Title: ACASA newsletter
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00103115/00058
 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: Winter 2002
Subjects / Keywords: Arts -- Periodicals -- Africa   ( lcsh )
Genre: periodical   ( marcgt )
Dates or Sequential Designation: Vol. 1, no. 2 (winter 1982)-
Numbering Peculiarities: Vol. designation dropped with no. 3 (spring 1983).
General Note: Title from caption.
General Note: Vols. for Aug. 1992- include Directory of members: addendum.
General Note: Latest issue consulted: No. 34 (Aug. 1992).
 Record Information
Bibliographic ID: UF00103115
Volume ID: VID00058
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 Newsleter

ol. 65 Winter 2002

in this issue...

ACASA News............................................. 2
Minutes of ACASA Meetings ....................... 4
Jobs .................................................... 5
Exhibitions .................................. ............. 6
Conferences .................................. ............ 6
New Publications and Journals ................... 7
Summer Programs ....................................... 8
New Web Resources .................................... 9
Obituaries................................. ............. 12
ACASA Sieber Dissertation Award.............. 13
Triennial Symposium call for panel
proposals .................................................... 14
Membership Form ..................................... 15

ACASA Board oF Directors

Robin Poynor, President
Robert Soppelsa, Past President
Tavy Aherne, Secretary/Treasurer
-li abcth -eamen, Newsletter Editor
Joanne Eicher
Christraud Geary
Babatunde Lawal
Ikem Okoye
Constintine Petridis
Elisha Renne
Enid Schildkrout

All correspondence regarding membership information
and payment of dues should be directed to:

Tavy D. Aherne
ACASA Secretary/Treasurer
2261 Bent Tree Drive
Bloomington, IN 47401

Email: tavy@mymy.com; taheme@indiana.edu

(812) 323-9173

Membership information and forms are available at end of
this Newsletter.

The ACASA Newsletter is published three times a year::
Spring, Fall, and Winter. 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 Spong 2003p
Please send news items by 1e-o', 2003 lo:
Elisabeth L. Cameron 2 3
Porter Faculty Services
University of California
1156 High Street
Santa Cruz, CA 95064
E-mail: ecameron@ucsc.edu
Phone: 831/459-2763
Fax: 831/459-3535


Presidential Notes
Robin Poynor, ACASA President

January/February 2003

The 2002 ASA meetings in Washington, DC, were a
hotbed of activity with numerous well thought-out
and well-received panels on the expressive culture of
Africa. In addition several meetings of the ACASA
Board, of planning committees, and the ACASA
business meeting addressed needs for the immediate
and distant future.

I want to extend thanks on behalf of the membership
to retiring members of the board for the selfless
service they have rendered to the organization over
the past few years. Martha Anderson has retired as
Past President after an exemplary turn as President
in which she organized our first "off-Continent"
Triennial. Martha has passed on documents,
timelines and schedules, along with other useful
tools, in a notebook to be used in the future by
incoming presidents of the organization. During her
tenure negotiations were begun to establish an
archive of ACASA documents. Rebecca Green has
particularly worked diligently as treasurer of
ACASA, not only taking care of the day to day
intricacies of membership, writing checks, and
keeping records, but also in making sure that our tax-
exempt status and our ability to use charge cards for

ACASA Newsletter

Sl. 65 p/w Co&wnciwef n hmse ucilan Swuecomdaceia.htn. -

Vol. 65 http://www.h-net.msu.edu/-artsweb/welcomc/acaso.html Winter 2003

payments to ACASA were accomplished. She has
worked meticulously to keep records that can be
passed on to her successor and that will be working
models for the future. Other Board members we
want to thank after successful terms include Michael
Conner, Joanne Eicher, and Babatunde Lawal.
Continuing members include Bob Soppelsa, serving
as Past President, and Elisabeth Cameron, who has
capably published and distributed the Newsletter
over the past few years. Because of an upcoming
sabbatical and other pressures that will not allow
Chris Steiner to work toward the 2004 Triennial, he
has asked to be relieved of his duties as Board
Member. Joanne Eicher has kindly agreed to finish
out that term.

Tavy Aherne has accepted the daunting task of
treasurer. Other new members of the board include
Chris Geary, Ikem Okoye, Costis Petridis, Elisha
Renne, and Enid Schildkrout, all of whom immedi-
ately took on challenging tasks the first day of their
coming onto the Board. Committees, each headed by
a Board member, have been established to select
winners for the Arnold Rubin Book Awards, the
Leadership Award, and the newly established Roy
Sieber Doctoral Dissertation Award in 2004.

Appreciation is extended to Bob Soppelsa and to
Suzanne Blier and her committee in Cambridge as
they have begun work toward the 2004 Triennial. A
tremendous amount of work as already been accom-
plished by Prita Meier and _in
beginning to raise local funding, finding appropriate
facilities and sponsors for the events of the triennial,
and addressing other issues. Chris Geary, who has
recently moved to Boston as Curator at the Boston
Museum of Fine Arts, is the panels chair for the
symposium. We feel confident that the local organiz-
ing committee will carry out admirable work.

Get checkbooks or credit cards ready for several
fundraising efforts that will begin in earnest in the
very near future. We will soon have forms available
with which you can contribute specifically to the
ACASA Endowment, to the funding of scholarships
for assisting African Scholars and graduate students
to travel to the 2004 Triennial in Cambridge, or to the
Roy Sieber Doctoral Dissertation Endowment, which
will provide a cash award to the best dissertation in
African expressive arts. We also are interested in
seeking corporate sponsorship. If you are aware of
foundations, endowments, corporations, institutions,
or individuals that may be useful in this effort, please
contact someone on the Board.

