Title: ACASA newsletter
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Permanent Link: http://ufdc.ufl.edu/UF00103115/00062
 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: Spring/Summer 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.
General Note: Vols. for Aug. 1992- include Directory of members: addendum.
General Note: Latest issue consulted: No. 34 (Aug. 1992).
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Bibliographic ID: UF00103115
Volume ID: VID00062
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


The Arts Council of the African Studies Association



Presidential Notes 1
Message from the Editor 2
ASA News 3
ACASA Meeting Minutes 4
ACASA Awards 10
Artist News 14
Exhibitions 14
Conferences, Symposia and Workshops 15
Call for Papers and Panel Proposals 17
Current Publications and Media I 18
Summer Programs 19
Internet Resources 19
Obituaries 21
Requests for Support 23
Membership Directory 24
Triennial Fundraising Form 41
Voluntary Contributions Form 42
Membership Form 43

Volume 69

I -Sgg / ummer20041

The Arts Council of the African Studies Association
Newsletter, Volume 69, Spring/Summer 2004

ACASA Board of Directors

Christraud M. Geary, President
Robyn Poynor, Past President
Tavy D. Aherne, Secretary/Treasurer
Rebecca M. Nagy, Newsletter Editor
Kate Ezra
Ikem Okoye
Constantine Petridis
Elisha Renne
Carol Thompson
Norma H.Wolff

All correspondence regarding membership informa-
tion 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; 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 Fall 2004. Please send news
items by August 10 to:

Rebecca M. Nagy
Ham 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 Ham Museum of Art. The graphic of
the dancer on the fundraising form was designed by
dele jegede. The drawings featured throughout this
issue were submitted by Kenneth Ubani.

I ( Presidential Notes

The Arts Council of the African Studies Association
is among the international organizations and
institutions that have made an important difference
in how we communicate about the arts of Africa
and the worldwide African Diaspora. Its many
distinguished members have shaped our way of
looking at African art and how we set our scholarly
agendas. It is thus an honor and important
responsibility to serve as the president of ACASA
for the next year and a half and to help shape its
agenda. I thank you for your trust and
encouragement asking me to take on this task at a
time when we need to complete work begun and
think innovatively about the future of ACASA.

Two months ago, the Thirteenth Triennial
Symposium in African Art was one of the many
highlights of ACASA's activities. There are several
memorable aspects that come to mind when
recalling this vibrant event and its sessions. From
my perspective as the Panels Chair, the most
obvious was the astounding change in the
emphasis of the panels, reflecting a paradigmatic
shift in what now concerns us in the study of
African art. Presentations on contemporary and
diasporic themes predominated, continuing a
development which already began during the
previous Triennial in the Virgin Islands. African art
around the world is alive and well and so is its

Here are some final numbers: 275 people
registered for the symposium; however, there were
also several colleagues who "crashed the party."
Local invitees, among them teachers, broadened
the outreach of ACASA in the region. Several
graduate students and colleagues received grants
to attend the symposium thanks to ACASA
members' generosity. And here is another
memorable aspect: over 7 inches of rain fell in the
days when the meeting took place an all time
record for Boston. The deluge did not dampen our
spirits, though, and let me assure you, the sun
occasionally shines in the Boston area!



At the danger of leaving out many deserving
colleagues-and staff atHarvard University, I
would like to express our gratitude to several in
the organizing group without whose commitment
the symposium would not have become the
exciting and fascinating event it turned out to be.
Suzanne Blier (Harvard University) was the chair
of the organizing committee and through her
many intellectual contributions and great
fundraising abilities assured that the conference
offered a fertile meeting ground for scholars and
friends of African art from around the world.
Karen Dalton (Harvard University), whose skills
as a scholar and superb organizer of meetings
shaped the symposium, and Dell Hamilton
(Harvard University), who ably took care of many
organizational details, played a key role.
ACASA's past president Robin Poynor (University
of Florida) was in charge of many arrangements,
and we thank him for making this event a
success. Finally, William E. Teel, who has
tirelessly supported the collecting and study of
African and Oceanic Art in the Boston area and
beyond, also extended his generosity to ACASA
and the Triennial. Among the institutions that
contributed time, effort, and funds was first and
foremost Harvard University. The Peabody
Essex Museum, and the Museum of Fine Arts,
Boston, staged events and gave financial support
to the Triennial. We thank them all.

On to the tasks at hand... They are numerous as
the minutes of the different recent board
meetings in this Newsletter demonstrate. It
seems to me that ACASA needs a bit of an
overhaul we have been so comfortable with its
role, taken it for granted, and maybe become
complacent. It is in our the hands to revitalize its
membership, put more emphasis on fiscal
accountability, get the by-laws finally reviewed
and amended as needed, revisit the award
structure, formalize ACASA's procedures, archive
the documents generated over the years, and
increase our outreach and impact.

We on the ACASA board of Directors, which
includes three new member (Kate Ezra, Carol
Thompson, and Norma Wolff ), have made these
tasks our priority. We are fortunate that we can
devote time to these activities, because the next
venue for the Triennial Symposium on African Art
has already been selected, a process that usually
takes up much time and energy in the year after
a Triennial. The event will take place at the
University of Florida and Robin Poynor, Rebecca
Nagy, and Eli Bentor will spearhead the effort.

Our gratitude goes to them for taking on this big
task. Not only that, we are also looking forward to
the sunshine that awaits the participants in Florida.
Our thanks go to the three ACASA board
members, who concluded their terms. Robert
Soppelsa, the past President, has devoted much
time and effort to his duties. Enid Schildkrout and
Joanne Eicher took over many responsibilities and
did them with their usual verve. Robin Poynor,
who has assumed the role of Past President, is
already working on the upcoming Triennial and
has been most generous in sharing information
with me.

Now it is up to all of us to continue with these
tasks. I have called on several ACASA members to
help with the initiatives outlined in the meeting
minutes and some of you may want to volunteer. I
hope to count on many more among you to
support our efforts to revitalize and energize
ACASA, an organization, which has been such an
important part of our professional lives.

Christraud M. Geary
Museum of Fine Arts, Boston

II I Message from the Editor

I want to express my sincere thanks and
appreciation to Susan Cooksey, Associate
Curator of African Art at the Ham Museum of Art,
for her continuing contributions to the Newsletter.
Special thanks are also due to Chris Richards,
curatorial intern, and Melody Record, curatorial
secretary, for formatting items for the Newsletter
and, as always, to Tami Wroath, Graphic
Designer, Har Museum of Art, for her expert

ACASA members have contributed $10 annual
sponsorships to mail Newsletters to 18
institutional courtesy members in Africa and the
Caribbean. Sponsorships are still desperately
needed. A Voluntary Contributions Form is
included in each Newsletter for your

We are in the process of formatting this issue of
the Newsletter in Acrobat Reader so that it can be
delivered on-line to individual courtesy members
in African and the Caribbean.

The ACASA Board of Directors has established a
goal of delivering the Newsletter on-line to all
individual members in the foreseeable future,
limiting production of hard copies to those
required for institutional members and archival

Rebecca Nagy

Samuel P. Harn Museum of Art, Gainesville

I f ASA News

The 47th Annual Meeting Of The African
Studies Association

The Power of Expression: Identity, Language
and Memory in Africa and the Diaspora

The 47th Annual Meeting of the African Studies
Association will take place from November 11-14,
2004 at the Marriott Hotel in New Orleans, LA.
The meeting will be held jointly with the
Canadian Association of African Studies. The
National Program Co-Chairs are Dennis Cordell
(Southern Methodist University) and Philip
Zachernuk (Dalhousie University).

The ASA looks forward to seeing you in New
Orleans, LA this year.

Kimme Carlos
Annual Meeting Coordinator
African Studies Association
Rutgers University
Douglass Campus
132 George Street
New Brunswick NJ 08901
Phone 732-932-8173
Fax 732-932-3394
Website www.africanstudies.org>www.africanstudies.org

Join the African Studies Association Today!

Established in 1957, the African Studies Association
is the largest African studies association in the
world. Its members include scholars, students,
teachers, activists, donors, and participants in non-
governmental organizations.The ASA encourages
interdisciplinary interactions with Africa and
provides access to path breaking research and key
debates in African studies. The ASA brings together
people with scholarly and professional interests in
Africa through the Annual Meeting; the ASA

publishes and promotes scholarly research on
Africa; and the ASA provides support, information,
and outreach services to schools, businesses,
media, and communities that have interests in or
about Africa.

Top Ten Reasons to Become an ASA Member:

1) Members attend the Annual Meeting, which has
grown into one of the largest annual gatherings of
Africanists in the world. The Meeting includes
keynote lectures, panels and roundtable
discussions on topics of major importance;
publishers' exhibits of the latest books in African
studies with representatives available to discuss
publishing possibilities; and the presentation of
eight awards ranging from book awards to
recognition of lifetime achievement. The Annual
Meeting also includes showings of latest
documentaries and feature films from and about
Africa; job placement services; receptions for
faculty, students and alumni of African studies
programs at major universities; and two very
popular events: the welcome reception and the
dance party.

2) Members can nominate international scholars to
obtain funding to enable them to attend the Annual

3) Members receive subscriptions to two leading
African studies journals, the African Studies Review,
and African Issues, and the professional bulletin,
ASA News. Members also receive a discount on
History in Africa and the Canadian Journal of
African Studies as well as on a wide variety of other
ASA Press publications. For a current listing of
publication offerings, see

4) Some 37 scholarly, professional and activist
organizations currently maintain connections with
the ASA and many hold their business meetings at
the ASA Annual Meeting.

5) The ASA initiates special projects to support
international research collaborations with African
scholars in higher education. The ASA promotes
networking and mutually advantageous research
collaborations. For example, the ASA has
supported the development of a website http://
www.isp.msu.edu/AfricanStudies/AEJP/ that
provides African scholars access to international
journals on Africa. In addition, with funding from
the Rockefeller Foundation, the ASA has
supported the development of a higher education
resource directory; see http://www.africa.msu.edu/

6) The ASA represents the interests of
professionals and scholars of Africa and African
studies and seeks to broaden opportunities in the

7) The ASA seeks to increase public understanding
of Africa through the media and other fora.

8) The ASA provides support to those who teach
about Africa at all levels, from K-12 to institutions of
higher learning.

9) The ASA promotes linkages with African-
American scholarly, activist, professional, and local
communities that are interested in the study of

10) The ASA makes funds available annually to
assist groups with shipping costs for book
donations to African libraries and schools.

The ASA invites all who would like to participate in
these activities to join. The ASA welcomes
members from North America and around the
world. A membership form may be found on the
ASA's new online database at

Within a few weeks of joining the ASA you will
receive a welcome packet that includes a brochure
that provides information about the ASA's services
and governance, and that suggests ways in which
you can participate in the ASA activities. You will
also in due course begin to receive copies of
African Issues, the ASA News, and the African
Studies Review.

I IACASA Meeting Minutes

ACASA Triennial Cambridge Business Meeting
4:15-6:15 Barker Center, Thompson Room
Friday, April 2, 2004

Robin Poynor President
Joanne Eicher
Christraud Geary
Ikem Okoye
Constantine Petridis
Elisha Renne
Enid Schildkrout
Robert Soppelsa

Michael Conner H-AfrArts

Tavy Aherne Treasurer
Rebecca Nagy Newsletter

Election of New Board Members
Bob Soppelsa chaired the nominating committee,
which nominated three individuals to fill the places
vacated by Enid Schildkrout, Robin Poynor, and
Joanne Eicher. Nominees include Carol Thompson
of the High Museum of Art, Kate Ezra an art
historian at Columbia College, and Norma H. Wolf,
an anthropologist from Iowa State. Nominations
from the floor were opened, but there were none.
Babatunde Lawal seconded the committee's
recommendation for election of the slate of
nominees. The new Board members were
unanimously elected.

Suzanne Blier, Karen Dalton, and Christraud Geary
represented the Boston/Harvard Committee. It was
reported that passing on ideas from one Triennial to
another is important. This Triennial is a good
meeting with various disciplines coming together to
share ideas, and Holland Cotter alluded to the
importance of the occasion in his keynote address.
It is obvious that there are a number of changes
that have taken place from the eight original ACASA
members to the 250 members now. It is still an
intimate but broad group of African art scholars. It is
necessary, however, to get the word out about
ACASA. We can make better use of electronic
messaging to build the membership back up again.
It was announced that the Awards ceremony would
be short and occur just before the keynote talk by
Carrie Mae Weems. The local committee was
congratulated on an admirable job in organizing
and carrying the Triennial through to realization.

