Title: ACASA newsletter
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Permanent Link: http://ufdc.ufl.edu/UF00103115/00068
 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
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Publication Date: Spring/Summer 2006
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Subjects / Keywords: Arts -- Periodicals -- Africa   ( lcsh )
Genre: periodical   ( marcgt )
 Notes
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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Volume ID: VID00068
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 Related Items
Preceded by: Newsletter of the Arts Council of the African Studies Association

Full Text








The Arts Council of the African Studies Association


Newsletter, Volume 75, Spring-Summer 2006


ACASA Board of Directors

Kate Ezra, President
Christraud M. Geary, Past President
Alice Burmeister, Secretary/Treasurer
Susan Cooksey, Newsletter Editor
Christa Clark
Kim Miller
Carol Thompson
Norma H.Wolff

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

Alice Burmeister
ACASA Secretary/Treasurer
Winthrop University
140 McLaurin Hall
Rock Hill, SC 29733

Email: burmeistera@winthrop.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 Newsletter 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
2006. Please send news items by September 15, 2006
to:

Susan Cooksey
Ham Museum of Art
P.O. Box 112700
Gainesville, FL 32611-2700

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


Deadlines for Submission of News Items
for the 2006-7 Newsletters:

Fall 2006 September 15, 2006
Winter 2007 January 13, 2007
Spring/Summer 2007 May 12, 2007


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.


Newsletter



Presidential Notes


I have subscribed to African Arts for more than
thirty years, but the past two issues of the maga-
zine made an especially big impact on me. The
most recent one (spring 2006, guest editor Chika
Okeke-Agulu), which focuses on "Art Historical Per-
spectives on African Modernism," returns to a topic
that was included in some of the earliest issues of
the magazine, but was dropped for nearly two dec-
ades. In fact it is the first issue of African Arts to
focus exclusively on modem African art and dem-
onstrates the exciting new research that is being
done in that field. The previous issue (winter 2005,
guest editor Susan Vogel) provided some tantaliz-
ing examples of "Emerging Scholarship in African
Art," especially in terms of how the "history" in Afri-
can art history is being constructed. Enormous
changes have occurred in our field, both in terms of
how we understand the art of the past and how we
view the art of the present. It is not surprising,
then, that changes are afoot in ACASA.

Before the year is out ACASA will have its own
website, in addition to its page on the H-NET web-
site. This will allow us to communicate more effec-
tively with our members and, just as importantly, to
potential new members. Another new initiative that
is in the works is an ACASA listserv, intended to
complement the valuable service provided by H-
AfrArts. The ACASA listserv will be used for mes-
sages intended for ACASA members only, while H-
AfrArts will remain an important forum for discus-
sion by all those interested in African art, whether
or not they are members of our esteemed organi-
zation (although they should be!).

One aspect of ACASA that has not changed over
the past few years is a concern over our declining
membership. Even as African art has gained
greater recognition in museums and academia and
we have reached out to colleagues in the fields of
contemporary and diaspora arts, our membership
numbers remain surprisingly low. One way we are
addressing this problem is to require that all partici-
pants (panelists and attendees) in the Fourteenth
Triennial Conference on African Art be members of
ACASA. A membership and fundraising campaign
will be launched this fall, so please respond posi-
tively when your receive letters and e-mails re-
questing you to renew your ACASA membership


I ACAS








and pledge support to our endowment and to the
funds that support travel to the Triennial and the
Sieber Dissertation Award.

The Fourteenth Triennial Conference on African
Art, to be held March 29 to April 1, 2007 in Gaines-
ville, Florida, promises to be one of the best. This
past spring I had the pleasure of visiting the confer-
ence site and meeting with the Triennial planning
committee (Susan Cooksey, Rebecca Nagy, Robin
Poynor, Victoria Rovine, and others). I was much
impressed both by the site and by the plans. Most
of the panels will take place in the University of
Florida's Ham Museum, which is a treat in itself.
There will be three Africa-themed shows at the
Harn during the Triennial, including "Ethiopian
Modernism," "African Arts of Healing & Divination,"
and "Highlights from the Ham Collection." Okwui
Enwezor will be the keynote speaker, and inte-
grated within the Triennial will be the Gwendolyn
M. Carter Lecture Series honoring the late African-
ist scholar; the keynote address and the Carter lec-
tures will be open to the public. The complete list of
proposed panels and roundtables is published
elsewhere in the Newsletter, and you will see what
an exciting line-up is in store for us.

But if you can't wait until the Triennial, there will be
several ACASA-sponsored panels at the upcoming
African Studies Association and College Art Asso-
ciation meetings to satisfy your hunger for African
art. The ASA conference (November 16-18 in San
Francisco) will feature two panels sponsored by
ACASA: "Collected Thoughts: Recent Perspectives
on African Art, Patronage, and the Art Market" or-
ganized by Paula Girshick, and "Museums and the
Shifting Cultural Identities of Africa" organized by
Sarah Van Beurden. At the CAA conference
(February 14-17, 2007 in New York City) ACASA
board members Christa Clarke and Kim Miller will
co-chair a special session on "African Art and Vis-
ual Culture: Pedagogical Perspectives from Class-
room to Museum." We hope this will be beneficial
not just to dedicated professors and curators of
African art but to our colleagues in other fields who
occasionally teach African art or include it in their
courses as well as to museum educators and oth-
ers who present African art to diverse audiences.

As you can see, there are a lot of exciting things
happening in ACASA. I hope to share my enthusi-
asm for our organization with you all when I see
you at the Gainesville Triennial, if not before!

Kate Ezra


Message from the Editor


Thanks to all ACASA members and others who
have submitted items for the Newsletter. The cur-
rent issue was printed later than usual due to the
need to compile the Triennial information and other
important items. We expect that the Fall issue will
be on schedule, and contain vital information about
the Triennial, including the preliminary list of pa-
pers, which are due to chairs by September 15.
Please see pages 7-8 in this issue for detailed in-
formation.

Kate Ezra and the other board members have been
busy in their efforts to re-structure the channels of
communication for ACASA members. As you will
note in the February board meeting, there was dis-
cussion of introducing a listserv for ACASA mem-
bers, and board members voted to send the PDF
version of the Newsletter to members who request
it. This will save time, postage and trees. I invite
any of you who prefer the electronic version to
write to me at secook(ufl.edu. Also, if you know
of anyone who may not have heard of our previous
offer to send the PDF version to courtesy members
in Africa or the Caribbean, please let me know.
Some of them may not have received the written
notifications that went out over a year ago. This is a
critical time, with the Triennial approaching, for all
of our members to receive information about the
symposium.

I would also like to thank Melody Record and Re-
becca Nagy for their help in getting this issue of the
newsletter completed and mailed. Thanks also to
Alice Burmeister, who has taken on the monumen-
tal task of creating a new format for the member-
ship Directory so soon after taking the office of
Secretary/Treasurer.

Susan Cooksey,
Editor


New Mailing Service for Issue #77

The next issue of the ACASA newsletter will be
using an updated, streamlined mailing system. We
would appreciate any feedback from members
regarding the speed which they receive their issues
and the condition of the newsletters when they
receive them, particularly the European, Caribbean
and African members.

Also, please let us know if you would prefer to re-
ceive the PDF version of the newsletter.

Email your comments to: secook@ufl.edu









I ACASA News


Minutes of Meeting February 24, 2006
ACASA Board of Directors
College Art Association Conference Boston

Present: Alice Burmeister, Christa Clarke, Michael
Conner, Kate Ezra, Chris Geary, Kim Miller, Vicki
Rovine (guest)
Absent: Susan Cooksey, Carol Thompson, Norma
Wolff

1. Secretary/Treasurer's Report on finances and
membership Alice Burmeister
Current balance of all ACASA accounts as of
Feb. 24 2006 is $75, 390.04. Total membership
(all types) is 142, but that includes 102 non-paying
members.
* These numbers may not include some mem-
bership renewals received after Tavy Aherne
stepped down and before Alice Burmeister took
over as Secretary/Treasurer. The missing records
will be found and accounted for.
* Alice suggested that some ACASA funds could
be put into 7-month CDs to earn more interest.
She will check into this, and also find out the time-
table for disbursing funds for the Triennial, so that
we will have sufficient funds available. We need to
emphasize to all Triennial participants that they
must be ACASA members in order to propose a
panel or paper, not just to present one. This re-
vised message should be included in all H-AfrArts
reminders regarding the Triennial call for propos-
als, the next ACASA newsletter, and the Triennial
website.

2. The 2007 Gainesville Triennial Report from
Planning Committee (Vicki Rovine)
* Planning is going extremely well, led by the
team in Gainesville. The theme is "Global Africa"
and the call for panels and roundtables has already
gone out, with proposals due June 15.
* The total cost of the conference is projected at
$47,000, which includes hiring the conference
manager at the University of Florida.
* The Triennial planning committee obtained a
$20,000 grant for a special mini-conference which
will be "embedded" within the Triennial. This will
consist of three panels, and will be open to the
general public. It is part of the University of Flor-
ida's annual symposium in honor of Africanist
Gwendolyn Carter.
* Christa Clarke raised the question of Museum
Day, presently scheduled for Wednesday. She is
concerned that this format segregates panels de-
voted to museum and collecting issues from the


rest of the Triennial and potentially marginalizes
them. If ACASA is trying to lure more members
who are African art collectors and dealers it might
be beneficial to integrate panels on these topics
into the general program. The history of the sepa-
rate Museum Day was discussed and, based upon
the somewhat shaky memories of all present,
thought to date from the Triennial in the Virgin Is-
lands, when a separate Museum Day was planned
as a way of focusing attention on Caribbean muse-
ums. It was agreed that the planning committee
should consider this issue. If it is already too late
to change the schedule for the Gainesville Trien-
nial, it should be considered for the next sympo-
sium.
* Announcements about the Triennial should be
shared with other organizations whose members
may be interested, e.g. Society of Architectural His-
torians, Society of Africanist Archaeologists, Soci-
ety for Ethnomusicology, Southeast College Art
Conference.
* Fund-raising drive no firm plans discussed.
Kate Ezra will e-mail several recent past presidents
of ACASA to find out what was done in the past.
* Should Kofi Cole carvings be given to award
recipients, as offered by Skip Cole? The board
discussed this and decided it would be preferable
to explore the possibility of asking a contemporary
Ethiopian artist to create something that could be
given as an award, similar to the bogolan tiles com-
missioned by Vicki Rovine for the Virgin Islands
Triennial awards.
* Should a CD of conference papers be created
and sent to all ACASA members as benefit of
membership? The board felt that this would not be
a good idea at this time (for lack of time and per-
sonnel) and that instead we could consider making
abstracts available on a password protected sec-
tion of the website, as a benefit of ACASA mem-
bership.

3. ACASA Affiliations
* H-Net Michael Conner reported that 596 peo-
ple subscribe to H-AfrArts, a potential source of
new ACASA members. He summarized the issues
regarding formalizing ACASA's relationship with H-
Net and it was agreed that we should proceed with
this. Also that the new website that we are plan-
ning should be coordinated with our existing H-Net
page. Michael also praised Jean Borgatti for her
hard work as H-AfrArts Book Review editor.
* ASA Kate Ezra summarized the questions
regarding whether we are a Sponsored Organiza-
tion of ASA (2/3 shared membership) or an Associ-
ate Organization of ASA (1/3 shared membership).
We are currently listed as a Sponsored Organiza-
tion, although it is unlikely that two thirds of our
members are also ASA members. We are also not
particularly benefiting from our relationship with








ASA, since the AV equipment at the last ASA
meeting was so inadequate. It was determined
that we should not sever our ties with ASA, since
it is part of our name, and we would have to re-
apply for non-profit status if we change our name.
We will eventually need to resolve this issue, but
decided to let it wait for another few months.
* CAA Liaison Christa Clarke had nothing new
to report at this time.