Checkbooks will also be needed for responding to
another decision the Board made at the DC meetings.

In the past our registration fees for the Triennial have
been unrealistically modest. In addition, the differ-
ence between preregistration and onsite registration
has not been great enough to encourage early regis-
tration. Knowing the number of participants to
anticipate is important in determining how many
rooms to work toward, what size facilities to negoti-
ate, and how many to prepare for in many other
ways. For that reason, we will not only see a signifi-
cant increase in the amount we pay to register, which
will be more in line with registration fees for other
conferences, but there will be a three-tiered registra-
tion system, An Early Bird registration will give a
significant break to encourage many to go ahead and
register as soon as they can and at the same time
allow the planning committee to have a good idea of
the number to anticipate in their planning. Pre-
registration will be a considerable step up, and the
onsite fee will be almost unaffordable. [Just kidding].

I am looking forward to a good two years as we plan
for the 2004 Triennial, but in the meantime I am
hoping to see you at the 91st Annual Conference of
the College Art Association in New York City,
February 19-22, 2003, and at 46th Annual Meeting of
the African Studies Association in Boston October 30-
November 2,2003.

Robin Poynor

Minutes of ACASA Meetings

7 PM, Saturday, December 7,2002
FICIISI Business Meeting
Marriott Wardman Park Hotel, Washington, DC

Minutes of the last business meeting were approved unanimously.

Bob Soppelsa extended thanks to outgoing board members and
officers: Martha Anderson, Michael Conner, Joanne Eicher,
Rebecca Green, and Babatunde Lawal

The slate of nominations for new Board members were elected,
including Ikem Okoye, Tavy Aherne, Elisha Renne, Constantine
Petridis and Christraud Geary.

Treasurer's Report
Rebecca Green stated in her Treasurer's report that membership is
down. Although we extend courtesy membership to scholars from
Africa and the Caribbean, we must provide some way for them to
respond that they are actually interested in membership. If some
are able to pay membership dues, that would be helpful as well.
Bill Dewey recommended that we might set up a system in which
regular members might sponsor an African member. Dues were
increased last year to be more in line with membership dues of
other organizations at this period of time. ACASA's account
balances are good, especially considering that we have just
finished the Virgin Islands Triennial. Rebecca has been in
communication with the incoming treasurer, Tavy Aherne, and
will turn over the accounts and records to her at the beginning of
the year.

It was determined to schedule spring, autumn, winter Newsletter
editions rather than specific months. Electronic mailings will be
considered for the United States, Canada and Europe. More than
600 Newsletters are sent free to members in Africa and the
Caribbean. This is costly, and we must determine if they are being
received by the appropriate individuals and also discover whether
some of them might be able to receive them electronically.

flCflSfl brochure
It was suggested that fCASA needs a well-designed informative

Triennial Updates
Triennial Updates were provided on negotiations for 2004
Triennial (March 31-April 4, 2004) to take plae at Harvard
University, Cambridge, MA Prita Meier, Christina Van Dyke, and
Susan Blier were thanked for the part they have played already on
planning toward the event. Bob Soppelsa has already reserved
blocks of rooms in the Harvard Square Hotel, the Sheraton, and
Harvard Square Inn. Significant sponsorship has been pledged
from African-American studies at Harvard, and we want to
expand the scope for this Triennial to include African American
Studies. We will attempt to discover which organization most
African American artists participate and provide information
through it.

African Arts Journal
Al Roberts reported on the standing of African Arts. Since its
inception the journal has always had financial difficulties. UCLA is
finding it difficult to absorb deficits and are trying to find
solutions to the problem.

Aid to Malawi
A request was made on behalf of the Malawi Famine and
Community Development Project for individuals to consider

Adjourn 8:08
Submitted by Michael W. Conner

ACASA Board meeting at ASA Sunday, 12/08/02, 730 AM
Marriott Wardman Park Hotel, Washington, DC

Present: Elisabeth Cameron, Constantine Petridis, Babatunde
Lawal, Bob Soppelsa, Martha Anderson, Michael Connor, Rebecca
Green, Chris Geary, Robin Poynor, Enid Schildkrout, Elisha Renne,
Joanne Eicher

Call to order, 7:15.


Bylaws revision
Fundraising and funding issues (espec. African Arts)
H-AfrArts liaison/tech advisor
Outreach and the mission of the organization

Bylaws: Martha Anderson, Bob Soppelsa and Robin Poynor will
look at, and consult past presidents of ACASA, Mary Jo Arnoldi,
Roz Walker, and perhaps Polly Roberts.

Split Secretary/treasurer jobs
Establish president-elect as a permanent officer
Elect (appoint?) liaison to H-AfrArts
Social science/Arts committees should be eliminated
Establish schedule & procedures for revising bylaws periodi-

Triennial Issues:
Panel chair: Chris Geary, perhaps assisted by Jean Borgatti
Leadership award: Martha, Ikem, others
Sieber dissertation award: Elisha P. Renne, Paula Girshick, Mary Jo
Arnoldi, Sylvester O. Ogbechie
Arnold Rubin Book award: Joanna Eicher and two others

Outreach: BU people (Jean Hay, Jim Pritchard, Barry Gaither)
From ACASA: Veronica Jenke: Chris Geary will talk to her
(Perhaps expand the focus of this beyond K-12 to include 2&4 year
Museum Day: Constantine Petridis, Enid Schilkrout, others

African Arts Issues:
A committee from ACASA should talk to UCLA about the
problems: Enid, Susan Vogel, Ray Silverman, Rowland
Abiodun, Robin, perhaps others. Both the "band-aid" solution
(money for the next two issues) and a permanent solution to
the problem should be discussed.