Newsletter Rebecca Nagy
Robin Poynor introduced Rebecca Nagy, thanking
her for work on the Newsletter. Rebecca reported
that the Har Museum of Art has provided
institutional support, with Susan Cooksey assisting
Rebecca and grad assistant Jody Berman doing
data entry. The next issue, Spring/Summer, is
anticipated to be out in late May or early June and
will include the Membership Directory and
encourage membership renewals. Queries for
obtaining back issues have been made. These will
be provided for $5 per issue. Anyone interested in
back issues should indicate which issue is needed
and make a check out to ACASA and send it to
Tavy Aherne who will notify Rebecca. We are still
seeking sponsorships for courtesy members. Until
recently over 600 international Newsletters were
mailed. We currently have 17 sponsorships. We
have identified the institutional members that will
provide access to the most readers to receive
Newsletters. Our ultimate goal is to get the

Newsletter online in Africa and the Caribbean.
Robin sent a letter to courtesy members to check
addresses and to request renewals so that we do
not send the Newsletter to dead-end addresses.
Eleven responses have been received to date. Ten
dollars a yearvill sponsor-the Newsletter for an
African or Caribbean member. There was
discussion of the availability of electronic access to
the Newsletter in African and Caribbean countries.

Membership Tavy Aherne
Tavy reported we have a current membership of
131. The demographics have changed.
Registration dropped from 82 to 61. Institutional
membership is the same same. We are taking in
less in dues but there is a slight increase in
members. There has been a drop off in graduate
student memberships. Tavy encouraged professors
to promote membership among their graduate
students. Renewals can be done on H-AfrArts as
well as doing this on the form at the back of the
Newsletter. Membership is from Jan 1- Dec. 31.
Membership must be paid for by a certain deadline
to be included in the directory. Those that do not
renew will be contacted with reminders. Robin has
made some personal contacts and will continue to
do so during the year.

Lisa Aronsen suggested adding perks to
membership. AfrArts news gives us the baseline.
Perks might include Proceedings of the Triennial on
CD. Doran Ross emphasized that a perk is
attendance at the Triennial and that non-members
should not be present. It was observed that some
non-members have chaffed at even paying for
registration. Eli Bentor suggested that a three-year
membership from Triennial to Triennial would be
appropriate and that this may solve the drop in
membership for non-Triennial years. Bill Dewey
suggested that we send renewals to those who
were members many years back. Nicholas Frech
will assist Robin in organizing this over the
summer. Jerry Vogel suggested that an addressed
return envelope will encourage renewal. Robin
observed that we did that for fund raising, and of
the 600 appeals sent out to dealers and collectors,
only one dealer sponsorship for $500 was

Another membership issue has to do with the
participation of those outside the normal ranks of
ACASA. One possibility is to sell one-day passes or
a ticket per panel. These must be sold in advance.
It was asked if we have someone who is familiar
with public relations to suggest how we should
advertise to colleges and organizations. Should we
produce a flier to send out to universities? We now
have list of people using the ACASA-sponsored
book, A History of Art in Africa, so that might be a
starting point.

Lisa Aronsen suggested a redesign of the website
as a means of providing information: She urged the
board to beef up the website. It needs to be more
visually compelling. There might be an opportunity
to advertise.

The issue of allowing only paying members to
attend the Triennial was brought up again. Pros and
cons were offered. While some supported the idea,
others think there need to be exceptions and other
options, especially for those not in the profession.
This year, they paid to register but didn't have to
join the organization. In some instances we have
asked people to be on our panels who contribute to
the discussion but whose interest is not primarily in
the expressive arts of Africa. For example, Susan
Vogel pointed out that someone presenting on her
panel and didn't want them forced to pay in full.
This must be dealt with on a case-by-case basis by
the panel chair. There needs to be means to
establish exemptions. There are 119 presenters at
this year's ACASA.

Should we make the registration fee equal to the
annual membership fee? Non-members do pay
higher registration now but not the same as regular
registration. Enid Schildkrout suggested that
presenters on ACASA sponsored panels at ASA
and CAA should also be ACASA members. Doran
Ross emphasized once again that membership
should be required to present at ASA and CAA. The
overwhelming consensus was for membership
being required. Few were opposed. Babatunde
Lawal asked should we have a waiver for Africans
or others from abroad? It was observed that they
are already members, but they pay registration. Phil
Peek stated that we need to be careful about these
votes. We need to figure out a pattern to follow and
duly notify to avoid misunderstanding. Dunja
Herzak noted that the objective of these exchanges
is scholarly. Someone from Portugal presented on
her panel, for example. Exceptions need to be
discussed. We understand that there are
exceptions to every rule. It was also reiterated that
we need membership forms available at all
meetings. This has normally been done at
meetings, and they will be made available later at
this meeting.

Treasurer Tavy Aherne
The Treasurers Report was made available with
figures from the Regular Checking account as of
March 22; Regular Savings; and Endowment.

Symposium has seed money for next Triennial.
Total is $49,827.93. Vicki Rovine stated that the
membership must say thanks to Tavy. Lifetime

membership is an award and cannot be purchased.
Jean Borgatti suggested that we might consider
offering a lifetime membership. There is a place for
contributions at the end of every Newsletter.

2007 Triennial and New President
It was announced that Chris Geary will be the next
president and will chair the Board meeting
tomorrow. Rebecca Nagy and Robin Poynor will
host the 2007 symposium in Gainesville, Florida.

African Arts
Announcements: Allen Roberts
Announcement: African Arts paid off its deficit. MIT
will now be doing the advertising and services
portion of African Arts. Amy Futa is retiring.
Subscription to African Arts is in decline. We need
everyone to subscribe to prove that we are turning
the journal around. You might think that we have a
backlog of articles but we need articles and book

Maria Berns
Philip Ravenhill Fellowship Announcement: $7500
is available every two years to support someone
from Africa to come to the US to work. Applicants
need linkage with an institution before they can
apply. The sponsoring institution can be anywhere
in America, England or Europe. The fellow would
live in the host city from 1-3 months learning from
the sponsoring institution. The competition is open
to visiting artists as well as scholars and museum
professionals. Affiliation means teaching in a
college, or doing research at an institution. The
host institution provides oversight.

Art Center Site
Esther Dagan announced that she is seeking a site
for an art center.

Costa Petridis announced that CAA will be held in
Atlanta next year. Two open sessions are reserved
for African art. Sydney Kasfir and Chike Aniakor are
planning a contemporary panel. April 1- May 14 is
the narrow window open for accepting paper
proposals. Emory is trying to make CAA more
affordable by helping with housing.

Jean Borgatti
Reminded everyone of the Fred Scott Gallery
breakfast open house on Sunday. Jean Borgatti will
be there.

H-AfrArts Net Report
Michael Conner made a report on H Afr Arts. His
report is summarized in the Internet Resources
section of this Newsletter, p.10 ff.
Meeting dismissed 6 p.m.

ACASA Triennial Board Meeting #1
1:00-2:30 pm
Barker Center, Alain Locke Seminar Room
Thursday, April 1, 2004

Present: Robin Poynor, President; Joanne Eicher;
Christraud Geary; Constantine Petridis; Elisha
Renne; Enid Schildkrout; Robert Soppelsa;
Michael Conner, H-AfrArts; Tavy Aherne, Treasurer;
Rebecca Nagy, Newsletter; Guests: Susanne Blier;
Karen Dalton

Absent: Ikem Okoye

Robin called the meeting to order.

Suzanne Blier, Karen Dalton, and Chris Geary of
the Boston/Harvard Committee wanted to report on
activities leading up to the Triennial and address
the issue that we have a corporate memory
problem. Some retrievable Triennial archives and
documentation, perhaps in the form of notebooks
may lessen the need to start over with the planning
of each Triennial. It was noted that the official
ACASA archives are at the Northwestern Libraries,
but that these are not easily available for those
working on the Triennial.

A clear policy for what is to be expected of
attendees from various geographic locations. Free
membership is given to African and Caribbean
scholars is needed, and travel stipends are
provided if they present papers. In the past, when
we have received money, the registration fee has
sometimes been waived. A few presenters from
South Africa have claimed that they should not pay
registration. It was noted by the board that
membership is not registration.

It was suggested that perhaps an ex-officio
member could be added to the board to oversee
the Triennial and to advise what needs to take
place when. Continuity is a problem when the
President changes every two years.

A much bigger group is attending this year, and
more diverse. Registration for this Triennial is 235,
compared with 195 at St. Thomas.The committee
pointed out that they were able to get little financial
support from Harvard University and that it was the
W.E.B. Dubois Institute that funded this Triennial
heavily. ACASA and its organizers have been
chastised for not opening it up to the community.
Many involved in African cultural movements as
well as local artists did not want to pay. But it was
reiterated that the registration fee is the only way to
finance the event. Should we establish another
scholarship fund for local participants? Triennials
cost about $150,000 to put on.

It was pointed out that many people in Europe did
not know about the ACASA Triennial and that we
perhaps need to advertise it better, especially in

Board Members need to write down what they do in
preparation for a Triennial. Martha Anderson has
created a three-year notebook for the president. In
the past Rebecca Green kept treasurer's notes that
were passed on to Tavy Aherne. It was noted that
Eli Bentor had made available information for Chris
Geary and had a wealth of information. It was also
noted that panel chairs generally disregarded the
instructions provided for panel forming. Elisha
Renne has started has started a notebook on the
selection of the Sieber Dissertation Awards. Advice
needs to go directly to incoming chairs. We need to
create manuals with ideas for organizing. We need
to seek out former board members for any notes
they have preserved. Such notebooks need to be
passed along and be easily transmitted. Perhaps
they can be stored electronically and be obtainable
on the ACASA website.

Part of the problem this time was that we had a late
start. It was especially intense 8 months before the
Triennial for Karen Dalton. We need to do this
earlier, and we hope that next time we will be able
to start earlier. Another issue was that the planning
group was too small this time. Only 3-4 people
really did the planning and work at Harvard this last
year. Chris Geary was the only outside person to
come to Harvard and work on-site.

The following will begin to prepare notebooks for
future use: Newsletter, Rebecca Nagy;
Membership, Tavy Aherne; Treasurer, Tavy Aherne.
Chris Geary, Panels Chair; Suzanne Blier and
Karen Dalton, Local Committee; Awards: a listing of
what awards are given out, procedures spelled out
and accessible. Michael Conner will work with Ray
Silverman on establishing a password protected
storage area on the website.

The Board expressed that Museum Day at the
Peabody Essex Museum in Salem was great and
that we need to thank them.

The Board discussed how to do much more
graduated membership categories and registration
fee scale, but actual amounts were not decided.
Early bird registration this time was only one month
before the conference and onsite registration was
not early enough. Onsite should be much higher.
Given the number of receptions and the free
breakfasts provided at Harvard, members are
getting a lot for their registration fee. Could we
charge for breakfast? Dubois Institute paid for the
breakfast this time. Would a $25 daily rate be

advisable for the local community and for those
"outsiders" participating on only one panel?

Money derived from registration has always been
used as seed money for the next Triennial. Robin
advised the Harvard Committee they could have
50% of this Triennial registration to alleviate strain
on their budget form a late start and the difficulty of
developing other funding sources. While half of the
income from the registration fee is going to the
present conference, the rest goes into our account.
The local committee was able to raise some money
by advertising in the program. The advertisements
are tasteful and look good.

It was pointed out that most of the problems with
the present symposium stemmed from timing.
Everything was behind schedule.

Next Triennial
The local committee for the next Triennial will have
the benefit of the handbook on how to do it. The
bidding process is normally completed as quickly
as possible. With no immediate bids for the
present symposium, the process was done over the
phone and face-to-face with Bob Soppelsa.
Several possible venues for 2007 have been
mentioned, but none have really made bids yet,
with the exception of the University of Florida. It
was pointed out that spring is a wonderful time of
the year in Florida, that Florida would be supported
by the Center for African Studies and other units on
campus. Robin Poynor and Rebecca Nagy have
met and have created a list of possible participants
and activities at Florida and know what is involved.

Tavy Aherne reported that ACASA is still down in
membership. We have the same number but we
are down in regular memberships and up in special
memberships. Eleven African and Caribbean
courtesy members have responded to the letter
sent by Robin Poynor to confirm their interest in
courtesy membership.

Free membership for African and Caribbean
members is intended for those who still reside in
the country of origin, not for expatriates living in the
United States or Europe. It is suggested this be
spelled out to avoid confusion and abuse.

An anonymous donor has provided $1500 to be
used for this Triennial for funding an African guest.
A precedent was set in the Virgin Islands to
distribute late in-coming donations among the
travel grant awardees at the conference, but this
needs to be done with Money Orders and not with
ACASA checks. It was decided to use this for the
travel grant given to a Nigerian presenter.