4. Newsletter
Susan Cooksey (in absentia) suggested that
members be offered a choice of online PDF ver-
sion or hard copy of the Newsletter, as a way of
cutting down costs and being more environmen-
tally friendly. The board agreed. Susan Cooksey
and Alice Burmeister can begin to work out the
logistics.

5. Membership and Fundraising Committee
* Chris Geary is moving ahead with forming the
committee
* It was agreed it would be beneficial to estab-
lish an ACASA listserve, separate from H-AfrArts,
on which we could announce and discuss issues
related exclusively to ACASA. Alice Burmeister
agreed to look into doing this. It was suggested
that we contact anyone teaching African art his-
tory, of which there are probably many people un-
known to us at junior colleges, etc. NB: Monica
Visona told me she has a list of all institutions that
have adopted A History of Art in Africa as a text-
book. We could use this list for soliciting new
members.

6. Website Committee
Report from Committee Chair Kim Miller re-
ported that Lisa Aronson and Jean Borgatti have
agreed to serve on this committee and are moving
forward. They will share their ideas with the board
as they develop, and hope to have the website up
and running before the Gainesville Triennial.
They will coordinate efforts with Michael Conner to
keep ACASA website and H-Net page compatible.
It was also suggested that the website include a
pass-word protected pedagogy section, on which
ACASA members could post syllabi, assignments,
etc. This would be a valuable benefit of member-
ship. Similarly, we could have a digital-image
bank for use only by ACASA members.

7. Textbook Committee

Sylvester Ogbechie has agreed to chair the com-
mittee. Board member Kim Miller will be on the
committee. Other committee members to be de-
termined. Sylvester Ogbechie reported (in absen-
tia) that he has already started to feel out publish-
ers and look at possible models for this type of
textbook.


8. "Future of ACASA" Committee
report from Committee Chair Kate Ezra is still in
the process of forming the committee. Christa
Clarke has agreed to serve on the committee as
has Shannen Hill.

9. Awards committees: all sub-committee chairs
should be forming their committees and establish-
ing a timetable for submissions, etc. This is espe-
cially important in terms of the Sieber and Rubin
Awards which require time to solicit the materials
and a great deal of time to read them.
* Leadership awards Chris Geary
* Sieber Dissertation awards Norma Wolff
* Rubin book award Carol Thompson

10. Nominating Committee by summer '07 we will
need to establish a Nominating Committee consist-
ing of 2 Board members and 2 ACASA members
not on the board.



Minutes of ACASA Business Meeting
February 24, 2006
College Art Association Conference

The announcements were essentially the same as
in the ACASA Board Meeting. The following com-
ments were made by members attending:

Newsletter: Bolaji Campbell suggested that when
we switch to an electronic format for the newsletter
we make sure that African and Caribbean mem-
bers are able to receive it. There may be some
who do not have internet access.

"Future of ACASA Committee": When considering
a switch to a biennial conference, Bill Dewey sug-
gested that we look into piggy-backing the ACASA
conference with the conference of another organi-
zation, such as the Society of Africanist Archaeolo-
gists, or AEGIS. This will save costs and increase
attendance.




Host Site Sought for the Fifteenth Triennial
Symposium on African Art 2010

Even as we approach the Fourteenth Triennial in
Gainesville, FL in 2007 it is not too early to start
thinking about the next venue for the Triennial.

If you have suggestions, or would like to submit a
proposal to host the symposium, please contact
Kate Ezra at kate.ezra@att.net.








Would you like to serve on the ACASA
Board of Directors?

ACASA will elect four new members of its board of
directors at the Triennial in Gainesville to serve
three-year terms ending at the Triennial in
2010. The nominating committee, made up of four
current and past board members, includes Kate
Ezra, Chris Geary, Martha Anderson and Baba-
tunde Lawal. If you are interested in serving on the
ACASA board, please contact Kate Ezra at
kate.ezra@Datt.net.

According to ACASA's bylaws, the nominating
committee will select four candidates to be elected
at the business meeting held at the Trien-
nial. Nominations of other candidates by mem-
bers-at-large may be made by submitting signa-
tures of 10 ACASA members in good standing in
support of the candidate to the ACASA President.




Additions to ACASA Board of Directors

A close reading of the ACASA by-laws recently
revealed that the ACASA board was short two
members. Following procedures outlined in the
bylaws for replacing absences on the board, the
current board of directors has selected the follow-
ing ACASA members to fill the empty positions on
the board:

* Monica Blackmun Visona will fill the position
whose term ends at the Triennial in Spring
2007

* Sylvester Ogbechie will fill the position whose
term ends at the ASA meeting in Fall 2008.


Announcements


Warren M. Robbins Library at the National
Museum of African Art
2006 Fundraising Campaign

The Warren M. Robbins Library at the National Mu-
seum of African Art will be launching a fund raising
campaign in 2006 to mark the 35th anniversary of
the founding of the library. This will be an opportu-
nity to recognize Mr. Robbins and the contributions
that the Warren M. Robbins Library has made and


continues to make to the study of African art his-
tory in the U. S.

For information, contact:
Janet Stanley at istanley(5)si.edu




Official Commissioning of the
National Museum of Unity, Enugu

The National Museum of Unity,Enugu,Nigeria was
officially commissioned on Monday 15th May 2006,
at the Museum of National Unity, Abakiliki Road,
Enugu.The museum has opened an exhibition on
HIV/AIDS, using national artifacts to tell the story of
AIDS, make people aware and offer cultural ways
of avoiding it. It was sponsored by the West African
Museum Programme, based in Senegal.




Olu Amoda / Artists in Residence at Appalachian
State University in Boone, NC USA
2006-7 academic year

The Nigerian sculptor Olu Amoda will be a Visiting
Professor / Artist in Residence at Appalachian
State University in Boone, NC during the 2006-7
academic year. Olu Amoda is a leading Nigerian
artist and a long-time faculty member at Yaba Col-
lege of Technology in Lagos. Yaba has the oldest
and one of the finest programs in studio art in Nige-
ria. Olu Amoda is an urban artist whose art reacts
to the current social, political and economic scene
in Nigeria. He is mainly a sculptor working in metal
often using discarded materials. He creates series
of works investigating various themes of poignant
relevancy to contemporary society. He has had a
large number of shows in Nigeria, other African
countries and Europe and participated in national
and international programs and workshops.

Mr. Amoda will be available for exhibitions, work-
shops, and speaking engagements in North Amer-
ica during his stay.

Please send inquiries to either:
Olu Amoda at 79.19.197 or wotaside@yahoo.com
or
Eli Bentor at bentore@appstate.edu
or 828-262-2579.








Awards


Sieber Dissertation Award Nominations Due

Nominations for the second Sieber Dissertation
Award are requested from primary Ph.D. advisors
for outstanding dissertations on some aspect of
African and/or African diaspora art, in any disci-
pline. The Sieber award was established to honor
the memory of Professor Roy Sieber who, through
his research, writing, and mentoring of many Ph.D.
students, made a lasting contribution to the study
of African art.

Dissertations completed in the period from Septem-
ber 1, 2003 to September 1, 2006 are eligible for
consideration by the award committee. Advisors
may nominate one dissertation only. Disserta-
tions should be submitted in English. The award
will be given at the 14th ACASA Triennial, to be
held in Gainesville, Florida, in Spring 2007.

Dissertations (a CD-ROM copy, with text in Micro-
soft WORD) should be sent by the author to the
chair of the Sieber Dissertation Award Committee
at the address below, along with a letter indicating
author's name, university affiliation, current ad-
dress, e-mail address, telephone, fax and the name
of the nominating PhD advisor. In special cases
when CD-ROM copies are not possible, disserta-
tion chapters may be sent by email. Advisors
should ask their students to send their completed
dissertations as soon as possible, but no later than
September 15, 2006.
See the H-AfrArts website for any update on sub-
mission details and a list of committee members.

Norma H. Wolff, committee chair
Sieber Dissertation Award Committee
Department of Anthropology
324 Curtiss Hall
Iowa State University
Ames, IA 50011


Two-year Getty Collaborative Grant Awarded

Martha Anderson (Alfred University), Lisa Aronson
(Skidmore College), Christaud Geary (Boston Mu-
seum of Fine Arts), and E. J. Alagoa (Professor
Emeritus, University of Port Harcourt) received a
two-year Getty Collaborative Grant to study J. A.
(Jonathan) Green, a prolific lbani(Bonny) Ijo pho-
tographer who worked in the Niger Delta region of
Nigeria between about 1890 and 1915. The project
involves extensive archival research in Great
Britian and the U.S., and three months of field work
in the Niger Delta in the Fall, 2007, with plans to
6


curate a future exhibition of the more than 170 pho-
tographs Green took during his professional work
as a photographer. If anyone has information about
Jonathan Green or his photographs, please email
Lisa Aronson (laronson@skidmore.edu) or Martha
Anderson (fanderson@alfred.edu).


The 2007 Arnold Rubin Book Award

ACASA's Arnold Rubin book award committee for
2007 is composed of Carol Brown, Director of the
Durban Art Gallery, Dr. Richard A. Long, Atticus
Haygood Professor of Interdisciplinary Studies,
Emeritus, at Emory University, and Carol Thomp-
son, Fred and Rita Richman Curator of African Art
at the High Museum of Art (Chair). Eligible books
are those published on African arts from January 1,
2004 through December 31, 2006, in English. The
award committee is soliciting authors' and publish-
ers' nominations. The first award is for a book writ-
ten by one or two authors, and the second for a
book with three or more authors. ACASA members
with qualifying books are encouraged to give pub-
lishers an additional reminder. Deadline for nomi-
nations is Dec. 31, 2006. Exceptions may be made
for books appearing in 2007 but with a 2006 publi-
cation date. Announcement of the winners will be
made at the Triennial Symposium on African Art,
Mar. 28-April 1, 2007.
To find out whether your book has been submitted
for consideration, contact Carol Thompson by
email (carol.thompson(@woodruffcenter.org).
Send one copy of each book nominated to :

Carol Brown, Director
Durban Art Gallery, 2nd floor,
City Hall, Smith Street
Durban, South Africa
(Each book should be marked with a declaration
stating "Of No Commercial Value For Review in
Library")

Dr. Richard A. Long
883 Edgewood Avenue
Atlanta, GA 30307

Carol Thompson
High Museum of Art
1280 Peachtree Street NE
Atlanta, GA 30309


Getty Institute Post-Doctorate Grant Awarded

Shannen Hill received a Post-Doctorate Grant from
the Getty Institute to complete her book "Biko and
Black Consciousness in South African Art."
She will join the Department of Art History and Ar-
cheology at the University of Maryland-College
Park in September 2007.









101J 14th Triennial Symposium



14th ACASA Triennial Symposium 2007
March 28-April 1, 2007

Conference Website:
http://www.doce-conference.ufl.edu/acasa/

The 14th Triennial Symposium on African Art is
hosted by the College of Fine Arts, School of Art
and Art History, Center for African Studies, and
the Samuel P. Ham Museum of Art at University
of Florida in Gainesville, the site for the symposium
this year. Robin Poynor and Rebecca Nagy are
he Co-Chairs of the symposium, and Victoria
Rovine is the Program Chair. Susan Cooksey and
Carol Thompson will organize Museum Day.
Bonnie Bemau, Director of Education at the Ham,
and Agnes Leslie, Outreach Director for the Center
for African Studies, will organize Outreach Day.

Announcements, registration information, and all
calls for panels and papers will also be posted on
the Triennial web site: www.doce.ufl.edu/acasa

Please remember that you must be a member of
ACASA in order to participate in the Triennial and
submit proposals for panels and papers. We
encourage you to renew your membership now if I
t has lapsed! Annual membership is based on the
calendar year.


