Title: ACASA newsletter
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Title: ACASA newsletter newsletter of the Arts Council of the African Studies Association
Alternate Title: Newsletter
Physical Description: v. : ; 28 cm.
Language: English
Creator: African Studies Association -- Arts Council
Publisher: The Council
Place of Publication: S.l
Publication Date: Winter 2004
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.
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 Related Items
Preceded by: Newsletter of the Arts Council of the African Studies Association

Full Text


The Arts Council of the African Studies Association



Presidential Notes 1
Message from the Editor 2
ASA News 2
ACASA Board and Business Meeting Minutes 2
Exhibitions 4
Conferences and Festivals 7
Current Publications and Films 8
Summer Programs 10
Fellowships 11
Internet Resources I 12
Triennial Symposium Information 13
Registration Form 16
Preliminary Program 17
Membership Directory Addendum 25
Triennnial Fundraising Form 29
Voluntary Contribution Form 30
Membership Form 31

Volume 68
r^^^^^^^^^^^ ^

The Arts Council of the African Studies Agsociation
Newsletter, Volume 68, Winter 2004

ACASA Board of Directors

Robin Poynor, President
Robert Soppelsa, Past President
Tavy D. Aherne, Secretary/Treasurer
Rebecca M. Nagy, Newsletter Editor
Joanne Eicher
Christraud Geary
Babatunde Lawal
Ikem Okoye
Constantine Petridis
Elisha Renne
Enid Schildkrout

All correspondence regarding membership informa-
tion and payment of dues should be directed to:

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

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

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

The ACASA Newsletter is published three times a
year: Spring/Summer, Fall, and Winter. The Newslet-
ter seeks items of interest for publication. You may
send news about job changes, fieldwork, travel,
exhibitions, new publications, etc. The next ACASA
Newsletter will be Spring/Summer 2004. Please
send news items by April 10 to:

Rebecca Martin Nagy
Har Museum of Art
P.O. Box 112700
Gainesville, FL 32611-2700

Email: rnagy@harn.ufl.edu
Phone: 352-392-9826
Fax: 352-392-3892

Acknowledgement: Graphics featured in the
headings of this Newsletter were drawn by Tami
Wroath, based on designs found on artworks in the
collection of the Harn Museum of Art. The graphic of
the dancer on the fundraising form was designed by
dele jegede.


( Presidential Notes

Presidential Notes

We are counting down to The Thirteenth Triennial.
The host committee in Cambridge and Boston has
been working non-stop to assure a stimulating
series of events in Cambridge and in the Boston
area. The list of panels and papers is included in
this issue of the Newsletter, so if you have not
already made plans to attend, I trust looking over
the list of topics will convince you to make your
reservations now.

Fundraising is still an issue. Many of you have
written checks or placed donations on your credit
cards. Only one of the 600 or so dealers and
collectors we asked for support responded. I am
requesting that you consider supporting the
Triennial again by helping to underwrite graduate
student and African scholars attending the
Triennial. Please send contributions to Tavy

Robin Poynor


Message from the Editor

- IEll ACASA Board Meeting Minutes

Thank you to ACASA members who have contributed
sponsorships to mail Newsletters to our courtesy
members in Africa and the Caribbean. To date,fifteen
$10 sponsorships have been received by Secretary/
Treasurer Tavy Aherne.The Board of Directors
agreed to give priority to institutional members in
countries with the highest concentration of individual
ACASA members, while also including institutions in
as many countries as possilbe. Sponsorships are still
desperately needed. A Voluntary Contributions Form
is included in each Newsletter for your convenience.

Currently Sponsored African and Carribean

jBalme Library, University of Ghana
,-Bagero University Library, Kano, Nigeria
ZGentre for Cultural Studies Library, University of
Lagos, Nigeria
v-Gambia National Library, The Gambia
(Kenyatta University Library, Kenya
LMusee National, Mali
L.Atsee National, Guinea
ePMte National d'Abidjan, C6te d'lvoire
&National Cultural Foundation, West Indies
JUaiversit6 de Yaounde, Cameroon
dPhniversity of Ibadan Library, Nigeria
lJJniversit6 Nationale du Benin, Benin
LJUwieristy of Cape Town, South Africa
6Oniversit6 de Ouagadougou, Burkina Faso
University of ambi ,

I also wish to thank the following individuals for their
excellent work on the Newsletter:
Susan Cooksey, Assistant Curator for African Art,
Harn Museum of Art,
Jody Berman, Graduate Curatorial Intern, Harn
Museum of Art
Tami Wroath, Graphic Designer, Harn Museum of Art

Ift I ASA News

The ASA annual meeting in Boston, Oct. 30-Nov. 2,
included several exciting art-related panels, the
ACASA board meetings and a general business
meeting all of which were well attended by ACASA
members. Art-related panel offerings included a
stimulating range of topics, many relevant to the
theme of the conference, such as the role of children
in art. Thanks to the central Boston location, confer-
ees enjoyed a wide range of cultural offerings,
including a tour of local galleries, museums, and
historical sites, some within walking distance. The
success of this conference, and the exceptional
venue, bodes well for the ACASA Triennal in March,
also in Boston/Cambridge.

October 30, 2003.
Held at Cashmere Restaurant, Boston, MA.
Reporter: Enid Schildkrout

Attendees: Tavy Aherne, Jo-Anne Eicher; Chris
Geary, Rebecca Nagy, Robin Poynor, Costa
Petrides, Elisha Renne, Bob Soppelsa, Enid
Schildkrout. Ex-officio: Suzanne Blier

Membership: The Board discussed the serious
problem of the drop in membership and the large
numbers of lapsed members. With the aim of
recapturing these lapsed members individually,
Robin Poynor reported that he will compose a letter
and e-mail it to the Board, after which it will be sent
by both paper and e-mail to lapsed members.
Board members will send out letters individually.
Chris Geary suggested we also make some phone

Courtesy memberships: There are around 675
courtesy members compared to less than 100 dues
paying members. The board discussed the need to
verify this list and also to determine if these
courtesy members have e-mail. The Board would
like to send the Newsletter to individual members
via e-mail and restrict paper copies to institutions.

Fund raising report: Robin Poynor reported that
letters have been sent to past and present board
members, galleries and dealers. Putting a list of
sponsors in the Triennial program (if submitted by
January 10, 2004) and/or on the ACASA website
was discussed. The sponsorships would be: $250 -
Supporter; $500- Friend; $1000 Patron; $1000 +
Benefactor. Awards could be made for the Sieber
Dissertation award; graduate student travel
assistance; travel for Africans; disseminating
newsletter; unspecified.

Financial Report: Robin Poynor thanked Tavy
Aherne for researching the matter of charge card
costs and finding a solution, using Pay Pal, which
significantly reduces the cost of accepting credit

Newsletter: Rebecca Nagy reported that the Fall
2003 newsletter was mailed on October 29 at the
non-profit rate. The Fall Newsletter includes the
Directory, and ACASA Triennial panel lists with a
call for papers. Rebecca asked if we want to put the
Triennial program in the winter Newsletter. If so,
information is needed by January 15 to be mailed
Feb. 1.

Robin Poynor thanked Rebecca for taking on the
Newsletter. Rebecca acknowledged the help of
Susan Cooksey and Jody Berman.

Triennial: Suzanne Blier reported on the meeting of
the program committee for the Triennial. She
thanked Chris Geary for all her work on this. There
have been local complications including a lack of
university funding. But Karen Dalton at Harvard has
been very helpful.

The plans include a Museum Day on Wednesday, to
be held at the Peabody Essex Museum in Salem.
The focus will be the display of contemporary
African arts in museum settings. Barbara Thompson
of the Hood Museum at Dartmouth is organizing this.
Prita Meier is in charge of student inputs. A bus will
leave from the Fogg Art Museum.

There will also be an outreach program at Harvard
that still needs work. Barbara Baum and Lisa
Fernandez Simpson are working on this.

Two keynote speakers have been approached:
Holland Cotter and Carrie Mae Weems.

Thursday morning of the Triennial will be free and
there will then be three or four simultaneous panels.
All rooms will accommodate slides and PowerPoint.

There will be a lunchtime tour through the Peabody.
Friday evening will include a dinner/dance for $50
per ticket with a possible reduction for students. On
Saturday morning there will be panels through the
day and the keynote speakers in the evening
followed by the award ceremonies. The time for
speeches will be very limited. Longer remarks will
be published.

Sieber Dissertation Awards: Elisha Renne
reported that they have nine candidates for the
award including three from Nigeria. The committee
consists of Elisha, Mary Jo Arnoldi, Paula Girshick
and Sylvester Ogbechie.

Rubin Award: Jo-Anne Eicher, heading the
committee, reported that Doran Ross has contacted
AA to get a list of books sent to AA for review. Jo-
Anne has sent a letter to publishers asking for
books. There is a December 31 due date. Roland
Abiodun is also on the committee. Jo-Anne brought
up the matter of the lack of clarity in the criteria for
example, a book in Spanish has been submitted.

Lifetime Achievement Award: Bob Soppelsa
reported that there have been four nominations.

Artist Award: Bob Soppelsa reported that Simon
Ottenberg raised the matter of a lack of criteria for
the African artist award. It has been decided not to
offer such an award until criteria are developed.

African Arts: Enid Schildkrout reported that she
had not managed to get any information from the
people at UCLA dealing with AA and that therefore
we would have to wait for the report from Allen
Roberts regarding the situation.

Nominations: Robin Poynor noted that the Board
seats of Enid Schildkrout, Robin Poynor (who
continues as Past President), Jo-Anne Eicher and
Bob Soppelsa need to be filled in April.

By-Law Revisions: Robin Poynor noted that the
by-Laws need to be revised. Some matters to deal
with are the need for seats on the Board for the
newsletter editor and the H-Net editor (both non-
voting). By-law changes have to be ratified by the
board. Bob Soppelsa is Chair of the By-Laws
revision committee.