It was noted that some are only becoming members
during Triennial years and allowing membership to
lapse during the in-between years. Perhaps the next
Triennial shoUrd have different color badges for
different types of members. There needs to be a
letter regarding membership renewal sent every
year. Tavy would like everyone to rejoin by a certain
date or be dropped from the newsletter list.
Everybody received the winter edition so that they
would have the information for the Triennial. People
don't renew in January. The difference between 195
and 230 is only 35 members. Yet, our ACASA
membership has almost doubled since then. It is
necessary to develop another generation of ACASA
members. Tavy wanted to especially recognize
Robin for encouraging all the Florida students to join
and stay current with their dues.

It is interesting that there seem to be no
representatives from France at the Triennial.
Belgium is represented. The Virgin Islands
connection has blossomed into a panel and we now
have many members from the Caribbean.

The incoming president normally negotiates the site
for the next Triennial and site visits, in addition to
the normal planning for annual ASA and CAA
meetings. Since the site for 2007 has been
established, that step is not necessary. The
president also used to do the archive. It was
suggested that perhaps incoming board member
Norma Wolff might be interested in working on the
archives, thus taking over that task. Tasks that will
need to be undertaken by the incoming president
should include raising the membership.

Bob Soppelsa nominated Chris Geary for the
presidency, seconded by Joanne Eicher. Chris was
unanimously elected President.

The ACASA business meeting will take place at 4:15
tomorrow and board members were asked to
remind those in panels of the meeting time and

The meeting was adjourned at 2:30

ACASA Triennial Board Meeting #2 April 3, 04
1:00-2:30 Barker Center, Alain Locke Seminar
Saturday, April 3, 2004

Christraud Geary-President
Ikem Okoye
Constantine Petridis
Elisha Renne
Enid Schildkrout (going off board)
Kate Ezra (new member)
Carol Thompson (new member)
Norma H. Wolf (new member)
Joanne Eicher (going off board)
Robert Soppelsa (going off board)
Robin Poynor (going off board, but assumes Past
President role)
Michael Conner (ex-officio H-AfrArts)
Tavy Aherne (ex-officio Treasurer)
Rebecca Nagy (ex-officio Newsletter)

Chris Geary called the meeting to order and
introduced new board members Kate Ezra, Norma
Wolff, and Carol Thompson, who made brief
statements of their interests for work on the board.

A brief discussion ensued in which we looked at
some of the major issues and challenges ACASA
faces in the next year, including development of
strategies. Chris outlined the issues and challenges

Outreach and communication:
One of the issues is to let people know what we do.
Outreach problems are similar to those related to
membership. We must assign someone to design a
brochure. Members are volunteering to help. Chris
asks that we let her know on who wants to become
involved. A key to outreach is effective
communication. The website is thus a means and
perhaps we should look into professional design. A
number of possible ways to encourage interest
include offering Proceedings on CD-ROM given to
the members who attend. Abstracts of
presentations can be handed out upon arrival at the
meeting, perhaps bound for purchase by non-
members. We should raise our registration fee.
Tavy now works about 5 hours per week during
normal years and 8 hours per week in Triennial
years, on ACASA business. She did not have
enough help, and volunteers can be used for this.
Perhaps we need to consider some of the concepts
used in "branding" to establish ourselves.

We need to do a membership survey. In such a
survey we could establish that "these are the tasks

that we have to do" and ask for members to
indicate those they'd be suitable for or interested in
assuming. We need to establish that ACASA
expects us to4+elp out and that we are not
exclusive. The Board should reflect the
demographics of the organization. All of these
issues were raised at the Business Meeting. What
are the perks that might be offered for
membership? A discussion of these issues can be
done by Email and in committees. One such perk
would be a password-protected newsletter, job
listings, special tours by affiliated museums,
University tours, a CD-ROM of papers including
visuals, one-page abstracts of papers made
available at the conference. Some of these
recommendations introduce such issues as
copyright, someone to serve as an editor. All these
things take time and effort. It was noted that some
of the organizations that offer these sorts of perks
have executive directors as paid employees. In
order to follow suit, we need more members.

Fiscal accountability and management:
These are complex issues. Much of the
responsibility is placed on the treasurer. How can
we help Tavy? Perhaps establishing another
position such as Membership Chair might help. We
would need to identify someone who could
dedicate an hour a day to contact ACASA
members, work with ideas of promotion and setting
up a flier. These are not fiscal duties. Tavy is a
contact for members, but we also need someone to
serve as outreach or membership coordinator or
chair. Do we really need yet another ex-officio
member on the Board? Pay Pal was implemented
just before ASA and explained at the ASA meeting.
In order for a bill to be paid, the payee must
respond to an email sent from Pay Pal soliciting a
confirmation of the intended payment. Some have
joined Pay Pal while others have not followed up,
perhaps thinking that it is spam.

Tenure of duty:
Why did we establish the 18 months Board tenure?
It seems that By-Law revision has been set aside.
One issue to discuss in this context is the length of
duty as a Board member. Since the work is from
Triennial to Triennial, does it make sense to have
three-year terms of office rather than 18 months?

Triennial issues:
Rebecca Nagy asked what is available for travel
grants for the 2007 Triennial. The money used for
site visits won't be necessary because the decision
for venue has already been made. This Triennial
breakfast on-site was a wonderful idea and worked
to get people to the meeting rooms where they
could eat and socialize and be on time for
sessions. It is an added cost. Perhaps we could
add the cost to the registration fee in future. In the

past registration was never used for the current
Triennial. This year Robin decided because of the
late start in finding funding, a portion of the
registration money should be turned over to
Harvard for funding. A brief discussion of the Party
event took place. Everyone noted an absence of
the younger membership at the dance. We need to
investigate to see if separating the social event
from the awards event is good. An evaluation of the
Triennial might be a good plan. An evaluation can
be sent by email to those who attended. We can
create checkboxes for such things as "Did you
attend the dance? Why? Keynote? What did you
like and what did you not like?" We realize that the
social aspects of Triennial are very important. This
Triennial there was a reception scheduled every
night at one or more of the galleries. We can
expect fewer evening receptions in Florida. We
need to factor in charges for AV equipment no
matter where we are. There is a need to contact AV
people now. It is a good idea to provide a server to
upload Power Point presentations and be sure to
publish the necessary standards.

ACASA archives:
Norma Wolf volunteered to work on the archives.
Reconstruction of a history of ACASA can be
derived from what has been kept over the years.
David Easterbrook at the Northwestern Library has
some materials that would have otherwise passed
from one president to another. Norma wants to visit
Northwestern to see what has been done. Robin
will send materials that Martha Anderson passed to
him to Norma so she can organize them and see
what needs to be sent to Northwestern. It would be
good to establish a running list of certain historical
informational items on programs such as a list of
past presidents.

The Board thanked Enid, Robin, and Joanne for
their work on the Board. Robin and Joanne
remarked on how much they had enjoyed it, and
Robin conveyed similar notions from Enid, who had
to leave after the Business Meeting the night

Creation of a procedural handbook:
Karen Dalton and Dell Hampton of the W.E.B.
Dubois Center for African and African American
Research will work on a handbook indicating steps
and procedures they went through in organizing the
13t Triennial. Exceptional on-site organization was
provided for this Triennial. Some of the "boiler
plate" activities such as CFP, fund raising, etc.,
need to be kept in a handbook. Suggestions
include timelines

for tasks, etc. A separate manual should be created
for the Leadership Awards Committee, the Sieber
Dissertation Committee, and the Arnold Rubin Book
Award Committee.

It may be a good idea to have a short bio in a
separate program for the Awards event.
Introductions should be concise. In past there has
always been a response (400 words). There was
some discussion on the types of awards. The
leadership awards should be based on great
service through the discipline. Should there be
separate awards for Service and Scholarship. An
awards manual should be established. What are
the awards? What are the criteria for the award? Is
it possible that we might give one-time awards?
What are the pros and cons of establishing a
separation between special recognition vs. service

Ongoing assignments include:
Triennial Committees
Rubin Book Awards
Leadership Awards (Chair past president)
Sieber Dissertation Awards
Newsletter committee: Rebecca Nagy will continue
as Newsletter editor, assisted by Susan Cooksey.
H-AfrArts Chair: Michael Conner. Committee
members Ray Silverman and Jean Borgatti
General Outreach: Kate Ezra will work with Lisa
and (TSA) to work on a brochure
Membership: The committee Chair will be Carol
Thompson. Robin will assist Carol. Jean Borgatti
and Elisha Renne will help on CD. A Graduate
student liaison should work with Carol or co-chair.
Ex-officio grad representative: Agreed that an Ex
officio appointment of a Grad student to the Board
would be a good idea. We should have a graduate
panel at every meeting.
CAA liaison: Costa Petridis
ASA liaison: Elisha Renne
Ethnomusicologist representative? We should
discuss with other ethno-musicologists colleagues.
Triennial: Robin Poynor, Rebecca Nagy, and Eli
Bylaws committee: Last year's committee did not
complete its work. 3 pages were linked to the
procedural handbook. Robin will email the Bylaws
to everyone on the Board. What needs to be
Procedural Handbook: Enid Schildkrout will work
on this and Costa will help Enid, Karen and Dell.

Some of this should be in place by next ASA in New

Other business:
Thanks were offered to Robin for being President.

He expressed mutual thanks to the Board.

The Meeting was adjourned at 2:30.


The 2004 Arts Council of the African Studies
Association Rubin Book Awards

The ACASA Rubin Book Award Committee
members, Rowland Abiodun, Doran Ross and
Joanne Eicher, had the pleasant task of reading
forty books on the arts of Africa submitted by
publishers for the 2001 through 2003 period. Each
submission represents a partnership between
authors and publishers, and we evaluated each in
terms of research, analytical sophistication, text,
overall design, production details, and visual quality.
Two awards are presented at each Triennial to
honor Arnold Rubin's many contributions to the field,
including the founding of ACASA. The first award is
for a book with one or two authors and the second
one for a book with three or more. We agreed
unanimously on the ACASA 13" Triennial Rubin
Book Award winners.

In the category of one or two authors, the Honorable
Mentions follow in alphabetical order:
1) Christraud Geary, In and Out of Focus,
Smithsonian National Museum of African
Art, Philip Wilson Publishers.
2) Michael Harris, Colored Pictures: Race
and Visual Representation, University of
North Carolina Press.
3) Corinne Kratz, The Ones that are
Wanted: Communication and the Politics
of Representation in a Photographic
Exhibition, University of California Press.
4) Moyo Okediji, The Shattered Gourd:
Yoruba Forms in Twentieth Century
American Art, University of Washington
5) Victoria Rovine, Bogolan: Shaping
Culture through Cloth in Contemporary
Mali, Smithsonian Institution Press.

In the category of three or more authors, the
Honorable Mentions follow alphabetically:
1) Martha Anderson and Phillip Peek,
Editors, Ways of the Rivers: Arts and
Environment of the Niger Delta, UCLA
Fowler Museum of Cultural History.

2) Christine Kreamer and Sarah Fee,
Editors, Objects as Envoys: Cloth,
Imagery and Diplomacy in Madagascar,
Smithsonian Institution National
Museum of African Art in association
with University of Washington Press.

3) Simon Ottenberg, Editor, The Nsukka
Artists and Nigerian Contemporary Art,
National Museum of African Art,
Smithsonian Institution.

The winner in the category of one or two authors
goes to a book with imaginative research methods
focusing on one image, a photograph of Amadou
Bamba, taken in 1912 that has captured the
attention of Mouride followers and circulated in
many forms since then: Saint in the City: Sufi Arts
of Urban Senegal by Allen Roberts and Mary
Nooter Roberts. A product of ten years research,
this book interrogates the static notion of art and
culture in an Islamic Society, consequently charting
a new methodological approach to the study of
African art and visual culture. We congratulate
Allen and Polly.

In the category of three or more authors. the
winning book catapults the contemporary arts of
africa into a global arena by presenting a
perspective of these arts at the 50th Venice
Biennale: Gilane Tawadros and Sarah Campbell,
Editors, Fault Lines: Contemporary African Art and
Shifting Landscapes, InlVA (Institute of
International Visual Arts in collaboration with the
Forum for African Arts and Prince Claus Fund).
With the accelerating interest in contemporary
African art and the need to understand its place
within the global art scene, this book represents a
compelling and eloquent argument in a refreshingly
erudite collection of essays with a rich mosaic of
perspectives. This exemplary volume makes a
forceful case for the future study of contemporary
art. We congragulate Gilane and Sarah as editors
and their many colleagues.