Triennial Registration: will be three-tiered:



Early bird: $75.00 $120.00
Regular: $100.00 $150.00
On-site $120.00 $200.00
(a daily rate should also be determined)


H-AfrArts liaison should be appointed, yet to be determined, and
the organization's relationship to H-AfrArts should be specified.
Michael reported on the archives (at the Herskovitz library,
Northwestern Univ., Evanston). Everything is set.

Meeting adjourned, 8:45 AM


Lecturer in Fine Arts
Indiana University, Kokomo

One of eight campuses of Indiana University, Indiana
University Kokomo is a comprehensive non-residen-
tial campus located 50 miles north of Indianapolis in
Kokomo, Indiana, a city with a population of about
47,000. Committed to student success, the campus
serves approximately 2,800 students from an 11-
county area in north central Indiana. An additional
350 students pursue degrees in technology in coop-
eration with Purdue University. The campus has
approximately 230 faculty and staff and 100 part-time
employees. Associate, baccalaureate, and master's
degrees are offered. Additional information about
Indiana University Kokomo can be accessed at http:/
/ www.iuk.edu.

Applications are invited for a lecturer's position in
Fine Arts scheduled to begin August 1, 2003. In
order to qualify for the position, candidates must
have completed all requirements for a Masters of
Fine Arts or comparable masters degree. The suc-
cessful candidate will be a generalist, able to teach a
wide range of courses in several media. Duties will
include teaching art history, foundation (2-D, 3-D,
and drawing), as well as introducing courses in
painting, sculpture, and printmaking. Candidates
will also teach advanced courses in areas of special-
ization and participate in the freshman learning
community program. Additionally, the candidate
will participate in campus service activities related to
student life (coordinating an art club, etc.). Prefer-
ence will be given to candidates with prior teaching
experience, some record of achievement or expertise
in campus service contributions, or experience with
new instructional technologies. Evidence of effective
teaching and a record of service will be required for
continuation of employment. To apply for the
position, interested candidates must submit a current
curriculum vitae, transcripts, a statement of teaching
philosophy, a statement of past campus service or
prior achievements in campus service and a list of
three references to Sue Ridlen, Department of Hu-
manities, Indiana University Kokomo, 2300 S.
Washington St., P.O. Box 9003, Kokomo, Indiana,
46904-9003. Applications should be received by
January 10, 2003, but review will continue until the
position is filled.

IU Kokomo offers a small campus atmosphere, which
focuses on student success while maintaining access
to the extensive library and computer facilities of the
main campus (IU Bloomington) and opportunities

for research and teaching collaboration across the IU

Indiana University Kokomo maintains a vigorous
affirmative action program and encourages applica-
tion from members of minority groups. Salary and
benefits are competitive. IUK is an Equal Employ-
ment Opportunity/Affirmative Action employer/
ADA compliant. Applicants who require a reason-
able accommodation to participate in this hiring
process should contact the Office of Affirmative
Action at (765)455-9529. Verification of a covered
disability under ADA may be required.


Seeking assistant professor specializing in African
art, with strong secondary field in any non-western
area (Oceanic or Arts of the Americas preferred), or
Ancient. Tenure track position beginning in August
2002. 3/3 load teaching undergrad world art surveys,
interdisciplinary classes for African Studies minor,
and undergrad/ grad courses for majors and MA/
MFA students. Ph.D. preferred, strong commitment
to teaching majors and general education students,
and willing to use web-based classroom technology
(Madison Digital Image Database). Send application
and resume to Director, School of Art and Art His-
tory, James Madison University, Harrisonburg, VA
22807 (FAX 540-568-6598). Review of candidates will
begin immediately. James Madison University is an
equal opportunity/Affirmative Action/equal access
employer and especially encourages applications
from minorities, women and persons with disabili-
ties. AC/ INT.

JMU has many advantages because of its location
(near Washington and the Smithsonian) and having a
large African minor program we have many re-
sources already assembled, such as 4000 slides and
digitized images of African art. JMU also has a
summer program of study in Ghana which faculty
members may participate in.

Visiting Assistant Professor Bowling Green State

Visiting Assistant Professor, Art History (Non-
Western). Full-time, one-year appointment. Bowling
Green State University. Salary, competitive. Benefits.
Qualifications: PhD in art history preferred; ABD
required. Prefer individual with teaching experience.
Responsibilities: Teach undergraduate/ graduate
level in African art and undergraduate courses in
western survey (Paleolithic to Medieval). Possible

additional undergraduate/ graduate offerings in
Oceanic, PreColumbian and/ or Asian arts. Starting
date: August 2003. Application: Must be postmarked
by March 21, 2003. Send letter of application, curricu-
lum vita, three letters of recommendation, terminal
degree transcript, copies of significant publications,
and sase to: Art History Search I, Dr. Rebecca L.
Green, School of Art, BGSU, Bowling Green, OH
43403. BGSU is an AA/ EEO employer.