CAA: Costa Petrides reported on the African arts
panels for the CAA meetings. There will be two
sessions Friday Feb 20 from 12-1:30 will include
a session chaired by Christa Clark and Vicki
Rovine. Costa will also negotiate with CAA to use
the ACASA time slot allocated for a business
meeting for a roundtable on cultural property. Chris
Geary expressed interest in leading this.

H-African Arts: Barbara Thompson is the H -
African Arts news editor and she said that a new
editor needs to be appointed for Dialogues, Books,
and Exhibition Reviews. Michael Conner was not
at the meeting to report on list-serve matters.

ACASA Business Meeting Minutes
Friday, October 31, 2003, 8:00-9:30 PM
Sheraton Hotel, Boston/Kent Room

The meeting was called to order by President
Robin Poynor at 8 PM.

Treasurer's report: membership is still down
significantly; donations to the endowments are
also lagging behind past figures. Pay Pal is now
an option for membership payment.

Discussion of membership reminders: There
was general agreement in the room: members feel
reminders should be sent annually toward the end
of the calendar year by US Mail; otherwise, current
members forget to renew and potential members
don't know how to join.

Newsletter: Rebecca Nagy at the Ham Museum
is now serving as Newsletter editor, assisted by
Susan Cooksey, Jody Berman and Tami Wroath,
all members of the staff at the Har Museum.

H-AfrArts: Edited by Ray Silverman and Michael
Connor until now. Barbara Thompson at the Hood
Museum, Dartmouth has agreed to serve as an
editor as well.

Triennial Plans: The 2004 Triennial will be in
Cambridge, Mass., hosted by Harvard University's
Department of African and African-American
Studies and the W.E.B Du Bois Institute. Working
in cooperation with Suzanne Blier and her
students, Christraud Geary of the ACASA Board is
serving as Program Coordinator. Museum Day,
coordinated by Barbara Thompson of the Hood
Museum, will be at the Peabody Essex Museum in
Salem on March 31, the day before Triennial
panels. Committees have been formed for the
Sieber Dissertation Award, the Arnold Rubin Book
Award and the Lifetime Leadership Award.

African Arts: Allen Roberts reported that the
publication of African Arts will move soon from the
Coleman Center at UCLA to an academic press,
yet to be named. Previous issues of the journal
are available from the Coleman Center at a
significant discount.

Meeting adjourned, 9:30 PM.
Minutes submitted by Robert Soppelsa, past

I1 IExhibitions

Material Differences: Art and Identity in Africa
Organized by the Museum for African Art, NY
Curator: Frank Herreman
Material Differences: Art and Identity in Africa takes
the visitor on a journey that reveals the traditions,
rituals, and spiritual powers intrinsic to the materials
used to create works of art. This exhibition
examines the different layers of meaning inherent
in the materials of each object.
Catalogue Title: Material Differences: Art and
Identity in Africa
Hamline University, St. Paul, MN, March 5 May
22, 2004
Crocker Art Museum, Sacramento, CA, April 2 -
June 19, 2005

Looking Both Ways: Art of the Contemporary
African Diaspora
Organized by the Museum for African Art, NY
Curator: Laurie Ann Farrell
Looking Both Ways: Art of the Contemporary
African Diaspora explores the increasing
globalization of the African Diaspora, featuring
artists who were born in Africa and now live and
work in Western countries including Belgium,
France, Germany, the Netherlands, Portugal, the
United Kingdom, and the United States of America.
This exhibition presents new and recent works that
focus on the interplay between the artists' African
backgrounds and their new environments.
The list of participating artists includes:
Fernando Alvim, Ghada Amer, Olad6el Bamgboye,
Allan deSouza, Kendell Geers, Moshekwa Langa,
Hassan Musa, N'Dilo Mutima, Wangechi Mutu,
Ingrid Mwangi, Zineb Sedira and Yinka Shonibare.
Catalogue Title: Looking Both Ways: Art of the
Contemporary African Diaspora
Peabody Essex Museum, Salem, Massachusetts,
March 24 June 20, 2004
Cranbrook Art Museum, Bloomfield Hills, Michigan,
September 10 November 28, 2004
Museu Calouste Gulbenkian, Lisbon, Portugal,
January 5 March 5, 2005
Museum of the African Diaspora, San Francisco,
California, January March, 2006

Beauty For the Gods: Urhobo Art in a Modern
Organized by the Museum for African Art, NY
Guest Curator: Dr. Perkins Foss
Description: Beauty for the Gods: Urhobo Art in a
Modern World is the first exhibition to focus
exclusively on the Urhobo, introducing never before
seen artworks, photographs, and video and audio
recordings of cultural performances, from yesterday
and today. This exhibition introduces the spiritual
beliefs, social and economic life, and the role that
art plays among the Urhobo peoples.
Catalogue Title: Beauty for the Gods: Urhobo Art in
a Modern World
Museum for African Art, NY,
April 8- August 16, 2004
Columbia Museum of Art, Columbia, SC,
October 16, 2004 January 16, 2005

A Decade of Democracy: Witnessing South Africa

Organized by the Museum of the National Center of
Afro-American Artists. Boston, MA

This exhibition marks the tenth anniversary of the
introduction of democracy in South Africa, after the
celebrated elections of April 1994. Drawing from the
best of contemporary art, it provides a plurality of
voices that address both historical events and personal

A Decade of Democracy: Witnessing South Africa
articulates the variety of strategies that South African
artists are using either to connect or to disconnect from
their past. The multi-media exhibition includes
paintings, prints, photographs, mixed media, sculpture,
video works, and installations. The framework allows
for the works to create a conversation that explores the
impact of apartheid and the complexities and the
multitude of issues that South Africa is confronting
today. The exhibition is available for tour.

For more information, go to: www.sondela.net.

or contact:
Donna M. Keefe
263 Hurley St. #2
Cambridge, MA 02141

Boston, MA: April 1 to July 31, 2004

Museum of the National Center of Afro-american

300 Walnut Avenue
Boston, MA
Opening Celebration/Reception: April 2, 2004 6:30
PM to 11:00 PM

Available Touring Dates: August 1, 2004 May 31,

African Gold from the Glassell Collection,
The Museum of Fine Arts, Houston

Organized by the Museum of Fine Arts, Houston.

African Gold from the Glassell Collection, the
Museum of Fine Arts, Houston presents a rich
diversity of Akan gold work and royal regalia from
Ghana, West Africa. With approximately 135 works
of art primarily from the region formerly known as
the Gold Coast, the exhibition includes exquisitely
crafted gold jewelry; gold leaf covered royal
counselors' staffs, kente cloths, crowns, sandals,
swords, and figurative sculptures. Large full-color
photomurals convey the splendor and abundance
of Akan kingdoms, vital in Ghana today. The works
are drawn from the collection given to the Museum
of Fine Arts, Houston in 1998 by Alfred C. Glassell,
Jr., and is considered to be the most substantial
collection of African gold in an American museum.

High Museum of Art, Atlanta, GA,
March 13 to September 19, 2004
For more information go to: www.High.org

Podai: West African Painting

Organized by Museum-Kunst-Palast, Dusseldorf,

In numerous African cultures, body painting is one
of the most important rituals. The collector Karl-
Heinz Krieg got acquainted with this art in 1987 and
commissioned the finest female artists to create
works on paper and canvas. The unique collection
comprising 3500 works reveals how from a limited
range of colors and strongly abstracted motifs,
pictures are developed by applying brilliant
compositions of colors and pictorial forms. The
exhibition presents works by ten female artists who
took a thorough look at the female initiation ritual of

body painting. The entirely autonomous pictorial
language is based on the proportions of the human
body and draws from the repertoire of symbols of
the Loma culture. Nevertheless, new circumstances
also entailed changes to the artists' work. According
to their biographies, the younger ones among them
were no longer firmly rooted in the tradition they
had grown up during the dictatorship of Sekou
Tour6, where initiations were prohibited and made
use of the new possibilities in terms of material.
Their painting plays with the old repertoire of forms
and motifs and abandons the 'pictorial grammar',
which is at the center of body painting. Some of the
works have become figurative. They depict animals
and plants, but rarely humans.

Museum-Kunst-Palast, Dusseldorf, Germany
December 13, 2003 February 29, 2004

email: info@ museum-kunst-palast.de
website: http://www.museum-kunst-palast.de/

DIS/COLOUR: An Exhibition of Works by Berni

Organized by Transylvania University's Morlan
Gallery, Lexington, Kentucky

The Morlan Gallery will be hosting a solo exhibition
of works by South African artist Berni Searle. In
addition, Searle will be in residence on
Transylvania's campus for several public events,
including the exhibition opening.