Joanne B. Eicher, Chair

First ACASA Sieber Dissertation Awards

The first ACASA Sieber Dissertation Awards were
presented at the ACASA Triennial Symposium in
Cambridge, on April 3, 2004. The award committee,
which included Mary Jo Arnoldi, Paula Girshick,
Sylvester Ogbechie, and chaired by Elisha P.
Renne, presented awards to Dr. David Doris and
Dr. Kim Miller.

Dr. Doris' outstanding dissertation, Vigilant Things:
The Strange Fate of Ordinary Objects in
Southwestern Nigeria, was selected for the first
place Sieber Dissertation Award in 2004. A
committee member described it as "the best argued
and written dissertation that has been seen in many
years." Another member wrote that "On a general
theoretical level, Doris pushes the boundaries of
what constitutes 'art' as we in African art studies

have become accustomed to [know] it...this is a
very original thesis. Roy [Sieber] would have loved
it because of its iconoclasm and because it
extends his intellectual lineage to the
grandchildren though Arnold Rubin, his first
student. Based on extensive fieldwork and a
thorough acquaintance with the ethnographic and
theoretical literature, this dissertation sets the
standard by which we should measure the other

Dr. Miller's dissertation, The Philani Printing
Project: Women's Art and Activism in Crossroads,
South Africa, selected for the second place award,
was praised as "... an important and original
work...Kim Miller's narrative of the struggle for
autonomy by South African women artists of the
Philani Printing Project directs our attention to the
powerful role of African women as the main actors
in economics, culture and political activism. The
feminist viewpoint and thematic focus of this
dissertation is important because it recognizes the
immense role of women in creating and sustaining
African societies."

Ekpo Eyo and Joanne Eicher Recieve ACASA
Leadership Awards

Chief Ekpo Okpo Eyo's Leadership Award was
presented on April 3, 2004 at the Triennial
Symposium. Amanda Carlson introduced Chief
Eyo. An excerpt of her remarks is as follows.

"Prof. Eyo, as he is known by many is an Efik man
from the Creek Town/Duke Town area of Calabar,
which is in Cross River State, Nigeria. He is an
archeologist, an art historian, a member of the
Leopard Society, a father, a husband, a professor,
and a mentor. He has had a long and impressive
career." In 1957, after working as a technical
assistant in the Federal Department of Antiquities,
a young Ekpo Eyo traveled to the United Kingdom
to study Archaeology and Museum Administration
at the University of London. He then received a
Bachelor's and a Master's degree in anthropology
and archeology from Cambridge University. In
1963, he returned to Nigeria and worked as an
archeologist and ethnographer for the Nigerian
government. While working in the Civil service, he
earned a Ph.D. in archaeology from Ibadan
University in 1974.

"In 1968, he was appointed as the Director General
of the National Commission for Museums and
Monuments. Serving that post for 18 years, his
career was marked with honesty and integrity. He
developed one of the most impressive museum
systems in Sub-Saharan Africa, with many
innovative programs too extensive to describe
here. In 1980, Dr. Eyo curated a "little" exhibition

that traveled to 7 venues in the United States, in
addition prestigious museums in France, England,
Norway, Sweden, Germany, Switzerland, Russia,
and Bulgaria. Treasures of Ancient Nigeria: Legacy
of Two Thousand Years was aJandmark exhibition
in the history of our discipline for many reasons.
Most notably, it was the first major exhibition of
African art to travel internationally that originated in
Africa and was curated by an African scholar.

His numerous books and publications include Two
Thousand Years of Nigerian Art (1977), The Story
of Old Calabar (1986), Treasures of Ancient Nigeria
(1980), and his forthcoming The Royal Art of Owo.
He is perhaps best known for his archeological
research in Owo, Ife, and Cross River. His findings
not only changed the way we think about Nigerian
history but well beyond. He has served on many
international bodies including UNESCO and Pan
African Congress...

In 1987 he joined the University of Maryland faculty
in the Department of Art History and Archaeology,
where he has inspired many undergraduate and
graduate students to pursue fieldwork in Nigeria
and careers in our discipline. As he moves toward
retirement from his academic position, we can
expect that he will continue to put his knowledge
and experience to good use...

Elisha Renne presented the Leadership Award to
Joanne Eicher, after the following remarks.

Joanne Eicher has contributed to African arts in so
many ways, it is difficult to know where to begin.
Her early research on African textiles began with
her curiosity about the production of Nigeria cloth,
specifically the cloth known as pelete bite, "cut-
thread" cloth made from Indian madras by Kalabari
women in Buguma, Rivers State. The work was
ground-breaking in that it represented one of the
first studies to consider both the technical aspects
and the social contexts of these cloths-who made
them, when they were used, and how they came
to be associated with Kalabari identity. This
interest in women's textile work and dress
expanded into an interest in trade, including her
research on cloths made for the African market in
India, as well as her interest in African dress
fashions more generally. Her research association
over the years with the Erekosima family of
Buguma and Port Harcourt, Rivers State, is another
aspect of this work.

In 1995, Professor Eicher was awarded a Regents'
Professorship and remains an active member of the
Department of Design, Housing, and Apparel,
College of Human Ecology at the University of
Minnesota.In 2001, a seminar commemorating her
scholarship, teaching, and public service was held
at the University of Minnesota. Entitled Cloth

is the Center of the World: Nigerian Textiles, Global
Perspectives, the seminar coincided with the
opening of a show at The Goldstein: A Museum of
Design, University of Minnesota, in the fall 2001,
based on the Eicher Collection of Nigerian textiles.
Since then, she has remained actively involved in
academic life, publishing, attending conferences,
and talking of Design, University of Minnesota, in
the fall 2001, based on the Eicher Collection of
Nigerian textiles. Since then, she has remained
actively involved in academic life, publishing,
attending conferences, and talking as a guest
speaker on several occasions. She is on numerous
editorial boards and continues to advise graduate
students and to provide guidance to those who
have graduated, of whom I am proud to say I am

So I am most pleased to be able to name Professor
Joanne B. Eicher as a recipient of the ACASA
Leadership Award for 2004.

Monni Adams Receives Special Recognition
Local Committee co-chairs for the Triennial,
Suzanne Blier and Christraud Geary presented
Monni Adams with a Special Recognition Award for


Alien Roberts and Polly Nooter-Roberts
with their book A Saint in the City, winner
of the Rubin Book Award for two authors.

Monni Adams receives Achievement
Award from Chris Geary

Elisha Renne congratulates
Joanne Eicher for her
Leadership Award

Kim Miller and David Doris, winners of
Sieber Dissertation Awards

Holland Cotter talks with Barbara
Blackmun after his keynote address

Leadership Award winner Ekpo Eyo (cen-
ter) with Christa Clarke (left) and Amanda

Rowland Abiodun and Christraud Geary

Carrie Mae Weems delivering her
keynote address

I 1 Exhibitions

Ros Walker, Michael Conner and Chris Geary
at the opening reception

1 N I Artist News

Yinka Shonibare Nominated for Turner Prize

Yinka Shonibare is shortlisted for the prestigious
Turner prize for his sculptural installations in which
he continues to use African fabric to subvert
conventional readings of cultural identity, as seen in
his exhibition Double Dutch at the Museum
Boijmans Van Beuningen, Rotterdam and in his
solo show at Stephen Friedman Gallery, London.
As part of a three-year sponsorship, Gordon's will
increase the value of the Turner Prize to 40,000.
The Prize is awarded to a British artist under fifty
for an outstanding exhibition or other presentation
of their work in the twelve months preceding May 9,
2004. It was established in 1984 by Tate's Patrons
of New Art and is intended to promote public
discussion of new developments in contemporary
British art. It is widely recognized as one of the
most important and prestigious awards for the
visual arts in Europe.
Work by the shortlisted artists will be shown in an
exhibition at Tate Britain from October 20 -
December 23, 2004. The winner will be announced
at Tate Britain on Monday, December 6. Currently,
Yinka is guest artist at the Moderna Museet
Stockholm, where he is directing a video
choreography in the manner of Verdi's 'Masked
Ball'. It may be viewed at the Tate Turner Prize

For more information: http://www.tate.org.uk/britain/

Insights: Selected Artists from the
Contemporary Collection
Organized by the National Museum of African Art,
Smithsonian Institution, Washington D.C.
February 27-November 28, 2004
Curators: Kinsey Katchka & Allyson Purpura
Visit the exhibition website at http://

Insights: Selected Artists from the Contemporary
Collection features the work of nine contemporary
artists from the museum's collection. By displaying
ensembles rather than individual works, the
exhibition reveals the artistic process and play of
experimentation, continuity and change in each
artist's chosen subjects and materials. The artwork
on exhibit reflects the collection's strength in
contemporary South African art.

Visitors may perceive relationships among the
works, perhaps even those not anticipated by the
artists themselves. As artist Sue Williamson
suggests, "art has several lives-it has one life
when you are actually making it, and that process is
important for the artist.... Then when that's
finished, the art begins the second phase of its life,
where people react to it in a particular space-in a

Artists' insights are presented in quotes that
illuminate and personalize the works on display,
while the curators' comments impart the broader
cultural and political themes that inform each
artist's work. Together, these insights reveal the
artists' varied use of visual metaphor, allegory, myth
and even movement to evoke a range of
experiences-the joy of masquerade, the resiliency
of community, pride of place and the physical and
psychic violence of political oppression.

To artists and visitors alike, art is insight: it is about
the power to see into the world and to transform it
in the process.

Upcoming Project: Art and AIDS Awareness

As a next step in a process begun by Doran Ross
at the UCLA Fowler Museum of Cultural History
when he organized a small exhibition some ten
years ago and continued through the Fowler's
exhibition called Break the Silence: Art and HIV/
AIDS in Southern Africa guest curated by Durban
Art Gallery Director Carol Brown and held at the
Fowler in 2002, we are planning another Fowler
exhibition for the summer of 2005 that will include
arts of AIDS awareness from Africa and other parts
of the world (especially India and Suriname).
Colleagues at other institutions like Pam Alara at
Brandeis and Louise Bourgault at Northern
Michigan University have been engaged in similar
good works over recent years, of course, but it is all
too sadly obvious that the pandemic is getting
worse rather than better, and that we all need to
keep doing everything we can to bring awareness
to what each of us as individuals can do to help.

In that light, during your research in Africa this
summer, we would like to invite you to keep an eye
out for case studies of arts and AIDS awareness.
We would welcome great in situ photos of murals
or performances, the collection of material culture
(e.g. paintings, textiles, t-shirts, etc), the recording
of interviews or the preparation of article-length
manuscripts. We shall be organizing symposia and
related activities here at UCLA, and depending
upon submissions, may be able to organize a
special issue of African Arts with an AIDS-
awareness theme. I would be happy to confer with
you about this initiative, with especial attention to
how it might be coordinated with similar efforts

Allen F. Roberts, PhD
Professor, UCLA Department of World Arts &
Professor (affiliated), UCLA Department of
French and Francophone Studies
Director, James S. Coleman African Studies
10244 Bunche Hall, UCLA box 951310
Los Angeles, CA 90095-1310 USA
Tel. 1/310/825-3686
FAX. 1/310/206-2250

JK Conferences, Symposia,
and Workshops

Culinary Cartographies: Food, Gender, and
Race in the Early Modern Black Atlantic

A Fall Semester Seminar directed by Kim F. Hall,
Fordham University

The "Atlantic" has been a concern in early modern
literary and cultural studies for some time now, but
the vanishing point of most work on sixteenth- and
seventeenth-century England is England's relation
to its mainland colonies. This seminar changes the
perspective on early modern English literature and
history by privileging the heterogeneous traffic in
goods, people, and ideas that constituted
England's contact with Africa and the West Indies.
Focusing particularly on the circulation of foodstuffs
in the seventeenth century, participants will
investigate early modern England's development of
its Caribbean colonies, asking what ideas about
cultural and racial differences circulated and were
created in the interactions between Africa, Europe,
the Caribbean, and America? How did newly
available commodities and their production
influence England's cultural

imagination? With the production and
consumption of foodstuffs as the focus of
discussion, the seminar will give sustained
attention to women and gender, as well as
highlight connections between households and the
currents of trade flowing through the Atlantic.
Food-simultaneously physical, aesthetic, political,
and mercantile-will also allow the class to
address a range of concerns: the development of
racialized labor and slavery, the influence of
ideologies of the "household," the emergence of
capitalism, colonial rivalry, conspicuous
consumption, and the performance of status.

Director: Kim F. Hall is the Thomas F.X. Mullarkey
Chair in Literature at Fordham University. She is
the author of Things of Darkness: Economies of
Race and Gender in Early Moder England
(1995), among other works. Her Othello: Texts
and Contexts is forthcoming. She is currently
working on a book entitled Sweet Taste of
Empire: Gender, Sugar, and Material Culture in
the Seventeenth Century.

