A limited number of

Senior Fellowships will be offered for the 2002-2003
academic year.

Senior Fellowships include a stipend of $40,000 per
academic year and the option of residence at the

Up to four awards will be designated as Fortieth
Anniversary Fellowships. The stipend awarded
Fortieth Anniversary Fellowships will range from
$25,000 to $50,000 per academic year. The Fortieth
Anniversary Fellowship will also include a research
assistant, research allowance ($1,000), relocation
allowance ($1,500), use of a shared office at the
Center, and the option of residence at the Center. The
Center for the Study of World Religions is the only
research center at Harvard University with a resi-
dence, and thus is able to offer a limited number of
below-market-rate apartments and efficiencies for its

All applicants for Senior Fellowships are automati-
cally considered for Fortieth Anniversary Fellow-

Information and applications available at our website:
CONTACT: MS. BROOKE PALMER, Office of Educative Planning
& Academic Services, brooke_palmer@harvard.edu
Tel: 617-496-5834; Fax: 617-496-1973

Cornell University. Full time assistant professor
(tenure track) or associate professor levels. Begins
July 2002. Rank and salary commensurate with
qualification and experience. 20th century modern
and contemporary art, preferably a scholar whose
critical and methodological approach is relevant to
contemporary global practices and comparative
modernities. Preference will be for a scholar whose
theoretical perspective and teaching interests cover
more than one area of study, including the non-west.
Ph.D. teaching experience and publications required.
Teach undergraduate and graduate courses. AA.
EOE. Women and minorities are encouraged to
apply. Send CV with letter application and names of
three references. Application deadline January 31,
2002. Salah Hassan, Chair, History of Art. G 35
Goldwin Smith Hall, Cornell University, Ithaca, NY

College of Fine Arts The University of Florida
Position Announcement

The University of Florida (

>www.ufl.edu) College of Fine Arts invites nomina-
tions and applications for the position: Director of the
School of Art and Art History. The School has 35 full-
time.faculty positions, 11 adjunct faculty, and 9 staff
members. Approximately 500 undergraduate art
majors are pursuing accredited BFA and BA (Art
History and Art Education) degree programs; and 80
graduate art majors are pursuing accredited MFA
and MA (Art History including African and non-
Western art, Museum Studies, and Art Education)
degree programs. The Director will provide aca-
demic, artistic and administrative leadership within
the School, and will organize and facilitate the
School's resources in teaching, creative activities,
research, and public service. The School is seeking an
individual who can provide leadership, vision, and a
commitment to promoting excellence in a growing
program within a major research university. Appli-
cants should possess a distinguished national record
in the visual arts with an earned terminal degree or
professional equivalency and other qualifications
that would warrant a tenured appointment at the full
professor rank. Successful academic administrative
experience is essential. This is a twelve-month
appointment with a desired starting date of July 1,
2002. The salary is competitive and commensurate
with experience and qualifications. Applicants
should submit a letter of interest, a curriculum vitae,
a statement regarding their administrative philoso-
phy, appropriate evidence of creative activity and/or
research and the names, addresses, e-mail addresses,
and telephone numbers of at least three references,
directly to:

Professors Richard Heipp and Craig Roland, Co-
Search Committee: Director/School of Art and Art
101 Fine Arts Building A, PO Box 115800
University of Florida
Gainesville, Florida 32611-5800

Application Deadline: The search committee will
begin reviewing applications on November 12, 2001
and will continue to receive applications until the
position is filled. The University of Florida is an
Equal Opportunity, Affirmative Action Employer.
The search process will be conducted under the
provisions of Florida's Government in the Sunshine
and Public Records laws.

OF Peoples and Places
Carol Thompson has been appointed as the new new
Richman Family Foundation Curator of African Art
at the High Museum of Art in Atlanta, Georgia.

Thompson began her tenure at the High on Septem-
ber 17, 2001, joining the High's team of seven cura-
tors. She will oversee the expansion of the High's
existing collection of African art, which currently
includes more than 450 objects, as well as create
exhibitions and develop programming related to the
arts of Africa and the African Diaspora.