Colors of Africa:
Contemporary Art from the Continent
Ancestral Instinct: Works by Tina Dunkley
Diggs Gallery, Winston-Salem State Universty
January 31, 2003-April 5, 2003

Winston-Salem State University's Diggs Gallery will
celebrate this winter season with shows that testify to
the wealth of creativity that stems from Africa. On
January 31, 2003, at 5:30 p.m., the Gallery will open
two exhibits, Colors of Africa: Contemporary Art
from the Continent, and Ancestral Instinct: Works by
Tina Dunkley. The festivities will include African
music, gallery talks by guest curator Mimi Wolford,
Director of the Mbari Institute of African Art, and
noted Atlanta artist Tina Dunkley. Everyone is
encouraged to wear African attire and drummers are
encouraged to bring their drums for an evening jam

Colors of Africa: Contemporary Art from the Conti-
nent surveys over 70 works of fine art by 40 contem-
porary artists representing 19 African countries. It
offers viewers the rare opportunity to explore works
by 12 African women artists from Egypt, Madagas-
car, Mali, Zimbabwe, Ethiopia, Kenya, Nigeria and
South Africa. Works by well-known artists such as
Salahi and Nour from Sudan, El Loko from Togo,
Twins 77, Chief Muraina Oyelami and Jimoh
Buraimoh from Nigeria, Ablade Glover of Ghana and
Kentridge from South Africa bring familiarity to the
exhibition. However, it also highlights artists from
Tunisia, Morocco, Senegal, The Gambia, Benin,
Mozambique, Tanzania and Uganda.

AN ON-LINE VERSION of the exhibit brochure,
including photos of artworks from most of the 40
artists represented, can be viewed at africancraft.com
by clicking on 'exhibits', or more directly by entering
the address: http:/ / www.africancraft.com/

The curator, Mimi Wolford of the MBARI Institute for
Contemporary African Art in Washington, DC, also
selected four works from the Diggs Gallery perma-
nent collection for the exhibition. The works include
batiks by Nigerian female artists Aloke Buraimoh
andqNike, as well as a work by the foremost Nigerian
Printmaker Bruce Onobrakpeya.

In 1970, Wolford, a graduate of Mills College co-
founded Mbari Art, an organization promoting
international cultural exchange; and presenting the
works of artists from Africa, Asia, the Caribbean, and
the United States in prominent museums and institu-
tions in the U.S. and abroad -including three simulta-
neously at the Corcoran, Renwick and National
Museum of African Art. Mbari has arranged over 100
exhibitions. In 1995, Wolford founded the non-profit
Mbari Institute for Contemporary African Art
(MICAA), a multidisciplinary organization dedicated
to the collection, preservation, identification, docu-
mentation, and exhibition of work pertaining to the
art, craft, and culture of Africa. Its goals are to
educate the public, give visibility to African artists,
promote and publish research, and act as a perma-
nent repository for the works of contemporary
African artists, books, publications, and related

Ancestral Instinct: Works by Tina Dunkley purveys a
selection of batik, mixed media and trapunto works
that investigate African American identity. Her
works explore notions of history, culture, spirituality,
human connection, beauty, aging and ancestral

Dunkley was born and raised in Brooklyn, NY, but
currently resides in Atlanta where she serves as
Director of the Clark Atlanta University Art Galleries.
Her works reflect her African American identity and
her travels to Africa, the Caribbean, and Brazil. She
holds a M.F.A. from Atlanta University and is the
granddaughter of Jamaican Nationalist artist John


University of the Aegean, Island of Rhodes, Greece,
2-5 July 2003
Conference Theme: The Next World Order

The conference this year is being hosted by the
Globalism Institute at RMIT, the University of the
Aegean and Common Ground, Melbourne. It will be

held on the campus of the University of the Aegean
in Rhodes, just outside the walls of the World Heri-
tage listed Old City._

The conference will include major keynote papers by
internationally renowned speakers and numerous
small-group workshop and paper presentation
sessions. It will address the role of the humanities in
the new world order. Globalisation so far has defined
a common economic order, but, thankfully perhaps,
not yet a common political or cultural society. All
those researching and teaching in the area of the
humanities have an urgent stake in discussing these
future-shaping processes, whether these reflections
are retrospective or prospective. We cannot simply
leave questions of our human futures to the domi-
nance of technologists and economists.

"Of Lighthouses and Libraries: History ReLit"
19-23 March 2003 Alexandria, Egypt

Institute for Gender and Women's Studies, American
University in Cairo's Sponsored Panel: "Public/
private, in and out of Africa's museums"
Panel organized by Dr. Elizabeth Bishop, Scholar
Affiliate, bishop@aucegypt.edu

Half of Africa's museums are located in nation-states
with the most globalized economies: public funds in
Libya, Tunis, Algeria, South Africa and Egypt spon-
sor half the continents' institutionalized representa-
tions of the past. Nation-states-and the artifacts,
heritages and selves that support their sovereign-
ties-regulate access to museums as modern institu-
tions. Yet, what is the relationship between cultural
institutions and the nation-state under globalization?

Drawing on Debra Morris' critical re-interrogation of
public and private (Signs 25: 2, Winter 2000), it can be
argued that performances and utterances within and
around museum displays bridge the public/private
divide. Collections expose individuals' possessions,
extract artifacts as archeology, and raze locations into
history. Morris situates the public/private divide in
liberal power and political values (property, market
capitalism, patriarchal relations). This divide serves
to protect decisions, experiences, and places from
fellow citizens', nation-state or international inter-

Morris' work represents one possible strategy for
critical studies of such postcolonial institutions as
museums. For her, "privacy allows us to represent-
without rationalizing away-those desires, needs,
and experiences that implicitly challenge the demand

for articulated rationality." Rather than conceptualiz-
ing privacy as a crucial reprieve of power (that is,
thinking of it as the opposite of power; which
requires banishing bodies, economic concerns, and
social questions from public life), Morris' concept of
transitional space may prove useful in considering
museums' spaces, collections, and communities.

This proposed panel invites papers that critically
engage with museums and practices of institutional-
ized memory in Africa and engage-but need not be
limited to-the following questions: In what ways do
orality and commemorations of memory cross-cut
institutionalized histories? Does display of domestic
objects entail contradictions for community muse-
ums? What shadows do institutions of national
authority cast over near-by historical displays?