Schedule: Thursdays, 1 4:30 p.m., September
30 through December 16, except October 28 and
November 25.

Application Deadline: June 1 for admission (and
grants-in-aid for Folger consortium affiliates):
September 1 for admission only.

Further Information: Please contact
institute@folger.edu with any questions. Visit http://
www.folger.edu/institute for application forms and

"History of Collections" Workshop on 18th And
19th CenturyMuseums And Collecting

"History of collections"
An interdisciplinary workshop for the discussion of
18th and 19th century museums and collecting
University of East Anglia, July 9, 2004

Organized by the Sainsbury Research Unit and the
Polynesian Visual Arts Project

The Program Includes:

Ethnological Showbusiness, Collecting People and
the Natural History of Man in the Mid-Nineteenth
Sadiah Qureshi, University of Cambridge

Nature, Artefacts and Religion: The London
Missionary Society's Museum
Sujit Sivasundaram, University of Cambridge

Beyond the Boundaries of the Museum: some
thoughts on the early history of
the cranial collections at the Pitt Rivers Museum
Frances Knight, Pitt Rivers Museum, Oxford

We have one slot available which we would very
much like to fill with a
presentation about natural history, geological or
other science collections/museums in the late 18th
or early 19th centuries, which might address some
of the issues below. Please contact Helen
(h.southwood@uea.ac.uk) or Julia Martin
(j.martin@uea.ac.uk) for more

Workshop Aims
The aim of the workshop is to gather together
researchers on the history of collecting, collections
and museums. The workshop is not only about
Polynesian ethnographic collections, but is a
chance to get people together who have been
researching 18th and 19th-century museums,
collecting and related issues from a variety of

different angles natural history, ethnography,
cultural history, anthropology, religion and others-
and to see what common themes and questions
might be arising.

It is hoped that the workshop will form the core of a
larger conference next

Some Key Objectives of the Workshop Will Be:

1. To discuss research methods, findings, ideas
and theories from people studying the history of
ethnographic, natural history, anatomical and other

2. To fill the gap in the discussion of collections
and museums: the latel8th century voyagers and
their collections (Cook, Banks, etc.) has been
well-studied, as has the later 19th century. But
what is being researched regarding collections in
the early 19th century? In terms of collections and
museums, what were the continuities, differences
and trends between the late 18th and early 19th

3. To find out what research is going on regarding
relationships between religion and collecting, or
religion and museums.

4. To understand more about the creation of
categories such as 'ethnography' or 'collections'
which could be ripe for re-appraisal.

Presentations will be about 20 mins long, many will
be work in progress, andthere will be plenty of time
for discussion.

If you would like to join this workshop, please
contact: Helen Southwood
(h.southwood@uea.ac.uk) or Julia Martin
(j.martin@uea.ac.uk) by June 26.

Places are limited.

Dr. Helen Southwood
Research Assistant
Polynesian Visual Arts: meanings and histories in
Pacific and European
cultural contexts 1760 1850
Sainsbury Research Unit
University of East Anglia

Tel: 01603 592880
Fax: 01603259401
h.southwood@ uea.ac.uk

SCalls for Papers
4 I and Panel Proposals
CAA Special Session Proposals

ACASA Members are invited to propose a 1.5 hour
"special session" for the 93rd Annual CAA
Conference in Atlanta (Feb. 16-19, 2005), to be
held duringthe intervals before and after regular
2.5 hour sessions.

For this purpose, in addition to proposing a Session
TITLE and determining the names of a CHAIR and
possibly a co-chair and a DISCUSSANT for
opening and closing remarks, you should propose
a maximum of three (3) SPEAKERS.Remember
that 90 minutes will accommodate three 20-minute
speakers in addition to brief opening and closing
Deadline for submitting proposals: July 9, 2004
Please contact Costa Petridis

The Senses and Sentiments of Dress
A Symposium Recognizing the Career of
Regents Professor Joanne B. Eicher
Department of Design, Housing, & Apparel
University of Minnesota
To be held September 16-17, 2005

Dress is a system of nonverbal communication
that enhances human interaction as human
beings move in space and time. As a coded
sensory system, dressing the body occurs
when human beings modify their bodies
visually or through other sensory measures by
manipulating color, texture, scent, sound, and
taste or by supplementing their bodies with
articles of clothing, accessories, and/or
jewelry. Dress ordinarily precedes and
facilitates or hinders consequent verbal or
other communication. The codes of dress set
off either or both cognitive and affective
processes that result in recognition or lack of
recognition by the viewer. (Joanne B. Eicher,
"Dress" in Encyclopedia for Women,
Routledge, 2001)

Human beings everywhere, in modifying and
supplementing their bodies as they dress, can
engage all five senses. Both items and total
ensembles of dress frequently take on a strong
emotional or sentimental meaning for the
wearer. Most frequently the visual aspect of
dress receives attention because we identify
others by sight and think about our own visual
presentation of self through dress, but the other
four senses of touch, smell, sound, and taste
are also involved in dress. Consider the texture

of garments and the texture of skin; the scents
applied to our bodies and odors identified with
some textiles and other products of dress; the
sound of various items of dress such as jewelry
and fabrics like corduroy and taffeta when worn;
and finally, the taste of products like pomade and
lipstick. Emotional attachments to garments and
other items that dress the body often keep people
from discarding an old jacket, worn-out shoes,
unfashionable jewelry, or wedding garments.

Papers submitted for this symposium must be
original and focus on the significance of one or a
combination of the senses in relationship to dress,
and/or to the sentiments attached to items and
ensembles of dress. Because Joanne Eicher's
work has had a cross-cultural dimension, we
encourage topics from research venues around the
globe. Papers that connect theory to data are of
special interest.
A single-sided, one page abstract (250 to 500
words) is due October 1, 2004. Be sure to include
complete contact information. Abstracts will be
peer-reviewed and notification of acceptance will
be made by December 1, 2004. Oral presentations
at the symposium will be 20 minutes in length and
presenters must register and pay the registration
fee for the symposium.

Presenters will be required to submit the final draft
of their paper at the symposium. The papers will be
published by Berg Publishers in a volume edited by
Helen Bradley Foster and Donald Clay Johnson.
Additional guidelines for preparing the final papers
will be sent to authors after acceptance.

Submissions of abstracts should be sent by
October 1, 2004 to Kathy Guiney, 240 McNeal Hall,
1985 Buford Avenue, St. Paul, MN 55108, or by fax
612-624-2750 or by email attachment to
kguiney@che.umn.edu. Inquiries about the
symposium and submissions can be obtained from
Catherine Daly, Symposium Chair, at

In addition to the symposium, a celebration dinner
honoring Joanne Eicher will be held Saturday
evening, September 17, 2005. We hope you will
also attend that event; separate invitations will be
mailed at a later date.

Deadline for Paper proposals October 1, 2004

Julian Djimon Shofar six year old

Current Publications and Media

Featuring "Playful Performers An exhibition
about Children for
Available Copies of A History of Art in Africa children
Children" with Curator Dr. David Binkley &
Veronica Jenke
Prentice Hall has 801 paperback copies of A History htp://www.nmafa.si.edu/exhibits/playful/
of Art in Africa (ISBN: 0134421876) in stock and will
have a reprint available soon with a total of 2,000

For further information contact Prentice Hall at

Africa Meets Africa

"Africa Meets Africa" is a new progressive weekly
radio magazine showcasing the continent of Africa
and the Diaspora.

Show airs Sundays at 9:00 pm on WPFW 89.3 FM
Pacifica Radio in
Washington, DC with Host and Executive Producer,
Angelique Shofar

Listen via web stream from anywhere in the

Our guests include:

Brenda Randolph, M.A., M.L.S. Director of Africa
Access, a non-profit
educational association.

Children Writers:
Baba Wague' Diakite'

Stephanie Bodeen

Sylviane A. Diouf, PhD

Kellie Magnus

Live Music:
by Franko Agbro

Child guests:
Julian Agbro seven year old drummer &
Kenneth Ubani

"I] Internet Resources

I I Summer Programs

Crossing Cultures Senegal

The 15th Crossing Cultures Senegal
educational travel program of Intercultural
Dimensions takes place this summer from July
2 to July 23. A volunteer and fieldwork
component is included with an option to extend
after July 23.

The program is custom-tailored to individual
interests and participants will visit different parts
of the country and community projects, stay
with Senegalese families or in guest houses,
use public transportation, and experience
village life. The ID group is composed of five
participants plus the leaders. Please contact:

Janet L. Ghattas, General Director
Intercultural Dimensions, Inc.
PO Box 391437

H-AfrArts Report
By Michael Conner

The H-AfrArts staff includes:
Editor/Moderator: Michael Conner,
Editor/Website Manager: Barbara Thompson,
Review Editor: Dana Rush,
Advisory Board: Raymond Silverman, Jean Borgatti

In 1994, Michael Conner received a request by
ACASA board members to establish a Listserv to
use the Internet to communicate. Michael
inaugurated Conneracasa@lndiana.edu on
September 30, 1995. By November 18, 1996
Conner_acasa had grown substantially (217
subscribers from 16 countries, including 2 African).
Raymond Silverman, joined Michael as Editor/
webmaster and the original Indiana University
Bloomington-based Conner_acasa graduated to
become one of the first H-Net Listservs. At that
time, the name was changed to H-AfrArts. H-AfrArts
was formally adopted by ACASA as its official
Listserv at the next Triennial. Michael and Ray
joined the ACASA Board as ex officio Board

Membership on H-AfrArts remains exceptionally
stable. The total number of List members has
grown slightly but continues to hover at just over
500 members. The total number of users
subscribed to the list is 508, representing 25
countries, among them seven African nations.

H-AfrArts messages are archived and can be
extensively queried by anyone with access to the
WWW. Messages have been posted on a wide
range of topics including stolen African art,
dissertation abstracts, announcements of job
openings, awards, new exhibitions, books, journals,
websites, calls for papers and obituaries, including
those of the late Douglas Newton and Roy Sieber.

Dana Rush has completed H-Net Review Editor
training and will soon be sending an announcement
to the list to request volunteers to write reviews.
The lack of African art related reviews on the List

Kenneth Ubani

has hampered H-AfrArts since its inauguration. H-
AfrArts believes that dialog and activity on the List
will increase when members have reviews upon
which to comment. Under Dana's leadership, H-
AfrArts hopes to contribute its share to H-Net's
record of producing over 1,900 in-depth and timely
book reviews each year.

H-AfrArts is dedicated to all aspects of African
visual arts (and to a limited extent the performing
arts), however, there are 6 other Africa related lists
in the H-Afr family: http://www.h-net.org/lists/

H-AfrArts is poised to grow exponentially. The H-
NET set of networks doubled in 2001-04 to 140.
Consider that these 140 lists now have a combined
enrollment of 150,000 subscribers. Moreover, 2.6
million visitors query the H-NET message
databases each month. As a nonprofit, scholarly
body, neither H-AfrArts nor H-Net charges for
access to the rich database of information that is
being contributed by serious scholars.

Beyond maintaining the status quo, new, powerful
tools and services for subscribers and editors are
planned. These include interactive databases of
multimedia that will enable H-AfrArts to serve e-
prints, images, and sound. Safer, more secure tools
for managing our list mail are being developed, and
H-Net would like to provide even more precise
searching capabilities across all of our web lists as
the database grows.

H-NET is launching its first fundraising drive. Up to
the present, all funding for H-Net has come from a
combination of grants supplemented by support
from a host institution, such as Michigan State
University. It is becoming increasingly difficult to
maintain operations this way. It is hoped that
donations will help H-AfrArts

Net continue to do its job of fixing programming
bugs, developing labor-saving tools for its editors,
supporting essential services such as obtaining and
shipping books to reviewers, and processing the
book reviews. Computer hardware and expertise is
necessary to simply maintain current H-Net
services such as a fully interactive archive of all of
our messages, a job list, and up-to-date events

In an effort to offset these costs, H-Net is
garnishing a royalty by providing 'buy-through' links

to popular online book vendors associated with
our published reviews.

A new electronic form, http://www.h-net.org/
donations, now allows donors to make direct
contributions to H-Net. This same technology
will help H-AfrArts implement a low cost way for
ACASA members to join and to pay their
ACASA dues online.

On behalf of the H-NET Editors, Officers and
Council members, I'd like to urge you our
readers to join us and support H-NET
yourselves, with a donation.