2007 Triennial Theme: GLOBAL AFRICA

This year's theme emphasizes the place of African
expressive arts in global contexts and encourages
panels and papers that address Africa's interna-
tional and trans-cultural reach.

What are the ways in which African arts in all
media draw from and contribute to global histories,
cultures, and aesthetics ? The most dramatic
influences are in the living, studying, exhibiting,
and selling their work all over the world. We also
seek to draw attention to scholarship that is animat-
ing "traditional" practices, placing longstanding
forms, techniques, and beliefs within the historical
networks out of which they emerged.

Africa has long served as a trope for Western
ideas about the exotic. What is the impact of such
conceptions on African art and artists? And how
has the exhibition and study of African art been
affected by these popular (myth)conceptions?


ARrs COUNCIL or H Ar uc STUmtus AsocIATION



AFRICAN ART


ardi 2.April 1,2007
Gainevillc Florida


CFP--Museum Day at the ACASA Triennial, 2007

Museum Day Panel Proposal

The Ham Museum of Art will host Museum Day on
March 28, 2006. There will be morning and after-
noon panels, followed by a reception and museum
tour in the evening. Please submit panel and paper
proposals to Carol Thompson and Susan Cooksey.

Museum Day 2007 Theme:
CONSTRUCTING THE FUTURE OF AFRICAN ART:
New Museum Spaces For African Art

The recent surge of growth in art museums has
included the construction of an extraordinary num-
ber of new spaces devoted to African art. Exam-
ples include: De Young Museum; Detroit Institute of
Art; Museum for African Art; High Museum; and
the Denver Museum of Art. Additionally, other mu-
seums have now reconfigured existing space, dedi-
cating it exclusively to African art exhibitions. What
do these new developments reveal about the inter-
est in African art by collectors, audiences and mu-
seum curators, educators, and other staff? To what
extent were these constituents or others involved in
the planning and implementation of the space?
What were their agendas and how were they real-
ized or transformed (negotiated) throughout the
planning, construction, and installation of these
spaces? Can we prognosticate about the future
direction of museum collections and presentations
of African art (didactic strategies, visitor response/
interactivity; acquisition strategies and direction of
collection growth), and, what if any effect will this
have on African art history and other related disci-
plines? Finally, how can we use the experience of
those directly involved in the configuration of these
spaces to help those planning future projects ?
Co-chairs are:
Susan Cooksey
secook@ufl.edu


Carol Thompson
carol.thompson@woodruffcenter.org








2007 Triennial Panels Et
Roundtable Abstracts


Call for Papers: due September 15th 2006

Paper proposals should include:

1. Title
2. A proposal not to exceed one page describing
the theme and scope of the paper
3. A short abstract (not to exceed 100 words)
4. Audiovisual needs-PowerPoint, slides (1 or 2
projectors), video, etc.
5. Contact information: name, affiliation, e-mail,
address, and phone.

There are two ways to propose papers:

1. Papers may be proposed directly to chairs.
Please see the panel and roundtable abstracts,
which includes both panels that are soliciting
paper proposals and those that are already
complete. Please respond only to abstracts
that are soliciting paper proposals. These pro-
posals should be sent directly to the chairs)
who submitted the abstracts.

2. Papers not attached to specific panels are to
be submitted to the Program Chair, preferably
via e-mail, at the address below. These pro-
posals will be evaluated by the Program Com-
mittee and, if accepted, assembled into panels.

September 15th, 2006 is the deadline
for paper proposals

Reminder: Participants may present one paper
only. They may also serve in one other capacity,
such as chair, discussant, or roundtable participant.

Chairs must submit the final panels to:
Victoria Rovine, Program Chair
by October 15th, 2006

Please address inquiries to the Program Chair:

Victoria Rovine
School of Art & Art History
& Center for African Studies
University of Florida
Box 115801
Gainesville, FL 32611-5801
Phone: (352) 392-0201 x226
fax: (352) 392-8453
vrovine(@africa.ufl.edu


PANELS SOLCITING PAPER PROPOSALS



Sarah Adams
University of Iowa
sarah-adams(@uiowa.edu

Untold Stories: Recovering Women's Art Coop-
eratives in Contemporary African Art Studies

Co-chairs: Sarah Adams and Kim Miller

Participants: Brenda Schmahmann, O'dyke Nzewi

This panel will bring together recent and ongoing
research on women's art cooperatives in Africa.
In the past ten years, a number of scholars have
turned their attention to the distinctive questions
and problems raised by such cooperatives. Yet the
artistic production of women working in coopera-
tives has received little scholarly attention within
the field of African art history (as evidenced by near
lack of discussion of their work in major exhibitions,
publications, textbooks, and within the classroom).
We hope to bring renewed interest and energy to
this important work, by linking the visual production
of cooperative artists to larger issues of concern to
Africanists and art historians, and by calling atten-
tion to the neglected status of women artists in the
current art historical literature on African art.



Rakiba Brown
Wayne State University
rakiba@(wayne.edu

Towards an international collaboration of con-
temporary African artists, galleries and muse-
ums in and outside of Africa

Chair: Rakiba Brown

Many African artists who live and create art in the
United States and other western countries outside
of Africa face particular challenges when their art is
African in nature. Many of these challenges prevent
the exhibition potential of the professional artist
when the art created takes traditional subjects and
focus...this is true in sculpture and in painting and
other visual arts. The recent Africa Remix exhibi-
tion at the Centre Pompidou in Paris France in
2005 and now in Tokyo in 2006 illustrates one of
the major points and its importance as a topic for a
panel discussion at the symposium.









Christa Clarke
The Newark Museum
ciclarke(Snewarkmuseum.org


Contemporary Practices in Traditional Spaces:
Creating or Challenging the Canon

Co-Chairs: Elizabeth Harney, University of Toronto;
Christa Clarke, The Newark Museum

This panel seeks to investigate the challenges and
consequences of collecting, interpreting and exhib-
iting contemporary and modern African and Dias-
poric artworks in museum spaces previously de-
voted to "traditional" or "classic" African collections.
Much attention has focused upon the scholarship,
criticism, and interventions occasioned by itinerant
exhibitions over the last 15 years. Few have com-
mented on the slow but steady transformation tak-
ing place within permanent collections of African
arts across North America, Europe and in Africa
proper, as existing holdings are re-installed, collec-
tion policies and mandates are expanded, interpre-
tative frameworks shifted, audiences re-imagined
and the role of public trust re-thought.



Osa D. Egonwa
Delta State University, Abraka
egonwal(avahoo.com

Africa Versus Contemporary Art: That Which
Jingles is Inexhaustible in a Healer's Goatskin
Bag

Chair: Osa D. Egonwa, Ph.D.

Since African Art healed the anemic art of Euro-
America in the 19th Century, leading to a great sty-
listic shift in art making, the inexhaustible thematic,
paradigmatic, technical, and material resources
inherent in pre-contact art in Africa has continued
to reshape the world's idea of art and design. It
seems that the impact of the "African" on contem-
porary art is the raison d'etre of its survival, if the
encounters are divulged from the perspective of
Western nationalists' historiography. Africa's inter-
national and transcultural reach is inadequately
accorded a place in our studies. As a rich resource
for Contemporary artistic exploits, it is comparable
to the bones, skulls, bark, roots, and shell types in
a native healer's briefcase. Only recently, perform-
ance and installation, hybridization and eclecticism
emerged from it. Panelists are requested to identify
themes, concepts, techniques, and styles contrib-
uted by Africa to World as art subscriptions of
Global Africa.


Christine Mullen Kreamer
Smithsonian Institution
National Museum of African Art
kreamerccsi.edu

Ephemeral Art: Impermanent by Design

Co-chairs: Allyson Purpura and Christine Mullen
Kreamer

"Ephemeral art," a potentially broad and inclusive
category of conceptual art practice that is equally
applicable to the so-called 'traditional' arts, is de-
fined here as works in which materials are chosen
by the artist for their inherently unstable character-
istics or works which are created with the intention
of having a finite "life". These are works that can-
not be collected as objects per se, and whose con-
figurations may change or degrade while on dis-
play. As such, they resist conventional expecta-
tions about the preservation, display and commodi-
fication of art. More specifically, it raises a number
of issues of both theoretical and practical concern
bearing on art and the politics of value which this
panel seeks to explore. Paper presentations on
both 'traditional' and contemporary African art prac-
tices are welcome and may draw from a range of
disciplines and approaches.



Labode Oladoyin
University of Agriculture, Abeokuta
labl2d6@&vahoo.com

Transitional Belief Systems in Traditional
Yoruba Culture

Chair: Labode Oladoyin

There is lack of understanding of how oral tradition
is employed in burial ceremonies in most Nigerian
cultures. In the few situations where there have
been attempts at discussing burial rites, it has
largely been descriptive. Such descriptive studies
do not answer a basic general survey of oral tradi-
tion in Yoruba as it affects burial rites in African
culture. One needs to understand:

* Who are the people in question?
* Why do they treasure the burial ceremonies?
* What role do burial rites play in the commu-
nity?
* When is it appropriate to do the burial cere-
mony?
* What are the benefits of burial rites to the
dead?









Babatunde Lawal
Virginia C6mmonwealth University
blawal@,vcu.edu

African and African Diaspora Art: Current Devel-
opments and Future Prospects

Chair: Babatunde Lawal, Department of Art History

This session welcomes papers examining the evo-
lution of African and African Diaspora art since the
1960s. What are the consequences of postcoloni-
alism, the quest for individual or national identity,
personal or group ideology, multiculturalism, trans-
nationalism, digital media, globalization, patronage
and the like on form, style, technique, content,
message or meaning? Presenters are invited to
explore any aspect of the subject (such as influ-
ences, terminologies, case studies, comparative
analyses, curatorial approaches, local and interna-
tional art markets, connoisseurship, problems of
authenticity, etc,) with a view to shedding more
light on current developments and future prospects.
Artists are welcome to discuss their works.


Victoria Rovine
University of Florida
vrovine(a@africa.ufl.edu



The Uses of Tradition

Chair: Victoria Rovine, University of Florida

This panel addresses the paradoxical role of move-
ment and change in the production and preserva-
tion of visual forms associated with "traditional" Af-
rica. Recognition as "traditional" may propel these
forms into new markets where they often gain new
associations and serve new functions. This panel
solicits presentations that address diverse aspects
of the production and circulation of "traditional" Afri-
can forms both in Africa and elsewhere, past and
present. Papers that address the processes by
which particular genres have come to represent
"tradition" and the ways in which that designation
has affected the reception of these forms in local
and global markets are particularly welcome.


Krista Thompson
Northwestern University
krista-thompson(@northwestern.edu


The Muse of Art History: The Problem with the
Visual in Anglo Caribbean Culture


Chair: Krista Thompson


Britain's Caribbean colonies were historically with-
out art academies and salons and the region's new
inhabitants had no indigenous artistic traditions to
claim as their own. Papers on the panel consider
how the particular history of the islands influenced
artistic expression in the region. What role did art
assume in a region lacking the institutions and tra-
ditions typically responsible for defining, teaching,
and reifying art, culture, and taste generally? What
are the wider implications of Anglo Caribbean art
history on canonical definitions of art more gener-
ally?



Monica Blackmun VisonA
University of Kentucky
m.b.visona@(ukv.edu

Akan Affinities

Chair: Monica Blackmun Visona

The peoples who speak Akan languages are di-
vided by a colonial border which still shapes the
ways these populations are studied. Analyses of
Akan arts in Ghana rarely refer to related Anyi or
Baule arts in Cote d'lvoire, just as francophone
publications on the Anyi rarely draw upon Anglo-
phone studies of the Aowin and Fanti. While ar-
chaeological data, oral histories, and archival mate-
rial have been used by art historians to trace the
historical depth of specific cultural practices within
a region, few art historical studies survey the prac-
tices of neighboring Akan and non-Akan groups to
establish their geographical breadth. This panel
aims to stimulate discussion among researchers
who have conducted fieldwork on the arts of an
Akan region, or on the arts of neighboring popula-
tions.