Further information on the conference visit: http:/ /
Further information on the Institute for Gender and Women's
Studies visit: www.aucegypt.edu/igws

New Publications and Journals


There is a new journal on African Migration, titled
rnkrind: A Journal Of African Migration. The journal
provides a forum for scholarly articles that document
the relevance of African migration to global social,
political and economic systems.

Contact: m.okome@att.net; URL: www.africamigration.com

Author: Mwenda Ntarangwi
Africa World Press
2003; ISBN 0-86543-974-5
Available from www.africanworld.com

Gender. Identity, and Performance is a critical
analysis of the intersection between gender and
identity as manifested through popular performance.
Juxtaposing received cultural norms with everyday
practices, Ntarangwi explores how gender and
identity are practiced, constructed, mobilized, and
contested through popular musical expression. This
analysis raises questions of critical importance to the
study of gender and identity: How does musical
performance aid in the construction of gendered
behavior and perceptions? What images are used in
the constructions of gender and how are those

images mobilized in that process of construction?
How is gender, as a social construct, given meaning
through musical performance?

In discussions of how music is used to probe socio-
cultural assumptions about gender and identity in a
Muslim context, this book assists in reconsidering the
implicit view that maleness is a cultural prototype
while femaleness is the variant. This is carefully
explored through an analysis of the expression and
reconstitution of masculinities and femininities in
relation to the Swahili people of Mombasa.
Ntarangwi convincingly argues that while gender
may be an important means of forming social identi-
ties, it is also a tool through which one can make an
analysis of various socio-cultural realities and
practices of a people. In so doing one is able to go
beyond the obvious role that gender may play in
organizing social roles and cultural meanings, and
enter into a realm where gender becomes a means to
reshaping conceptual categories and intellectual
theories of everyday experiences.

Gender, Identity, and Performance brings together
theoretical trends in anthropology, ethnomusicology,
performance studies, and gender studies to weave a
creative tapestry of contemporary life in an African
urban community. This book will thus be relevant for
students in African Studies, Ethnomusicology,
Anthropology, Gender, and Performance.


Who's Who in African Art came from the idea to
make a contribution towards a more cohesive and
annotated provenance for those of you who are
interested in the field of African sculpture. Around
15,000 names are listed. These names have been
generated from 50 years of auction catalogues, and
from approximately two thousand books and exhibi-
tion catalogues which included the names of au-
thors/scholars/travelers/ explorers/field collectors/
collectors. It is NOT an address list, but is meant to
be used as a reference guide for background informa-
tion. Following the name there will be a brief descrip-
tion that does not aim to be conclusive at any time,
e.g. authors cannot be listed with all of their publica-
tions, and therefore only one title is mentioned.

The Yale Art Gallery-van Rijn Archive of African Art:
This archive consists of a photo and a provenance
database. Well over 100,000 photos are scanned and
with their provenances are stored digitally. Each of
these objects have a unique number in these files.

These photos were accumulated from different
sources; including existing archives (e.g. museums &

Universities), field photos, collections/collectors,
-dealers, scholars, and all the auction catalogues. This
database is very useful for tracking down the prov-
enance of an object.

If members are interested in having their objects
registered at this archive, all they have to do is send a
digital photo (of 300 dpi) of their objects with their
size and provenance to our club, and Guy van Rijn
will add it to the database. The object will receive a
unique number and any additional information that
is known in the files will be forwarded to you. This
can be done confidentially if you wish.

Mr. van Rijn can be contacted at guy.vanrijn@chello.be


A new quarterly magazine, called "artsouthafrica"
launched recently. As the only journal on this topic, it
is an indispensable guide.

It includes insightful feature articles and critical
reviews by noted South African critics and cultural
commentators, previews, news, and listings. It is
profusely illustrated throughout, and features high
production values.

It is available in South Africa for 50 Rands, and in the
United States for $10. Axis Gallery is currently
accepting annual prescriptions for US subscribers
($40 per annum, plus shipping and handling).

Limited copies of Issue #1 are currently available, Issue #2 will
ship soon.
Please e-mail the gallery at axisgallery@aol.com to place orders
and establish S&H charges.
Other publications available for order can be viewed at http://
Axis Gallery
453 West 17th Street, 4th Floor
New York, NY 10011
Tel: 212-741-2582
Fax: 212-924-2522

Summer Programs


Drew in West Africa travels to Mali this year. We
hope to return to our regular Cote d'Ivoire program
in 2004 as the troubles there seem to be ending. Jerry
Vogel will continue to bring his expertise to our Mali
trip which will run from July 12 to August 6, 2003.

Program highlights include the extraordinary arts
and architecture of the ancient centers of Jenne and

Gao with their mosques and historical sites, the
exceptional Dogon villages, Niger River towns such
as Mopti, the Bama na centers of Segou and San, and
the exciting capital of Bamako. Students will hear
lectures from Malian experts, talk with local elders,
and observe masqueraders and musicians, textile
weavers and dyers, carvers, potters, metal smiths
and casters.

Program cost: Reduced from $4985 to $4850. Which
includes roundtrip airfare New York Bamako,
lodging, in-country transportation by Land Rovers,
and 8 credit hours tuition. Application deadline:
March 20, 2003. For further information and applica-
tion forms, please contact Drew in West Africa,
Summer Term Office, Drew University, Madison, NJ
07940; (973) 408-3400; email: owl@drew.edu.


The David C. Driskell Center for the Study of the
African Diaspora at the University of Maryland is
hosting its first Summer Arts Institute from June 28
to August 4, 2003, designed primarily for upper class
undergraduates intending to pursue a master's of
fine arts or doctoral degree in any humanistic field
with a focus on the arts and culture of African,
African American, or African diasporic communities.
The goal of the Institute is to encourage promising
students to pursue careers in the arts and study of
African diasporic culture.