The Internet Mission Photography Archive

The Internet Mission Photography Archive
(IMPA) is a new web resource hosted by the
University of Southern California. This
searchable database contains historical
photographs from mission repositories in North
America, Britain, and continental Europe.
Contributing archives to date include the
Catholic Foreign Mission Society of America,
Inc. (Maryknoll), Yale University Divinity School
Day Missions Library, the Leipzig Mission, the
Norwegian Missionary Society, and the School
of Oriental and African Studies in London.
Pictures from the archive of the Moravian
Church in Herrnhut will be added soon.

The IMPA database is intended to be an open
scholarly resource. It is a work in progress, and
we welcome your feedback. New photographs
are being added on an ongoing basis, but there
are already more than 2,000 fascinating
photographs dating from the 19th century to
World War II. The search page can be reached
via a tab at the top of the web page mentioned
above. You can also select "mission
photography" from the drop-down menu on the
left side of the main page, or go directly to this
link: http://library.usc.edu/uhtbin/catstat.pl/impa.

If you have comments or suggestions regarding
IMPA-please send them to Jon Miller
(jonmill@usc.edu ), who is leading the project, or to
any other member of the coordinating board:
Martha Smalley ( martha.smalley@yale.edu),
Rosemary Seton (rs8@soas.ac.uk), or Paul Jenkins

Jon Miller
Director of Research
Center for Religion and Civic Culture
University of Southern California

I~ Obituaries

Charles Benenson
Paraphrased from Susan Vogel

Charles Benenson passed away peacefully at his
home February 22, 2004 at the age of 91. He was
a prominent figure in many circles, but for the
readers of this Newsletter, he was significant for his
love of African art. He was a founding board
member and long time supporter of the Center for
African Art (now Museum for African Art); as a
generous supporter of African exhibition space at
the Metropolitan Museum; and as a donor to the
Yale University Art Gallery. But it is certainly as a
collector that he made his most personal
contribution to the field.

Charles Benenson, with a fearless and often
unconventional taste, quietly formed one of the
great, distinctive, African art collections of the late
twentieth century. Modest and self-deprecating, he
guarded the strictest anonymity even when fifty
major objects from his collection were published
and exhibited.

As a collector, he broke all the rules. Collectors are
supposed to flag after a decade of buying one kind
of art, but his love of African art, awakened over
thirty years ago, never waned. I would guess he
bought at least one sculpture every month from the
time I met him sometime in 1971 through the mid
1990's. In the midst of a hectic business life, he
could never resist someone who wanted to show
him a work of African art he would look at
anything. The most elegant art dealers from
Europe and the newly arrived Africans with minimal
English all alike were cordially treated to his quick
eye, fierce bargaining, and easy access. He loved
to buy and he loved to have and live with every
single individual piece. No one was a more

reluctant lender to exhibitions, and no one missed
each specific presence in his life as much as he did
when they left the house.

The many hundreds of sculptures he has left to the
Yale University Art Gallery are evidence of his
singular eye. He chose those works one by one
with appalling speed; in seconds, literally, he could
understand a piece and see its quality. He also
chose them with what might have been reckless
disregard for what was fashionable or rare, or
published and famous, or admired by other people.
His only regard was for great sculpture, and that he
could spot wherever it lay in great classical
Yoruba altars with their serene wide eyes, in funky
recent masks with plastic flowers on them, and
above all in the powerful, aggressive, demanding
pieces from Nigeria and Cameroon that dominate
the collection. This collection is a curator's
nightmare and a curator's dream because so many
of the works are completely unlike anything in other
collections. They can be impossible to classify,
impossible to write about other than that they are
breathtakingly wonderful. He didn't care very much
about documentation or where something came
from, and never bothered much with the
anthropology. For those details and for authenticity
he relied on someone else. He had one of the
most insignificant shelves of African art books that I
have ever seen. Judging from the results, no one
ever needed them less.

Durant Sihlali
Paraphrased from John Peffer

One of the most important black South African
modernist artists, Durant Sihlali, died this Monday,
May 3, 2004, in Johannesburg. Durant was a Polly
Street artist in the 1950s, taught several
generations of black art students, and was one of
the pioneers of the abstract art movement called
Thupelo in Johannesburg during the 1980s. Durant
Sihlali's inventive use of handmade paper to evoke
both traditional mural arts and the graffitoed urban
walls of the late apartheid era is legendary in South
Africa, if less well known abroad.

As part of a recent collaborative effort to put
together a major retrospective for Durant Sihlali, I
find myself without words following the news of his
passing-This great artist almost lived to see his
legacy honored.
The loss of Durant Basi Sihlali is monumental, its
shadow immense. May our blessings and thoughts
go out to the artist's family.

Friday Tembo
Paraphrased from Ruth Kerkham, Lusaka,

On Friday March 5, 2004 Friday Tembo, one of
Zambia's most prominent sculptors, passed away
at the University Teaching Hospital in Lusaka. Just
that evening Lusaka visual arts community had
gathered at the Henry Tayali Gallery for the
opening of a group exhibition, in which Friday's
work was featured. A couple of weeks ago Tembo
participated in the exhibition "Mwamenezili" with
Geoffrey Phiri, and he was scheduled to exhibit in
Paris in May 2004 with Zambian painter Mulenga

This flurry of activity is evident of Friday Tembo's
artistic productivity and his prominence in the
contemporary Zambian arts community. As
Mulenga Chafilwa suggests, "Zambia has
'sculptors' and SCULPTORS. For me, Friday was
indeed a SCULPTORS' SCULPTOR. I believe he
was truly touched because there was a constant
flow of work leaving his studio."

Friday Tembo was born in Lusaka in 1962. He
worked as an apprentice with Mr. Dickson
Nyendwa, and specialized in wood sculpture
combined with mixed media. According to
Chafilwa, "Friday was a master of form. He was
truly committed to the creative process. One
couldn't guess which turn a piece of work would
take until he had had his way with it." Tembo has
exhibited in Zambia, Namibia, Zimbabwe, UK, USA
and Germany, and has won more Ngoma Awards-
Zambia's preeminent awards for the arts-than any
other visual artist.

The Lusaka arts community paid tribute to Friday
Tembo on Tuesday March 9, 2004 at the Lusaka
Playhouse where some of his sculptures were
exhibited and the Zuba Ni Moto Dance Ensemble
performed. Mr. Kanyembo of the National Arts
Council ended his speech by asserting that,
"Friday's name will forever be mentioned in the
pages of contemporary Zambian art." The funeral
continued at the family home at Linda Compound
where Tembo had built a studio and a gallery
named "ULENDO"-Nyanja for "the journey".

When I asked various artists about Friday Tembo's
greatest contribution to Zambian art, their answers
inevitably included his selfless generosity in
nurturing the talent of young artists. In the words of
Geoffrey Phiri, "Friday is one person who never

worked on his own. If there is anyone in this
country that has contributed to the development of
the arts, I believe no one has done so more than
him. He has made the biggest contribution. He
always worked with other people, and did so for
free. He provided materials and tools for the
people he was teaching. He helped people in
terms of actual production and exposure."

Similarly, Mulenga Chafilwa asserts that, "The man
was patient not only in his personality but his work
as well. Friday had indeed discovered something
so precious about this thing called art that he
couldn't keep it to himself but shared it with those
willing to follow his footsteps."

At the time of his death, Friday had eight young
students working with him, some of whom were
orphans that he initially took on as assistants.
Twenty-one year old Rabson Phiri, who has worked
with Tembo for 5 years, told me that, "Friday is the
one who showed me the way. Without him I
wouldn't have known that I am an artist."

Jean Rouch, Francophone Africa filmmaker

From the Agence Frangais Presse, Niamey,
February 19, 2004

The French ethnographer and filmmaker Jean
Rouch died Wednesday night in the north of Niger
in an accident on the road near Konni in the region
of Tahoua (north), as learned by the AFP from the
French Ambassador to Niger. According to the
embassy press service, there are still no details of
the exact circumstances of the accident and the
death of Jean Rouch, aged 86.

The director of the French Nigerien Cultural Center,
Laurent Clavel, reported to the AFP that Jean
Rouch was accompanied by his wife, the filmmaker
Moustapha Allanssane and his longtime friend, the
Nigerien actor Damoure Zika. These three people
are "doing well," Mr. Clavel said without giving
further details.

Jean Rouch found his way to Niger in the midst of
the emergence of filmmaking about Nigerien
culture, to which he contributed his films on
Francophone Africa beginning in the late 1940s.

Art History Book Donations

1 Requests for Support

H-NET Reviews
The following is edited from an appeal by
Marilyn A. Levine, President H-NET. Michael
Connor, Editor

As our H-NET Campaign continues, I would like to
highlight the area of H-NET Reviews, and
encourage you to support H-NET in continuing to
deliver this wonderful service. The H-NET Book
Reviews began as a small enterprise in H-NET, but
they have gained credibility and indeed, we are the
largest publisher of book reviews in academe. H-
Net published about 1900 Book Reviews annually.

The H-NET Book Reviews are unique because
they allow unparalleled, in-depth analysis of the
book, possible dialogue, and timely publication.
This gives great support to the professional aims of
any aspiring academic. I'd like to encourage
you to not just view Book Reviews in your own list
at: http://www.h-net.org/reviews/

The entire Book Review section is a treasury of
information. They are good tool for preparing for
one's research, intellectual discussions, and as
exercises to allow students to learn how to analyze
the literature. In addition to normal search criteria,
you can search by discussion network, by year,
and by keyword. One can use H-NET Book
Reviews for research and for teaching.
The Reviews are an important reason why you
should take a few moments and support H-NET
by giving a donation this week.

University of Fort Hare, South Africa needs
donations of art history books.
Pro Sobopha, who has a new appointment in art
history at Fort Hare noted the following as most in
need: "I need books on contemporary African Art,
especially those books by Steiner, Kasfir, Oguibe
and Enwezor and Vogel as well as Annie Coombes'
Reinventing Africa and others on Africa like the
catalogues on African
blockbuster exhibitions, Latin American Art,
American Art, Native American Art, Modern and
Contemporary Arts (global and postcolonial) texts
on Postmodernism and the like. So far it is a bit
difficult to say precisely the titles but anything
around this will be appreciated."

Any art catalogues and journals pertaining to
modern and contemporaryart in the following areas
noted below (Fort Hare currently receives African
Arts journal as well as a "few other insignificant
For more information or to send donations please

Mgcineni Pro Sobopha
c/o Fine Art Department
Private bag X1314
University of Fort Hare
Alice, 5700 South Africa

Or contact Julie McGee for information about
funding for shipping costs at
imcaee @bowdoin.edu.

According to Janet Stanley of the National Museum
of African Art, Hare has received numerous
contributions through the the ACASA Book
Distribution Program since its inception in 1990.
Through that program the Library would have
received a complete run of African arts from 1990
to date, plus a wide range of exhibition catalogs
and books about African art, donated by ACASA
members and their institutions.