COMPLETE PANELS


Polly Nooter Roberts
UCLA Fowler Museum of Cultural History
proberts@arts.ucla.edu

Art and Consequence

Co-chairs: Polly Nooter Roberts and Manuel
JordAn

Participants: Donald Cosentino with Edouard
Duval-Carrie, Manuel Jordan with Jose Bedia,
Carol Brown, and Polly Nooter Roberts








African arts have always served as more than art,
just as W.J.T. Mitchell asserts that "objects...are
never merely material things" (2005:125).
Traditional arts often re-emerge in new paradigms,
translating deep-rooted ideas of efficacy to contem-
porary contexts of modernity, diaspora, and
transcultural encounters. This panel explores
several cases in which arts of Africa and the Afri-
can Americas have played profound and active
roles by responding to, predicting, or coping with
urgent global issues, such as migration, war,
terrorism, and pandemic. It presents viewpoints of
several artists whose works are based on long
standing traditions, but have produced direct
consequences for contemporary culture.



Mikelle Omari-Tunkara
University of Arizona
drsotunkara(aqmail.com

in/CUBATIONS: African Visuality in Afro-German
& Anglo-Brazilian Communities

Chair: Mikelle Smith Omari-Tunkara, Ph.D.
Professor: Theory, Methods, and History of Afri-
can /Diaspora Arts

Participants: Ricardo Bacallao, Evelyn Omari,
Mikelle Tunkara, Pai Armando

Recent diaspora studies have tended to foreground
the experiences, reflections, and creative produc-
tion of African nationals or African descendents in
their global sites of forced exile or voluntary re-
locations. This combined studio and art history
panel is based on field research from 2000 -2006
and seeks to address this imbalance. Through the
disparate lenses of interactive DVD, video, and
traditional art history we aim to consider African
visual production in Germany and Sao Paulo,
Brazil.



Stephen Wooten
University of Oregon
swooten@Duoregqon.edu

Global Mande

Chair: Stephen Wooten (University of Oregon)
Participants: Stephen Wooten ; Sarah Brett-Smith;
Jacqueline Robinson Hunsicker; Bodil Olesen; An-
drea Frohne

Papers in this panel will foreground the global
reach and effect of Mande expressive culture. For
example, contributions will explore how the ciwara


form has made its way into new contexts from ur-
ban Bamako to Paris. Others will trace changes in
the production and consumption of mudcloth within
Mali and across the globe. All contributions will
probe the dynamics of changing meanings in new
spatial, social and temporal contexts. In doing so,
they will map the interventions Mande expressive
culture has made on the global landscape as well
as those that the global landscape has made on
Mande culture.


Montre Aza Missouri
London Metropolitan University
m.missouri(alondonmet.ac.uk


Yoruba Aesthetics in Global Contemporary Arts

Chair: Montre Aza Missouri (Lecturer in Film Stud-
ies, London Metropolitan Univ / PhD Candidate in
Media Studies, SOAS Univ of London)

Participants:
Bukola Kpotie (Research Student in African
Studies, University of Oxford), sbkpotie@aol.com;
Koye Oyedeji (Journalist/Writer & PhD Candidate
in African Literature, SOAS Univ of London), koy
oyedeji@gmail.com; Sola Olorunyomi(Editor of
Glendora Review / University of Ibadan)

Although Yoruba culture, particularly traditional phi-
losophy, has been the subject of much western
scholarship for several decades, this panel discus-
sion will focus less on a fixed Yoruba culture and
its syncretic retentions in the Americas. Instead,
this panel will center on the influence of contempo-
rary Yoruba arts on western cultural production as
well as on artistic productions of migrant Yoruba
communities in Europe and the United States.
Moreover, this exploration will seek to examine the
use of Yoruba iconography both in Nigeria and in
the west for the purpose of creating a Pan-Yoruba
identification among varying communities.


Barbara E. Frank
Stony Brook University
bfranke@notes.cc.sunysb.edu


Art and Identity in the Hinterlands

Chair: Barbara Frank

Participants: Fred Smith; Barbara Frank; Themba
Shibase; Fadhili Mshana: Patricia Darish; Onyile
Onyile

Over the last decade, African art scholarship has
come to grips with the complexities of artistry in








urban Africa, of transnational identities, and the
impact of global forces on contemporary art. Rural
Africa, however, continues to be understood as a
place where the one tribe=one style paradigm re-
mains a viable framework for categorizing artistic
production. This panel seeks to challenge this false
dichotomy by focusing on the complexity of art and
artist identity in the hinterlands. Issues include: the
complicated nature of artists' relationships with cli-
ents as a result of warfare, intermarriage, migra-
tion, nation building and tourism; the transformation
of rural art forms into national icons; and concep-
tions of art in rural settings that challenge the
canon of "traditional" African art.


The late G.I. Jones viewed Southeastern Nigeria
as a region of varied, but interacting, peoples
whose art traditions do not necessarily accord with
linguistic or "tribal" borders. In his honor, we are
soliciting papers that deal with cross-cultural or
multicultural issues. We also invite papers that deal
with global contexts and/or new technologies and
art forms, as well as those that focus on topics of
special interest to Jones, including photography,
trade, and British colonialism. We would prefer pro-
posals that embrace themes, styles, history, object
types or problems rather than ones that are specific
to only one ethnic group.


Amanda Carlson
University of Hartford
amcarlson(@hartford.edu

(re)Visiting Florida: Africa in our midst

Chair: Amanda Carlson


Participants: Robin Poynor, Ade Ofunniyin, Kara
Ann Morrow

Africa's global presence is significantly entrenched
in Florida, the site of our conference. With over 500
years of black bodies, traditions, and beliefs flowing
from Africa and the Caribbean onto the shores of
Florida, this peninsula is the ideal destination to
observe overlapping Diasporas. Scholars may
choose to (re)visit a variety of issues relating to
"African Studies" and "Diaspora Studies" in light of
the Sunshine State. Papers might address how
Florida's political, cultural, and physical geography
has affected the production of material culture or
broader questions about how migration and move-
ment affects local and global dynamics.



Martha G. Anderson
Alfred University
fanderson(,alfred.edu

Art in Southeastern Nigeria: a Panel in Honor of
G. I. Jones

Chair: Martha G. Anderson

Participants:
Christopher Slogar slogarc@hotmail.com;
Jordan Fenton jafenton@kent.edu;
Amanda B. Carlson amcarlson@hartford.edu;
Jill Salmons jsalmons@art.wortech.ac.uk;
John C. McCall jmccall@siu.edu;
abine Jell-Bahlsen Sabinejb@aol.com;
Jean Borgatti AfrArtsJB@aol.com


Leah Niederstadt
University of Oxford
leahniederstadt(avahoo.com


A Global Crossroads: Contemporary Artistic Pro-
duction in the Horn of Africa

Chair: Leah Niederstadt, University of Oxford

Participants: Professor Neal Sobania, Pacific Lu-
theran University, sobania@plu.edu; Dr. Peri
Klemm, California State University-Northridge,
peri.klemm@csun.edu; Makda Teklemichael
Assefa, Addis Ababa University (MA), mak-
datm@yahoo.com; Leah Niederstadt, University of
Oxford (D.Phil. candidate), leahnieder-
stadt@yahoo.com

The Horn of Africa has long been a crossroads
where people from throughout the world have en-
countered and reacted to one another. Today, this
interaction continues, producing thriving artistic
practices. This panel explores how expressive arts
from the Horn draw on tradition while responding to
contemporary audiences. Although addressing
various art forms and locations, each paper consid-
ers how local and expatriate art producers and con-
sumers engage with local practices and materials
while negotiating access to new resources for mak-
ing a living and creating identity through artistic
production. The often innovative results confront
notions of what is "traditional" or "African" art.



Heather Brooks-Shirey
Univeristy of St. Thomas
hmshirev(@qmail.com

(Re)Claiming Africa in the African Diaspora

Chair: Heather Brooks-Shirey

Participants: Bill Dewey; Judith Bettelheim; Pamela
Franco; Jean Borgatti; Michael Harris







This panel investigates the ways in which Africa is
conceptualized, claimed, or reclaimed in the art of
Ihe African Diaspora, especially in the context of
the dominant culture's historical rejection of African
culture and identity. While earlier generations of
scholars sought to examine survivalss" and
"retentions" using an essentialist or structuralist
construct, this panel focuses on the nuanced roles
that people play in the articulation of a Diasporic
identity. This panel also explores the deliberate
claiming of Africa by artists and scholars as well as
the reclamation of African spirituality in the context
of religious practice.



Kitty Johnson
Indiana University
kitiohns(@indiana.edu

Local Aesthetics and Individual Artists: Negotiat-
ing the Global

Co-Chairs: Elizabeth Perrill, Kitty Johnson, Can-
dace Keller, Paul Davis

Participants: Dr Kivubiro Tabawebbula, Dr. Laurel
Birch Aguilar, Oscar 0. Mokeme, Janet Goldner,
Julie McGee, Kitty Johnson, Paul Davis, Candace
Keller, Elizabeth Perrill

Today, scholars working in even the most rural,
seemingly isolated, communities recognize that
they must take into account global flows of ex-
change-both into and out of the local sphere-
within their analyses of a particular community's
art, culture and social life. Operating on economic,
aesthetic, and social levels these flows are part of
artists' lives, whether they reside in urban, peri-
urban, suburban or rural environments. This panel
seeks to foreground the ways that artists incorpo-
rate and modify localized aesthetics within this
"global" reality to give their creations specific rele-
vance and meaning, both at home and in interna-
tional art contexts.



Erin Haney
Smithsonian Institution
National Museum of African Art
erinlhaney@vhotmail.com

Towards a History of World Photographies

Co-Chairs: Christraud Geary, Museum of Fine Arts;
Erin Haney, National Museum of African Art; Erika
Nimis, Universitd Laval

Participants: Martha Andersen; Lisa Aronson; Chris
Geary; Erin Haney; Erika Nimis; Krista Thompson;


Juerg Schneider; Julie Crooks; Charles Gore; Ally-
son Purpura

The range of activity subsumed under the rubric
"African photographic practice," (and that of its di-
asporas), reminds us of the inherently international
roots of the medium. From their earliest days, pho-
tographers and their imagery were part of the in-
creasingly easy flow of ideas and materials of
global networks. Photography global history, its
processes and materials qualities, need to be
grounded within local understandings and visual
worlds. Yet these specific contexts, and the bor-
ders which they transcend, anchor the diversity of
imagery, trajectories of photographers, patronage,
and market systems considered here.



Bill Hart
University of Ulster
wa.hart@ulster.ac.uk

African art and memory

Chair: Bill Hart

Participants:
John Nunley John.Nunley@slam.org; Joseph
Opala opalajx@jmu.edu; Bill Hart -
wa.hart@ulster.ac.uk.

In African societies that have no tradition of writing
art is one means by which the experience of earlier
generations is communicated to those who come
after; and by which later generations define them-
selves in relation to their past. The panel will ex-
plore some of the different ways in which visual art
in Africa encapsulates, preserves, and transforms
memories of the past.


Kate Ezra
Columbia College
kate.ezra(,att.net


The Art of Benin in the Twentieth and Twenty-
first Centuries

Chair: Kate Ezra, Columbia College Chicago

Participants: Barbara Blackmun; Nnamdi Elleh;
Joseph Nevadomsky; Freeborn Odiboh; Sylvester
Ogbechie; John Ogene; Chika Okeke; Philip Peek;
Barbara Plankensteiner

This panel will examine the art of Benin following
the kingdom's conquest in 1897 and revival in
1914. Papers examining transformations in the
palace arts as well as new directions taken by aca-








demically trained artists will reveal the vitality and
creativity of Benin art in the past century and relate
it to global art movements, markets, and ideas.
The goal of this panel is to consider to what extent
artists in Benin view its ancient art as inspiration,
challenge, or burden, and how they have negoti-
ated the often conflicting demands of tradition, con-
temporary art practice, the international art market,
and personal vision.