The Institute will entail five weeks of seminars;
hands-on workshops in a range of media (such as
visual, musical, or performance arts, video, creative
writing, web technologies); visits to local arts and
cultural institutions; conversations with accom-
plished artists and scholars. Students will work on a
scholarly or creative project to be shared in a culmi-
nating exhibit or roundtable. Participants will receive
round trip air travel, a modest stipend, a meal card,
appropriate supplies, and access to the UM library,
computer labs, and other facilities; they will be
housed on the UM campus.

ELIGIBILITY Upper class undergraduates or the
equivalent, and recent graduates (within two years of
the BA).

AWARD Approximately sixteen students will be
chosen to participate. They will be provided round
trip air travel from their home to the UM campus in
College Park, lodging and meals for the duration of
the program, access to UM facilities, and a stipend.
APPLICATION There is no application form. Appli-
cants should submit 1) a personal statement, and 2) a

project proposal (1000 word maximum), outlining
either a scholarly question of interest or a creative
work the applicant wishes to realize. The personal
statement and project proposal must be submitted IN
TRIPLICATE. Applicants should also send 3) an
official undergraduate transcript, and 4) two letters
of recommendation, which may be sent separately.
The applicant may also include any relevant support-
ing materials such as slides, a writing sample (not to
exceed 3000 words), etc.

Applications should be sent to:
The David C. Driskell Center
Attn: Summer Arts Institute Program
2114 Tawes Fine Arts Building
University of Maryland
College Park, MD 20742

DEADLINE The deadline for receipt of all materials
and supporting documents is MARCH 21, 2003.

Center will notify those selected for participation in
the Institute by APRIL 30, 2003.

at or at 301-314-
2615. Please consult our website
for information on
the Driskell Center.

New Web Resources

The PELMAMA website-www.pelmama.org-
serves two purposes. First, it is the virtual home of
now distributed mainly amongst various museums
in South Africa. Here at long last you can look at
works of major South African artists from this
collection and find out more about the artists,
without having to travel all over South Africa.

It also is a resource tool offering information on the
Johannesburg Art scene from the 60s to the 90s. Here
you will find various lists of exhibitions held in some
of the Galleries, lots of images and interesting links to
people involved in the SA art scene. There is also an
internal search engine for quicker access to informa-
tion that may interest you.

The SITHOLE website-www.sithole.com-has been
put up in memorial of one of South Africa's great
artists, Lucas SITHOLE (1931-1994), and boasts over
65 images of his important sculptures in collections
around the world, with a section showing auction

results and other data.

The websites are continuously being updated and
improved, thus your feed-back and suggestions are

There is also a third supporting site-www.artimex-
fine-arts.ch-which is of particular interest to people
looking for mainly out-of-print books on the SA arts.

http://www.amherst.edu/ -jpembert/

"When Barry D. Maurer, a lawyer and book collector,
became interested in collecting African art, he
decided to focus upon ritual artifacts used in rites of
divination in Central and West Africa. Within a few
years he assembled a remarkable collection that is
unique in its focus and cultural breadth."

http:/ /www2.h-net.msu.edu/~artsweb/ index.html

Barbara Thompson, the new H-AfrArts website
editor, is in process of updating the web site and
designing a new overall look for the site. Take a look
and respond to Barbara if you have any suggestions
or come across any glitches

Events and Conferences
Events and conferences pages are being updated. In
order for these features to best serve H-AfrArts
members, the members must inform the editor of
events and conferences that they are hosting at their
institutions. The events and conference feature offers
announcements, programs, and general information
about future conferences, symposia, and meetings
dealing with African expressive culture. Anyone who
would like to submit information concerning a future
conference, symposium, or meeting that your institu-
tion will be hosting, please e-mail Barbara Thompson
the event information and your complete contact
information and it will post that on the web site.

Exhibitions of African Expressive Culture

The exhibition page, where previews of current and
future museum exhibitions dealing with African
expressive culture are offered, is being updated. This
can be a fantastic resource for all of us, but here too,
the editor needs your help! Anyone curating or
hosting an exhibition, please e-mail the editor a brief
(200 words) summary of the exhibition, 2-3 images
(preferably jpg or giff files), list of venues, loan costs

and venue availability (if a traveling exhibition),
catalogue info, your full contact information, etc.

H-Net Network on Hausa language, literature and
culture. Sponsored by H-Net, Humanities & Social
Sciences On-line, Michigan State University

H-Hausa is for the discussion of issues related to
Hausa language, literature and culture. It began as a
list concerned exclusively with language, but it has
also hosted discussions ranging from traditional,
Arabic-based orthography to computerization of
Hausa, from grammar to culture and other subjects.
It has attracted academics, missionaries, former
expatriates and Hausa themselves to the only list
which deals primarily with Hausa issues. The H-
HAUSA list is edited by John E. Philips

Like all H-Net lists, H-HAUSA is moderated to edit
out material that, in the editors' opinion, is not
germane to the list, involves technical matters (such
as subscription management requests), is inflamma-
tory, or violates evolving, yet common, standards of
Internet etiquette. H-Net's procedure for resolving
disputes over list editorial practices is Article I,
Section 2.20 of our bylaws, located at: http:/ /
www2.h-net.msu.edu/about/by-laws.html Logs and
more information can also be found at the H-Net
Web Site, located at: http:/ / www2.h-net.msu.edu/

To join H-HAUSA, please send a message from the
account where you wish to receive mail, to:
listserv@h-net.msu.edu (with no signatures or styled
text, word wrap off for long lines) and only this text:
sub H-HAUSA firstname lastname, institution
Example: sub h-HAUSA Leslie Jones, Pacific State U