For information about other book donation
programs and funding, check this web site hosted
by the Africana Librarians Council: http://
Or contact Janet Stanley at istanley@nmafa.si.edu

Karen Dalton, Holland Cotter, Suzanne
Blier, Robin Poynor and Christraud Geary at
the ACASA Triennial Symposium

I 2004 Membership Directory
i I North America, Europe, and Asia


African Arts
James S. Coleman African
Studies Ctr. University of California, Los Angeles
Box 951310
Los Angeles, CA 90095-1310
Fax:310-206-2250afriarts @ ucla.edu

Ryerson and Burnham Libraries
Art Institute of Chicago
111 South Michigan Ave.
Chicago IL 60603-6492

African Studies Association
Rutgers University, Douglas Campus
132 George St.
New Brunswick, NJ 08901-1400

College Art Association
275 Seventh Avenue
New York, NY 10001

David Krut Fine Art
West 26th Street, #816 and #608
New York, New York 10001
www.davidkrut.com; www.taxiartbooks.com

Robert Goldwater Library
Metropolitan Museum of Art
Fifth Avenue at 82nd Street
New York, NY 10028

National Museums Liverpool
William Brown Street
Liverpool, L3 8EN

The Arts Council of the African Studies Association

School of Oriental & African Studies (SOAS)
University of London
Thornhaugh St, Russell Square
London, WC1H OX G
ms28@soas.ac.uk [Mary Seeley]

National Museum of African Art Library
Room 2138
Smithsonian Institution
950 Jefferson Dr., SW
Washington, DC 20560-0708
Phone:202-357-4600 x286
www.sil.si.edu/Branches/nmafa-hp.htm (home),
www.siris.si.edu (library catalog)

Curatorial Department
The Museum for African Art
36-01 43rd Ave, 3rd Floor
Long Island City, NY 11101
Phone:718-784-7700 x.111
lafarrell@africanart.org [Laurie Ann Farrell]

Sainsbury Research Unit for the Arts of Africa,
Oceania and the Americas, Sainsbury Center for
the Visual Arts
University of East Anglia, Norwich
University of East Anglia
Norwich, Norfolk NR4 7TJ
p.hewitt@ uea.ac.uk

Acquisitions Dept, 12 Library
University of Illinois
1408 W. Gregory Dr.
Urbana, IL 61801-3607

'k 'k

McKeldin Library-Acquisitions/Serials
University of Maryland
college Park, MD 20742-7011


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

Agbenyega, Adedze
Department of History
Illinois State University
PO. Box 4420
Normal, IL 61790

Aguilar, Laurel Birch
St. Salvator's College
University of St. Andrews
18 St. Mary Street
St. Andrews, KY168AZ

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

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

Allara, Pamela
Fine Arts
Brandeis University
MS 028
Waltham, MA 02454

Anderson, Martha
Alfred University
64 W. University St.
Alfred, NY 14802

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

Ater, Renee
Art History and Archaeology
University of Maryland
1211-B, Art/Sociology Building
College Park, MD 20742

Baird, Jaime
Art History
University of Florida
6420 SE 169th Avenue
Micanopy, FL 32667

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

Bentor, Eli
Department of Art
Appalachian State University
Boone, NC 28608
bentore @ appstate.edu

Berman, Jody
Art History
University of Florida
1420 B SW 42nd St.
Gainesville, FL 32607

Berns, Maria C.
Fowler Museum
University of California, Los Angeles
Box 951549
Los Angeles, CA 90095-1549

Berrin, Kathleen
Africa, Oceania and the Americas
Fine Arts Museums of San Francisco
245 A South Spruce Avenue
South San Francisco, CA 94080

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

Bessire, Aimee
Art History
Maine College of ARt
20 Salem St.
Portland, ME 04102

Bettelheim, Judith
Art Department
San Francisco State University
1600 Holloway
San Francisco, CA 94132
betheim @ sfsu.edu

Binder, Lisa M.
Cleveland Museum of Art
4208 Whitman
Cleveland, OH 44113

Binkley, David A.
National Museum of African Art (Chief Curator)
Smithsonian Institution
P.O. Box 37012, MRC 708
Washington, DC 20013-7012

Blackmun, Barbara W.
Department of Art
San Diego Mesa College (Emeritus)
9850 Ogram Drive
La Mesa, CA 91941
Home:619-461-5930 ~

Blier, Suzanne P.
Hist. of Art & Architecture;
Afro-American Studies Dept.
Harvard University
Arthur M. Sackler Museum, 485 Broadway
Cambridge, MA 02138

Borgatti, Jean M.
Visual and Performing Art
Clark University
295 Maple Ave.
Shrewsbury, MA 01545
jborgatti@aol.com, jean_m_borgatti@hotmail.com

Brett-Smith, Sarah
Department of Art History
Rutgers University
287A Nassau Street
Princeton, NJ 08540
Fax:609-924-8399 (atten. Stephen Adler)

Bridger, Nicholas
San Fransisco State University
1617 Brookvale Dr. #1
San Jose, CA 95129

Bridges, Nicole
Art History
University of Wisconsin
800 University Avenue
Madison, WI 53706

Brielmaier, Isolde
Art Department
Vassar College (Adjunct)
124 Raymond Avenue, P.O. Box 702
Poughkeepsie, NY 12604

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

Meriem, Chida
Design, Housing and Apparel
240 McNeal Hall, 1980 Buffalo Circle
St. Paul, MN 55108

Ciola, Ann M.
Art History
Binghamton University
261 Ackley Avenue
Johnson City, NY 13790

Clarke, Christa J.
Curator of Africa, Americas and the Pacific
The Newark Museum
49 Washington Street
Newark, NJ 07102

Cleveland, Kimberly
Art and Art History
University of Iowa
402 Grandview Court
Iowa City, IA 52246
kimberly-cleveland @uiowa.edu

Cole, Herbert M.
History of Art and Architecture
University California, Santa Barbara
Santa Barbara, CA 93106
Fax:805-893 7117

Coleman, Jess W.
Art Department
Wharton County Jr. College
911 Boling Hwy.
Wharton, TX 77488

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


Cooksey, Susan
Art History
University of Iowa / Ham Museum of Art
1930 NW 11 Rd.
Gainesville, FL 32605

Coote, Jeremy
Pitt Rivers Museum
University of Oxford
South Parks Road
Oxford, Oxon OX1 3PP
jeremy.coote @ prm.ox.ac.uk

Court, Elsbeth
School of Oriental and African Studies, IFCELS
University of London
24 Russell Square
London, WC 1H OXG
Work:+44 (0) 20 7637 2388
Fax:IFCOS 020-7898-4809

D'Azevedo, Warren
1755 Allen Street
Reno, NV 89509

Darish, Patricia
Independent Scholar
3308 Shepherd St.
Chevy Chase, MD 20815
pdarish @ mindspring.com

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

Art, Smithsonian

de Strycker, Louis
10 avenue Roger Vandendriessche, #4
Brussels, B-1150

Debela, Achamyeleh
Art Department
North Carolina Central University
1801 Feyetteville Street
Durham, NC 27713

Demerson, Bamidele Agbasegbe
Curatorial Department
Charles H. Wright Museum of African American
315 E. Warren Ave.
Detroit, MI 48201-1443
bdemerson @ maah-detroit.org

Dewey, William J.
School of Art
University of Tennessee
1233 Harrington Dr.
Knoxville, TN 37922

Doyle, Shauna
Arts of Africa, Oceania and the Americas
Metropolitan Museum of Art
1000 Fifth Ave.
New York, NY 10028
doyles @ metmuseum.org

Drewal, Henry
Dept. of Art History/Afro-American Studies
University of Wisconsin-Madison
Elvehjem Museum of Art
800 University Ave.
Madison, WI 53706
Work:608-263-9362 / 2340

Ezra, Kate
Art and Design
Columbia College
600 S. Michigan Ave.
Chicago, IL 60605

Fagaly, William A.
Francoise Billion Richardson Curator of African Art
New Orleans Museum of Art
915 Saint Philip St.
New Orleans, LA 70116-2407
Fax:504-484-6662 (o); 504-522-9142 (h)

Famule, Olawole
Art History Department
University of Arizona
PO Box 210002
Tucson, AZ 85721

Forni, Silvia
University' Degli Studi di Torino
Via dei Mille, 32
Torina, 10123

Foss, Perkins
Independent Scholar
38 Rayton Road
Hanover, NH 03755
Perk @ sover.net

Fowler-Paul, Moniquel
School of Oriental & African Studies
University of London
34 Gramercy Park East #3BR
New York, NY 10003

French, Nicholas Andrew
Art History
University of Florida
2220 SW 34th Street, Apt. 124
Gainesville, FL 32608

Frohne, Andrea E.
Art & Art History
Dickinson College
Carlisle, CA 17013

Geary, Christraud M.
Curator of African and Oceanic Art
Museum of Fine Arts, Boston
465 Huntington Avenue
Boston, MA 02115-5597

Giles, Linda L.
Independent Scholar
612 N. School Street
Normal, IL 61761

Girshick, Paula
Anthropology Department
Indiana University
Student Building 130
Bloomington, IN 47405-7100

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

Goniwe, Thembinkosi
Cornell University
History of Art
GM08 Goldwin Smith Hall
Ithaca, New York 14853

Gott, Suzanne
School of Liberal Arts
Kansas City Art Institute
4415 Warwick Blvd
Kansas City, MO 64111-1874

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

Green, Rebecca L.
School of Art
Bowling Green State University
1000 Fine Arts
Bowling Green, OH 43403
rlgreen @ bgnet.bgsu.edu

Hansen, Karen Tranberg
Northwestern University
1810 Hinman Avenue
Evanston, IL 60208-1310
KTH462 @ northwestern.edu

Harney, Elizabeth
Fine Arts
University of Toronto
Sidney Smith Hall, 6th floor, 100 St. George St
Ontario M5S 3G3
harney@ utsc.utoronto.ca

Hart, William A.
Department of Philosophy
University of Ulster-Coleraine
Cromore Road
Coleraine, Co. Londonderry BT52 1SA

Hersak, Dunja
Histoire d'Art et Archeologie
University Libre de Bruxelles
rue des Egyptiens 1
Bruxelles, 1050

Jones, Ben
Fine Arts
New Jersey City University
2039 Kennedy Boulevard
Jersey City, NJ 07305-1597
benelise55 @ comcast.net; bjones @ njcu.edu

Jones, Charles
Charles Jones African Art
311 Judges Rd. Suite 6E, Judges Rd. Business
Wilmington, NC 28405

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

Kratz, Corinne A.
Center for the Study of Public Scholarship
Emory University
1256 Braircliff, Bldg A, #420N
Atlanta, GA 30306

Kreamer, Christine Mullen
National Museum of African Art
Smithsonian Institution
P.O. Box 37012, MRC 708
Washington, DC 20013-7012

LaGamma, Alisa
Metropolitan Museum of Art
1000 Fifth Avenue
New York, NY 10028
alisa.lagamma@ metmuseum.org

Lamp, Frederick
Curator of African Art
Yale University Art Gallery
201 York Street, P.O. Box 208271
New Haven, CT 06520-8271
Home:410-949-4344 (cell)
frederick.lamp@ yale.edu

Kristyne S., Loughran
Lungarno Serristori 9
Florence, 50125

Magee, Carol
Elon University
120 Windsor Place
Chapel Hill, NC 27516

Maitland, Carolyn
4745 Grosvenor Avenue
Bronx, NY 10471

Martin-Hamon, Amanda K.
Mulvane Art Museum
Washburn University
17th and Jewell
Topeka, KS 66621-1150
Work:785-231-1010 x2421
amanda.martin-hamon @washburn.edu

Martin-Oguike, Ngozi Doris
Fine/Applied Arts
University of Nigeria, Nsukka
17 Woodbridge Avenue
Sewaren, New Jersey 07077
akwaugo821 @hotmail.com

McGuire, Harriet C.
U.S. Department of State (ret.)
3007 Russell Rd
Alexandria, VA 22305-1719

Meier, Prita Sandy
History of Art & Architecture
Harvard University
1126 Cambridge St. #2
Cambridge, MA 02139

Michelle, Craig
Department of Art History
University of Wisconsin
1331 E. Dayton Street, Apt. 1
Madison, WI 53703
mhcraig @wisc.edu

Miller, Kim
Departments of Art & Women's Studies
Transylvania University
300 North Broadway
Lexington, KY 40508

Mshana, Fadhili S.
Art Department
Georgia College State University
CBX 94
Milledgeville, GA 31061

Nagy, Rebecca Martin
Director, Har Museum of Art
University of Florida
P.O. Box 112700
Gainesville, FL 32611-2700
Work: 352-392-9826
Fax: 352-392-3892
E-mail: rnagy@harn.ufl.edu

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

Niederstadt, Leah N.
Oxford University-Wolfson College
AND Institute of Ethiopian Studies,
Addis Ababa University
PO. Box 43395
Addis Abba,

Nkurumeh, Barthosa
Art Department
Middle Tennessee State Univesrity,
Box 25
Murfressboro, TN 37132
nkurumeh @juno.com

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

Ottenberg, Simon
University of Washington
2317 22nd Avenue East
Seattle, WA 98112-2604
gotten @u.washington.edu

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

Pauly, Nancy
University of New Mexico
4040 Smith SE
Albuqerque, NM 87108

Peek, Philip M.
Department of Anthropology
Drew University
36 Madison Ave.
Madison, NJ 07940

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

Pickett, Adrienne,
Art and Design; Art History Program; African Studies
University of Illinois at Urbana-Champaign
710 S. Walnut, #2
Urbana, IL 61801
Home:217-367-6277; 217-637-2588 (cell)

Picton, John
Department of Art and Archeology
SOAS, University of London
Russel Square
London, WC1H OXG
jpl7@soas.ac.uk, home@jpicton.demon.co.uk

Plankensteiner, Barbara
Africa Department
Museum Fur Volkerkunde
Neue Burg
Wien, 1010
barbara.plankensteiner@ ethno-musuem.ac.at

Posnansky, Merrick
Departments of History and Anthropology
University of California, Los Angeles
5107 Rubio Avenue
Encino, CA 91436-1124

Prussin, Labelle
Independent Scholar
3 Anders Lane
Pomona, NY 10970

Quick, Betsy D.
Dept. of Education
Fowler Museum of Cultural History
University of California, Los Angeles
Box 951549 -
Los Angeles, CA 90095-1549