Berni searle in residence: March 21-26
Transylvania University's Morlan Gallery
March 24, 2004 April 23

For further information about the exhibition, or about
Searle's public appearances, please contact:

Kim Miller
Assistant Professor of Art History & Women's

Body Maps A Memory Box Project
Memory Box is a community outreach program
initiated by the University of Cape Town that
works with HIV+ people to encourage
expression and contemplation of their
experience through writing, painting and other
media. In 2003, Memory Box Project and
Medecines Sans Frontieres began to document
the lives of a group of HIV+ women. With the
help of Cape Town-based artist, Jane Soloman,
the participants created Body Maps, life size
images tracing the contours of their bodies that
visualize the virus and articulate each
individual history. Each Body Map image bears
the name, the place and the date of birth, as
well as the handprints and the footprints of its
maker/subject. On the Body Maps, painted
representations of wounds, marks and
attacking HIV viruses appear together with
textual fragments and areas of emotional
significance.The Body Maps draw us into a
direct dialogue with South Africa's epidemic
AIDS problem. We are invited to identify with
individual women on a highly personal, emotive
basis. But these are ultimately images of hope
and beauty that are also used as qualitative
research tools as well as instruments for
narrative therapy and treatment literacy

Upon the exhibition's closing in New York, Body
Maps will be able to travel to other institutions,
especially to university galleries and/or
research centers. For more information please

David Krut Fine Art
526 West 26th Street, #816 & #608
New York, NY, 10001
email: www.davidkrut.com

David Krut Fine Art
December 9 February 28, 2004

Transylvania University
Lexington, KY 40508

lB Conferences and Festivals

Hamline University Festival

Hamline University in Saint Paul, Minnesota is
pleased to announce the celebration of its 150th
anniversary in Spring 2004 with the festival Africa:
A Legacy in Memory. The centerpiece of this
festival is the exhibition Material Differences,
curated by Frank Herreman of the Museum for
African Art in New York, which Hamline will host
April 3 May 22, 2004. The Museum for African Art
dedicated Material Differences to the memory of
the late Dr. Roy Sieber, and Hamline is extending
this dedication to this university-wide festival.

Africa: A Legacy in Memory is devoted to the artistic
and cultural achievements of the continent of Africa
and its profound influence on the age of modernity.
This festival acknowledges many of the rich
traditions that remain in the inherited memory of
African peoples; it recognizes these oral traditions,
encompassing history, kinship, poetry, and music
that have been passed down from generation to
generation, as legitimate sources of knowledge and

Over the course of this two-month festival, a
number of exceptional events will take place. On
Saturday, April 3, 2004, Dr. Henry Louis
Gates, Jr. of Harvard University will deliver the
festival's keynote address prior to the opening of
the exhibition that afternoon. Other events include
performances by contemporary and traditional
African musicians, campus lectures by Africanist art
historians, a variety of interactive classroom
activities, as well as docent-led tours for adults and
children. In addition, several prominent African
writers have been invited to the annual Humanities
Symposium of the College of Liberal Arts.

The festival will be advertised with a large museum
poster, which will be distributed both nationally and
internationally to museums, educational and
cultural institutions, as well as individuals involved
in the appreciation and study of the arts and
cultures of Africa. Members of ACASA and
subscribers to the H-AfrArts Discussion Network
are welcome to request a complimentary poster.
Please contact Professor Leonardo Lasansky,
Chair of the Department of Studio Arts and Art
History and Festival Director. Please send mailing
address information via e-mail to the attention of
Professor Lasansky at africa@hamline.edu. Any
inquiries about the festival can also be forwarded
by e-mail to the above address. More information
about Africa: A Legacy in Memory, including a
calendar of events, is available online at

Annual Conference of the Midwest Art History

The Midwest Art History Society (MAHS) will be
holding its annual conference at the University of
Notre Dame from April 1-3, 2004. Although these
dates conflict with the ACASA Triennial Conference,
there will be one or more panels on African art at the
MAHS conference.

Two panels, "African Art Traditional and
Contemporary" sessions I and II will focus on
African visual culture reflecting issues of both social
and personal identity and art made for either
domestic or international consumption.

Works discussed will be in a variety of media, such
as sculpture, painting, architecture, textiles,
ceramics, metalwork, photography, installation and

Session chairs:
Kate Ezra,
Coordinator of Art History
Columbia College
Art and Design Department
600 S. Michigan Avenue
Chicago, IL 60605.
Fred T. Smith,
School of Art, Kent State University,
Kent, OH, 44242.
Email: fsmith@kent.edu

Five College African Scholars Program

This program brings junior and mid-level
African scholars, employed by and teaching
in African universities and with active
research projects with an African focus, for
5 and 10 month research residencies at
Amherst College, Hampshire
College, Mount Holyoke College, Smith
College, and the University of Massachu-
setts Amherst.

May 1, 2004 Deadline for the Terms:

Mid- January to May 2005: Projects on the topic of
Power and Representation

Mid-August to December 2005: Projects on any
topic in Humanities & Social Sciences

Applications welcomed from 9/1/03 to 5/1/04
For more information go to:

I0 Current Publications and Films



Edited by Julio Navarro
Translated from the Portuguese by Harriet C.
McGuire, Zita C. Nunes & William P. Rougle
9987686451 223pp. co.ill.pl. 2003 Mkuki Na Nyota
$65.95/39.95 cased

Malangatana is one of the great African artists of
the 20th century. Best known for his dramatic
paintings, he has produced a broad range of works
in diverse media drawings, murals, ceramics,
sculptures, as well as poetry and music. For the
most part his works are commentaries on the
historical and political events in Mozambique, and
on the experiences of colonialism, the anti-colonial
struggle, civil war, and independence. They also
explore broader themes of violence and resistance
to violence, capturing the hardships of human life
and manifestations of human dignity. This color-
illustrated book of Malangatana's paintings is a
showcase of his work. The paintings are
accompanied by two introductory essays, one on
the artist's biography, the other a critical essay
situating the paintings and the importance of his
work in context.

Available within N. America from:
Michigan State University Press
1405 South Harrison Road, 25 Manly Miles Bldg
East Lansing, MI 48823-5202, USA
Telephone 517/355-9543 I FAX: 800/678-2120
International FAX: 517/432-2611
Email: msupress@msu.edu-

Available outside N. America from:

-anteraEnthroned '

David H. Brown Ph.D
University of Chicago Press
ISBN 0226076105
Cloth $95.00 Paper $38.00

Ever since its emergence in colonial-era Cuba,
Afro-Cuban Santeria (or Lucumi) has displayed a
complex dynamic of continuity and change in its
institutions, rituals, and iconography. In Santerfa

Enthroned, David H. Brown combines art history,
cultural anthropology, and ethnohistory to show how
Africans and their descendants have developed
novel forms of religious practice in the face of
relentless oppression. Focusing on the royal throne
as a potent metaphor in Santeria belief and practice,
Brown shows how negotiations among ideologically
competing interests have shaped the religion's
symbols, rituals, and institutions from the nineteenth
century to the present. Rich case studies of change
in Cuba and the United States, including a New
Jersey temple and South Carolina's Oyotunji Village,
reveal patterns of innovation similar to those found
among rival Yoruba kingdoms in Nigeria.
Throughout, Brown argues for a theoretical
perspective on culture as a field of potential
strategies and "usable pasts" that actors draw upon
to craft new forms and identities.

For more information go to:

The African American Experience in Cyberspace:

A Resource Guide to the Best Web Sites on Black
Culture and History
Abdul Alkalimat (Pluto Press, 2004, 294 pages)

Ten historical stages of development and 20 aspects
of society and culture comprise the chapters of this
basic guide to the black content in cyberspace. This
is a research tool to speed up access to the most
scholarly and accurate information in cyberspace.
This is a continuation of the text book project for
Introduction to Afro-American Studies: A Peoples
College Primer http://eblackstudies.org/intro/.

Introduction by Howard Dodson, Director, Schomburg
Center for Research in Black Culture: "In an era when
the advances of the Internet and web technologies
have threatened the very existence and relevance of
books, Alkalimat has written an indispensable book
for students, teachers, and scholars of the Africana
experience who want to know what the Internet can
do for them."

Mark Kornbluh, Executive Director, H-NET, Michigan
State University: "[Alkalimat's book] is not only an
invaluable resource for all interested in the Black
experience, but it is also testimony to the proliferation
of African American voices on the Internet."

Dorothy Washinton, Librarian of the Black Cultural
Center at Purdue University: 'This stellar array of
Africana digital archives, primary source material,
streaming audio and video, syllabi, e-texts, music,
photos, art, literature, bibliographies and
webliographies should be in every personal and
institutional library where users want to use cyber-
sources to better understand African and the

Gloria H. Dickinson, President of ASALH: "At a time
when the proliferation of websites makes it so hard to
discern quality academic resources, Abdul Alkalimat
has provided a clear, concise user-friendly text that
serves as both a research aide and an introduction to
digital scholarship by and about persons of African
1-800-232-0223 (20% discount available with code
http://www.africa.utoledo.edu/faculty/newbook.html or:

Brief History of Art with Special Reference to West

E.V. Asihene

This is a concise work, tracing the evolution of art
from pre-historic modes to what is understood to be
modern art, exploring specifically the contribution
West Africa has made to the world's art heritage. The
book contains many images and illustrative examples
of art from West Africa. The author, recently
deceased, is noted for his life-long achievements as a
painter, sculptor and scholar. He is recognized for his
contribution to art and art education in Ghana, and for
communicating knowledge of West African art and art
history internationally. His sculptures, which are
housed at the Ghana National Museum, include the
bust of Kwame Nkrumah, President of the first
Republic of Ghana. Outside Ghana he has been a
visiting Professor of Art at Texas Southern University.
He is author of Introduction to West African Art
(Constable and Co.).

152pp.ill.pl 2003
Woeli Publ. Services
For more information go to:

SCatalogu-efor El Anatsui: Gawu

The catalogue for ElAnatsui: Gawu, with essays by
Sylvester Ogbechie, Atta Kwami and an artist
interview by Gerald Houghton, is available from
Oriel Mostyn Art Gallery.
Oriel Mostyn Gallery 2003
ISBN 0906860520
47 pages, 45 illustrations

Please contact:

Oriel Mostyn Gallery
2 Heol Llandundno
LL 30 1AB Wales
t 44 (0) 1492 879201
Web address: mostyn@org

Ibeji: The Cult of the Yoruba Twins
Edited by George Chemeche with contributions by
Yoruba artist Lamidi O. Fakeye and art historians
John Pemberton III and John Picton.
Catalogue accompanying the Museum for African
Art, NY exhibit: Doubly Blessed: The Ibeji Twins of
Nigeria Oct 23 March 1, 2004. Through the grace
and charm of each figure, the captivating story of
the vital ritual practices surrounding Ibeji and the
aesthetic values and artistic traditions of the
Yoruba people unfolds. For further information go
to: www.africanart.org
or write to:


Recalling the Future: Art in Contemporary Africa

A Co-Production of Arts in Action Society, Canada
and Sud Prod Senvision, Senegal, 2000; Cheike
Tidiane N'diaye, Executive Producer, Claudine
Pommier, Director.