James Madison University is pleased to announce
that the Madison DID@, an online image database
and multimedia teaching tool, is now available to
users in the academic community, free of charge. The
database of images includes over 1,000 African-
images. The Madison DID is made available as free
software. Users are currently able to download and
install the full system. Information about current
product features, technical specifications and product
demonstrations is available at: http://cit.jmu.edu/

The Smithsonian National Museum of African Art is
paying tribute to the memory of the late Dr. Roy
Sieber, researcher, scholar and teacher, by renaming a
conference room in his honor. The Director's confer-
ence room will be renamed the "Roy Sieber Memo-
rial Conference Room" as this was where he took
part in so many plans and discussions about exhibi-
tions, publications and museum programs continues
to be a focal point for the intellectual work of the
museum. The very first scholar in the United States
to receive a Ph.D. in African art history, Dr. Sieber
was known world-wide for his contributions to the
field of African art and will be greatly missed.

Recent Publications & Films:
Bogolan: Shaping Culture through Cloth in Contem-
porary Mali
Victoria L. Rovine

In this richly illustrated book, Victoria L. Rovine
explores the revival of a traditional African textile
known variously as bogolanfini, bogolan, or mudcloth.
Over the last decade, artists of the West African
nation of Mali have adapted this cloth, featuring
black- or brown-and-white geometric patterns, to
create a variety of new wares, including intricately
detailed paintings, elaborate high-fashion clothing,
and a wide range of other products aimed at both
domestic and foreign consumers.
By tracing these transformations, Rovine illustrates
the dynamic relationship between the past and the
present in contemporary Africa. She also explores
how changing incarnations of cultural heritage play
an important role in national identity and how, in the
United States and Europe, tradition has become a
defining feature of an exotic other.

Smithsonian Press; 24 color and 33 b&w photographs, 184 pp.
Cloth: ISBN 1-56098-942-4 $45.00
To order call: 1-800-782-4612

Makishi Lya Zambia: Some Mask Characters of the
Upper Zambezi Peoples
CD-ROM by Manuel Jordan

Makishi Lya Zambia provides a rare opportunity to
see eleven different Chokwe-related masks perform
in the the context of two male initiations in north-
western Zambia. CD features masks, dances, music
and processions held to celebrate the graduation of
initiates. Lively scenes bring to life the complex
character and demeanor of different ancestral mas-

Mask characters in Makishi Lya Zambia include
Chisaluke tutelaryry spirit," four different examples),
Chiwigi ("young woman"), Pwevo ("woman"),
Kalelwa ("protective spirit"), Bwanda ("hare," two
examples), Ndemba ("rooster"), Mwendumba
("lion"), Utenu ("angry spirit"), Katoyo ("foreigner"),
Chikuza ("fertile spirit"), and Mupala ("lord of the
initiation camp"). The video includes subtitles when
characters are introduced.

CD-ROM disc video (25 minutes); plays on PC and Mac comput-
Price: $32.00 USD (ea.), shipping in continental U.S.: $4.00 for up to
3 copies
Email: cd@chokwe.com Web: http://chokwe.com/order.htm
Please note: No returns or refunds due to the nature of the
Makishi Lya Zambia is copyrighted.

The Ones That Are Wanted: Communication and the
Politics of Representation in a Photographic Exhibi-
Corinne A. Kratz

The Okiek people of Kenya's forested highlands have
a long history of hunting, honey gathering, and
trading with their Maasai and Kipsigis neighbors;
several decades ago, they also began farming and
herding. This book follows a traveling exhibition of
anthropologist Corinne Kratz's photographs of the
Okiek through showings at seven venues, including
the National Museum in Nairobi and the
Smithsonian Institution in Washington, D.C. Kratz
tells the story of the exhibition- the stereotypes it
sought to challenge, how commentaries by Okiek
people were incorporated, and different ways that
viewers in Kenya and the United States understood
it. In addition to presenting wonderful images of a
little-known people, this inviting book explores the
exhibition medium itself, focusing on the complexi-

ties and possibilities of cultural representation.
Walking a fine line between the photographic
intimacy of a family album and the ethnographic
distance of documentary photography. The Ones
That Are Wanted reproduces the exhibition in full,
with its vibrant color photographs, multilingual
captions, and lively commentary. Throughout, Kratz
incorporates insightful reflections on her changing
involvement with the exhibition as anthropologist,
photographer, and curator, and she provides percep-
tive discussions of such topics as photography in
Kenya, stereotypes, and the post- 1970s proliferation
of the politics of representation.