Reed, Margaret E.
Art & Art History
University of Iowa
2401 Hwy 6E #3205
Iowa City, IA 52240
margaret-reed@ uiowa.edu

Richards, Polly
45 Ellingfort Road
London, E83PA

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

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

Rovine, Victoria L.
University of Iowa Museum of Art
150 N. Riverside Dr.
Iowa City, IA 52242-1789
victoria-rovine @uiowa.edu

Rush, Dana
Art History
University of Illinois at Urbana-Champaign
143 Ar t and Design Building, 408 East Peabody Street
Champaign, IL 61820
danarush @ ucic.edu

Salami, Gitti
1333 Connecticut Ave. Apt. 2
Lawerence, KS 66014

Schimelman, Ellie
45 Auburn Street
Brookline, MA 02446

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

Sieber, Sophie
Indiana University
114 Glenwood East
Bloomington, IN 47401

Siegmann, William
Arts of Africa and the Pacific Islands
The Brooklyn Museum of Art
200 Eastern Parkway
Brooklyn, NY 11238

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

Smith, Earl P.
2930 Old Farm Road
Montgomery, AL 36111
earlsm @pobox.com

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

Soppelsa, Robert T.
Art in Embassies
U.S. Department of State
4201 Cathedral Avenue NW, # 405W
Washington, DC 20016

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

Stelzig, Christine
Droysenstrasse 17
Berlin, D-10629
chris.stelzig @ snafu.de

Stheshley, Katherine M.
Department of African Art
Yale University Art Gallery
P.O. Box 208271
New Haven, CT 06520-8271

Strother, Zoe
Department of Art History
U.C. Los Angeles
3437 Kelton Ave.
Los Angeles, CA 90034

Szombati, Ilona J.
Pres. Kennedylaan 235
Amsterdam 1079MG

Thompson, Robert F.
Department of the History of Art
Yale University
New Haven, CT 06520

Van Dyke, Kristina
History of Art and Architecture
Harvard University
102 Ellery St.
Cambridge, MA 02138
kristinevandyke @ aol.com

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

Villalon, Leonardo A.
Center for African Studies, College of Liberal Arts
and Sciences
University of Florida
427 Grinter Hall, 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
Work:718-784-7760 x123

Vogel, Susan
Prince Street Pictures
112 Prince Street
New York, NY 10012

Walker, Harriet
Art History
CUNY Graduate Center
41-19 46th St., Apt. 5L
Sunnyside, NY 11104
harriet.walker@ umb.edu

Willett, Frank
583 Anniesland Road
Glasgow, Scotland G13 1UX

Wittmer, Marcilene K.
Department of Art andArt History
University of Miami
4857 Ponce de Leon Blvd.
Coral Gables, FL 33146

Wolff, Norma
Department of Anthropology
Iowa State University
324 Curtiss Hall
Ames, IA 50011

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

Walker, Roslyn A.
Arts of Africa, the Pacific
Dallas Museum of Art
2610 Allen St., Apt.5603
Dallas, TX 75204

and the Americas

Wilcox, Rosalinde G.
Art Department
Saddleback College
10520 Draper Ave.
Los Angeles, CA 90064

Yourmans, Joyce
Department of African Art
The Nelson-Atkins Museum of Art
4525 Oak Street
Kansas City, MO 64111
jyoumans @nelson-atkins.org

ACASA 2003 Directory of
* Africa and the Caribbean *


Addis Ababa University Library
P.O.B. 1176
Addis Ababa,

Africana Museum
Cuttington University College
Box 277

Bayero University Library
PM.B. 3011
Kano, Kano State,

Department de Arqueologia e
Universidade Eduardo Mondlane
C.P. 257

Institute of African Studies Library
Fourah Bay College

Gambia National Library
Reg Pye Lane PMB

Kenyatta University Library
PO. Box 43844

IZIKO: South African National Gallery
PO.B. 61
Cape Town 8000,
Phone:021 467-4677
Fax:021 464-4680
jtruman-baker@ iziko.org.za

Service de Documentation
Musde National
B.P. 159

Mus6e National du Guinee
B.P. 561

Musee Nationale d'Abidjan
B.P 1600
Abidjan 225,

Museu da Guine-Bissau
C.P 37

National Archives of Zimbabwe
Private Bag 7729, Causeway

National Cultural Foundation
West Terrace

BibliothBque Universitaire
University de Ouagadougou
B.P 7021

University de Yaound6
B.P 1312

University Nationale du B6nin
B.P. 526

Biblioth6que de la Facult6 des Lettres
Universitd'de Niamey
B.P. 418

Bibliotheque Nationale du Mauritania
B.P. 20

University of Botswaw Library
Private Bag 0022

Chancellor Oppenheimer Library, 6th Floor
University of Cape Town
J. W. Jagger Bldg, 6th Floor
Rondebosch 7700
Cape Town,

Balme Library
University of Ghana
P.O.Box 24
Legon, Accra
Reference Librarian
University of Ibadan Library
Ibadan, Oyo State

Centre for Cultural Studies Library
University of Lagos
Akoko-Yaba, Lagos

Periodicals Librarian (Acquisitions)
University of Natal Library
Private Bag X016
Scottsville 3209, KwaZulu-Natal

Periodicals Librarian (Acquisitions)
University of Natal Library
Private Bag X016
Scottsville 320-9,

University of Zambia Library
P.O.B. 32379


Agujiobi, Ms. Ngozi
School of General Studies
University of Nigeria
Enugu Campus

Akyea, E. Ofori
Independent Scholar
P. O. Box DS 2249
Accra, Dansoman

Alagoa, Professor E. J.
Onyoma Research
11 Orogbum Crescent, GRA II
P.O. Box 8611
Port Harcourt, Rivers State

Azuka, Mr. Osuji George
90, Iju Road
Ifako Agege, Lagos State 2341

Diamitani, Boureima T.
West African Museums Program (WAMP)
11 Route Front de Terre
bdiamitani @ aol.comdiamitani@yahoo.fr

Ebigbo, Mr. Christopher
Department of Fine Arts
University of Benin
P.M.B. 1154
Benin City, Edo State

Ekpo, Ms. Violetta I.
Department for Musuems
National Commission for Musuems and Monuments
Plot 2018 Cotonou Crescent,
Wuse Zone 6, PMB 171 Garki

Ernst-Luseno, Heidi
Graduate Institute of the Liberal Arts
Emory University
PO Box 175

Freeborn, Odiboh
Department of Fine and Applied Arts
University of Benin
Ekenwan Campus
Benin-City, Edo State 234
Home:GSM 08033552245
freebyl 121 @justice.com

Freschi, Federico
History of Art
University of Witwatersrand
20 Rouket Road, Kensington
ohannesburg, 2094
Home:+27 11 624 2218
Work:+27 11 717 4611
Fax:+27 11 339 7601
freschif@ artworks.wits.ac.sa

Ilkenegbu, Mr. Okay
P. O. Box 9032
Enugu, Enugu State
okayikenegbu @yahoo.com

Kpakronyi, Mr. Simon Odey
Research and Education
National Gallery of Art
PM.B. 456
Home:0802 353 9464
Work:0803 585 7067
simonoikpakronyi @ yahoo.com

Kankpeyeng, Mr. Benjamin W.
Upper East Regional Museum
Ghana Museums and Monuments Board
P. Box 86
Bolgatanga, U.E.R.
bwkankpe @ yahoo.com

Makinde, Mr. Olakunle Williams
Head, Archaeology Division
National Museum
P.M.B. 2031
Jos, Plateau State
makyinkus @ hotmail.com

Mbye, Abdou W.
Gambia National Library
Reg Pye Lane, PMB

Mpunwa, Mrs. Luness
National Gallery of Zimbabwe Library
P.O. Box CY 848, Causeway

Nettleton, Anitra C.E.
History of Art, Wits School of Art
University of the Witwatersrand
PO Wits
Johannesburg, Gauteng 2050
South Africa

Nfor I, Fon Informi
Ndu Fon's Palace
P. Box 68
Ndu, Donga Mantung Division, NWP.

Odimayo, Mr. Olasehinde
Treasure House Fine Art Limited
#8a, Ogundana Street, off Allen Ave
PM.B. 21070
Ikeja, Lagos
Work:4930659; 234-8023271207

Odoh, Hyacinth A.B.
Enugu State Housing Development Corporation
P.M.B. 01123
Enugu, Enugu
Work:042-253666, 253756
habodoh @yahoo.com

Ogu-Raphael, Ifeanyi
Department of Performing Arts
Delta State University
Abraka, Delta State
ifeanyigod @yahoo.com

Ogunduyile, Dr. S. R.
Department of Industrial Design
Federal University of Technology
Akure, Ondo State

Okpe, Mr. Tonie
Department of Fine Arts
Ahmadu Bello University
Zaria, Kaduna State
toniokpe @ inet-global.com

Olaoye, Dr. R. A.
Department of History, University of Ilorin
P.M.B. 1515
Ilorin, Kwara
Home:080 3384 8366
Work:(031) 221552-5 Ext 443

Olufemi Adeyemi, Mr. Ajayi
124 Station Road
Oshogbo, Oshun State
sade_femi2003 @yahoo.com

Olumide, Mr. Bakare Olayinka
University of Ado-Ekiti, Home Economics
Adeniran Ogunsanya College of Education
Otto-ljanikan, Lagos

Oshinowo, Mr. Kolade
Department of Fine Arts
Yaba College of Technology
P.M.B. 2011
Yaba, Lagos

Raji-Oyelade, Dr. Aderemi
Faculty of Arts, University of Ibadan
remrajl @yahoo.com

Rotimi, Mr. Isamuko
Merit Colour Laboratory
No. 26 Oyo Road
Ibadan, Oyo State

Schmahmann, Brenda
Fine Art, Rhodes University
Grahamstown, 6140
Home:(27 46) 622-8403
Work: (27 46) 622-4349
Fax: (27 46) 622-4349
B.Schmahmann @ ru.ac.za

Steele, Mr. John
Border Technikon, School of Applied Art
34 Fitzpatrick Road
Quigney 5201, East London
Work:cell: 0834526653
Isteele @ iafrica.co.za

Steyn, Ms. Eileen
Alan Pittendrigh Library
Technikon Natal
P.O. Box 953
Durban 4000,
Work:+27 31 204 2524
Fax:+27 31 204 2367
steyn @dit.ac.za

Ubani, Mr. Kenneth
Department of Creative Arts
University of Lagos
Lagos, Lagos State
Home:0803 3428 5344

Udeani, Nkem
Department of Fine & Applied Arts (Industrial Design)
University of Nigeria
Federal University of Technology Yola
nkemudeani0l @yahoo.com

Van Schalkwyk, Dr. Johnny A.
Anthropology and Archaeology
National Cultural History Museum
P.O. Box 28088
0132 Sunnyside, Pretoria
Work:+27 12 324 6082
Fax:+27 12 328 5173

Whittle, Janice
National Cultural Foundation (Barbados)
16 Warners GDNS
Christ Church,
curatorqpg @lycos.com

Woodhouse, Mr. H.C.
1 Buckingham Avenue
Craighall Park
Home: 011-7878688


The Arts Council of the African Studies Association

The Fourteenth Triennial Symposium on African Art
Gainesville, Florida 2004

I/We pledge
$25 $50 $100 $250 Other
for the 14" 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

Im^ l Triennial Fundraising Form

I @ I 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


I=l Membership Form

The Arts Council of the African Studies Association
Please return form with payment to:
Please Note: Membership runs January 1 December 31 ACASA Secretary/Treasurer
$20.00 Special Member 2261 Bent Tree Drive
(student, unemployed, retired) Bloomington, IN 47401
$50.00 Regular Member
$75.00 Institutional Member

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 Intemational 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:


State: Zip:


Home Phone: Work Phone:
Fax: Email:
Web site:
Additional Information (please circle all that apply, or add new option):

Education (highest degree): BA MA MFA PhD Other:

Specialization: Anthropology Art History Ethnomusicology Other:

Primary Profession: University Teaching Other Teaching Museology

Research Student

Ethnic or Country Focus:

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

Current Memberships: ASA CAA AAA Other:


24 How 5 V -.^

tM 9


ACASA Back Issues
We have received several letters asking about ordering back issues of ACASA. Back issues are available
for $5.00 and can be obtained by sending a request to:
Tavy Aheme
2261 Bent Tree Drive
Bloomington, Indiana 47401

University of Florida
Harn Museum of Art
P.O. Box 112700
Gainesville, FL 32611-2700

Susan Cooksey
Ham Museum of Art
PO Box : 12700
University of Florida
Gainesville. Fl. 32611-2700


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