Prita Meier.
Harvard University
smeier(Sfas.harvard.edu

Islam and the Arts of Africa: New Perspectives

Co-chairs: Professor Cynthia Becker (BU) and Prita
Meier, Ph.D. candidate (Harvard)

Presenters: Cynthia Becker (cjbecker@bu.edu);
Suzanne Preston Blier (blier@fas.harvard.edu);
Prita Meier (smeier@fas.harvard.edu); Allen F.
Roberts (aroberts@arts.ucla.edu)

Discussants: Susan O'Brien
(obriensu@history.ufl.edu); Labelle Prussin
[tentative] (Lprussin@aol.com)

Studies of African Islam have highlighted the long
processes of intercultural accommodation and rein-
terpretation shaping Africa's global presence and
reach. This panel will present new case studies
and perspectives regarding the interface between
Islam and the arts of Africa. The papers will focus
on the common histories of marginalized peoples
who have accessed Islamic institutions, identities
or practices as a mode of self-realization. Partici-
pants will address key conceptual questions as
well. For example, as a subject matter, are we
framing Islam as an official monolithic religion, a
personal spiritual path, a system of literacy, a poli-
tico-economic mode of government, or a form of
cultural expression?




Barth Chukwuezi
National Gallery of Art Abuja, Nigeria
bnchukwuezi@yahoo.com

Multidisciplinary Approaches to African Art as a
Reflection of Social Structure

Chair: Barth Chukwuezi

Participants: Augustine Onu (University of Nigeria),


Dr. Veronica Okeke (University of Nigeria), Dr. Pe-
ter Jazzy Ezeh (University of Nigeria), Dr. Simon
Ikpakronyi (National Gallery of Art Cadastral Zone),
Alex Nzei (University of Nigeria)

African Art is a reflection of structure and organiza-
tion of the society and as such it is the enabling
structure for various human activities spanning
from traditional to modem society. This panel is
suggesting that other disciplines should also try to
include Arts Studies in their relevant programs. For
example, a study of Political Science and Anthro-
pology should include the study of Traditional Politi-
cal Systems which is infused by knowledge of cer-
tain art objects related to political offices. In reli-
gious study, certain art objects tend to validate
some religious activities like puberty, festival, tran-
sition and mortuary rites. A study of this nature will
ensure that these disciplines within traditional so-
cial structures are enriched by the knowledge of
cultural objects that inform certain relevant struc-
tures in their various modes of social organization.
This type of approach will engender more interest
in African art and could help in popularizing art
studies.


DOUBLE PANELS


Elisha P Renne
University of Michigan
erenne@(umich.edu

African Christian Art in Africa and Its Diaspora
(Double Panel)

Chair: Elisha P. Renne

Participants: Afe Adogame; Hermione Harris; Lau-
rel B. Aguilar; David Bridger; Cecile Alice Fromont;
Malika Kraamer; Anitra Nettleton; Pam Allara; Ray
Silverman.

African Christians use art and dress in a variety of
religious experiences. The proposed panel focuses
on the histories as well as aesthetic, spiritual, and
moral meanings associated with these objects, in
Africa, Europe, and the US. While Ethiopian church
art emerged after the 4th century, early Christian
missionary activities elsewhere in Africa often en-
tailed the use of European religious art and dress
as part of the conversion process. However, Afri-
can Christian art was subsequently produced in
several parts of Africa. The movement of Africans
to Europe and the Americas has also led to an ex-
pansion of the forms of African-Christian artistic
expression, underscoring the oscillating dynamics
of African Christian art and its expression in a
global context.









Joanna Grabski
Denison University
grabski@Edenison.edu

Reading the Visual City I
Chair: Joanna Grabski

Participants: Mary Jo Arnoldi; Sandra Klopper and
Gavin Younge; Federico Freschi; Carol Magee;
Suzanne Gott

Reading the Visual City II
Chair: Joanna Grabski

Participants: Hudita Nura Mustafa; Rory Bester;
Lisa Binder; Laurie Ann Farrell; Kristina Van Dyke

This double panel focuses on the centrality of vis-
ual experience to urban experience in Africa.
Rather than positioning the city as a backdrop for
visual expression, we consider both how the urban
terrain is crucial to experiencing the visual and how
urban experience is predicated on and contoured
by visual propositions. For instance, how is urban
belonging articulated by the visual? How do indi-
viduals engage visual forms to construct, evaluate,
or contest contemporary urban realities? And, how
do urban visual projects entangle and interface with
other creative or political expressions, including
inter-textual propositions from other urban sites?


Till F6rster
University of Basel
till.foerster@unibas.ch


Rethinking the Workshop I:
Invention, revision and rupture in the organiza-
tion of art production

Co-Chairs: Sidney Kasfir, Emory University, Atlanta
and Till F6rster, University of Basel

Participants: Alex Bortolot; Jessica Taplin Stephen-
son; Elsbeth Court


Sidney Kasfir
Emory University
sidney.kasfir(cemory.edu

Rethinking the workshop II:
Invention, revision and rupture in the organiza-
tion of art production

Co-Chairs: Sidney Kasfir, Emory University,
Atlanta and Till FOrster, University of Basel


Participants: Silvia Forni; Karen Milboume;
Eberhard Fischer (Museum Rietberg, Zurich);
Elizabeth Morton

One of the enduring modes of art production in Af-
rica is the workshop. Over the longue durbe, its
output has been a channel for the production and
retention of artisanal knowledge as well as for the
invention and dissemination of group styles and
movements. In the past sixty years, the prolifera-
tion of workshops for the production of late colonial
and postcolonial genres has been marked by new
media, styles, genres, patronage, economic ar-
rangements and patterns of interaction at the same
time that many old-style workshops have continued
to operate with only minor adjustments. We wish to
examine the durability of the workshop as a locale
for group and individual aesthetic practices and
outcomes, and to uncover patterns of work, learn-
ing, and exchange, as well as appropriation, revi-
sion and rupture. We hope to clarify the links be-
tween particular modes of art production, patron-
age systems, and the continuity and change of
style and genre.



ROUNDTABLES SOLICITING PARTICIPATION


Christine Mullen Kreamer
Smithsonian Institution
National Museum of African Art
kreamerc@si.edu


Current issues in museum practice [roundtable]

Co-chairs: Kathleen Bickford Berzock and Christine
Mullen Kreamer,

A roundtable discussion on current issues in mu-
seum practice is proposed for the 2007 Triennial
Symposium on African Art. Two very different is-
sues are of particular interest to the roundtable or-
ganizers. The first addresses the responsibilities,
strategies and challenges of creating exhibitions of
relevance to the realities of Africa today. The sec-
ond considers the object acquisition process and
the challenges of provenance. The focus of the
roundtable is still being refined; thus, it may ad-
dress one or both of these issues. The roundtable
discussion seeks to stimulate discussion, share
information and identify key sources and strategies
to guide best museum practices and to stimulate
responsible scholarship in our field.









Sylvester Ogbechie
University of California Santa Barbara
ogbechie(a@arthistory.ucsb.edu

Roundtable: The Contemporary African Art His-
tory textbook project

Chair: Sylvester Ogbechie

This roundtable is proposed to continue discus-
sions about the need for and production process of
a textbook for teaching the history and develop-
ment of contemporary African art in college educa-
tion. A Committee led by the panel chair (Dr. Ogbe-
chie) has been empowered by ACASA to work out
protocols for actualizing this project and has al-
ready met once at ASA 2005, and plans to meet at
ASA 2006 to continue discussion engendered at
the previous meeting. The roundtable proposed for
the 2007 ACASA Triennial will mark the start of the
production process for the recommended textbook.
All ACASA members are invited to attend this
roundtable and assist the committee with the im-
portant work of producing a textbook for use in
teaching modem and contemporary African art in
various contexts.




Kim Miller
Wheaton College
kamiller@,transy.edu

Beyond the Visual: Connecting African art his-
tory and social justice pedagogies

Co-Chairs: Kim Miller, Wheaton College and Henry
John Drewal, University of Wisconsin-Madison
Participants: Kim Miller, Henry Drewal, Cynthia
Becker, Joseph Adande, Sonya Clark

This roundtable will bring together scholars of Afri-
can art for a discussion on the relationship between
teaching African visual culture alongside larger so-
cial, political, and cultural issues that are of para-
mount importance in Africa today. African artists
have long engaged with issues such as political
power, gender relations, imperialism, poverty, ecol-
ogy, genocide, and human rights, while many
scholars of African art have concurrently been in-
vested in these same issues. As teachers, we con-
sider this alongside the disappointing treatment of
African subjects in the United States. As academ-
ics, do we have a larger responsibility to think criti-
cally beyond the visual and incorporate larger politi-
cal issues into our art history teaching? Should, or
could, social justice teaching be a key feature of
our pedagogies? We are interested in panelists


who wish to engage with these issues in creative
and meaningful ways, and who will speak theoreti-
cally and practically to their experiences with this
type of teaching.


E| COMPLETE ROUNDTABLES


Barthosa Nkurumeh
University of North Texas
nkurumeh@(juno.com

Shaping Art Education in Africa Roundtable:
Face-to-Face Dialogues on Curriculum, Teach-
ing-Learning and Assessment

Chair: Barthosa Nkurumeh

Participants: Mr. Ndinemi Myson MBUSO; Mr.
Mpho MABULE; Mrs. Pamela CHANDLER; Mrs.
Madmuri RAMYEAD; Mr. Charles Maurin POTY;
Mr. Sylvain LINDZONDZO DYNAH

The aim of the roundtable is to meet, network,
share best practices, and brainstorm about issues
that are important to access and quality in the art
curriculum, teaching-learning and assessment in
some countries in Africa to develop creative and
practical solutions for positive changes in the
shape of the discipline of art education in the conti-
nent. There are obvious needs to redefine short-
age of adequately trained school art teachers, and
involvement of stakeholders of public and private
schools in school art education. There are ever
needs for art classrooms with appropriate art
teaching-learning materials even in the art teacher
programs, and stimulating collaborations among
the art teachers and the community. It is antici-
pated that the roundtable will, therefore, lead to
advocacy forums, programs development, project
initiative and implementation to facilitate, or im-
prove the art curriculum, teaching-learning, and
assessment in some countries in Africa.




Susan Vogel
Columbia University
smv2105@,columbia.edu

Mud and White Vinyl: "Truth" and Fiction. Por-
traying Djenne Architecture, Masons, and Pres-
sures for Change

Co-chairs: Samuel Sidib6 (Mus6e National du Mali)
and Susan Vogel (Columbia University)








Participants: Rogier Bedaux, Manthia Diawara,
Bogumil Jewsiewicki, Charlotte Joy, Michael Row-
lands, Trevor Marchand

The roundtable will begin with a projection of "Mud
and White Vinyl: A Mason's Story," a documentary
on the contemporary situation of architecture in
Djenne co-produced by the panel chairs. The film's
intellectual content is firmly grounded on co-writer
and co-producer Trevor Marchand's long research
in Djenne, and centers on affluence, change, and
on Djenne's connection to a global world. The film,
however, takes an unusual approach, casting indi-
viduals in roles a mason, his assistant, and his
family similar to their life situations. We have
filmed them both in their daily activities, and in
staged scenes that tell a narrative story, and we
have intercut the staged scenes seamlessly with
the observational documentary footage and inter-
views. The technique of blending fact and fiction in
the service of "truth" raises a number of compelling
issues. The roundtable discussion will address both
the film's documentary approach and the sub-
stance of the research on masons and architectural
change.