Recalling the Future: Art in Contemporary Africa is
a 48-minute introduction to practicing artists and
current philosophies about the production of art in
contemporary Africa. Contemporary African artists
are facing a difficult task: 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 and music results in etpectations-of
"Africanity" and the denial of the right to
modernity. Using as a focus and starting point
the 3rd Biennial of the Arts in Dakar, Senegal
[Dak'Art 98], Recalling the Future explores how
the many trained, professional modern visual
artists from every country of Africa take their
place in the worldwide evolution of artistic

Recalling the Future/Art in Contemporary Africa
is available in both French and English versions
[with appropriate subtitles]. The cost of the video
inlcudes public performance rights in a
designated gallery, museum or classroom
setting. $200 USD plus $20 handling and
Also available is the film The Art of Viya Diba/
The Intelligent Hand. For more information go to:


or contact:
Claudine Pommier
Executive Director Arts in Action Society
5570 Blenheim Street
Vancouver, B.C.Canada
V6N 1 P5

Ii=' 1 Summer Programs

Florida Atlantic University's Second Annual
Women Studies Tour of Ghana

The Women's Studies Center at Florida Atlantic
University is proud to announce its 2nd Annual
Summer Study Tour to Ghana, West Africa from:
April 30-May 10 2004.

For more information on the Ghana study tour,
please refer to the link below:


For further information please contact Dr.
Josephine Beoku-Betts, the course coordinator
for the program at:


Memories of Africa: Textile Techniques
August 5 -19, 2004 in Ghana, West Africa

Cross Cultural Collaborative, Inc. invites
participants to a textile workshop that will explore
textile arts through the context of African art and
crafts and the story quilt tradition of African
American history.

An opening seminar with a Ghanaian art
therapist will work through memory retentions
and symbolic connections between cultures.
Techniques covered will include: adire, tie and
dye, batik, adinkra, Asafo flags and other African
surface decorating techniques. Visits will be
arranged to museums, galleries and private

Workshops and accommodations are at Aba
House, a cultural center located in a suburb of
Accra. Rooms are double occupancy with
attached private baths. There is a local cook in
residence and many opportunities to interact with
Ghanaian neighbors.

CCC, Inc. is an educational non-profit that
encourages creativity between cultures.

WORKSHOP COST: $3500.00 includes round
trip airfare from NY, room and board, workshop
materials and airport pickup.



As the founder of the West African Museums Programme (1982-87) and Chief Curator of the National Museum
of African Art (1987-97), Philip L. Ravenhill was a major creative force in the study, collection, preservation, and
exhibition of African art. The Philip L. Ravenhill Fellowship is awarded annually to an art historian, cultural
anthropologist, museum curator, or visual artist from Africa. The Fellowship is intended to give deserving
individuals the opportunity to travel, conduct research, or practice their art in North American or European
museums or educational institutions. Preference is given to young or mid-career scholars or artists who have
not recently had the opportunity to travel internationally. Support may be requested for periods of one to three
months, and applications will be funded up to US $7,500. Successful applicants will have demonstrated
accomplishment in research related to or practice of contemporary or traditional African arts. Fellowship
recipients will be expected to deliver one lecture or give one critique and to make themselves available to staff,
faculty and students at the host institution.

All applicants must be citizens of an African country, although not necessarily current resident of Africa. The
following materials must be included in support of the application:

1. Resume or curriculum vitae.

2. A description of no more than one thousand words clearly explaining the project to be undertaken and the
expected outcome (e.g. monograph, chapter, article, exhibition).

3. An official letter written by the department head of the proposed host institution (museum, art school, college,
or university) confirming approval of the applicant's proposed collaboration with that institution.

4. Three letters of reference from professional employers, mentors, or colleagues.

5. Projected dates of travel and length of residency.

6. The name and address of a contact person at the proposed host institution.

7. A detailed budget including travel expenses, living expenses, and supplies.

8. For visual artists, ten to twenty 35mm slides of recent work (or digital equivalent).

Applications should be sent to:

John Mack, Keeper,
Ethnography Department,
British Museum, Great Russell St.,
London WC1B 3DG.

All applications are due June 15, 2004.

im l Internet Resources

New Website for Amrad African Center

The new website's purpose is to house the current
project for the Amrad African Center as well as serve
as an online guide for Amrad Publications and The
Amrad Collection. On the website are pictures from
the collection, videos from the Dakar festival of 1966
and the new catalogue for Center publications (includ-
ing two new releases). Also included is the complete
proposal for a new project for the Amrad African
Center which may be of interest to ACASA members.


Esther A. Dagan
1236 Fort St.
Montreal, Qc, H3H 2B3, Canada
Tel/Fax: (514) 931-4747
info @amradafricancenter.com

S Triennial Symposium Information

Letter From Program Chair

Harvard University is pleased to host the Arts Council of the African Studies Association's Thirteenth Triennial
Meeting of African Art. Cambridge (and the Boston area more generally) will be a vital setting for related
discussions. Through the days' events, the overarching theme of African Art: Roots and Routes will offer
exciting opportunities for participants to re-examine issues and theoretical implications of diaspora and
cultural exchange in addition to an array of other topics. These will include not only a reconceptualization of
origins and diasporas, modernity and tradition, continuity and change but also an examination of flows,
exchanges and "third spaces" which transcend such dualisms in relation to Africa-linked arts, artists and
cultural forms. The W. E. B. Du Bois Institute for African and African American Research at Harvard and the
newly renamed Department of African and African American Studies are playing key roles in the organization
of this event. W. E. B. Du Bois' interrogation of the "call and response" between Africa, the Americas and the
rest of the world serves as a vital frame not only for addressing African art's "roots" and "routes" but also for
understanding the political, social, cultural and aesthetic background of these transitions in the larger field of
African art history and visual culture. Individuals and institutions in the larger region also are participating in
organizing the event, including among others Christraud M. Geary of the Museum of Fine Arts, Boston, Susan
Bowditch of the Peabody Museum Essex, Elisha Fernandes Simpson of the Cambridge Multicultural Arts
Center, Barbara Thompson of the Hood Museum, Dartmouth College, and Barry Gaither of the Museum of
the National Center of Afro-American Artists.

While attending the conference participants will be able to explore not only the rich culture of this area in
conjunction with both African and African American History but will be given the opportunity to view an array
of local African art collections on campus (in both the Harvard University Art Museum and the Peabody
Museum), the Museum of Fine Arts, Boston and the Peabody Essex Museum in Salem, Ma. A reception is
being held in conjunction with the newly installed William E. and Bertha L. Teel Collection at the Museum of
Fine Arts, Boston. There also will be special Museum Day activities and an exhibition called Looking Both
Ways: Art of the Contemporary African Diaspora, organized by the Museum for African Art, New York, on view
at the Peabody Essex Museum, Salem.

We hope that the exciting program, events, and exhibitions will bring many
of you to Cambridge and the larger Boston area. Register Now!

Suzanne Preston Blier
Allen Whitehill Clowes Professor of
Fine Arts and of Afro-American Studies
Harvard University

Museum Day 2004: Contemporary African Art in the Museum Setting

As in previous years, the Wednesday before the official opening of the ACASA Triennial will be devoted to
discussions for museum professionals. "Museum Day 2004: Contemporary African Art in the Museum Setting"
will focus on issues and practices that professionals encounter in their efforts to define and place
contemporary African art within the museum setting. Museum Day 2004 will be held on March 31, 2004 from
10:00 a.m. to 4 p.m. in the Morse Auditorium at the Peabody Essex Museum in historic Salem, MA, where the
exhibition Looking Both Ways: Art of the Contemporary African Diaspora will also be on display. For
information about Museum Day 2004, please contact Barbara Thompson, Curator of African, Oceanic and
Native American Collections at the Hood Museum of Art at Barbara.Thompson@Dartmouth.EDU or (603) 646-
3811. For questions relating to the Peabody Essex Museum, please contact Susan Bowditch, Program
Development Manager for African and African-American Art at Susan_Bowditch@pem.org, (978)745-9500, or

The Arts Council of the African Studies Association
The Thirteenth Triennial Symposium on African Art
Cambridge and Boston
March 31 April 4, 2004

Greetings, members and friends of ACASA,

We hope you have already decided to attend ACASA's 13" Triennial Symposium hosted by the Department of
African and African American Studies and the W.E.B. Du Bois Institute for Afro-American Research at Harvard
University. The theme of the upcoming Triennial will be African Art: Roots and Routes. The conference will
allow participants to explore the African Art collections and resources in the Boston area, among these, the
Harvard University Art Museums, the Harvard University Peabody Museum, the Museum of Fine Arts, Boston,
the Museum of the National Center of Afro-American Artists, Boston, and the Peabody Essex Museum, Salem.
If you haven't yet, please make plans to participate in this opportunity to develop scholarly discourse on the
expressive arts of Africa and the Diaspora.The Triennial URL is http://www.fas.harvard.edu/-du_bois/.

Registration fees cover only a fraction of Triennial costs. Our hosts in Cambridge and Boston have been raising
money for everything from receptions to A-V services. ACASA must do its share. Most importantly, we have
committed ourselves as usual to raise funds so graduate students and colleagues from Africa and the Diaspora
can join us.