Follow the instructions you receive by return mail. If
you have questions or experience difficulties in
attempting to subscribe, please send a message to:

H-Net is an international network of scholars in the
humanities and social sciences that creates and
coordinates electronic networks, using a variety of
media, and with a common objective of advancing
humanities and social science teaching and research.
H-Net was created to provide a positive, supportive,
equalitarian environment for the friendly exchange
of ideas and scholarly resources, and is hosted by
Michigan State University. For more information
about H-Net, write to H-Net@H-net.msu.edu, or
point your web browser to: http:/ /www2.h-


The firstAfrican journal digitized as part of the
African e-Journals Project is now available via Project
MUSE. Please visit http:/ /muse.jhu.edu/journals/

The Eastern Africa Social Science Research Review
will be followed later this year by two other African
e-journals. Further journals will appear over the next
years. We encourage all those interested in Africa to
visit this site and make use of its contents. By doing
so you assist the visibility and viability of African

The African e-Journals Project seeks to provide access
to journals from Africa in the U.S. and globally with
an economically-sustainable cost-recovery system
that provides fair recompense to African publishers.
The project is a collaboration of the Association of
African Universities (AAU), the African Studies
Association in the U.S. (ASA), the Council for the
Development of Social Science Research in Africa
(CODESRIA), and Michigan State University (MSU).
(At MSU, the project is organized by the African
Studies Center in cooperation with MSU Libraries,
MSU Press, and MSU Matrix: The Center for Hu-
mane Arts, Letters, and Social Studies Online.)

Full details of the African e-Journals Project can be
found at http:/ /www.isp.msu.edu/AfricanStudies/


Much of the American Museum of Natural History's
African ethnographic collection is now on-line (with
more coming) on the AMNH Anthropology
Division's website (http://anthro.amnh.org).

This site permits browsing the collections and
accessing related archival and photographic informa-
tion, including images of original hand-written
catalogues, some field notes, and some field photo-
graphs. The public site also includes an on-line
application to the Division's research site. The objects
on the public and research sites are identical, but
there are a few more search criteria on the research

The Museum's Library also has a public site on the
AMNH 1908 Congo Expedition (http:/ /
diglibl.amnh.org). As part of this project, many of
Herbert Lang's Congo photographs were scanned
and are now on line. They can be found on the
Anthropology site, not the Library site, however.

Nina Gregorev, the Anthropology Database Adminis-
trator offers the following access suggestions for
finding the photographs:
1. Type URL "http://anthro.amnh.org";
2. Click on the option "Archives and Publications"
(under the title "Research Online");
3. Click on the icon "Photographs from Congo

On the query screen you can just hit the button
"Search" and all 727 scanned photographs will
appear, or you can set up some criteria (choosing
from the "Category" pick-list and/or typing some-
thing in the "Keyword" field), and then click on the
"Search" button.

Each photo has been assigned a very broad category
(in some cases more than one) just to give an idea of
the content of the photographs: ACTIVITY (music)
also check the checkbox "With Related Artifacts" and
submit the query: it will bring up all field photo-
graphs, identified so far, that include images of
related artifacts from the collection.

In order to access the African ethnographic collection
database from the public site, click on the option
"Collections Database" (under the title "Research
Online") and then click on the icon "African Collec-
tion". The Native American and Asian collections are
also on-line.

Looking for feature article submissions

We have recently launched a website thatfollows the
themes: Photography:Africa, Art, Culture, Diversity,
Environment, Travel and Humanity. The idea is for
the site to grow into a substainable organisation. Part
of this process requires the development of the
feature articles with interest.

Contact: home@africanaperture.; URL:


ACASA members are encouraged to log into
LACMA's "Collections Online" http:/ /
collectionsonline.lacma.org/ to view approximately
200 artworks from LACMA's African art collection.
Included in this fully searchable database is a broad
range of artworks from the areas and peoples listed

below. Of special interest is the large collection of
artworks from central Africa gifted by Lee and Rada

Developed for the academic community as well as
the general public, "Collections-Online" permits
users to search by simple or advanced terms, and
includes several suggested "browses", e.g.,
beadwork, metalwork, figures, masks, ritual art,
royal art and utilitarian objects.

A special feature of LACMA's database is the "image
viewer," which allows scholars, students and collec-
tors to enlarge and juxtapose multiple images and
details for study or comparative purposes. Users can
also search across 150,000 catalogue entries from the
Museum's non-circulating research library within the
same database.

With this most recent launch, the Museum's African
holdings join 44,000 other records and 24,000 digital
images already online from the curatorial depart-
ments of Islamic Art, Japanese Art, South- and
Southeast Asia Art, Photography, German Expres-
sionist Graphics, Prints and Drawings, and Costume
and Textiles. "Collections Online" is an MWeb TM
Museum Website (www.systemsplanning.com). It
was supported in part by a generous grant from the
Getty Grant Program. Questions:


As allAfrica.com's executive editor, I'm keen to
expand our arts coverage. We are primarily a site that
delivers news and information direct from Africa-
based publications and broadcasters but we do also
include press releases and stories about Africa-
related events and diaspora-centred events abroad.
If you have an event, or a conference, publish a book
or write a report that you feel would be of interested
to the global African affairs audience please do send
it to us at newsdesk@allafrica.com or contact me
directly if you would like to discuss an idea.