Current Publications


Museum Frictions: Public Cultures/ Global
Transformations

Museum Frictions: Public Cultures/ Global Trans-
formations is the third volume of a series on cul-
ture, society and museums that began with Exhibit-
ing Cultures and was followed by Museums and
Communities. As a major new edited collection
that will come out from Duke University Press this
fall, the book includes a number of essays on Afri-
can material (mainly South Africa and Ghana), as
well as broad comparative and theoretical pieces.

The book examines national and community muse-
ums; museums of art, history, and natural history;
monuments; heritage sites, galleries and a variety
of other display contexts and exhibitions. It is the
product of a series of international workshops held
between 2000 and 2002 and a July conference
held at the Rockefeller Foundation's conference
center on Bellagio, Italy. A final workshop was held
to reach the next generation of museum and heri-
tage scholars and professionals in Atlanta in 2002,
bringing together junior staff from museums and
related institutions and advanced students en-
gaged in complimentary research.


Media &t Internet Resources


AFRICOM Wins "Best Museum Website" Award

At the 'Best of the Web' award ceremony on Friday,
March 24th, the International Council of African
Museum's (http://www.africom.museum/index.html)
web site was awarded the Best Museum Profes-
sional's Site award at the 10th Annual "Museums
and the Web" International Conference in Albu-
querque, New Mexico.

Judges' Comments included: "I had no idea there
were so many museums in the continent of Africa
and so many pressing issues facing their profes-
sionals. I was most impressed by the content on
this site, as it is very current and extensive; a veri-
table clearinghouse of information."

AFRICOM is the first African website ever to be
honored at this annual event.

The website has many useful and relevant sections
including HERITAGE IN PERIL about African antiq-
uities issues, downloadable newsletters, plus great
museum and cultural links for African and muse-
ums worldwide. It also features attractive graphics
and is very easy to navigate.

For the complete article, go to:
http://www.africom.museum/hnews/hnews-
bestofweb.html

Archives & Museum Informatics, the organizers of
the conference, offer conferences, consulting, pub-
lishing and training for Cultural Heritage profession-
als. websitee: http://www.archimuse.com/)









IM IConferences

Nollywood Foundation Convention 2006:
Nollywood, African Cinema and Beyond".
A Report for ACASA

The inaugural Nollywood Foundation Convention
2006 took place in Los Angeles (California, USA)
from June 13-17 and it attracted a very large num-
ber of participants from Africa, Europe, Asia and
the USA, who engaged in two days of discussions
about the cultural economics of Nollywood's movie
business. Nollywood, the Nigeria film industry, has
catapulted into a global phenomenon in the past
decade and a half. Increasingly, it is recognized in
international film festivals as a terrain of note, and
the explosive growth of the industry (ranked by
many as the third largest film industry in the world,
in terms of productivity) has created a rush of inter-
est from African and Western commentators. Sto-
ries about the ultra-indie protocols of Nollywood are
of great interest to these commentators, many who
are baffled by how Nollywood movies have cap-
tured the attention of Africans, and expatriate Afri-
cans across the globe. Everyone recognizes that
Nollywood represents the emergence of a distinc-
tive new approach to Nigerian filmmaking in the
past two decades. It is characterized by a very ur-
ban/global visual aesthetic, and its use of digital
film production technology, and innovating direct
marketing practices is revolutionary.

The Nollywood Foundation, a non-profit organiza-
tion, was created to expand cultural awareness of
the Nollywood phenomenon, and help mediate its
critical reception in the global arena. NF aims to
provide a non-political, non-ideological forum for
the critical and discursive reception of Nollywood in
the global arena by creating a space where discus-
sions about the cultural, economic, social and edu-
cational impacts of Nollywood (both in African and
beyond) can take place. The NF's advisory board
includes Prof. Henry Louis Gates, Jr. (Harvard),
and a very eminent group of people in academia,
high finance, cultural production, government and
international relations. The Board of Directors in-
clude Egbe Osifo Dawodu, Sylvester Okwunodu
Ogbechie, Dapo Otunla and Lisa Poole, all working
in their private capacity.

Nollywood is unarguably the greatest development
in African visual culture in the past century, and
may ultimately help to propel Africa into a new cul-
tural, economic and political age. The industry has
reached a sort of critical mass of international at-
tention. Stories about Nollywood have appeared in
major international news outlets like the British
Broadcasting Corporation, the New York Times,
Washington Post, Los Angeles Times, Los Angeles


Wave, and hosts of other A-List media publications.
Nollywood's fame has spread through the entire
African and African Diaspora population and the
industry is providing a new way to hook up the vari-
ous families of black peoples all over the world, as
well as a common language of engagement with
comparable visual culture and film industries from
all parts of the world. It had done this without any
government support, as a purely private capitalist
project that has nevertheless grown to become the
largest non-government employer in Nigeria. Nolly-
wood film stars are popular with fans in the UK,
Germany, USA, Japan, and they get sacrilegious
adulation everywhere in Africa. This huge fan base
is at the center of a growing international African
attempt to replicate Nollywood's success in other
African countries, and its impact is increasingly dis-
cussed at international film festivals like Cannes
where a Nigerian contingent was recently well re-
ceived

Nollywood's visual culture is very forward-looking,
and it has created the first all-digital movie industry
in the world. In many ways, it has changed Nige-
ria's visual culture since it is the pre-eminent visual
form of the day, more popular even than the tradi-
tional and modern plastic arts for which Nigeria has
become world famous, or African music that first
reached a global audience. Nollywood will reorient
critical analysis of Nigerian and African visual cul-
ture in the same way that Hollywood did in the
USA. Also, the visual culture formed by Nollywood
is pan-African and increasingly being exported to
expatriate African and Diaspora African popula-
tions, after conquering continental Africa. This is
the first true mass medium in African visual culture
and its emergence is extremely significant.

The 2006 inaugural convention of the Nollywood
Foundation brought together prominent Nigerian
cultural producers who work in Nollywood, Holly-
wood, the UK, Germany and other international
arena. It emphasized collaboration between these
individuals/organizations and also encouraged dia-
logue on matters of mutual significance to many of
them, who previously knew of each other only by
reputation. Prominent attendees included Mike
Ajakwe (Emmy Award winning Hollywood screen-
writer), Uduak Oduok (international model and at-
torney), Nnegest Likke (Hollywood Director), Lan-
celot Oduwa Imasuen (prominent Nollywood Direc-
tor), Ego Boyo, Elias Wondimu, Ifueko Omoigui
(Chairman, Nigerian Federal Inland Revenue Ser-
vice), John Maata (COO Warner Bros), Jason
Squire (Prof. of Film Studies, USC), Hakeem Kae-
Kazim (Actor-Hotel Rwanda), and many others
(see the full list of presenters and attendees at
www.nollywoodfoundation.orq).

As co-founder of NF and principal director of the
Nollywood Foundation Convention 2006, I received









many questions about the nature of Nollywood and
what the NF hopes to achieve through its cultural
education programs. The NF wants to use Nigerian
films and culture to educate an international audi-
ence about new developments in African visual
culture, to serve as a forum for new ideas and con-
texts, and to encourage Nigerian/African cultural
development projects in film and new media using
organizational structures and protocols that meet
the highest international standards. In this regard,
the NF is a think-tank that manages an annual fo-
rum for discussions about the cultural, educational
and economic significance of contemporary African
culture through a general focus on cultural develop-
ments of the sort represented by Nollywood.

I was also asked whether Nollywood represents yet
another example of "national culture" initiatives in
contemporary Africa. Nollywood is best seen as a
global culture formation, even though it started in
Nigeria and that Nigerian audiences (local and ex-
patriate) remain its strongest base. Nollywood was
created by private financial investment from Nige-
rian capital, which unleashed the creative energy of
Nigerian cultural entrepreneurs. It has become a
populist medium that reaches a lot of people be-
yond Nigeria's national boundaries, and Africans in
general now strongly identify with it. All this means
that it is increasingly a major global phenomenon. It
is not an example of "national culture" in the sense
in which most modern African art movements are
represented, where attempts to develop a local
language of modernity resulted in the celebration of
indigenous/national identities. Nollywood is a global
cultural formation, since its emergence and suc-
cess were due in part to the possibilities engen-
dered by globalization. Despite claims to the con-
trary, global cultures exist in specific local cultural
spaces. No one lives in "global space"; they merely
operate there but live in Lagos, Lusaka, Los Ange-
les, London and Luxemburg. Africans have long
been denied their participation in the 500-year his-
tory of globalization by attempts to confine African
cultural experiences to African locales. However
Africa is one of the main engine of globalization
and African contributions to global aesthetics come
to full flower in Nollywood, whose cultural ambitions
now capture the attention of the global media. It is
important to focus on this issue, so as not to force
this vibrant global phenomenon into the usual
"ghetto" of cultural activities encumbered by over-
determined "African" identity.

The Nollywood Foundation Convention 2006 re-
ceived wide coverage on the Internet and in local
media. The NF will build on the success of this an-
nual convention, which in the future will relocate to
different cities around the globe where significant
numbers of expatriate and Diaspora Africans can
be found. Hopefully, as the NF forum grows, and its
convention becomes a global brand, it will help in-


crease knowledge of contemporary African cultural
developments in the West. In the meantime, all are
invited to review our website, and also to review
Nollywood movies where a new definition of con-
temporary African visual culture is being created.
This emergent visual culture will redefine our per-
ception of African culture in the 21st century.

Sylvester Okwunodu Ogbechie, Ph.D.
University of California, Santa Barbara
Co-Founder, Nollywood Foundation, Inc.
Director, Nollywood Foundation Convention 2006


International Art Workshop Held in Bolgatanga

A two-week international Art Workshop involving
contemporary female artists from Ghana and Burk-
ina Faso took place at the Sand Gardens Hotel in
Bolgatanga, Upper East Region.

Sponsored by the French Embassy in Accra, the
purpose of the workshop was to ensure that female
artists in Africa take their rightful place in society. It
also tackled the issue of preserving and developing
traditional forms of art, including murals.

Organized by Art in Aktion, an art organization
based in Accra, the workshop created a conducive
atmosphere for participating artists to employ new
techniques while creating works they do not nor-
mally produce while working in their own studios.:
Among the participants were members of SWOPA-
the Sirigu Women's Organization for Pottery and
Art, who have successfully revived traditions of wall
painting, pottery and basketmaking that hasve ex-
isted in Northern Ghana for hundreds of years.

As part of the workshop, round table discussions
moderated by renowned Ghanaian artists, at-
tempted to identify problems of female artists and
how best these can be solved in order to place
them in the international arena. Participating artists
were Carole Ouedrago, Francoise Derbeque, Marie
Donkor, Marie Blanche (Burkina Faso), Ayompoka
Akayuure, Abisiboba Nyaaba, Fuastina Ayambire,
Asokipala Aberinya and Adwoa Amoah (Ghana).

Art in Aktion has over the past few years been at
the forefront of the promotion of art in Ghana
through the organization of Workshops, Seminars
and Exhibitions. This includes, "Art on the Street",
a project that involves artists working at street cor-
ners to help demystify the act of creating artworks.

Prof. Joe Nkrumah (Former Conservator of the
National Museum) Kofi Dawson, Akwele Suma
Glory, Kwadwo Ani (Art in Aktion) and John Owoo
(Independent Curator) co-created the workshop.








Exhibitions


Mus6e du Quai Branly Opens in Paris

A $265 million museum devoted to the indigenous
art of the Americas, Africa, Asia and Oceania
opened Friday June 23rd with 270,000 objects in its
collection with President Jacques Chirac inaugurat-
ing what is already considered the principal cultural
monument to his 12 years in office.