In preparation for past Triennials we have always been flooded with applications for travel stipends-from
graduate students and from African/Diasporan colleagues. We hope to offer at least 20 grants of $500 to
graduate students and to sponsor 7 or more African and Caribbean applicants. We have set a goal of $30,000,
but we are late in getting started in the fundraising for this 13th Triennial.

Remember that ACASA is now a 501 (c) (3) tax-exempt organization. Although we always welcome
contributions to ACASA's Endowment, our focus must now be on the Triennial. Please join ACASA members
and friends in making a generous, tax-deductible contribution to the Triennial Travel Stipend Fund so we can
support as many applicants as possible. If you can afford to do so, we ask you to consider contributing $100 or
more. Checks must be made out to ACASA and drawn on US banks. Please let us know if you do not want to
be listed as a donor. A form for this contribution is included in this newsletter. Please mail the completed form
with your contribution to Tavy Aherne.

Our travel stipend recipients join us in thanking you for your support. We look forward to seeing you in
Cambridge and Boston for this exciting event.


Robin E. Poynor Robert Soppelsa Suzanne Preston Blier
President Past President; Program Chair
Co-Chair, Co-Chair,
Fundraising Commitee Fundraising Committee

President: Secretary Treasurer: Panels Chair:
Robin Poynor Tavy D. Aherne Christraud M. Geary
University of Florida Indiana University Museum of Fine Arts, Boston
P.O. Box 115801 2261 Bent Tree Dr. 465 Huntington Avenue
Gainesville, Fl 32611-5801 Bloomington, IN 47401 Boston, MA 02115
Phone: (352) 392-0201 Phone: (812) 323-9173 Phone: (617) 369-3226
Fax: (352) 392-8453 Email: tavy@mymy.com Fax: (617) 859-7031
Email: rpoynor@ufl.edu Email: cgeary@mfa.org

13th Triennial Symposium Hotel Information

ACASA has negotiated special rate rooms at both the Sheraton Commander and the Harvard Square Hotel.
Please use these hotels so ACASA will not be penalized for failure to fill our blocks.
The Sheraton Commander
16 Garden St, Cambridge, MA
The Sheraton Commander is offering a group rate of $150.00 for a single or $170.00 for a double. [Add 12.45%
To make reservations, please call the Sheraton Commander Hotel Reservation Department 1-888-627-7121 by
February 29, 2004. In order to receive the preferred rates, you must identify yourself with the ACASA Group
Block. [Rates cannot be changed at check in or checkout for those who fail to identify affiliation at the time of
making reservations.] Rates and availability of the ACASA block rooms may be confirmed by dialing
reservations at 1-888-627-7121.

Harvard Square Hotel-Cambridge
110 Mount Auburn Street, Cambridge, MA

Harvard Square Hotel-Cambridge is offering a group rate of $139.00 for a room with either a queen sized bed
or two double beds. [Add 12.45% tax]
To make reservations, please call the Harvard Square Hotel directly at (617) 491-2222 or (800) 458-5886 by
February 28, 2004. In order to receive the preferred rates, you must refer to code ACA. Reservations must be
guaranteed by your credit card.. Guaranteed room reservations not canceled 48 hours in advance of arrival will
be billed for one night's room and tax if the guest does not arrive as scheduled.




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EI Registration Form

The Thirteenth Triennial Symposium on African Art
Harvard University, Cambridge, MA
Wednesday, 31 March through Saturday, 3 April 2004








$100.00 NON-MEMBER
_ $ 65.00 MEMBER



__ $125.00 NON-MEMBER
$100.00 MEMBER


DAILY RATE: -- $50 WED_ $50 TH $50 FRI $25 SAT









10 I Preliminary Program


see website for on-line version
http://www.fas.harvard.edu/~du bois/

Thursday, April 1, 2002; 8:30 10:30A.M

African Textiles in Fashion, Art, Trade and Thought
Chair: Tavy Aherne (Indiana University, USA)

Rebecca Green (Bowling Green State University,
USA) Lambamena: From Malagasy Funeral Textiles
to Contemporary Art

Tavy D. Aherne (Indiana University, USA)
Taariika Ngara: Histories of Indigo Textiles' Creation
and Trade in the Futa Jallon, Guinea

Sarah Lewis (Oxford University, UK)
The Importance of a 'Sankofa' Sensibility:
Contemporary West African Textiles on the Art

Aids Art: The Visualization of a Southern African
Co-chairs: Pamela Allara (Brandeis University,
USA); Kyle D. Kauffman (Wellesley College, USA)

Pamela Allara (Brandeis University, USA)
Public Words/Personal Narratives: Aids and

Kyle Kauffman (Wellesley College, USA)
Art and Audience: Organizing Exhibitions of Art
about Aids

Betty Sibongile Ntshangase (School of Oriental and
African Studies, University of London, UK)
HIV/AIDS Education Through Traditional Song and
Dance in Swaziland

Mark Auslander (Brandeis University, USA)
Darkened Mirrors and Transparent Roads:
Divinatory Visions of HIV/AIDS

Congo? Carabali?-Images of African Identity
in the Diaspora (Part 1)
Co-chairs: Judith Bettelheim (San Francisco
State University, USA); Kristine Juncker
(Columbia University, USA)

Steve Quintana (Boston, USA) and Anna Wexler
(Springfield College, USA)
The Best Friends of the House: Spiritual Dolls as
Ancestral Conduits in the Casa de Obatala

LeGrace Benson, Arts of Haiti Research Project
(Ithaca, NY, USA)How African Roots Grow in
Haitian Soil: Kreyol Arts in Haiti

Ben Jones (New Jersey City State University,
USA) Afro-Cuba Keeps Calling Me

The African Museum in the New Millennium (Part
Co-Chairs: Boureima Ti6koroni Diamitani (West
African Museum Programme, Dakar, Senegal);
Agbenyega Adedze (Illinois State University; USA)

Boureima Tikoroni Diamitani (West African
Museums Programme, Dakar, Senegal)
Definitions and Legal Status of Museums in Africa

Agbenyega Adedze (Illinois State University,
Normal, USA)
A Historical Introduction the Genesis and
Development of Museums in Africa (Private,
Community, Specialized, and National Museums)
to the Present

Lorna Abungu (Africom, Nairobi, Kenya)
Technology and the African Museum How Useful
Has It Been? Impact of the Information Technology
on the Museum, If Any

Thursday, April 1, 2002; 10:45 A.M. 12:45 P.M

Artists in Contemporary Ethiopia and in the
Co-chairs: Rebecca Martin Nagy (Samuel P. Har
Museum of Art, University of Florida, USA) and
Achamyeleh Debela (North Carolina Central
University, USA)

Achamyeleh Debela (North Carolina Central
University, USA) Skunder Boghossian: A Jewel of
a Painter of the 21st Century

Patrick J. Bayens (University of Kentucky, USA)
Tadesse Mesfin: Ethiopian Impressions

Neal W. Sobania (Hope College, USA)
Back to the Future (or Painting Both Ways): the
Recent Work of a Traditional Artist in the Diaspora

Discussant: Raymond A. Silverman (University of
Michigan, USA)

Congo? Carabali?-Images of African Identity in

the Diaspora
Co-chairs: Judith Bettelheim (San Francisco State
University, USA); Kristine Juncker (Columbia
University, USA)

Kristine Juncker (Columbia University, USA)
Portraits in the Altar: Ancestors in Twentieth Century

Eintou Pearl Springer (Port of Spain, Trinidad &
Tobago) Diaspora African Festivals Imitation or
Evolution: The Case of Two Orisa Festivals in
Trinidad and Tobago

Phyllis Galembo (University at Albany, State
University of New York, USA)
Carnaval Jacmel, Haiti

Crossing Boundaries: Routes of Colonialism in
African Art
Co-chairs: Andrea Frohne (Dickenson College,
USA); and Onyile Bassey Onyile (Georgia Southern
University, USA)

Sarah Getzelman (University of Denver, USA)
Reflections in the Mirror: Exploring Western/
Congolese Relations through the Art of Trigo Piula

Fadhili Mshana (Georgia College & State University,
USA) European Missionaries and Zaramo Artists in
Tanzania: A Question of Patronage

Julie L. McGee (Bowdoin College, USA)
How Can African Artists be African After Picasso?":
Seeking Interpellations Beyond the Colonial in
South African Art

Patrick Kane (Binghamton University, State
University of New York, USA)
Beyond the Colonial Paradigm: Modern Egyptian
Aesthetic Experience as a Discourse of Social

Romuald Tchibozo (Humboldt University of Berlin,
Germany) African Contemporary Art in Western
Eyes: Germany's Case from 1950 to Today

The African Museum in the New Millennium
(Part 2)
Co-Chairs: Boureima Ti6koroni Diamitani (West
African Museum Programme, Dakar, Senegal);
Agbenyega Adedze (Illinois State University; USA)

Rooksana Omar (South African Museums
Association, South Africa) Exhibitions in the African
Museum Policies and Challenges

Merrick Posnanski (University of California, Los
Angeles, USA) Putting the African Museums into
International Perspective

Christine Mullen Kreamer (National Museum of
African Art, Smithsonian Institution, USA)
Pooling Resources, Strengthening Linkages:
Collaborations between African and U.S.