Corinne A. Kratz is Associate Professor of Anthropology and
African Studies at Emory University and the author of Affecting
Performance: Meaning, Movement, and Experience in Okiek Women's
Initiation (1994).

University of California Press December 2001. 302 pages, paper-
back $24.95

Baskets and Calabashes, Palm and People: the
utensils of everyday life. Crafts and Technologies
Part 3.
Hans Knoepfli

During his almost 30 years as a pastor of the Basel
Mission in the service of the Presbyterian Church in
Cameroon, Hans Knoepfli became concerned that
traditional production skills of great importance were
forgotten when cheap industrial wares became
available in even the remotest weekly markets of the
Grassfields. He saw the need to promote small-scale
industries as a way of providing earning opportuni-
ties in the rural areas. As a result, he started support-
ing producers of good handwork by finding them
new markets through the handicraft NGOs Prescraft
and Prespot.

Over the course of the last five years he has written a
series of books, all under the general title "Crafts and
Technologies," based on his experience with the
producers of handicrafts and traditional art in this
region of Cameroon. The books are stamped by his
strongly hands-on approach to crafts and technolo-
gies, and by the strong ties of friendship with the
many artists and patrons of handwork and art. In
addition to "Crafts and Technologies Part 3: Baskets
and Calabashes," the following titles are also avail-
able, and details can be had on request:
* Part 1 concerned the production of drums,
weaving in raphia, pottery, carving buffalo
horns, and the lost-wax production of objects in
brass. It was published by the British Museum as
part of its series of Occasional Papers under the
title "Crafts and Technologies some traditional

Craftsmen of the Western Grasslands of
* "Crafts and Technologies Part 2" was devoted to
the work and symbolic world of "Woodcarvers
and Blacksmiths."

Publisher: Basel Mission/mission 21, Basel, Switzerland, produced
by Presprint in Limbe/Cameroon. 156 pp, 244 black and white and
32 colored photographs. Price outside Cameroon: SFr.49.- plus
postage. Obtainable in Cameroon at an adjusted Cameroonian
price from any of the selling-points of Presbook enquiriess to
Presbook, POB 13, Limbe, S.W. Province, Cameroon). Obtainable
in the rest of the world by post from the Fair Trade Shop "Zur
Kalebasse", Missionsstrasse 21, CH 4003 Basel or from the
Weltladen, Vogelsangstr. 62, D-70197 Stuttgart. Or order by email
to paul.jenkins@mission-21.org

CUBAN FESTIVALS: A Century of Afro-Cuban
Judith Bettelheim, editor

This valuable book, an updated, expanded and
revised version of an 1993 publication, includes:
* the first ever English language translation of
Fernando Ortiz's "The Afro-Cuban Festival Day
of the Kings"
* an annotated glossary based on Ortiz's work by
Dr. David Brown
* an introduction to Ortiz's work by Dr. Jean
* two personal recollections of Havana Carnival by
Pedro Perez Sarduy, one from the 1980s and one
from the late 1990s.
Dr. Judith Bettelheim has written on Santiago de
Cuba Carnival in the 1980s and compared it to
Carnival during the "special period." She also has a
chapter on the celebrations and history of Haitian-
Cubans in Oriente Province. Cuban scholars Jose
Millet and Rafael Brea contribute a glossary of
popular festivals. The book includes 40 illustrations.

$22.95 plus $3.50 shipping
order from:
Markus Wiener Publishers
Order Dept.
231 Nassau St.
Princeton, NJ 08542
phone 609 921 1141
fax 609 9211140

From Ritual to Modern Art. Tradition and Modernity
in Tanzanian Sculpture.
Edited by Manfred Ewel & Anne Outwater.