Architect Jean Nouvel designed the building with
the demands of image, identity, environment and
function in mind, and set among trees in an exten-
sive garden designed by Gilles Clement.
The name for the new structure is taken from the
museum's address, the Quai Branly (pronounced
kay bran-LEE), though someday it may well be
called the Chirac Museum.

Managed by the Musee du Quai Branly, four galler-
ies in the Louvre now present 120 masterpieces of
African, Asian, American and Oceanic art.

The ultra-modern Quai Branly building, designed
by the French architect Jean Nouvel, should further
these aims. "The project has changed very little
since it was unveiled," Mr. Martin said, "because
we worked for over two years defining our needs
before the design competition was organized."

Mr. Nouvel's narrow 560-foot-long building, running
parallel to the Quai Branly, will be set in a small
forest with the idea of quickly transporting visitors
to a different world. The building itself stands on
two "feet," with a large ground-level passageway
enabling the gardens to continue uninterrupted.
From a small atrium, a long curving ramp leads to
the main gallery, which will display some 4,000
objects divided into four geographical areas.

The collection is particularly strong in works from
African countries and Pacific islands that were long
under French colonial administration. It includes
stone, wooden, terra cotta, ivory and metal masks,
figures and ceremonial instruments. The museum
has a small pre-Hispanic collection, but the Ameri-
cas collection does have significant works of Native
American art. One question, which will not be an-
swered until Mr. Chirac leaves office, is whether
the treasures in the Louvre will eventually move to
Quai Branly.

The museum will also offer ample spaces for tem-
porary exhibitions, which will form an important part
of its program. Some will be thematic, like "What Is
a Body?" or "D'un Regard a l'Autre," which might


I ap


be translated as "Viewing the Other," a sort of mir-
ror game between first and third worlds. Others
being planned, like the art of New Ireland and
Paracas, will be organized with foreign institutions.

The website -featuring text in French, English and
Spanish is: http://www.quaibranly.fr/

Edited from the African-shop web article: http://
users. telenet.be/african-shop/new-museum-
paris.htm


Resonance and Inspiration:
New Works by Magdalene Odundo
Samuel P. Ham Museum of Art
University of Florida, Gainesville, FL
September 5, 2006- December 31, 2006
Curator: Susan Cooksey

The exhibition will feature 12 new ceramic works
and 6 drawings by Magdalene Odundo. A cata-
logue with essays by Augustus Casely -Hayford,
Linda Arbuckle and Susan Cooksey will accom-
pany the exhibition. It will travel to US venues until
2008.

For further information contact:

Susan Cooksey
secook(aufl.edu
(352) 392-9826 x 141

Website: www.harn.ufl.edu



The Neuberger Museum of Art : African Art
from the Permanent Collection
January 01, 2005 December 31, 2008

The African Collection of the Neuberger Museum of
Art provides an introduction to the richness and
complexity of the artistic traditions of Africa and
represents the only permanent display of African
art in Westchester County, NY. Focusing on cen-
tral Africa, the collection spans a broad geographic
range from Mali to Mozambique, featuring over
thirty cultures. Among the objects on view are two
forceful Fang reliquary guardian figures and a very
rare harp, indeed the only anthropomorphic harp of
the Fang peoples in Gabon known to be in an
American museum.
Of the major works on display, many come from
the collection of the late Lawrence Gussman, a
notable collector and resident of Scarsdale, New
York.

Website: http://www.neuberger.org/africanArt.php







Current Exhibitions at the National Museum
of African Art

Resonance from the Past African Sculpture
from the New Orleans Museum of Art
October 5, 2006-January 28, 2007

Resonance from the Past is a collaboration be-
tween the National Museum of African Art and the
New Orleans Museum of Art. Frank Herreman is
the guest curator.

Resonance from the Past consists of a selection of
the finest works of African sculpture from the New
Orleans Museum of Art. Included in the exhibition
are ancestor figures, symbols of authority, and ob-
jects of transformations. Sculpted artworks, includ-
ing masks, pots, costumes, and musical instru-
ments, represent elements of divination and initia-
tion ceremonies, bestow power on their owners,
and serve as altars to mediate between humans
and the divine.

Body of Evidence: Selections from the Contem-
porary African Art Collection
June 14, 2006 April 6, 2008

The museum's commitment to growing its collec-
tion of contemporary African art is seen in this dis-
play of objects from its permanent collection. This
exhibition will showcase works of art that represent
the "curator's choice" and will rotate a myriad of
objects from different cultures.

First Look: The Walt Disney-Tishman Collection
of African Art
May 17-December 3, 2006

The Smithsonian's National Museum of African Art
is the recipient of one of the world's finest known
collections of traditional African Art-the Walt Dis-
ney-Tishman African Art Collection, which is made
up of over 525 objects. As a preview to the inaugu-
ral exhibition that will open Feb. 2007, an intimate
display of over 15 sculptures, made of wood, ivory
and beadwork, will be on view.


I-I
1-IB


Obituaries


Philip J. Shea (30 July 1945-5 April 2006)

It's not very often that one encounters a true
trans-national citizen-one whose worldview and
life choices reflect the concept of cosmopolitan citi-


zenship. So it was devastating to those of us who
had the good fortune of knowing and interacting
with the American-Nigerian cosmopolitan, Profes-
sor Philip James Shea, to learn of his passing on
April 5.

Anyone who has studied Nigerian textiles and in-
digo-dyeing is familiar with the work of Philip J.
Shea, whose Ph.D. dissertation, The Development
of an Export Oriented Dyed Cloth Industry in Kano
Emirate in the Nineteenth Century (Department of
History, University of Wisconsin, Madison, 1975),
remains the best and most extensive work on the
19th century Kano textile production and trade to
date. Shea's particular contribution was his de-
tailed historical documentation of indigo-dyeing and
hand-woven cloth production in the Kano Emirate,
which considered the material, economic, and tech-
nological opportunities as well as the limitations for
the Kano textile industry and his discussion of its
place in economic history of West Africa. His
works on other aspects of Kano textile production,
including the silk trade, are also important studies.

He published several articles in Nigerian and inter-
national journals on, among other subjects, the de-
velopment of the dyeing industry in precolonial
Kano; rural production; indirect rule; and the central
Sudanese silk trade. His most recent publication is
"Mallam Muhammad Bakatsine and the Jihad in
Eastern Kano," History in Africa (2005).

Shea was also a dedicated teacher, whose stu-
dents are continuing his approach to the teaching
of history in Nigeria and abroad. In about thirty
years of teaching at Bayero University, Shea
trained and mentored several generations of Nige-
rian historians, equipping them with the tools of
historical reconstruction and with the scholarly
skepticism and the theoretical and analytical skills
that any excursion into the African past requires.
He avidly conducting path-breaking research into
the economic and political history of Hausaland,
especially Kano.

Philip J. Shea was born in Winchester, Massachu-
setts, USA, on July 30 1945. He received a B.A.
from Swarthmore College (1967) and a Ph.D. in
African History from the University of Wisconsin
(1975). After completing his Ph.D, he first taught at
the Advanced Teachers College, Gumel, and later
took at position at Bayero University, where he was
promoted to full professor in 1998. He held visiting
professorships at the University of California,
Berkeley, and Bayreuth University.

Reprinted and edited from an article posted on the
University of Texas website by Moses Ebe Ochonu








Chief Dr.Omotosho Eluyemi
Director General of NCMM

Late Chief Dr. Omotosho Isola Eluyemi was laid to
rest last weekend in his country home lie Ife in
Osun State of Nigeria on the 6th of May 2006 by
Prince Paschal N. Mebuge-Obaa ii, Museum Piece
International (MPI) & Museum Society of Nigeria
(Friends of Museum) Enugu Chapter.

Chief Dr. Omotosho Eluyemi died in active service
to the nation as the Director General of (NCMM), a
position to which he was appointed to in 2000, he
has enhanced the welfare of his staff and reposi-
tioned the Museum institutions in Nigeria, retrieved
and repatriated many looted /stolen Nigerian Arti-
facts from oversea countries. As an academic and
educationist, he began his lecture career as a re-
search fellow at the then University of Ile-Ife (now
Bateman Wallow University) in 1973.He retired
from active lecturing service as a founding father /
pioneer Head of Department of Archaeology and
African studies in 1993. Soon after his retire-
ment ,he was called upon to lecture as adjunct lec-
turer in Universities in Argentina. Brazil. Uruguay,
Trinidad and Tobago, and the USA.

He was also rewarded by the various communities
that felt his pulse in the promotion of indigenous
cultural heritage and African traditional values by
conferring upon him numerous chieftainship titles.

(Reprinted and edited) Submitted by:
Prince Paschal N. Mebuge-Obaa II,
Museum Piece International (MPI) &
Museum Society of Nigeria
(Friends of Museum) Enugu Chapter.



Dr. Peggy Appiah M.B.E.
Folklorist, writer, philanthropist, art collector

Peggy Appiah, known affectionately as Auntie
Peggy, died at the age of 84 of a heart attack on
February 11th, 2006 at Okomfo Anokye Teaching
Hospital in Kumasi. She was the fourth and young-
est child of Sir Stafford Cripps, Labour Statesman
and Chancellor of the Exchequer from 1947-1950.
Her mother, Lady Isobel Cripps, was the great
granddaughter of the chemist Eno, inventor of
Eno's Fruit Salts.

After completing school, Peggy went to Florence to
study art. She returned to England at the onset of
war in 1939 and trained for a year at a secretarial
college. Through her mother's fund-raising activi-
ties for aid to China and her father's ambassadorial
work, Peggy was able to travel to many countries
during the war and post-war years. In 1938, when


Peggy Enid Appiah
One of Peggy's greatest gifts was to children for whom she
wrote and in whom she saw clearly our universal needs and
natures. As she once wrote: "The wind in the willows is the
same one that breathes through the palm fronds. '"And she
was kind.-Atta Kwami


Peggy was 17, the family made a memorable visit
to Jamaica where they met George Padmore, who
was later to work with Kwame Nkrumah. Peggy
Appiah was awarded an MBE for her social work
and improving relations between Britain and Ghana
in 1994. In 1952 Peggy met the President of the
West African Students Union, Joseph Emmanuel
Appiah; they were married in London in 1953. The
following year Joe and Peggy set up home in Ku-
masi, remaining there together for the rest of their
lives. Peggy's happy married life with Joe was in-
terrupted by his periodic absence from home as a
political prisoner. Nevertheless, Peggy was able to
continue her community work with the deaf, the
blind and the disabled and, most notably, with the
Children's Home where in 2004 she generously
donated a Children's Wing.

Peggy has published over twenty books, most of
which are for children or based on Asante stories,
She wrote poetry since she was a young girl. A
collection of her poems, with contributions from her
father and children, was published in 1977. More
recently, Peggy produced a book on AIDS for
young people and a book of poetry (Thought
Birds-2001). Bu Me Be, a volume of 7,015 Akan
proverbs, co-authored with her son Professor
Kwame Anthony Appiah, was published in 2002.

In November 2005, Peggy Appiah was awarded an
honorary doctorate from the Kwame Nkrumah Uni-
versity of Science and Technology, Kumasi. The
University cited her role as a philanthropist, espe-
cially her work with homeless and disabled chil-
dren. Peggy Appiah remained an active writer and
philanthropist into her early eighties.

(Edited) Submitted by:
Pamela Clarkson Kwami & Atta Kwami in Kumasi







John L. Loughran, U.S. Ambassador to Somalia

John Louis Loughran, 85, a longtime State Depart-
ment Foreign Service officer who became ambas-
sador to Somalia, died June 6 of respiratory arrest
at a hospital in Nairobi, where he was visiting. His
wife of 55 years, Katheryne S. Loughran, died in
October. Survivors include three children; four
brothers; a sister; and seven grandchildren.