Thursday, April 1, 2002; 2:15 4:15 P.M

Africa and the Indian Ocean World: Arts and
Co-chairs: Henry J. Drewal (University of
Wisconsin, USA) and Allen Roberts (University of
California, Los Angeles, USA)

Henry J. Drewal (University of Wisconsin, USA)
Afro-Indian Performance Arts in Karnataka

William Dewey (University of Tennessee, USA)
'Africans in India: Worship at the 'Tombs' of Baba

Prita Meier (Harvard University, USA)
Building Global But Meaning Local: Nineteenth
Century Zanzibar Architecture

Mary (Polly) Nooter Roberts (University of
California, Los Angeles, USA)
In the Mirror of the Mother: Arts of the Mouride
Diaspora in Mauritius

Allen F. Roberts (University of California, Los
Angeles, USA) From Senegal to India via

Confluence or Conflict? Two Trends of
Contemporary African Art in an International
Chair: Sunanda K Sanyal (The Art Institute of
Boston at Lesley University, USA)

Laurel Birch Aguilar (University of St Andrews, UK)
Bridging Worlds: Knowledge, Patronage and
Creativity in Contemporary African Art

Sidney L. Kasfir (Emory University, USA)
Narrating Modernity : Kenyan Artists and the
American Embassy Bombing

Jessica Levin (Harvard University, USA)
The Wet Season: Richard Onyango at the 2003
Venice Biennale

Katarzyna Pieprzak (Williams College, USA)
Moroccan Rejections and Recuperations of Naivet6
in an International Context: A Reading of Abdeslam
Boutaleb's "La Peinture naive au Maroc"

The More Things Change, the More They Stay the
Same? Assessing Change in Postapartheid South
African Visual Culture
Chair: Dr Liese van der Watt (University of Cape Town,
South Africa)

Federico Freschi (University of the Witwatersrand,
South Africa)
Unity Then and Now: Constructing a New South
African Identity in Architectural Ornament the
Lessons of the 1930s

Paula Girshick (Indiana University, USA)
National Monuments and the Re-Imagining of the
Past in Post-Apartheid South Africa

Joanna Grabski (Denison University, USA)
The Dak'Art Biennale and the Premier Festival
Mondial des Arts Negres: Pan-African Exhibitions
and Geopolitics in the Global Arena

Svea Josephy (University of Cape Town, South Africa)
Shifting Notions of Truth and Reality in South
African Post-Apartheid Photography

Liese van der Watt (University of Cape Town, South
Performing Identities

Co-Chairs: David T. Doris (University of
Michigan, USA); and Elisha P. Renne,
(University of Michigan, USA)

Donald Cosentino (University of California, Los
Angeles, USA)
Eshu's Magic Flute

David Doris (University of Michigan, USA)
AfroDisney: Fortuitous Convergences and the
Redemption of Textile Casualties in Southern

Elisha P. Renne (University of Michigan, USA)
Texts/Textiles and the Exchange of Yoruba
Engagement Letters

Dana Rush (University of Illinois, USA)
Transatlantic Yoruba: Let's Take a Ride on the
Ashe/Ac&/Ach6/Ax6 Bus
Suzanne Blier (Harvard University, USA)
Ife's Life Size Copper Portrait Heads: Popular
versus Royal

Friday, April 2, 2002; 8:30 10:30 A.M

Documenting Change, Returning to the Field
(Part 1)
Chair: Christine Mullen Kreamer, (National
Museum of African Art, Smithsonian Institution,

Jean M. Borgatti (Clark University, USA)
The more things change, the more they remain
the same... Or do they? Research in Nigeria
1973 and 2003

Suzanne Gott (Kansas City Art Institute, USA)
Changing Mores in Asante Funeral Displays:
"Modernity" as a Resource for Both Sumptuary
Restraint and Excess

Polly Richards (School of Oriental and African
Studies, London, UK)
Masques i la mode: Researching Dogon masks
at the turn of the millennium

Discussant: David Binkley (National Museum of
African Art, Smithsonian Institution, USA)

Yoruba Popular Arts Worldwide!

Symbolism Within Historical Performance and
Communication of Caribbean Africans

Chair: Gene Emanuel (University of the Virgin
Islands, U.S. Virgin Islands)

Hollis "Mighty Chalkdust" Liverpool, University of
the Virgin Islands, U.S. Virgin Islands)From the
Horse's Mouth: Calypsonians' Insights on the
Development of Calypso.

Edgar O. Lake (USVI Department of Education,
U.S. Virgin Islands) Charles Lindberg's First Visit to
an African Community in 1929

Vincent Cooper (University of the Virgin Islands,
U.S. Virgin Islands) Roots/Crossroutes: Caribbean
Immigration Narratives Portrayed in Staged Dance,
Song, and Story-telling

Agnes Nicholas (University of the Virgin Islands,
U.S. Virgin Islands) Virgin Islands Funerals and
Weddings: A Comparison of Motifs and Symbols

Gene Emanuel (University of the Virgin Islands,
U.S. Virgin Islands) The Bonfire Wars: Akan Drums
and Ritual in the St. John African Slave Revolution

The Traditional/Contemporary Conundrum (Part
Chair: Barbara Frank (Stony Brook University,

Kinsey Katchka (The Detroit Institute of Arts, USA)
Outside the Box: Rethinking Categories of African
Art through Context & Practice

Barbara E. Frank (Stony Brook University, USA)
Gender Crossings

Odiboh Freeborn (University of Benin, Nigeria)
The Creative Reformation of Existing African
Traditions: The Iconography of the Abayomi Barber
Art School

Sarah Getzelman (University of Denver, USA)
Reflections in the Mirror: Exploring Western/
Congolese Relations through the Art of Trigo Piula


Through the Lens and Onto the Screen:
Professors and Curators Describe Their Film
Making Processes
Chair: Susan Vogel (Prince Street Pictures, New
York, USA)

Alisa LaGamma (The Metropolitan Museum of Art,
New York, USA)
Enid Schildkrout (American Museum of Natural
History, New York, USA)
Christopher B. Steiner (Connecticut College, USA)

Susan Vogel (Prince Street Pictures, New York,

A room will be available to show videos
immediately after the roundtable (from 10:45 A.M. -
2:00 P.M.)

Friday, April 2, 2002; 10:45 A.M. 12:45 P.M.

Documenting Change, Returning to the Field
(Part 2)
Chair: Christine Mullen Kreamer, (National
Museum of African Art, Smithsonian Institution,

Nicholas J. Bridger (Archbishop Mitty High School,
San Jose CA, USA) Revisiting the Oye-Ekiti
Workshop: Africanizing Christian Art and Neo-
Traditionalizing Yoruba Art

Perkins Foss (Museum for African Art, New
York, USA) Four Decades in Urhobo: from the
"Golden Years" to Chaos, and Now, a Cultural

Patrick McNaughton (Indiana University
Bloomington, USA)
Two Views of Sidi Ballo: 1978 & 1998

Discussant: Mary Jo Arnoldi (National Museum
of Natural History, Smithsonian Institution,

From East-to West and Back Again: Dance of
Africa and the Diaspora in the Twenty-First
Chair: Reginald Yates (Dance Aid Africa, Ghana)

Kariamu Welsh Asante (Temple University, USA)
The Post-Colonial Gaze and African Dance in

Dominique Cyrille (Center for Black Music
Research, Columbia College, USA)
The Politics of Quadrille Performance in the
French-Caribbean Colonies

Terrence Wendell Brathwaite (Birmingham Centre
for Arts Therapy, UK)
Cross-Cultural Dance Movement Therapy as a
Healing Para-Medical Intervention in the Caribbean
from the route of Africa to Trinidad & Tobago's

Hazel Franco (University of the West Indies,
Trinidad & Tobago) Nation Dances of Trinidad and
Tobago the Evolution

Doris Green (Pan African Arts Performing Arts
Preservation Association, Uniondale, NY, USA)
Creating New Roots for African Music/Dance
Through Notation

Iconographies of Poverty in Contemporary
South African Art
Co-chairs: Sandra Klopper (University of
Stellenbosch, South Africa) and Kim Miller
(Transylvania University, USA)

Sandra Klopper (University of Stellenbosch, South
Africa) Plastic Beads and Recycled Trinkets:
Poverty and the Question of Aesthetic Choice in the
Production of Ritual Garments in Contemporary
South Africa

Michael Godby (University of Cape Town, South
Africa) Colour in the Representation of South
African Townships by Zwelethu Mthethwa and Chris
Ledochowski and the Question of 'Shack Chic'

Juliette Leeb-du Toit (University of KwaZulu-Natal,
South Africa) Rereading and Contextualizing the
Vocabularies of Poverty and Despair in
Contemporary Art from KwaZulu-Natal

Diana Wylie (Boston University, USA) Images of
Poverty in the Art of Thami Mnyele

Kim Miller (Tansylvania University, USA)
The Importance of Economic Empowerment:
Reflections on Income Generation, Visual
Representation, and Gender Dynamics at a
Women's Artmaking Cooperative in
Crossroads, South Africa

The TraditionalContemporary Conundrum (Part
Chair: Barbara Frank (Stony Brook University,

Lara Baker Sedlaczek (University of Kentucky,
USA) New Applications of Old Traditions: The
"Visual Poetry" of Rachid Koraichi

Kristina Van Dyke (Harvard University, USA)
Speaking Through Another Lens: Rethinking
Photography in Oral Cultures

Aim6e Bessire (Maine College of Art, USA)
Black Superman: Performing the Black Male Body

Alice Burmeister (Winthrop University, USA)
Where There Is No Barbie: Muslim Girls and Clay
Dolls in Niger

Friday, April 2, 2002; 2:00 4:00 P.M.

Atlantic Rim Performance Arts
Chair: Robert Nicholls (University of the Virgin
Islands, U.S. Virgin Islands)

Don Hill (State University of New York, USA)
African Themes in the Paintings of Canute Caliste
(Carriacouan artist)

Wanda Mills-Bocachica (University of the Virgin
Islands, U.S. Virgin Islands) Roots, Routes, and
Legitimacy: Ecological Resistance Narratives of
PlacePifones, Puerto Rico

Robert Nicholls (University of the Virgin Islands,
U.S. Virgin Islands)

Relevant Modernities
Co-Chairs: Erin Haney and Malika Kraamer
(School of Oriental and African Studies, University
of London, UK)

Erin Haney (School of Oriental and African
Studies, University of London, UK) Esto perpetua
(may it live forever)-Short Life and Long Art in
Earliest Gold Coast Photography

Malika Kraamer (School of Oriental and African
Studies, University of London, UK) 'Make me a
modern textile': Recent Developments in Ewe

John Picton (School of Oriental and African
Studies, University of London, UK) Modernity then
is not the same as modernity now; and modernity
there is not the same as modernity here...