There is a huge imbalance in appreciation and
representation of African art. Museums, exhibitions,
lavish catalogues, magazines and publications on
African art are largely dominated by non-African
scholars and institutions. These imbalances lie in
economic and political discrepancies, the history of

European colonialism in Africa, and the Western
tradition of scholarship and public education on art,
history and ethnography. Outside Africa, East
African art has been assumed to be more or less non-
existent, and within Africa, the lack of awareness of
the art of East Africa has been a serious fracturing of
the cultural unity and interaction of the continent.

This superbly illustrated and produced book
counters this serious misconception, and is one of the
few publications to have come out of Tanzania,
bearing witness to the appreciation of sculptural art
and its tradition in that country. The book arose out
of the symposium "The Significance of Traditional
Cultures for Today's Society" which brought together
Tanzanian and other experts. The symposium was
organised by the National Museums of Tanzania and
the German Cultural Centre in Dar es Salaam. Papers
from that symposium-together with additional
articles on the history and current state of sculpture
in Tanzania-present African art from an African
perspective. The volume includes contributions from
Western scholars who join forces with African
scholars. Sociological, ethnological and art historical
approaches are included, illustrating sculpture as the
prime example of fine art in Africa, both in its purely
aesthetic sense and intricately linked with its ever
changing cultural context.

9976973756 136pp. map col.ill. 2001 Mkuki na Nyota Publ. $74.95/
44.95 cased 9976973853 $49.95/29.95 pap.
African Books Collective Ltd The Jam Factory 27 Park End Street
Oxford UK OX1 1HU Tel: +44(0)1865-726686 Fax: +44(0)1865
793298 Email: justin.cox@africanbookscollective.com
Web Site: http:/ /www.africanbookscollective.com

Film: "Recalling the Future"/Art in Contemporary

"What Africans are producing now in Africa is not 'African Art'". It is
art produced by people who consider themselves as partners in a world
that they invent every instant." (Hassan Musa, Sudan)

Contemporary African Artists are facing a difficult
dilemma: The need to balance a powerful cultural
heritage with the parameters of modern individual
creation. African Art is often the victim of pre-
existing conceptions, remnants of colonialism with its
notions of "primitive" peoples. For the Western
world, this continent is largely a projection of dreams
and desires for exoticism. The world's "appreciation"
of African dances, masks, music, results in expecta-
tions of "Africanity," and the denial of the right to

Using as a focus and starting point the 3rd Biennial
of the Arts in Dakar, Senegal [Dak'Art 98], "Recalling
the Future/Art in Contemporary Africa" explores

how the many trained, professional modern visual
artists from every country of Africa take their place
in the worldwide evolution of artistic expression.

A co-production: Arts in Action Society [Canada] and Sud Prod
Senvision [Senegal] Completion date: March 2000 Running time:
48 minutes, colour, stereo, BetacamSP or VHS Closed captioned
French version title: "Memoire du Futur/Art en Afrique
Contemporaine" URL: http://persweb.direct.ca/dsteinbe/


Douglas Newton, Curator Emeritus at the Metro-
politan, Dead at 80
September 22, 2001

Douglas Newton, curator emeritus of the department
of the arts of Africa, Oceania and the Americas at the
Metropolitan Museum of Art and an innovator in
designing museum displays of non-Western art, died
on Wednesday at St. Vincent's Hospital in Manhat-
tan. He was 80.

Born Bryan Leslie Douglas Newton to English
parents on a Malayasian rubber plantation in 1920,
and educated in England, he worked as an editor,
journalist and scriptwriter for the BBC before moving
to New York in 1956. The following year he joined
the Museum of Primitive Art, newly established by
Nelson A. Rockefeller in a converted Manhattan
brownstone on West 54th Street, as an assistant
curator. In 1960 he became a full curator, and in 1974
the museum's director, succeeding Robert Goldwater.