In case H-AfrArts users aren't aware of it,
allAfrica.com has an a number of pages that offer
African arts and related news direct from the African
press. This covers anything from antiquities to
modern artists, from ethnographic musical surveys
to the latest album releases, book reviews and news
about/interviews with writers and a host of other
topics. You can visit those pages at:
http:/ /allafrica.com/ arts/
http:// allafrica.com/books/
http:/ / allafrica.com/ music/

and listen to the BBC's African weekly arts program
http: / allafrica.com/ partners/ bbc/

More generally, our home page is at:

and you might like to look at the photogalleries at:
http:/ / allafrica.com/photoessay/

Akwe Amosu (Ms), Executive Editor

Deadline: 2003-03-03

The forthcoming issue of P Art and Culture is
dedicated to "Magic in Art". One of its topics is about
the African artifacts, thatare created to communicate
with spirits and gods, aiming to foretell the future.

Contact: editor@pdergisi.com URL: www.p-

Professor Cornelius Oyeleke Adepegba passed away
on Tuesday, 1 October 2002, at University College
Hospital, Ibadan. Professor Adepegba served as
Director of the Institute of African Studies, University
of Ibadan from May 1992-95 and from 1998-2001. He
also taught at the Institute, in various capacities,
since 1976 after receiving a Ph.D. in Art History from
Indiana University, under the supervision of Profes-
sor Roy Sieber.

Throughout his life, he pursued an active research
agenda and wrote on a range of Nigerian art topics.
He published over 40 works, including papers on
Nok terracottas, on the Yoruba concept of art, and on
contemporary Nigerian art as well as books, includ-
ing Nigerian Art, Its Traditions and Modem Tenden-
cies (1995), Yoruba Metal Sculpture (1991), and
Decorative Arts of the Fulani Nomads (1986). He also
received several fellowships and grants, including a
Fulbright Fellowship (1993-94) and more recently, a
senior fellowship at the Smithsonian Museum of
African Art (2002-3) and a Getty Collaborative Grant
His intellectual energy, academic integrity, and wry
sense of humor will sorely be missed by his family,
colleagues, and students.

E sun re o.


Nominations for the first ACASA Sieber Dissertation Award are requested from primary
Ph.D. advisors for outstanding dissertations on some aspect of African and/or African-
related diaspora art, in any discipline. Dissertations completed in the period from
September 1, 2000 to September 1, 2003 are eligible for consideration by the award
committee. Advisors may nominate one dissertation only. Dissertations should be
submitted in English. The award of $500 will be given at the 13th ACASA Triennial, to
be held in Cambridge, MA, in Spring 2004.

Dissertations (a CD-ROM copy, with text in Microsoft WORD) should be sent by the
author to chair of the Sieber Dissertation Award Committee at the address below, along
with a letter indicating author's name, university affiliation, current address, email
address, telephone, fax and the name of the nominating PhD advisor. In special cases
when CD-ROM copies are not possible, dissertation chapters may be sent by email.
Advisors should ask their students to send their completed dissertations as soon as
possible, but no later than September 15, 2003.

The Arts Council of the African Studies Association (ACASA), an independent non-
profit professional association affiliated with the African Studies Association (ASA), was
established to facilitate communication among scholars, teachers, artists, museum
specialists and all others interested in the arts of Africa and the African Diaspora. Its
goals are to promote greater understanding of African material and expressive culture
in all its many forms, and to encourage contact and collaboration with African and
Diaspora artists and scholars. Among its other activities, the Council fosters graduate
student scholarship and conference participation, through ACASA Triennial student
travel grants and the Sieber Dissertation Award. The Sieber award was established to
honor the memory of Professor Roy Sieber who, through his research, writing, and
mentoring of many Ph.D. students, has made a lasting contribution to the study of
African art.

Elisha P. Renne, committee chair Dr. Mary Jo Amoldi
Sieber Dissertation Award Committee NMNH: Anthropology
Department of Anthropology The Smithsonian Instititution
1020 LSA Bldg., 500 S. State St. 4600 Connecticut Ave NW #220
University of Michigan Washington, DC 20008
Ann Arbor, MI 48109-1382
Email: erenne@umich.edu

Professor Paula Girshick Dr. Sylvester O. Ogbechie
Department of Anthropology Department of Art History and Architecture
Indiana University Univ of California, Santa Barbara
Student Building 130 Santa Barbara, CA 93106-7080
Bloomington, IN 47405


13th Triennial Symposium on African Art
April, 2004

The board of directors of ACASA invites members to
submit panel proposals for the next Triennial Sympo-
sium on African Art, to be held in April, 2004. A pre-
liminary list will be published in the next issue of the
ACASA Newsletter, this coming Winter. A second call
for panel proposals and a first call for paper proposals
will appear in the same newsletter, then a final call for
papers will appear in the Spring 2003 newsletter.

Proposals should include the following information:

1. Title
2. A proposal of up to two pages, describing the
premise and scope of the panel
3. A one paragraph abstract, to be published in the
4. A one-page CV of the panel chair
5. Contact information for the chair, including mailing
address, phone and fax numbers and e-mail ad-
dress, when available.

Please send proposals to: Christraud Geary, Chair/
Triennial Program Committee, by e-mail to, or by
regular mail to:
Christraud M. Geary, Curator
Arts of Asia, Oceania and Africa
Museum of Fine Arts, Boston
465 Huntington Avenue
Boston, MA 02115

Tel. (617) 369-3222
Fax (617) 859-7031
E-mail cgeary@mfa.org

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: I (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.


Home Phone:

State: Zip:
Work Phone:


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

Education (highest degree):


Primary Profession:



University Teaching

Art History


Other Teaching




Research Student

Primary Regional Focus: Central Africa
Western Africa

Eastern Africa

Northern Africa

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:

Tavy D. Aherne
ACASA Secretary / Treasurer
2261 Bent Tree Drive
Rlnominaton IN 47411



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


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