Raymond A. Silverman (University of Michigan,
USA) Qes Adamu Tesfaw and the Limits of
"Modernity. "A Consideration of the Life and Work
of a Contemporary Ethiopian Artist

Elizabeth Harney (University of Toronto, USA)
Tracing Modernities: Chant Avedissian's
Narratives of Egyptian Public Space

Young Scholars Forum: Contemporary Art from
Africa and the Diaspora
Chair: Danielle Marie Snoddy (University of Iowa,

Danielle Marie Snoddy (University of Iowa, USA)
Speaking in a Transnational Language: The
Recent Works of Zineb Sedira

Emma Ross (Yale University, USA) Aesthetic
Experience and Expression: Cultural Memory and
Gender Imbalance in Neo-Colonial Chaos

Monique Fowler-Paul (London, UK) Growing
Pains: The Legacy of History, Identity, and
Displacement in Contemporary Britain

Elisha Fernandes Simpson (Cambridge, MA, USA)
Capeverdeaness: Embracing a Diverse Cultural
Identity through Artistic Expressions

Patrick Kane (Binghamton University, State
University of New York, USA) Peasant Intifadahs
in the Making of Modern Egyptian Arts: The Genre
and Context of the Peasant in the New Realism
Movement of the Contemporary Arts Group in

Saturday, April 3, 2002; 10:30 12:30 A.M.

African Architecture: Cultural Translation and
Artistic Invention
Chair: Randall Bird (Harvard University, USA)

Mark Hinchman (University of Nebraska-Lincoln,
USA) House and Household on Gorde Island,

Randall Bird (Harvard University, USA)
The Palace at Soanierana in the Central
Highlands of Madagascar, 1820-1830

Mark D. DeLancey (James Madison University,
USA) The Spread of the Sooro: Symbols of
Rulership in the Sokoto Empire

Dominique Malaquais (Sarah Lawrence College,
USA) Thinking Cities, Otherwise

Double Trouble? Representations of Twins
and Doubles in African and
African American Arts
Chair: Philip M. Peek (Drew University, USA)

Philip M. Peek (Drew University, USA)
Twins, Doubles, and Perfect Knowledge

Pascal James Imperato (SUNY Downstate
Medical Center, USA) Children of the Water
God: Twins Among the Bamana and Maninka of

Susan Cooksey (Harn Museum, University of
Florida, USA) I May Not Be Myself: Doubled
Brass Amulet Imagery in Southwestern Burkina

Babatunde Lawal (Virginia Commonwealth
University, USA) Ejire: Imagery Of Twoness In
Yoruba Art

Marilyn Houlberg (Art Institute of Chicago, USA)
2=3: The Art and Ritual of Twins and the
Trickster in Haitian Vodun

Discussant: Frederick Lamp (Yale University Art
Museum, USA)

Expanding Diaspora: New Directions in the
Study of African Art in International Contexts
Co-chairs: John Peffer (Northwestern University,
USA) and Laurie Ann Farrell (Museum for
African Art, New York, USA)

John M. Peffer (Northwestern University, USA)
Africa's Diaspora of Images

Sarah Adams (University of Iowa, USA)
The Upa Women Artists' Collective: Artistic Identity
between Two Discourses

Allan De Souza (Los Angeles, USA)
Artist's Talk

Steven Nelson (University of California, Los
Angeles, USA) What Does a Diasporic Body Look

Collecting African Art in the 21st Century: Current
Practices, New Perspectives and Challenges
Chair: Christraud M. Geary (Museum of Fine Arts,
Boston, USA)

Herbert Cole (University of California, Santa
Barbara, USA), Andrea Nicolls (National Museum of
African Art, USA), Constantine Petridis (Cleveland
Museum of Art, USA), Barbara Plankensteiner
(Museum fOr V6lkerkunde, Vienna, Austria), Dorit
Shafir (The Israel Museum, Jerusalem, Israel),
William E. Teel (Marblehead, MA, USA), Roslyn A.
Walker (Dallas Museum of Art, USA),Louis T. Wells
(Harvard Business School, USA)

Saturday, April 3, 2002; 2:00 4:00 P.M.
Africa in Florida: The Aesthetics of the Sunshine
Chair: Amanda Carlson (University of Hartford,

Joseph M. Murphy (Georgetown University, USA)
Crowning the Orisha: A Lucumi Art in South Florida

Ivor Miller (DePaul University, USA)
Abakud practice and visual arts in Florida: Exiled
Members of the Cuban Brotherhood.

Robin Poynor (University of Florida, USA)
The Many Faces of Ogun: the Ogun Shrine of Baba
Onabamiero Ogunleye in North Central Florida

Amanda Carlson (University of Hartford, USA)
From Masquerades to Amusement Parks: African
Realities and Hyper-realities in the Sunshine State

African Style: Negotiating Identities in Global
Fashion Markets
Chair: Victoria Rovine (University of Iowa Museum
of Art, USA)

Leslie W. Rabine (University of California at Davis,
USA) The Biography of a Boubou Between Gift and

Hudita Mustapha (Emory University, USA)
Fashion and the Idea of Africa
Kristyne Loughran (Florence, Italy) African Fashion
on the Global Platform: The Work of Seidnaly

Victoria Rovine (University of Iowa Museum of Art,
USA) Refashioning Africa: Xuly Bet's Recycled
Mami watas: The Roots and Routes
of African Water Spirit Arts, Beliefs,
and Practices (Part 1)
Chair: Martha G. Anderson (Alfred University,

Jill Salmons (Worcester College of Technology, UK)
Brass Trays, Shrine Cloths and Cafe Walls Old
and New Representations of Mammy Wata in
Coastal West Africa

Charles Gore (School of Oriental and African
Studies, University of London, UK)
Mami Wata: An Urban Presence or the Making of a
Tradition in Benin City, Nigeria
Jessica Joyce Stephenson (Michael C. Carlos

Museum, Emory University, USA) Deciphering an
Enigma: Possible Roots and Routes for Carvings of
Hanuman. Origins and Contexts for Two Images of
Hanuman from Nigeria

Discussant: Henry J. Drewal (University of
Wisconsin, USA)

New Directions in the Study of Architecture and
Symbolic Space
Chair: Monica Blackmun Visond (Metropolitan State
College, USA)

Monica Blackmun Visond (Metropolitan State
College of Denver, USA) Physical Space and the
Division of Supernatural Power in the Lagoon
Region of C6te d'lvoire

Elizabeth Perrill (Indiana University, USA)
Zimbabwean Stone Sculpture: Space, Performance,
and Aesthetics

Jeff Fleischer (Lehigh University, USA)
Technologies-of Self in Swahili Elite Architecture,
1300 1900

Neil L. Norman (University of Virginia, USA)
Landscapes of Conflict: Ditches, Discord, and
Discourse in the Coast
Forest of Benin, West Africa

Saturday, April 3, 2002; 4:15 6:15 P.M.

Mami watas: The Roots and Routes
of African Water Spirit Arts, Beliefs,
and Practices (Part 2)
Chair: Martha G. Anderson (Alfred University,

Rosalinde G. Wilcox (Saddleback College, USA)
Mami Wata Among the Water Spirits of Coastal

Martha G. Anderson (Alfred University,
USA) A Myriad of Mermaids: Mami Watas,
Mami Wata, and False Mami Watas in the
Niger Delta

Joseph Nevadomsky (California State University,
Fullerton, USA) Mammy Wata, Inc.

Discussant: Henry J. Drewal (University of
Wisconsin, USA)

Out of Africa: Dress and Identity of Africans
Beyond the Continent
Chair: Joanne B. Eicher (University of Minnesota,

Heather Marie Akou (University of Minnesota,
USA) The Construction of "African Dress" in

Meriem Chida (University of Minnesota, USA)
Out of Africa in Africa: What is Tunisian Dress?

Bamidele Agbasegbe Demerson (Charles H.
Wright Museum of African American History,
Detroit, USA)
A Celebration of Women's Liberation from
Bondage: Toward an Ethnography of Dress and
Adornment in an Afrobrazilian Festival

Upper Guinea: Past and Present
Chair: Bill Hart (University of Ulster, Ireland)
David Berliner (Harvard University, USA)
The Bansonyi Serpentine Headdress: New Data
from the Field (Bulongic Country, Guinea, Conakry)

Bill Hart (University of Ulster, Ireland)
Ragbenle: A Temne Sodality in Historical

Labelle Prussin (New York, USA)
Mallam and mu'allemin, dhimmi and dyam

Peter Mark (Wesleyan University, USA)
Two 17h-century Jewish Communities in

Membership Directory Addendum

The Arts Council of the African Studies Association

Abiodun, Rowland
Department of Fine Arts
Amherst College
Amherst, MA 01002

Akou, Heather Marie
University of Minnesota
Design, Housing and Apparel
1765 Carroll Avenue, Apt. #29
St. Paul, MN 55104

Allara, Pamela
Brandeis University
Fine Arts
Waltham, MA
H: 617-730-9447
W: 781-736-2668
Fax: 781-736-2672

Arnoldi, Mary Jo
National Museum of Natural History:
Smithsonian Institution
4600 Conn. Ave. NW#220
Washington, DC 20008

Batulukisi, Niangua
Independent Scholar
1219 Linden Avenue
Dayton, OH 45410

Bettelheim, Judith
Art Department
San Francisco State University
1600 Holloway
San Francisco, CA 94132