Mr. Loughran was born in Atlantic City and grew up
in Philadelphia. He joined the Foreign Service in
1951 and in 1960, he received a master's degree in
public administration from Harvard University. He
was transferred to Monrovia as a political officer in
1966. He received orders to serve in Dakar as
DCM in 1970, returning to the U.S. in 1972 as di-
rector of the Office of West African Affairs. In
1974, he was appointed US Ambassador to Soma-
lia. With later assignments in Liberia, Gambia and
Senegal, Mr. Loughran became known as an au-
thority on Africa. He finished his diplomatic career
as ambassador to Somalia from 1974 to 1978. In
1977, he left the country temporarily during a diplo-
matic standoff with the Soviet Union, who was sup-
plying arms to Somalia's longtime enemy, Ethiopia.
He returned to his post after Soviet military advis-
ers were expelled from Somalia.

After his retirement from the Foreign Service, he
and his wife established the Foundation for Cross
Cultural Understanding to improve understanding
between the United States and Africa. They organ-
ized exhibitions of art that toured the United States
and often lectured at colleges and universities. Mr.
Loughran also frequently spoke at elementary
schools near his homes in West Virginia and Flor-
ida. In recent months, he continued to explore
ways to bring peace to strife-tom African nations
and was holding meetings with leaders throughout
the region at the time of his death. He lived in
Washington and had a farm near Shepherdstown,
W.Va. He and his wife moved to the farm in 1981,
then moved to Tequesta, Florida 10 years later. He
was on the boards of arts organizations in West
Virginia and Florida.

John and Kathryne were co-authors of Somalia in
Word and Image (1988 Indiana University Press)
with John W. Johnson and Said Sheikh Samatar.
A collection of works of art and other cultural ob-
jects of African life from the John and Katheryne
Loughran Foundation for Cross Cultural Under-
standing, was gathered during their many travels
during and after John was serving as United States
ambassador to Somalia from 1975 to 1978. Based
in Washington, D.C., for many years, their African
art collection was gifted and loaned to various insti-
tutions in the United States, including the Smith-
sonian Institute's National Museum of African Art.
The FCCU's collection was donated to the Harn


Museum of Art and the Indiana University Museum.
This year, the Loughran Collection of African Art
was donated to the Lighthouse Center for the Arts
in north Palm Beach county with the expressed
wishes that it be used for educational purposes.
Katheryne was a much revered art instructor during
the winter months at the Center.

(Reprinted and Edited) From the June 30th Wash-
ington Post Obituaries and the June 26, 2006 edi-
tion of the TCPalm North Palm Beach, Florida)



Professor Frank Willett
1925-2006

Dr. Frank Willett, CBE, FRSE,
Director of the Hunterian Museum
and Art Gallery from 1976 to 1990,
passed away peacefully on Thurs-
day June 15th at the age of 80.

Professor Willett was widely respected as a pio-
neering scholar of African art and archaeology and
as a leading figure in the world of museums. In
Glasgow he was the first Director of the Hunterian
Museum and oversaw the completion and opening
of the Hunterian Art Gallery and the superb adjoin-
ing reconstruction of Charles Rennie Mackintosh's
house. His contributions to the study of West Afri-
can culture were acknowledged in many ways,
most recently in 2004 by the award of the Royal
Anthropological Institute's important Amoury Talbot
Prize.

Frank Willett was born in Bolton, Lancashire, in
1925 and educated at Bolton Municipal Secondary
School and at University College, Oxford where,
after graduating, he took a Diploma in Anthropol-
ogy. In that era most anthropology students were
intended to take up posts in the Colonial Service
or, at least, to work in the colonies. The war, in
which he studied Japanese while in the RAF, de-
layed Frank's direct contact with exotic societies
and his first professional appointment was as
Keeper of the Department of Ethnology and Gen-
eral Archaeology at Manchester Museum. His
growing reputation as an archaeologist led to visits
to Nigeria where he collected for the Manchester
Museum, and then to his appointment as the Hon-
orary Surveyor of Antiquities for the Nigerian Fed-
eral Government between 1956 and 1957. His
combined curatorial and archaeological expertise
was then recognized by his appointment as Nigeria
Government Archaeologist and head of the Ife Mu-
seum in Southern Nigeria. Ife was one of the earli-
est and most important cities in West Africa and its
archaeology and culture became the focus of many
of his studies and the basis of his most important
publications.








In 1963 Frank and his family returned from Nigeria
to Oxford where he was a Research Fellow at Nuf-
field College. In 1966 he was appointed Professor
of Art History, African Studies and Interdisciplinary
Studies at Northwestern University, near Chicago.
Northwestern was then growing into one of the
world's leading centers for African Studies and his
appointment was widely seen as a great coup for
the university. The teaching and research pro-
grams he created and led had enormous influence
in this field. As a teacher he was kind, patient, im-
mensely painstaking and inspired his students with
the highest standards of scholarship. Many of them
now occupy senior positions in universities around
the world. It was at Northwestern that he published
his pioneering work Ife in the History of West Afri-
can Sculpture, based on his excavations and the
study of Ife material in public and private collec-
tions and, in 1971, African Art: An Introduction,
which is still in print.

In 1976 Frank returned to Britain to become the
first Director of the Hunterian Museum at the Uni-
versity of Glasgow. He immediately set about im-
proving its displays, mounting a major exhibition on
the history of the University, and contributing to the
teaching of the Dept. of Archaeology. His major
achievement was to oversee the completion and
opening of the Hunterian Art Gallery and of the re-
constructed C R Mackintosh house and despite
many financial problems, brought the project to a
successful conclusion. In pursuit of the interests of
the cultural heritage sector more widely, he was
appointed Vice-Chair of the Scottish Museums
Council, a post he held from 1986 to 1989.

Despite the pressures of running a museum and art
gallery (the Hunterian) and fighting for resources
Frank continued to work on research projects while
helping create major international exhibitions on
Nigerian art.. He served as Curator of the Royal
Society from 1992 to 1997. Dr. Willett produced a
summation of his life's work on Ife by publishing a
catalogue of all the known material, a gigantic pro-
ject whose importance was recognized by the
awarding of the Amoury Talbot Prize.

Frank was devoted to his family and his wife of 56
years, Connie. He took delight in the lives of his
four children and his grandchildren. His life was
marked by many works of kindness and charity,
including his commitment to and support of the St
Margaret of Scotland Hospice. Frank was a gentle
and humble man who was passionate about his
work and life.

Reprinted and edited from the Hunterian Museum
website (http://www.hunterian.gla.ac.uk:443/
museum/events/event.php?eventlD=45)


Museums After Katrina


In the wake of such a huge wound in the heartland
of America, artists and museums have responded
in unique ways. Not only through offering donations
and assistance, but also in the way they know best
artistic expression. Below are exhibitions that
reflect the turmoil and make that catastrophic event
a part of art history forever. The Good News: The
New Orleans Museum of Art has now reopened its
doors! Read the stories and make a direct donation
at: http://www.noma.org/home.html



Katrina Exposed
Through September 17, 2006
(organized by NOMA) (1st Floor)

An exhibition of the most extraordinary Katrina im-
ages shot by local, national and international art-
ists, photojournalists and amateur photographers.



Katrina-Related Exhibitions at
The Metropolitan Museum of Art
(http://www.metmuseum.org/home.asp)

New Orleans after the Flood: Photographs by
Robert Polidori
September 19, 2006-December 10, 2006
The Howard Gilman Gallery

This small exhibition presents approximately 20
photographs of flooded and abandoned homes in
New Orleans and memorializes the first anniver-
sary of one of America's worst natural disasters.


Kara Walker at the Met: After the Deluge
March 21, 2006-August 6, 2006
The Gioconda and Joseph King Gallery,
Lila Acheson Wallace Wing, Modern Art

In the wake of Hurricane Katrina, contemporary
American artist Kara Walker -widely recognized
for her exploration of issues of race, gender, and
sexuality through the 18th-century medium of cut-
paper silhouettes-juxtaposes a variety of objects
from the Museum's collection with her own work in
order to explore "the transformative effect and psy-
chological meaning of the sea" and the role as-
signed to black figures represented in art.









Triennial Fundraising Form


The Arts Council of the African Studies Association



The Arts Council of the African Studies Association

The Fourteenth Triennial Symposium on African Art
Gainesville, Florida 2007



I/ We Pledge


$25 $50 $100 $250 Other
for the 14th 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.


Name(s)


Mail FORM with payment to:


Alice Burmeister
ACASA Secretary Treasurer
Winthrop University
140 Mc Laurin Hall
Rock Hill, SC 29733

burmeistera@winthrop.edu


PAYMENT:
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___ Credit Card: Transactions are processed through PayPal, a secure third party credit processor.
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ACASA










E Membership Renewal Form


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Send Payment & completed Membership Form to
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$50.00 Regular Member Winthrop University
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ACASA members living in Africa & the Caribbean
are not required to pay membership dues but MUST send email: burmeistera@winthrop.edu
completed membership forms to the Secretary/Treasurer.

ADDITIONAL VOLUNTARY CONTRIBUTION:
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(See Page 28 for easy payment instructions using PAYPAL.com)









Voluntary Contributions Form


The Arts Council of the African Studies Association


OPPORTUNITIES TO GIVE TO ACASA


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:

Sieber Memorial Fund (Dissertation Award at Triennial Symposium)

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. ***)
*****Individual(s) or institutions) I want to sponsor


PAYMENT OPTIONS:


Mail FORM with payment to:

Alice Burmeister
ACASA Secretary Treasurer
Winthrop University
140 Mc Laurin Hall
Rock Hill, SC 29733
burmeistera@winthrop.edu


___ Check or International Money Order
Payable to ACASA
(NOTE: Checks must be in US Dollars and drawn on a U.S. Bank)




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EASY !! HOW TO USE IM for ACASA Payments:
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(To send money directly from your bank account, get Verified.)
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.M


ACASAf^^











EBM HV B i3E

About ACASA

The Arts Council of the African Studies Association (ACASA) was established in 1982 as an
independent non-profit professional association affiliated with the African Studies Association
(ASA) in the United States. The organization exists to facilitate communication among schol-
ars, teachers, artists, museum specialists and all others interested in the arts of Africa and
the African Diaspora. Its goals are to promote greater understanding of African material and
expressive culture in all its many forms, and to encourage contact and collaboration with Afri-
can and Diaspora artists and scholars.

As an ASA-sponsored association, ACASA recommends panels for inclusion in the ASA an-
nual meeting program on such wide ranging topics as the interpretation of meanings in Afri-
can art, agency and performance, connoisseurship and aesthetics, the ethics of field collect-
ing and research, the illicit trade in antiquities, museum exhibition strategies, the use of archi-
val sources, as well as issues concerning various historical and contemporary artists and ar-
tistic traditions.

ACASA's annual business meeting is held during the ASA meeting each fall. ACASA is also
an affiliated society of the College Art Association, and meets on an ad hoc basis at its an-
nual conference.

ACASA hosts a Triennial Symposium featuring a rich program of panels and cultural activi-
ties, workshops for museum professionals. A Leadership Award for exemplary and intellec-
tual excellence and two Arnold Rubin Outstanding Publication Awards in recognition of books
of original scholarship and excellence in visual presentation are bestowed at each sympo-
sium.

ACASA members receive three newsletters yearly featuring news about upcoming confer-
ences, exhibitions, research and opportunities for scholars. An annual directory is included in
the Spring-Summer issue. For more information, please contact:

Susan Cooksey
Newsletter Editor
Harn Museum of Art
P.O. Box 112700
Gainesville, FL 32611-2700
Email: secook@ufl.edu


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:
Alice Burmeister
ACASA Secretary Treasurer
Winthrop University
140 Mc Laurin Hall
Rock Hill, SC 29733
burmeistera@winthrop.edu







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