Mr. Newton organized 64 exhibitions for the Mu-
seum of Primitive Art, which is now defunct. His
groundbreaking designs, with atmospheric lighting
and striking installations, brought the museum both
critical praise and public attention and had long-term
influences on museum displays of so-called primitive

"He knows the fine line between showing sympathy
for a tradition on its own terms and manipulating the
tradition in terms of Western practices and expecta-
tions," wrote Robert Farris Thompson, a Yale art
historian, in 1978.

Mr. Newton went on to become the principal de-
signer for major exhibitions in other museums,
including "The Art of Oceania, Africa and the
Americas" (1969) and "Te Maori" (1984) at the
Metropolitan Museum of Art, and "The Art of the
Pacific Islands" (1979) at the National Gallery of Art
in Washington.

A fluent writer, he produced many monographs,
including "Crocodile and Cassowary: Religious Art
of the Upper Sepik River, New Guinea" (1971) and
"Arts of the South Seas" (1999). He was also the
editor of more than two dozen books on the art of the
Pacific Islands. He was recently given the Manu
Daula Award by the Pacific Arts Association for a
lifetime of work devoted to the arts of Oceania.

Mr. Newton was appointed consultative chairman of
the department of primitive art at the Metropolitan
Museum in 1974, and department chairman in 1975.
That year, he began to oversee the transfer of the art
collections, library and photograph study collection
of the Museum of Primitive Art to the Metropolitan,
which was given the collections by Mr. Rockefeller in
memory of his son Michael, an anthropologist who
died in 1961 while on an expedition in New Guinea.

The works were displayed in the museum's new
Michael C. Rockfeller wing.

Mr. Newton supervised the design team for the wing,
which opened in 1982. Its debut was hailed as
placing the art of Africa, Oceania and the Americas
on a museological footing with ancient and modem

From 1982 until his retirement in 1990, Mr. Newton
was the museum's Evelyn A. J. Hall and John A.
Friede chairman of the department of primitive art.
He was also senior adviser to the Israel Museum in
Jerusalem and was recently an adviser to the Quai
Branly in Paris.

He leaves no immediate survivors.

Copyright 2001 The New York Times Company


The board of ACASA is pleased to announce a new award
in memory of Roy Seiber. This award will be presented at
Triennial Meetings for the outstanding dissertation com-
pleted over the three years prior to the event (e.g., Sept..
2000 Aug. 2003).

We welcome donations to the Roy Seiber Outstanding
Doctoral Dissertation Award fund, so that we can offer-
young scholars a cash reward. The board hopes to raise
$4000 to endow the award, and would use any funds in
excess of this amount to support graduate student atten-
dance at future Triennials.


Please Note: Membership runs January 1 December 31 <-

Special Member (student, unemployed, retired) $ 20.00
Regular member $ 50.00
Institutional member $ 75.00
Additional Voluntary Contribution:
Sieber Memorial Fund (Dissertation award presented at the Triennial Symposium) $
ACASA Endowment $
Symposium Fund (Travel assistance for African scholars and graduate students) $
Total: $

* Check or International Money Order (checks must be in US Dollars and Drawn on a US Bank), payable to ACASA
* Credit Card: _visa acct number expiration date: / (mo/yr)
mastercard signature:

ACASA MEMBERS LIVING IN AFRICA and the CARIBBEAN are not required to pay membership dues but should
send completed membership forms to the membership coordinator.

City: State: Zip: Country:
Home Phone: Work Phone:
Fax: email:

* ADDITIONAL INFORMATION (please circle all that apply or add new option):

Education (highest degree):


Primary Profession:



University Teaching

Primary Regional Focus: Central Africa
Western Africa

Art History



Other Teaching

Eastern Africa


Northern Africa



Research Student

Southern Africa

Ethnic or Country Focus:

Topics of Interest (e.g.: gender studies, performance, textiles, divination.....):

Current Memberships: ASA CAA AAA Other

Please return form with payment to:

Rebecca L. Green
ACASA Secretary / Treasurer
1000 Fine Arts, Bowling Green State University
Rowlinov rpPn nTOH AU TSRA


Editor: ACASA Newsletter
(Attn: E. Cameron)
Porter Faculty Services
1156 High Street
Santa Cruz, CA 95064


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