Bickford Berzock, Kathleen E.
Department of African & Amerindian Art
Art Institute of Chicago
111 S. Michigan Ave.
Chicago, IL 60603-6110

Blackmun, Barbara W.
Department of Art
San Diego Mesa College (Emeritus)
9850 Ogram Drive
La Mesa, CA 91941

Brown, H. Kellim
University of South Florida
Art History
2918 W. Bay Vista Ave., # 3
Tampa, FL 33611
H: 813-831-7550
W: 813-240-2103 (cell)

Conner, Michael W.
Krannert Art Museum
University of Illinois at Urbana-Champaign
4002 Turnberry Drive
Champaign, IL 61822

Davis, Allen C.
Volunteer Docent
National Museum of African Art, Smithsonian
4320 Dolphin Lane
Alexandria, VA 22309-3106

Drewal, Henry
Dept of Art History/Afro-American Studies
University of Wisconsin-Madison
Elvehjem Museum of Art
Madison, WI 53706
H: 608-233-2348
W: 608-263-9362
Fax: 608-265-6425

Echeta, Chris
P.O. Box 253
Oji River, Enugu State
echetachris@yahoo.com or



Eyo, Ekpo
University of Maryland
Art and Art History
Room 1211 B Art/Socio6ogy Bldg.
College Park. Maryland

Forni, Silvia
University1 Degli Studi di Torino
Via dei Mille, 32

Foss, Perkins
Independent Scholar
38 Rayton Road
Hanover, NH 03755

Geary, Christraud M.
Curator of African and Oceanic Art
Museum of Fine Arts, Boston
465 Huntington Avenue
Boston, MA 02115-5597
Tel. + 1 (617) 369-3226
Fax. + 1 (617) 859-7031

Gold, Danielle
7521 N. Lakeside Lane
Paradise Valley, AZ 85253

Goniwe, Thembinkosi
History of Art
Cornell University
GM08 Goldwin Smith Hall
Ithaca, NY 14853
H: 607-277-3456
W: 607-255-4905

Gott, Suzanne
Kansas City Art Institute
School of Liberal Arts
4415 Warwick Blvd.
Kansas City, MO 64114
H: 816-523-5680
W: 816-802-3372
Fax: 816-802-3383

Hallen, Barry
Morehouse College
Philosophy and Religion
830 Westview Drive, SW
Atlanta, GA 30314
H: 404-521-2758
W: 404-215-2607
Fax: 404-521-2942
bhallen @ morehouse.edu

Hansen, Karen Tranberg
Northwestern University
1810 Hinman Avenue
Evanston, IL 60208-1310

Harney, Elizabeth
University of Toronto
Fine Arts
Sidney Hall, 6th floor
100 St. George St.
Toronto, CANADA M5s 3G3

Kane, Patrick
Philosophy and Interpretation of Culture
Binghampton University (State University of New
21144 SW 84th Avenue
Tualatin OR 97062

Kasfir, Sidney Littlefield
Art History Department
Emory University
Carlos Hall
Atlanta, GA 30322
(home address)
2803 Ashbury Heights Road
Decatur, Georgia
H: 404-284-4212

Kennedy, Carolee G.
1050 N. Stuart St. #229
Arlington, VA 22201

Lamp, Frederick
Curator of African Art
Yale University Art Gallery
201 York Street
P.O. Box 208271
New Haven CT 06520-8271

Loughran, Kristyne S.
Lungarno Serristori 9
Florence 50125
H: 39-055-234-1076
Fax: 39-055-234-6732

Grabski, Joanna
Art Department
Denison University
Cleveland Hall Annex
Granville, OH 43023

Martin-Hamon, Amanda K
Mulvane Art Museum
Washburn University
17th and Jewell
Topeka, KS 66621-1150

Martin-Oguike, Ngozi Doris
Fine/Applied Arts
University of Nigeria, Nsukka
17 Woodbridge Avenue
Sewaren, New Jersey 07077

Nicolls, Andrea
National Museum of African Art
Smithsonian Institution
950 Independence Ave.
Washington, DC 20024

Nkurumeh, Barthosa
3303 Fallmeadow Street
Denton, TX 76207

Ofunniyin, Ade
University of Florida, Gainsville
P.O. Box 147
Hawthorne, FL 32640

Olanipekun, Tunde Samuel
Baffles Art Gallery
24 Oyegunwa Street
Ladipoe Est.
Ikeja, Legos
H: 234-0807450050
bafflesart69 @ hotmail.com

Parker, Philip W.
P.O. Box 8064
Salem, MA 01970

Perrill, Elizabeth
Art History
Indiana University
Fine Arts, Room 132
Bloomington, IN 47405

Petridis, Constantine
Case Western Reserve University
Art History and Art
10900 Euclid Ave.
Cleveland, OH 44106

Pickett, Adrienne
Art and Design; Art History Program; African
University of Illinois at Urbana-Champaign
710 S. Walnut, #2
Urbana, IL 61801

Riep, David M. M.
Art History
University of Kentucky
636 Barefoot Drive
Wilmore, KY 40390

Ross, Doran H.
11930 Dorothy #2
Los Angeles, CA 90049

Rovine, Victoria L.
University of Iowa Museum of Art
150 N. Riverside Drive
Iowa City, IA 52242-1789
H: 319-354-7439
W: 319-353-2468
Fax: 319-335-3677
victoria-rovine @ uiowa.edu

Salami, Gitti
Art and Art History
DePaul University
6151 Winthrop, #1007
Chicago, IL 60660
H: 773-743-7279
W: 773-325-4050

Schimelman, Ellie
45 Auburn Street
Brookline, MA 02446

Shilosky, Christine
Hunter College
25-73 45th St.#1 F
Long Island City, NY 11103

Slogar, Christopher
Dept. of Art History & Archaeology
University of Maryland
4704 Calvert Road #4
College Park, MD 20740

Snoddy, Danielle Marie
School of Art and Art History
University of Iowa
303 4th Avenue, #6
Coralville, IA 52241

Stanley, Janet
National Museum of African Art
1791 Lanier Place N.W.#24
Washington, DC 20009-2138

Stelzig, Christine
Droysenstrasse 17

Strycker, Louis de
10 avenue Roger Vandendriessche, #4

Van Dyke, Kristina
History of Art and Architecture
Harvard University
1005 Ivy Falls Drive
Atlanta, GA 30328

Viditz-Ward, Vera
Art and Art History
Bloomsburg University
803 East 2nd Street
Bloomsburg, PA 17815

Villalon, Leonardo
University of Florida
Center for African Studies
P.O. Box 115560
Gainesville, FL 32611-5560

Vogel, Jerome (Jerry)
Museum for African Art, NY, and Drew University
108 Wooster Street
New York, NY 10012

Vogel, Susan
Prince Street Pictures
112 Prince Street
New York, NY 10012-3160
W: 212-966-7787
Fax: 212-431-3930
email: svogel@igc.org

Wolff, Norma H.
Iowa State University
Department of Anthropology
324 Curtiss Hall
Ames, IA 50010

Wylie, Diane
History/African Studies Center
Boston University
270 Bay State Road
Boston, MA 02215


The Arts Council of the African Studies Association

The Thirteenth Triennial Symposium on African Art
March 31-April 4, 2004, Harvard University, Cambridge, MA

I/We pledge

$25 $50 $100 $250 Other
for the 13t" Triennial Symposium Fund for Visiting African Scholars and Graduate Students
$25 $50 $100 $250 Other
for the ACASA Endowment Fund for Long-Range Planning and Programs
My/Our Check for a total contribution of $ made out to ACASA is enclosed.

Please send to ACASA Secretary-Treasurer:

Tavy D. Aherne
2261 Bent Tree Dr.
Bloomington, IN 47401

If= I Triennial Fundraising Form

JI Voluntary Contributions Form

The Arts Council of the African Studies Association

Your contributions to ACASA special funds may be made with annual membership renewal or at other times
throughout the year. Please complete this form and send it with your contribution to either or both of the
following ACASA funds:

Sponsorship to mail ACASA Newsletters to courtesy members in Africa and the
Caribbean (A $10 sponsorship will cover mailings for one year to one courtesy member.)

Sieber Memorial Fund (Dissertation Award at Triennial Symposium)


Check or International Money Order (checks must be in US Dollars and drawn on a U.S. Bank), payable to

Credit Card: Visa MasterCard

Acct. number: -_expiration date: / (mo/yr)


Mail form with payment to:

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

M M a rlr

Membership Form


Please Note: Membership runs January 1 December 31
$20.00 Special Member
(student, unemployed, retired)
$50.00 Regular Member
$75.00 Institutional Member

The Arts Council of the African Studies Association

Please return form with payment to:
Tavy D. Aherne
ACASA Secretary/Treasurer
2261 Bent Tree Drive
Bloomington, IN 47401

Sieber Memorial Fund (Dissertation award presented at the Triennial Symposium)
ACASA Endowment
Symposium Fund (Travel assistance for African scholars and graduate students)
Sponsorship to mail ACASA Newsletters to courtesy members in Africa and the
Caribbean ($10.00 per sponsorship)
Check or International Money Order (checks must be in US Dollars and drawn on a U.S. Bank), payable to ACASA)

Credit Card: Visa Mastercard

acct number:

expiration date: / (mo/yr)


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 by January each year to
ensure delivery of Newsletters, if funding for mailings is available.

for Directory and Receipt of Newsletter:



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Additional Information (please circle all that apply, or add new option):

Education (highest degree):

Specialization: Anthropology

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Art History Ethnomusicology Other:

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Current Memberships: ASA CAA AAA Other:

Mebrsi Form

IN, .

Editor: ACASA Newsletter
(Attn: R. Nagy)
University of Florida
Ham Museum of Art
P.O. Box 112700
Gainesville, FL 32611-2700



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